The Mighty Gladers
Check out all the videos related to the first movie of the trilogy, ‘The Maze Runner’. This list will probably be updated soon.
- Dashner Walk & Talk
- Meet the Gladers
- Making the Maze
- Regal Cinemas (with Dylan O’Brien intro)
I watched “The Maze Runner” a couple nights ago! I was pleasantly surprised at how much I liked it!
That’s what he said.
(I started this before the fic came out, which is why it doesn’t really follow it, sorry o<-<;;;)
Rushed to scribble after watching the final ep!
pouring out feelings
Otsukare Free!ES!! ( nஇωஇ n) Thank you for the best summer Wednesdays! Now begins our ETERNAL SUMMER.
Haru’s angel smiles throughout season 1 and 2 (ღ˘⌣˘ღ)
Matsuoka Siblings + Expressions
It’s Free!… everything is dramatic to it’s core lol
I wanna know why wrists are being grabbed.
Honestly, I have no clue. I would love to hear a really raw performance from both Tattsun and Zakki together— it would be super exciting!
I don’t think that kind of confrontation is unnecessary, per se, but it would be great for them to really talk to each other rather than do their secret glance conversation dance like usual. :P I’m tired of being excluded from Haruka and Makoto’s secret conversations.
Going to add something…
The Makoto-and-Haruka type of confrontation, dramatic or not, will not be a confrontation resembling those that Haruka has had with other characters. Due to the nature of their layered, closed, closely-guarded, and insular relationship, a lot of Makoto and Haruka rolls and rages and seethes beneath the surface — something that is made worse by their individual personalities. It’s one of those “you think you understand them, but in fact you never will” types of relationships, simply because they will not let you in. Exactly like nova said, they aren’t just shutting the other characters out — Makoto and Haruka shut us, the audience, out all the time too. Because of camera angles and lingering shots and all those kinds of filmic storytelling techniques, the audience is led to believe that we know these characters and their motivations and their relationships. And indeed, we are probably far more clued-in than the average in-universe character.
But. Whether in real life or in fiction, one of the most difficult (yet necessary) things to understand when observing a pair of best friends, especially those who have been tight for years and years is to accept the fact that you are an outsider, you’re never going to be fully a part of this thing that these two or more best friends have, your understanding of them will always be limited, BECAUSE, consciously or not these friends have done and continue to do much in their power to protect (a) the person that they are in this relationship, (b) the other person in this relationship, and (c) the relationship itself.
This is so even if the best friends drift apart or the relationship breaks down.
Right. Okay. So, for the purposes of the plot or even for the purposes of real life, as long as these friends understand each other and communicate fine with each other, that’s all that is necessary, isn’t it? I don’t want to speculate because I don’t know why the asker said that the asker feels a confrontation would be unnecessary, because to me the plot is practically begging for a confrontation. However, one reason why a confrontation would be unnecessary is because all Makoto and Haruka need are to understand each other and we can all move on — the show doesn’t need to show it to us if the characters already share a mutual understanding, after all.
… Do you see my point already lol because what the plot has been hinting to us with increasing clarity is that Makoto and Haruka are stuck. All of the things that they have NOT been saying to each other, all of the things that they’ve failed to say or express to each other, have now become this yawning chasm between them, a problem that is swelling up quite alarmingly because their lack of direct communication allows them each to bury or avoid or run away from their individual issues instead of engaging the other person.
Their ability to communicate without words is NOT psychic. They are humans. They don’t have telepathic powers. Yet how is it that we all seem to know people who can communicate without words? What allows people to communicate wordlessly? Usually, the answer is simply this: familiarity. Familiarity with a person’s background, their behaviour, their personality, their patterns of thought, their history, their preferences, etc — that is, the better you know someone, the better you interpret them in the absence of direct expression or speech.
There is an inbuilt flaw to this. No matter how well you know someone, there will be things about them you don’t know. No matter how well you know someone, you are not and cannot be them. And, even if through some incredible method you are somehow 100% familiar with someone and you are constantly in a position and have the ability to remain familiar with that someone — that person will experience moments of change. At each of those moments of change, at least, there is more than enough room for you to be wrong about that person. At each of those moments of change, you may have to reevaluate and relearn that person anew.
For people with extraordinary empathy (such as Makoto), the amount of time it takes for them to catch up is much shorter than average. But the catch up period in itself is inevitable.
And that’s what these two boys are facing at the moment. IT IS A MUTUAL ISSUE THAT AFFECTS BOTH OF THEM. Makoto is changing, and Haruka needs to catch up. Haruka is changing, and Makoto needs to catch up. Their lines of communication are getting more and more clogged and unreliable by the day — choked up with all the things they thought privately but did not tell the other person — but because they’ve not established alternative methods of communication, at this moment it is very safe to say that Haruka and Makoto are not understanding each other well at all.
Hence the need for a direct engagement.
Here I would like to point out something about Haruka and Makoto: they are enormously un-dramatic. The both of them are actually very understated characters. A ton of things left unsaid, a lot of Looks, a plethora of small unassuming actions, a quiet but steady undercurrent, association with comfort and domesticity, soft ost music. The scenes where they appear together alone tend to be slow, plucked straight out of daily life, nuanced — e.g. sitting by the beach, walking home together, handing each other things and necessities like towels or food.
But have you realised that their background often tells a whole other story? Haruka and Makoto often get these… majestic backgrounds/settings. Poetic night silhouette scenes. Glorious sunsets. Poignant lingering shots against the drapery of breathtaking nature. The metaphorical fork that splits their paths home. The Stairs where they gaze up and gaze down at each other, words lodged in their throats. Yes, That Geographically Important Flight of Stairs With The Cat.
Take this ep11 preview for example. Bursting light and fireworks. Glittering expanse of night. Two people facing each other seriously. What? What??? I emphasise that I am not viewing this from a ship pov, and merely wish to note that these types of mises-en-scène bear the hallmarks of traditional romances, commonly and conveniently flagging a climactic event, and that these design aspects are deliberate from an animator’s point of view. It’s the kind of scenes that carry specific emotional baggage, like in movies you know you’re meant to pay attention to these Moments. Capital m Moments.
They couldn’t yell “BIG MOMENT HERE EVERYONE” louder if they tried. Because this is what a Haruka-Makoto big moment looks like. Them all quiet, giving each other significant Looks that indicate an upcoming Conversation. For these two understated characters, their backgrounds are very shouty, their background shouts for them. Their environment is charged with their emotions, and their environment roars and thunders for them. This should be juxtaposed with other confrontations we have seen in the series, notably Sousuke-Rin and Haruka-Rin, Rei-Rin too, which tend to happen against suitably dull backdrops like random trees and fences and walls because we don’t need any distractions or supplementation. On the face of it, those confrontations tell us what’s going on. We can see it in their facial expressions, their bodily actions, hear it in their raw, raised voices. No need for exploding fireworks and crashing waves there when people say what they mean and mean what they say. No need for the forces of nature when you are yourself the force of nature.
But Haruka and Makoto habitually think and feel fifty things and say just one. Fifty, and one. Fifty, and one. That’s basically the human equivalent of an iceberg. Or dangerous waters — calm surface, unknowable roiling depths.
For two characters who have mostly done everything they can to minimise or avoid or ignore confrontations, doing so would be momentous for them. Speech and words have power; it comes personally from you, nobody else pieced it together for you, nobody relied on their knowledge of you to guess you, and emotions that are conveyed have impact, have authenticity, have meaning. It is the line between thought and action — one hundred unconveyed thoughts of gratitude about a person does less than one properly expressed sentiment of thanks.
The fact of saying things out loud, of giving voice to heartfelt sincerity is an unequivocal gesture: I am telling this to you, I want you to know, This is me, Please listen, Please try to understand, Please tell me what you think too, Please let me know, Is there anything you want to tell me, What haven’t you been telling me, I’m listening too, What are you?
It is a plea, and it risks open and actual rejection. Of all the things that terrify Makoto, that’s near or at the top. But you’ll see he’ll be the one to initiate this engagement, knowingly, with eyes wide open and heart in his mouth, and he will do it because he is convinced of its necessity, and he will do it out of love, because as Haruka’s best friend his own opinion and future and direction matters, and Haruka needs him to move for Haruka himself to move, and Makoto sees this.
As to why Makoto feels keenly the necessity, that will be the contents of the conversation itself coupled with that painful void that exists between two people who have not been communicating.
On a final note, I would agree that I don’t actually wish for a dramatic confrontation, as that seems pretty ooc for them. I hope for direct engagement and subsequent breakthroughs. I want something raw, and wrist-grabbing, ott scenery, something heaving and burdensome and freeing, and I see no reason why that can’t all be in-character in that peculiar Haruka-Makoto way.
M: "I've decided, I'm going to a college in Tokyo."
H: "Do whatever you want!"