[Asch does end up picking whatever Luke left for him, mostly because he's too tired to cook for himself, and if it tastes bad he can work off a little more steam by bitching about it. He's distracted with setting the food up on the plate and getting the microwave going, though, so his attention is still diverted.
Inside the sketchbook, Luke will find a series of charcoal drawings and sketches, some smudged and unrefined, others with a surprising elegance and accuracy to them. The first several pages are difficult to recognize: the simple curve of a face, a lock of hair blown back by the wind, several pairs of eyes, varying in size, detail, and intensity. There's no colour to them, so recognition is impossible.
Further in, though, more detailed sketches begin to appear- the largest of Amaterasu's cherry blossom trees, Miyabi standing in the grass, a pair of tomcats facing off against one another. Three pages of mixed rough sketches, obviously hasty drawings of people passing by.
And then, at the end of the set, there are four portraits, with the most detail, the most skill, and the most care. Lady Fabre, seen only from the back, gazing out at the sea from an open window. Natalia, standing on a dock with the sunrise at her back, proud and tall. Guy, his head bowed slightly, like a servant on his knees, his smile content but his gaze shaded dark and conflicted, his eyes drawn so dark they're nearly black. Stella, with a steady, kind smile and honest eyes as they gaze out of the page. A symbol is sketched out beneath her shoulder line, where the portrait ends, right where her heart would be, and there's a a scrawling of Ancient Ispanian on each of the four pages, too rough to decipher.
The last page with anything on it is ruined by a scribbling of charcoal all across the page, coating everything in a fine black powder, so dark and roughly-scrawled that it tore through the center of the page and sullied the one behind it. That page has nothing more than an imprint of both image and words, but in the dim light it's hard to make out.]
[Action] /tl;dr asch is an artsy-fartsy
Inside the sketchbook, Luke will find a series of charcoal drawings and sketches, some smudged and unrefined, others with a surprising elegance and accuracy to them. The first several pages are difficult to recognize: the simple curve of a face, a lock of hair blown back by the wind, several pairs of eyes, varying in size, detail, and intensity. There's no colour to them, so recognition is impossible.
Further in, though, more detailed sketches begin to appear- the largest of Amaterasu's cherry blossom trees, Miyabi standing in the grass, a pair of tomcats facing off against one another. Three pages of mixed rough sketches, obviously hasty drawings of people passing by.
And then, at the end of the set, there are four portraits, with the most detail, the most skill, and the most care. Lady Fabre, seen only from the back, gazing out at the sea from an open window. Natalia, standing on a dock with the sunrise at her back, proud and tall. Guy, his head bowed slightly, like a servant on his knees, his smile content but his gaze shaded dark and conflicted, his eyes drawn so dark they're nearly black. Stella, with a steady, kind smile and honest eyes as they gaze out of the page. A symbol is sketched out beneath her shoulder line, where the portrait ends, right where her heart would be, and there's a a scrawling of Ancient Ispanian on each of the four pages, too rough to decipher.
The last page with anything on it is ruined by a scribbling of charcoal all across the page, coating everything in a fine black powder, so dark and roughly-scrawled that it tore through the center of the page and sullied the one behind it. That page has nothing more than an imprint of both image and words, but in the dim light it's hard to make out.]