I'm back again- if its not too annoying for me to ask for them once more.
I have this thing of finding similarities between ships / just linking them to one-another and I have three such ships for Arvino, but I would like to ask if you could do Geochal [George & Charles] with them or Bearnelli since I see you like writing Kimi.
I would've gone into a lot more detail of why them but also I probably should not be doing that in here.
Hi again! I'm more then happy to oblige. I hope this suits your fancy, A little bit of both requested. Arvid my beloved. This ones a bit dialouge heavy, you've been warned. Please enjoy!
Arvid was absolutely buzzing after making it into F1. Really, he didn’t think it’d happen this fast. He thought he’d be stuck in F2 another year. But here he is, a real Vcarb racer! He’s thrilled as can be. It’s every little boy's dream. Who wouldn’t be happy being where he is!
Well. Okay. He has one, itsy bitsy, tiny, very small complaint. He sort of had this whole plan that got messed up by Redbull being eager to promote him. The problem is, he’s in love. Absolute, 100% love. With another driver. With his boyfriend actually. Dino Beganovic. Who’s the absolute best, by the way. If there’s anything to have no complaints about, it’s him. The issue comes from the fact that there's no such thing as a gay F1 driver, at least not publically. Arvid was going to come out before he got promoted, so if a team hired him they’d already know, so on and so forth. His own skill outpaced his plans it seems, much to his disappointment.
Dino said it was fine. That he could wait. They could stay a secret. That it wasn’t a problem at all. That’s all because Dino is nice, and he cares about Arvid’s career and wants him to succeed. Arvid appreciates that, but he’s starting to hate lying. He wants to be able to talk about his boyfriend on international television. Is that so wrong?
He’s at a loss though, and walking through the paddock on race week isn’t clearing his mind. He wishes there was someone who could just. Give him some advice on this whole thing.
Well. Maybe there is.
Kimi and Ollie. They’d been gross over each other since Prema. Now they were in F1. Same as Arvid. So, if anybody had an idea about dealing with your taboo relationship while being one of the most famous people out there, it was them. They were also easy to talk to, big bonus.
Finding them wasn’t too hard. All of the drivers were free to roam right now. No press events to mess around in. Arvid ran into them outside of the Mercedes motorhome. Chattering away as usual.
“No no mate, I just totally binned it. Mostly my own fault.” Kimi laughs, shaking his head at Ollie before he spots the newest driver walking over. “Arvid! Heyy man!”
“Kimi, Ollie, just the guys I wanted to see.” Arvid grins.
Ollie smiles back, “We just got off the phone with Dino, we were chatting about you.”
“Yeah? How was he? Is he okay? I haven’t called him yet today, I’m going to tonight. Did something happen-?”
“Relax, Romeo. Juliet’s not dead yet,” Kimi snickers, shoving Arvid's shoulder playfully. “He’s fine. We were just catching up.”
“Mhm, happy as can be in his first year of F2. You two are always matching,” Ollie continues with a giggle of his own.
“Alright alright, can you blame a guy for worrying about his boyfriend?”
The pair share a look at that, smiling softly at one another. “Guess not,” Ollie supplies.
Arvid takes three seconds to make a mental note of telling Dino how disgustingly cute these two are before getting down to business. “I was hoping I could talk to you both.. About the whole boyfriend thing?” Another look is shared, before Kimi nods for him to continue. “Well. Uhm, this is weird. How do you two do it? Not lose your minds with all the lying?”
Kimi shrugs, “Well it’s sorta hard. Not singing Ollie’s praises every day is hard for anyone I’d imagine. We kind of just, make do. We still text and call and hangout in private like we always have. It’s not like either of us are out. It’s more taxing than outright difficult.”
“It’s more like an absence. Everyone has their WAGS, people ask us. We just have to say nobody,” Ollie adds on. “I get sad sometimes… it’s not like it’s been long though. We probably don’t have very good advice, mate.”
“Yeah figures. Thanks, I wish somebody did have the experience.” Arvid sighs, frowning. Maybe he was destined to just be struggling in silence forever.
“... you could try Charles.” Ollie offers.
“Maybe George.” Kimi says at the same time. They both start laughing at their overlap, much to Arvid's confusion.
“Why them? What?”
“Oh you don’t know? You’re new, guess you wouldn’t. George and Charles are dating.” Kimi shrugs. “They are good for advice.”
“Cool, okay. Thanks guys.” Arvid waves before jogging off.
Charles and George huh? Well, they were sweet to each other. Both of them were respectful and kind people. Arvid had no idea they were Together. They kept that secret pretty damn well. He’s also not really sure how to talk to them about it. He’s not particularly close with anyone outside of old teammates and the Redbull people. So, how is he going to talk to either of those two?
While he’s busy trying to puzzle that out he loses his attention on where he’s walking. Leading him to slam shoulders with someone and go careening towards the ground. At least, he was until he was caught and yanked back upright.
“Arvid! You okay?” Charles asks, looking at him with wide eyes. “What’re you so worked up about you didn’t see me standing in the walkway?”
“Sorry,” Arvid mumbles, hunching his shoulders. “I’m just having personal issues. I’m alright.
Charles gives Arvid a sympathetic smile. Dusting off the younger driver’s shoulder as he asks, “Do you want to talk about it?”
Arvid blinks before deciding he shouldn’t look a gift horse in the mouth. “It’s just that. I have someone that I love a lot. I’d do anything for them. If we weren’t young and stupid I’d want to get married already. Problem is, they’re… not someone I’m allowed to be in love with on live television.”
Charles’s eyes soften, a knowing smile painting his features. “Sounds rough.”
“I guess I just don’t know how I’m supposed to handle it. It was easier when I wasn’t being watched constantly. How am I meant to keep something so strong a secret?” Arvid frowns.
“Well,” Charles hums, glancing across the way as he thinks. When Arvid follows his eyes, he sees a familiar figure with the number 63 printed on their back. Charles continues, “You have to trust each other. That, no matter what, you love each other. Things will have their ups and downs. You’ll fight more than you get along some weeks. But when the media and the racing and the noise of it all falls away, you still have each other. That’s what matters.” He takes a breath, looking back to Arvid finally. “It’s sweet that you wish to tell the world, but the world isn’t what matters. Be as brave as you want. Just make sure you always make it home to the guy who matters.”
Arvid smiles at that. It loosens something tight in his chest. Ollie was right, Charles was the right person to get advice from. Then, something clicks.
“How’d you know it was a guy?” Arvid blurts, making Charles chuckle then shrug.
“Eh. I think I had this same conversation with Sebastian when I was young. Takes one to know one.”
Then Arvid supposes, maybe a few people could know. That’d be just enough for him for now.
A.N: Woah this got long on me. I hope you enjoyed! Always always feel free to send me a request, whether its your 1st or your 50th! I love to write <3 Hit me up if you've got ideas of yourself. Any pairing, any situation.
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2.1 Find a kinetic or motion typography sequence that has an impact on you and exhibits a strong connection between the meaning or message and the typographic treatment. The work could be from a film, a television series, an online piece, or anything interactive. Document the sequence with video or an image sequence of at least ten images, and write 125 words on why you chose it. Address why and how its motion integrates with and supports the content.
Chosen sequence - Visual Arabia 2013.
The kinetic typographic sequence I decided to chose for this part of the design brief is one from designer Juan Behrens’ opening title for Visual Arabia 2013. My first thought when seeing this piece was that it was incredibly beautiful and creative, the more I replayed it I noticed the exquisite motion typography that linked both the words and their animation to the meaning and goal of this piece. Juan Behrens used his skills in animation and design to give meaning, flow and movement to the words in order to get the thoughts of this piece across. What I admired as well was the contrast between modern and traditional, the traditional Arabic calligraphy flowing quite well with the more modern 3D animation. Instead of clashing, the letters worked and flowed together perfectly.
2.3 Find a kinetic typography sequence that you feel badly integrates into and supports the work it prefaces. The work could be a film, a television series or an online piece. Document the sequence with still images, and write 125 words on why you chose it.
Kinetic typography sequence - Star Wars Episode IV: A New Hope (5:10).
Despite being one of the most famous typography sequences in the industry, the Star Wars franchise opening credit is really simply a block of text in a movie. If for one second, we take away the fact that this opening crawl is associated with the Star Wars movies, the typography sequence does not at all integrates into or supports the work it prefaces. Someone not familiar with the franchise would never be able to guess anything about the plot, the Star Wars universe itself by watching the opening typography sequence. Dissociated from the signature device it has become over the years in the Star Wars series, the movies’ opening crawl is bland. It fails to integrate into and support the plot, the focus of the movies etc. All in all, it’s controversial yet bold to say that it lacks liveliness, animation, charisma and force.
2.4 Take the sequence from 2.3 and propose a title sequence that does a better job at integrating into and supporting the work. Your proposal should consist of an image sequence showing your version (at least ten frames), as well as 125 words on why your version is better. An image sequence can consist of hand-drawn or computer-aided sketches, a short movie, a Flash animation, etc.
I found trying to change the Star Wars opening crawl quite challenging because it has become such a signature device that people have bonded with it, thus trying to alter it might just appear as if it was a sin. Nonetheless, let’s see this from a different point of view, a point of view where the signature opening crawl had never been born and how different the sequence could be if it had never existed in the first place. What I looked for was mostly animation that would perhaps tell the story of the Star Wars universe or at least let the viewers get a glimpse of it. This is why I focused on space, planets, spaceships, lightsabers etc. At first, the Star Wars logo could appear in animation and fly away followed by a spaceship, in the end destroying it and the letters turning, fading into the stars around. Perhaps as the narrator voices the text, a singular yet important and striking line of text could appear, immediately to be destroyed as a double-ended lightsaber opens in between the middle words. The font (and letters) could also change from English to a somewhat Alien or unknown font, much like code, letter flipping from English to Alien. The sequence I think was from Star Wars - A New Hope, therefore what I thought of was that the last four dots could at the very end start shining a bright white, getting bigger and bigger until the entire screen is absorbed much as if space had been engulfed in white. This part reminded me of the original A New Hope poster where Luke Skywalker is holding up his lightsaber which shines a bright white, striking through the picture.
Different font - font changing like code, from English to unknown/Alien language (flipping English letters to Alien letters).
Animation - double-sided lightsaber opens in the middle, destroying the line of text.
Animation - planets, spaceships, etc.
Animation - machinery (two walls) closing in on the text.
Animation - to end opening credit — three periods turn into a light much like the original A New Hope poster, shinning on the horizon and the screen is gradually filled with light, everything disappearing.
