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itsmoonphobic · 4 years

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👑Royal Buisness👑 (SBI+Tommy AU)

Hello!My name is Moonbow and I am a huge sbi+more fan! And so I decided to do my bois some justice and create a au based off of dnd and skyrim!They all reside in the land of "Bladestrom" a legendary kingdom build out of mysterious ruins and on the ground where dragons once rested.I will let you in on some headcanons and insights about each character!I hope you guys enjoy it🥺👑💓

Dave(Techno) Blade:

The 12th heir of the throne King Technoblade,or simply King Blade.A strong and fearless warrior known for his determination,power and strength.

He has a serious and egoistic facade.Though in reality the king is anything but egoistic and serious.Quiet the opposite actually:He tends to be very polite and respectful.Sure his ego is the size of a full grown dragon but he is a big hearted man.

Techno mostly stays in his castle walls and prefers to read or write in peace.The only time he will actually step foot in the outside world was during night,when his people need him or his favorite hobby ;)

He has a pretty unbalanced and unhealthy sleeping schedule which he constantly gets reminded of.

The only person Techno actually lets into his private life is his best friend Phil.Phil is Techno's personal knight and right hand man.Techno trusts Phil with his eyes closed,his loyalty is very appreciated.

A huge downside for Techno's reputation is that he is really shy and socially awkward.The poor guy can't find the right words or say anything normal without feeling like he said something fully absurd.

Apart from reading and fighting,Techno loves to farm potatoes in his free time.He loves the fresh taste once they are harvested and prepared properly!!His potatoes are known to be from the best quality in the whole land!Which earns Techno some extra money.

Techno won't admit it infront of Phil or anyone else but he has a soft spot for children,especially orphans. He knows the feeling of growing up without parents and he feels connected to them.That's why Techno stops by the local orphanage to donate some money he earned from his potato farming.

Techno loves to train and upgrade his swordsmanship abilities to their fullest potential.Always coming up with new strategies and techniques to use whenever the time for war would fall upon them once again.

And speaking of war,the thing that terrified the neighboring kingdoms and enemies even more about King Blade is the fact that he never manages to lose. Everyone stupid enough to challenge the king of Bladestrom would go down in shame and regret.

Though Techno isn't really in control of himself in those types of situations.His lust for blood overcomes his senses and he can't but see red with every step he takes on the battlefield.

Phil is usually the one who manages to calm him down and get him back to his normal self.Techno would feel awful and expose the side he hates the most about him to Phil: Vulnerability

Techno doesn't take things very seriously.He is very sarcastic and relaxed all the time,and that's what makes him even scarier.

He competes in the yearly bladestrom championships which is a battle arena with different challenges and obstacles you have to beat.And suprise,suprise Techno wins em' all!

Techno suffers from adhd and anxiety.Something that only Phil is aware of is Techno's ptsd.He didn't exactly have the luxurious and perfect life growing up,so when he ends up getting nightmares or panic attacks Phil's dad instincts take over and do their thing.

Long story short,Techno doesn't necessarily know his limits,but he is hundred percent aware of his strengths and weaknesses.He protects and takes care of the people he deeply cares about and welcomes them as family.His power is what makes him a fearless and violent king.But his heart is what makes him a kind and understanding human.And if he ever forgets about that side of him he simply has to listen to the repeated beating in his chest.

Phil Watson:

The royal guard with a five year long achievement on staying at the top of his game and ranking as the number one royal knight.

Earning himself the trust and life long,brother like friendship with the king himself was a big plus!

Phil is a very loyal and hardworking man.He seeks justice and always wants to take things the slow and pacifistic way before instantly turning to violence and bloodshed,much unlike his best friend.

Phil is very kind,and gentle when he needs to be. Everyone loves seeing Phil in the local town tavern or in a city bar.He always seems to read poeple like an open book and find the right topics to talk about.

Techno and Phil have a very close and important relationship.They are like a brothers,though Techno secretly looks up to Phil like a father he never had. Phil would risk his life for Techno,not only becouse of his duty as his personal guard,but becouse family comes first.

Phil is a very wholesome and strong willed guy.

Whenever Techno is feeling down or something like a panick attack or nightmare is happening,Phil immediately notices it.Techno doesn't have to say a word for Phil to hug him and take care of the vulnerable king in his hands.

He will find Techno on his balcony while patrolling the castle halls or garden in the middle of the night just staring at the moonlit sky.He always seems so lost in thought and carefree that Phil simply smiles and continues his work.

He does scold him for not resting enough the next day though-so he's never really off the hook :D

Phil is also the only person who really knows Techno.He knows his deepest fears,biggest insecurities and darkest secrets.He sees him in moments where the world would turn his back on him but Phil doesn't and he never will.That's what he promised him all those years ago.

Long story short,Phil is very kind and hardworking.He takes problems into his own hands and solves them the best way he possibly can.He can and will tease the living daylight out of Techno and that infront of other residents of the castle who don't know if they should laugh or simply stare in shock.Phil deeply loves and cares of Techno like his son and always makes sure ro put his well being infront of his own.

(I WOULD DIE FOR PHIL-HE IS SO WHOLESOME AHHH-)

Wilbur Soot:

A lonesome musician on the lookout for money and success-

Wilbur is a guitarist living on the streets of Bladestrom He goes from bar to bar and performs his musical talent there.Though the majority of the time Wil plays and sings on the streets.

Earning money is hard so affording an apartment,even a room for a few nights is almost impossible for Wilbur since he only earns a few silver coins per night,that is if he gets lucky and poeple actually listen to him.

He is very charming and suave,also add the fact that he is pretty handsome to the list and you have yourself the perfect boyfriend.May I inform you that his voice is a perfect balance between velvety and rough-

Wilbur isn't from Bladestrom.He grew up in another kingdom which he can't remember the name from since he arrived here during a war 19 years ago.

He never really heard from his parents,they just sort of disappeared.But that was something Wilbur didn't question,he didn't care about them.He learned how to survive and keep himself company.He doesn't need a family ro accomplish his goals.

Wilbur is a huge gentleman and he is also tends to be extremely flirtatious,which he is really good at btw!So yeah he earns himself some extra points with the ladies ;)

His biggest dream that he is trying to achieve is to become a famous musician in the whole entire land. Opening his own theater and doing what he loves the most.Sing and perform.

But living on the streets has it's ups and down's.Most nights Wilbur has to deal with drunk people wandering the alleyways or annoying little children who constantly pickpocket you-

Wilbur will sometimes nonchalantly sneak into a hotel and sleep in one of their cozy beds,since he doesn't experience that feeling often.Or the places he performs at reward him with shelter instead of money.

Long story short,Wilbur can keep apart dreams and reality.He is a smart and sly person who knows how to accomplish his goals.Even though Wilbur has his one Night stands more than often he would never betray a woman if he got into a serious relationship,which he plans on not having any time soon.He keeps to himself and sternly focuses on the things that matter in life,everything else is irrelevant.

Tommy Simons:

An energetic orphan with no manners and the mouth of a sailor.

Tommy grew up on the streets,any memory of his past life or family only appear as a missing puzzle piece or a black canvas.

Tommy is a very outgoing and optimistic person,his emotions are practically worn out on his sleeves.

Spending his days in the local town orphanage Tommy met a few poeple who he spends his time with.You could say that he has formed a wierd alliance with his more questionable friends.

Tommy learned how to defend himself and make sure that his "gang" stas safe aswell.He is quite the expert at pickpocketing which comes in handy.

Being quick and light on his feet,if Tommy does get caught by the royal guards he manages to escape and get away with the stuff he stole.

On the other hand though,Tommy is extremely clumsy and seeks huge amount of admiration in any way.He constantly wants people to refer to him as the best.

And to repeatedly prove himself worthy of that title he picks fights with multiple poeple and always manages to make poeple hate him.He won't say it out loud but he sees the bloody noses and bruises as badges of honor,he's proud of them.

This little troublemaker has only one person he dreams to meet one day,but for now he can only hear stories about him and admire him from afar.And that person is none other than King Blade himself.

Oh what he would give to train with him and show off his badass moves and fighting skills.

Long story short,Tommy doesn't think before he acts and he surprisingly manages to pull off any stupid stunt he plans to do.For Tommy it's kill or be killed.Either you face your fears head on and establish dominance or you act like a coward and run away.And there was no way Tommy ever does the second option even if it gets him into dangerous situations.Tommy is very overprotective over poeple he cares about,his guild is his brotherhood,his family,and he would do anything for them,even going sofar as risking his life.

THIS IS ALL I HAVE FOR NOW-I HOPE YOU GUYS LIKE THIS AU BECOUSE I AM ABSOLUTELY IN LOVE AND I CAN'T GET OVER THE FACT THAT MY BRAIN ACTUALLY MANAGED TO WORK PROPERLY AND CREATE SOMETHING USEFUL-Sorry I ramble alot,anyway I am definitely planing on making this a whole ass fanfiction on AO3 so yeah KWKDJWKIS I AM HYPED!!Love u all <3

#mcyt #au #alternate universe #technoblade #wilbur soot #ph1lza #tommy innit #minecraft #videogames #minecraft youtubers #royalty au #headcanon #i hope this is okay!#i love this #very proud #sleepy bois inc #sleepyboisinc #sleepy bois

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beatriceeagle · 4 years

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What do you think of later Veronica Mars seasons? Any advice for Rob Thomas? And (I guess about all VM seasons) anything you would change? Thank you

This got extremely long. I didn’t get into things I would change, and I didn’t give any advice; nevertheless, I have a lot to say about Veronica Mars.

The long and the short of it is that a lot of people discuss Veronica Mars as though it is a noir TV show, but it’s not solely or even primarily a noir work. It’s certainly noir-inspired; many of its characters are drawn from noir archetypes; it’s cynical enough about the status quo to be noir; you might say that it’s in conversation with the noir genre. But although noir detective fiction has plenty of hardboiled detectives (Veronica), dirty cops (Lamb), and femme fatales (Logan), where in noir do we place Wallace? Where do we put Mac? Where does Keith go? What about Meg? What about Duncan? (Poor, poor Meg and Duncan.)

By the time it exited its first season, Veronica Mars was just full of too many bright, funny, fundamentally likeable characters—characters who you fundamentally could not suspect of murder—to be classifiable as fully noir. Moreover, the central mystery that it left dangling at the end of the first season wasn’t about murder, or corruption, or betrayal; it’s about romance. Who is at Veronica’s door? By the season one finale, Veronica Mars is first and foremost what it perhaps inevitably was going to become, when it aired on network television: an ensemble character drama.

Can an ensemble character drama be noir? Well, sure. Veronica Mars is. But in a long-term ensemble character-based show, the needs of the characters have to be served before the needs of the noir. People watched season one of Veronica Mars because they enjoyed the mystery (and the quips, and the romance). They kept watching because they connected with the characters.

Season one balanced those two needs nearly perfectly; that’s why it’s often held up as an all-time great season of television. Season two remains pretty noir (it is, after all, the season of the acquittal of Aaron Echolls), but the construction of its mystery gets overly complicated, and the personal plot—the character drama—tends towards soapy. It still balances well enough to be enjoyable, but it’s undeniable that there are problems with season two of Veronica Mars, and I think they come from trying to figure out how to incorporate the characters into an ongoing noir storyline. Wallace is simply not a noir character, but he gets sucked into a dead-end story about his missing father and a hit-and-run on a homeless guy for half a season. Duncan, once you establish that he’s not going to kill anyone in a blackout rage, is basically a bland, quiet, nice guy, and not in any way a noir character. So he has to go on the run with Meg’s (also not a noir character, therefore killed off) coma baby halfway through the season.

The basic construction of season two of Veronica Mars is that the cast from season one, now cleared of all suspicion in Lilly Kane’s murder, encounter a new noir mystery, populated by new noir characters: Woody and Gia Goodman and Jackie and Terrence Cook on the one hand, and Felix Toombs and the Fitzpatricks on the other. The main cast are organically enmeshed in this new noir set-up to varying degrees. Logan (who is perhaps the most naturally noir character of the show’s early seasons, above even Veronica) is fully integrated in the murder of Felix Toombs; he’s an obvious suspect, and although we don’t believe he did it, it’s understandable why everyone else thinks he did. Logan’s drive to clear his name (or at least stay out of jail) takes him to believable, if unlikeable, noir depths—which the show engages with! If the murder of Felix Toombs were the main focus of season two, it would probably be a pretty great focal point. But it’s not. The main mystery only touches Logan’s storyline for about one episode, where it’s a red herring, and the rest of the time Logan and the Fitzpatricks mostly operate in a parallel track, at best distracting from and at worst confusing the real plot.

The rest of the cast are involved in the main mystery, but their involvement is a tricky thing. Most of them weren’t on the bus when it crashed, or before it crashed. Most of them aren’t directly connected to the Sharks, or to the mayor’s incorporation plan. (Wow, season 2 has a lot of plates in the air.) Their connections are, by and large, second-hand. Wallace is dating Jackie. Mac is kind of dating Cassidy. Keith and Veronica just really like solving mysteries. And also Keith is running for sheriff I guess?

The thing is, those second-hand connections work to keep the show in the realm of noir. We don’t need Wallace to get involved in a hit-and-run, okay? He can just have a tempestuous and heartfelt but ultimately doomed relationship with a girl with a mysterious past. Duncan probably didn’t need to go on the run with Meg’s coma baby; he could’ve just like, gone to boarding school in Connecticut.

Season two is very aware that some of its characters are noir and some of them are not, because it leverages that fact to make the mystery work. Cassidy is on the bus, and then leaves before it crashes; Cassidy alone of the main cast is heavily connected to the incorporation storyline; Cassidy basically has a big red arrow pointing at him for five episodes leading up to the finale saying, “Hey, SOMETHING’S GOING ON WITH THIS GUY.” But Veronica never seriously considers him as a suspect, and the only reason that the viewer doesn’t (if they don’t) is because... it’s Beaver! Beaver’s not a murderer! Beaver’s not that kind of character. It’s kind of like how season one shows you Aaron Echolls beating a guy half to death, but plays “That’s Amore” over it, and you don’t realize you’re looking at a clue—or how The Good Place hid its first season twist simply by being a sitcom. If you don’t know what genre you’re operating in, it’s hard to be genre savvy.

But there’s a risk that comes with that kind of writing: No one was invested in Aaron Echolls, but I can imagine that someone might’ve been invested in Cassidy. I wasn’t, but someone might’ve been. He was in the main credits. He was dating Mac. In order to make season two’s mystery noir, and meaningful, and keep it connected to the main characters, they had to burn a character with some real work invested in him, and do so in a way that potentially broke faith with viewers who really liked that character and his relationships. (And that’s not even getting into the really unfortunate implications of the specific motivation and backstory they gave to Cassidy.)

Season three is just kind of a mess, for a lot of reasons. It’s not particularly noir; they’ve lost the overarching mystery, as well as the show’s central setting; they lean heavily into the character drama, but although Veronica Mars is an ensemble character drama, it’s not just an ensemble character drama, and it can’t and shouldn’t function without a mystery to sustain it. But more importantly, everyone’s a little out of character, so even if character drama were enough, I wouldn’t be all that interested in watching almost!Veronica get in her fifth fight with almost!Logan. That said, I think that leaning into character drama is a safer way to jump the shark than leaning into noir; at worst, the show is going to get messy and boring, which is basically what happens. And the ending of season three is a pretty bang-on noir ending, and falls out naturally from the weird, messy character drama. It’s not a good season of television, but there’s a reason that it didn’t destroy fans’ love of the show.

This is ~*unconventional*~, I know, but I like the movie, both as a fan and, when I try to step back and approach it somewhat objectively, as a critic. It is extraordinarily fanservice-y; I don’t think that’s a bad thing. There are, perhaps, fanservice moments that I find a little over-the-top. (One of them, alas, is the repetition of the “lives ruined, bloodshed” speech; Logan was drunk the first time he gave that, he doesn’t remember it, and that’s half the point!) But on the whole, the movie gets it. Logan and Weevil (and Gia, may she rest in peace) are inherently noir characters who you can insert into a mystery or a story about corruption or cynicism, and although we don’t want them to have done the big bad thing, they will operate smoothly within the confines of the system. Wallace and Mac are visitors from another genre; the make connections, they comment, their lives are sometimes affected, but they are not noir, and their stories should not be noir. Veronica and Keith are the pivot, constantly drawn into Neptune’s seedy network of crime, trying to root it out.

It’s basically the Logan-and-Fitzpatricks storyline from season two, but updated so that a) Veronica and the rest of the cast is actually involved, and b) Logan is a much more likeable person. And it turns out that that’s a totally solid engine for a movie! And because it’s so fanservice-y, we spend time with all of the characters, even the ones who aren’t really entangled in the noir plots. Mac gets stuff to do. Wallace gets stuff to do. Piz... gets... poor Piz.

Season four leans heavily on the noir. So heavily, in fact, that the characters who aren’t natural noir characters are virtually nonexistent within the season. Wallace doesn’t have a storyline; Mac doesn’t appear because Tina Majorino refused to be in the season, since she wouldn’t have a storyline. Weevil, whose noir tendencies have put him on the outs with Veronica in between the movie and season four, has a story, but it’s not one that’s heavily tied to the main plot, and he’s not around much.

Structurally, season four is similar to season two, in that the main cast encounters a new mystery full of noir characters: Patton Oswalt, Matty the mini-Veronica, that politician and his family, those cartel hit men, Veronica’s bartender friend Nicole. The difference is that in season four, the main cast has functionally been pared down to three people: Veronica, Logan, and Keith. Oh, and Dick. Dick’s still hanging around, I guess.

Because of that, we spend virtually all of our time in season four with Veronica. Sometimes a little with Logan, sometimes with Keith, but mostly Veronica. We see her making friends with Nicole; we see her taking on Matty as a protege. We see her fight with Weevil; we see her fight with Logan.

Oh boy, do we see her fight with Logan. Because there are so few subplots to distract from it, Logan and Veronica’s relationship is, in many ways, the story of season four. For a show trying so desperately hard to cling to noir and run from character drama, season four isn’t really about corruption; it isn’t about power; it isn’t about cynicism or brutality or the ways that Neptune has been and always will be bad. It’s about a relationship, and what happens to it when one person (Logan) is trying to move on to a healthier place, but the other person (Veronica) is still stuck in old, toxic patterns of behavior.

Nearly everything in season four is in some way about the Logan/Veronica dichotomy, or about their relationship with each other, or about the way that Veronica is pathologically stubborn and guarded and suspicious, and how that kills her relationships. It’s the thematic underpinning of the Matty storyline; it’s what the Nicole storyline turns on; it is, whether the show understands it or not, the devastating backdrop of the few scenes in which Weevil appears.

This is all fine and noir, but again: It comes to its fullest fruition, it finds its highest stakes, the season’s arc reaches its climax, in a romantic relationship. Which the season is, fundamentally, devoted to the psychological exploration of. And when Veronica decides that she can commit to marrying Logan, that is a key moment of character development, in a show that has historically been an ensemble character drama, in a season of television that has been, at least for Logan and Veronica, at least partially a psychological character drama.

And then Logan blows up.

And look, I am not opposed to killing characters. I’ve defended the death of Lexa on The 100 on this here very blog. But Logan’s death is 1) stupid, 2) at a stupid time, and 3) for a stupid reason. He dies moving the car across the street, just at the culmination of a major psychological arc about toxicity and moving on and opening yourself up to others... so that Veronica can stay toxic and guarded, I guess?

It renders any character development we’ve seen from Veronica in season 4 pointless. It cuts the character development we’ve seen from Logan for over a decade tragically and meaninglessly short. And it does it all in the name of taking a hard turn into “pure” noir, so that Veronica can go investigate mysteries in other towns, unencumbered by a troublesome cast that viewers are unwilling to suspect of murder.

The problem is that that cast is a lot of what’s good about the show. Maybe there are people who watched season four of Veronica Mars and came out of it thinking, “Ah, yes, what this show needs is even less of the ensemble cast,” but I was not one of them. The Veronica of season 4 is not a particularly likeable person. Veronica, on her own, was never all that likeable; what she was was funny, and understandable, and righteous, and decent. She had people around her to be likeable, to provide you with an entry point into her mind, to show interesting sides of her you might not otherwise see, to call her out when she crossed a line, and to give the show a lightness that made it fun. The bomb that blew up Logan may have made the loudest noise, and had the most final impact, but it wasn’t what killed season four; that happened when the writers sidelined Wallace.

It is, I’m sure, difficult to balance being an ensemble character drama with being a seasonal noir mystery. (Jane the Virgin ran into similar trouble, in the long run, balancing being an ensemble character drama with being a telenovela.) Nevertheless, Veronica Mars is both of these things, and blowing up the ensemble to service the noir is inevitably going to alienate viewers, because viewers have a reasonable expectation that the shows they’re watching will continue to be the same general kind of show. And because many viewers were drawn to Veronica Mars at least as much for the characters as for the mystery.

So my very, very longwinded opinion on the later seasons of Veronica Mars is that I think the show has an identity crisis, and I don’t think it’s going to resolve it any time soon. It may not be resolvable; honestly, television might not be the best medium for ongoing Veronica Mars stories at this point. But I have very little interest in watching any further seasons produced, so it doesn’t matter much, from my point of view.

#logan's death hit me surprisingly hard #i did not care about logan AT ALL as a teenager #but it turns out that i was incredibly invested in the story of logan growing up making amends and getting his shit together #we don't actually get that story a lot #and i suppose it mattered to me #veronica mars #meta

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kenstaroyco · 5 years

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- Come on. Ruined lives? Bloodshed? You really think a relationship should be that hard? - No one writes songs about the ones that come easy.

#it chapter 2 #reddie #reddieedit #itedit #billhaderedit #tusermaya #tuserdaniela #tusercolleen #mygifs #yes this a quote from veronica mars!!! veronica and logan best het love story ever!!yes!!!#if you could just ignore the ghosting in the first two gifs that would be lovely

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otpmomentsxo · 4 years

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Veronica: Come on. Ruined lives? Bloodshed? You really think a relationship should be that hard?

Logan: No one writes songs about the ones that come easy.

#logan and veronica #veronica abd logan #logan x veronica #veronica mars #logan echolls #vmars

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tvandenneagram · 4 years

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Veronica Mars: Logan Echolls – Type 4w3

Type 4s are creative, self-absorbed, sensitive, romantic and withdrawn. Type 4s have a strong desire to be unique, which is often expressed through their creativity and they have a core fear of being insignificant. At their best, they can be self-aware, inspired and highly creative, and at their worst, they can be temperamental, dramatic and over-sensitive.

Logan is very emotional and always tries to remain true to his self. He is concerned with authenticity and does not like when people try to present themselves as something they are not. For example, at Lilly’s memorial the Kane’s prepared a memorial video for Lilly, but because Logan believes they are presenting an image that wasn’t true to Lilly’s self he changes the video to be more like the Lilly he knew. He was also frustrated with his father’s façade and often acted out because of the positive image he had garnered with the general public to try and make Aaron look bad in public (e.g. the bum fights). Logan also wants to distinguish himself from his father’s fame (and later infamy) and have people know him for who he is, not whose son he is.

At his best, Logan has overcome his inner turmoils and trauma. After the original series, he has grown into a mature and responsible naval officer. While he remains in touch with his emotions, he is more balanced and stable (integrating to 1). his worst, Logan is overly emotional and dramatic. He is highly reactive and has issues containing his anger. At times, he is also shown to be manipulative (such as his relationship with Hannah) to achieve his own end goals (disintegrating to 2).

I was debating typing Logan as a counterphobic 6, because he is very sarcastic mistrustful of authority and reactive. He tends to cling to his relationships and craves stability in his life, because it has been so tumultuous. I decided on type 4, however, because they are also very reactive and anti-authoritarian and these are not traits that are exclusive to type 6s. Additionally, I think Logan tends to focus more on his inner emotional state than the emotions of those around him as a 6 would.

Type 4s are also often very invested in their romantic relationships and we see this in Logan. In the first season, he is mourning the death of Lilly and romanticises their relationship. With Veronica, he becomes very attached and when she breaks up with him early in season 2, he is distraught because she is the only person he has left in his life. Logan and Veronica understand each other in a way that not many other people would. They share similar insecurities and are both guarded because of trauma.

Tri-type: 4w3 – 6w7 – 9w8

Some quotes to describe Logan’s motivations and traits:

“My mom is dead! My girlfriend is dead! My dad is a murderer! And the only person I still care about is dumping me. You think I'm having fun?”

"Get out of my house. You have a problem with Veronica, you leave. Actually, you have a problem with Veronica, you're pretty much dead to me, so just, like, evaporate or something, I dunno."

"You know who I am. And you're constantly expecting me to change. And even right now as you're thinking, ‘Crap, he's got a point,’ you still think you're ultimately right. I love you, Veronica. I love you. [after no response] Do you love me?"

Logan: You know, I'm surprised, Veronica. As a keen observer of the human condition, I thought you saw through people better than that. Bimbos? That's not me anymore. Veronica: So, what are you like now? Logan: You know, tortured. Ever since I had my heart broken. Veronica: Hannah really did do a number on you, huh? Logan: Come on, you know I'm not talking about Hannah. I thought our story was epic, you know? You and me. Veronica: Epic how? Logan: Spanning years, and continents. Lives ruined and bloodshed. Epic! But summer's almost here, and we won't see each other at all. And then you'll leave town, and then... it's over. Veronica: Logan... Logan: I'm sorry... about last summer. You know, if I could do it over... Veronica: Come on. Ruined lives? Bloodshed? You really think a relationship should be that hard? Logan: No one writes songs about the ones that come easy.

#veronica mars #vm #logan echolls #veronica x logan #LoVe #enneatypes #ennea 4 #enneagram #type 4 #4w3 #4w5 #personality types #personality #tv #veronica mars enneagram #character analysis #character breakdown #character profile

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