Expressionists 3d Animated Series
Gab Levy for Caleb Riordan
Caleb Riordan
Caleb Riordan
Caleb Riordan is one of the major early characters in The Expressionists and serves as an experienced mentor figure to Elliot, Simon, Isaac, Javier, Maya, and Naomi during their time in the Expression Development Program.
Caleb is broad-shouldered and heavily built, standing around Elliot’s height but carrying considerably more muscle. He has bleach-blond hair with an electric-blue highlight toward the front, a visual mark that fits naturally alongside the lightning he frequently uses in combat.
Where most of the main cast enters the program still trying to understand what kind of Expressionists they want to become, Caleb already feels established. He is stronger, more experienced, more comfortable with his abilities, and generally carries himself like someone who has already gone through many of the mistakes the younger students are only beginning to make.
That experience makes him an easy person for them to rely on.
PersonalityCaleb is confident, grounded, practical, protective, and generally much more comfortable with himself than the students he mentors. He does not need to constantly prove that he is stronger or more experienced than them because, in most situations, that difference is already obvious.
He has the confidence to joke around with the group, challenge them when they are doing something stupid, and allow them to make mistakes without immediately stepping in to solve every problem for them. His mentoring style is much more hands-on than formal; Caleb would rather put someone into a situation where they have to think for themselves and then explain what went wrong afterward than stand in front of them delivering a lecture.
He is capable of being blunt, particularly during training, but he should not come across as cruel or unnecessarily harsh. When Caleb pushes someone, it is generally because he believes they are capable of doing better.
There is also an ease to him that helps distinguish him from the students. Elliot, Maya, Isaac, Simon, Naomi, and Javier are all still wrestling with different parts of themselves, whereas Caleb initially appears to have already figured his life out.
That appearance is important.
It is not entirely true.
Mentor RoleCaleb gradually becomes one of the people the group looks toward when they are uncertain about something their classes cannot properly teach them.
He helps bridge the gap between understanding an Expression academically and actually living with one.
Combat, Aether management, fear, injuries, making decisions under pressure, and understanding the limits of an ability are all things Caleb can speak about from experience rather than theory.
He does not treat the younger students like children, which earns him a great deal of respect from them. If someone asks him a serious question, he tends to give them a serious answer, even when the answer is uncomfortable.
At the same time, Caleb is still close enough to them in age and environment that he can become part of the group rather than existing solely as an instructor standing above them. He can joke with them, train with them, eat with them, argue with them, and occasionally encourage decisions that a more responsible authority figure probably would not.
That combination allows him to become something closer to an older brother than a traditional teacher.
Elliot CrossCaleb becomes particularly important to Elliot.
Elliot has very little natural respect for authority and tends to resist people who attempt to control him simply because their position supposedly gives them the right to do so. Caleb earns his respect differently.
He demonstrates what he knows.
He allows Elliot to question him.
He is willing to admit when Elliot finds an approach Caleb had not considered, while still calling him out when creativity turns into recklessness.
Because of that, Caleb becomes one of the few mentor figures Elliot is actually willing to listen to.
Caleb also recognizes relatively early that Elliot’s greatest strength is not necessarily the raw power of his Expressions, but how quickly he learns to combine abilities that initially appear disconnected. Rather than trying to force Elliot into a conventional fighting style, Caleb pushes him to understand why his strange solutions work and how to reproduce them intentionally.
Their relationship becomes increasingly important as Elliot begins approaching levels of Aether and Expression instability that are far more dangerous than anything he encountered before entering the program.
The GroupCaleb interacts differently with each member of the group, but he gradually becomes a stabilizing presence among them.
With Simon and Naomi, he can give their tactical thinking something practical to work against, forcing them to account for the fact that real fights rarely behave as cleanly as plans do.
With Maya, Caleb can meet her aggression without becoming intimidated by it or attempting to suppress it, instead pushing her to understand when aggression is useful and when it is simply giving an opponent control over her.
With Isaac, Caleb is less impressed by polish and family reputation than many adults Isaac grew up around, treating him primarily according to what he actually does.
With Javier, Caleb recognizes how easily a support-oriented Expressionist can become focused entirely on keeping everyone else alive while ignoring their own limits.
And with Elliot, Caleb repeatedly challenges the belief that surviving a bad decision automatically means it was a good one.
The group does not simply respect Caleb because he is powerful. They respect him because he consistently treats them like people capable of becoming powerful themselves.
ExpressionsCaleb possesses two highly destructive Expressions that work extremely well together.
Concrete Manipulation
Caleb can manipulate concrete, allowing him to move, reshape, break apart, and weaponize it.
In environments where concrete is readily available, this gives him enormous control over the battlefield. He can raise barriers, alter terrain, create obstacles, launch debris, restrict movement, protect allies, and reshape the area around an opponent rather than relying entirely on direct attacks.
His ability is particularly dangerous in urban environments, where the material he controls is effectively everywhere.
Electrokinesis
Caleb can generate and manipulate electricity.
This allows him to deliver powerful electrical attacks at range, punish opponents whose movement has already been restricted, and combine electrical attacks with the terrain he controls.
His electricity is visually associated with blue light, while his broader Expression activity includes strong energetic effects during combat.
CombatCaleb’s fighting style is built around controlling the battlefield before punishing whatever his opponent does next.
Rather than immediately throwing his strongest electrical attack, he can use concrete to determine where an opponent is allowed to move. Walls, broken terrain, raised surfaces, debris, and suddenly shifting ground can gradually remove options until the opponent is forced into a position Caleb wants.
Then the electricity comes in.
This gives his fighting style a very deliberate rhythm. Concrete establishes the problem; electricity punishes the response.
Caleb is physically powerful as well, meaning that getting close to him does not automatically solve the problem. His build and experience allow him to handle himself at close range while his Expressions continue reshaping the battlefield around him.
When Caleb fights seriously, he should feel like someone who has been doing this significantly longer than the main cast.
Aether and BreakingOne of the most important parts of Caleb’s character is that experience does not make an Expressionist immune to the dangers of their own abilities.
Throughout the early story, Caleb represents something the younger students can reasonably aspire toward. He is skilled, confident, useful, respected, and appears to have developed the kind of control they are all trying to achieve.
That is why his eventual Breaking is so important.
During the placement period, Caleb’s Aether reaches a catastrophic point and he Breaks, losing control of himself and his Expressions.
The person who spent so much time teaching the group how to manage dangerous situations suddenly becomes the dangerous situation they have to survive.
His concrete manipulation and electrokinesis, abilities that previously made him such a reliable protector, become extraordinarily destructive once that control disappears.
The group is ultimately forced to confront and kill him.
His death becomes one of the defining events of the early series and permanently changes the way the main cast understands Aether, Breaking, hero work, and the idea that experience alone can keep an Expressionist safe.
For Elliot in particular, Caleb’s fate becomes something impossible to ignore as Elliot’s own relationship with Aether grows increasingly dangerous.
Performance DirectionCaleb should initially feel confident and easy to be around.
He is experienced without sounding ancient, authoritative without constantly acting like an authority figure, and capable of teaching someone without every conversation becoming a lesson.
There should be a natural sense that Caleb has been through enough dangerous situations that relatively minor problems no longer shake him very easily.
His humor should feel casual and comfortable, particularly when interacting with the younger students. He can tease them, challenge them, and occasionally let them struggle for a moment before helping because he knows they need to learn how to solve problems without him.
The actor should also be capable of becoming extremely serious without completely changing the character. When Caleb believes somebody is genuinely in danger, the relaxed mentor disappears quickly and is replaced by someone who knows exactly how serious the situation is.
His later material requires significantly greater range.
As his Aether worsens, small changes should begin appearing beneath his usual confidence: exhaustion, irritability, moments of confusion, physical strain, or the sense that maintaining control requires more effort than Caleb wants anyone else to recognize.
His Breaking should be a dramatic contrast with the Caleb the audience has come to know.
This will require intense vocal work involving fear, rage, confusion, pain, loss of control, combat exertion, screaming, and moments where fragments of Caleb may still be recognizable beneath what is happening to him.
The tragedy works best if the audience can still occasionally hear the person they knew.
VoiceThere is no strict accent requirement.
We are looking for a natural adult male voice with enough maturity to distinguish Caleb from the younger male cast without making him sound significantly older than he is intended to be.
A medium-low to low register would fit the character particularly well, although performance is more important than exact pitch.
Caleb’s voice should have confidence and physical presence, but he should not sound like a stereotypical gruff military commander.
He should be capable of sounding relaxed, reassuring, amused, commanding, frustrated, protective, physically exhausted, genuinely frightened, and eventually completely unstable as his Breaking progresses.
His normal voice should have an approachable quality to it. This is someone the younger characters should reasonably feel comfortable talking to despite how physically imposing and powerful he is.
The actor should be capable of portraying:
Relaxed confidence
Natural authority
Casual humor
Mentorship
Protective urgency
Controlled anger
Physical exertion
Exhaustion
Fear
Emotional vulnerability
Increasing instability
Rage and loss of control
Intense combat vocals
We are looking for an actor who can make Caleb immediately believable as someone the younger characters would trust.
The early performance needs warmth, confidence, humor, and authority without making Caleb sound overly theatrical or constantly serious. The audience should enjoy having him around and understand why the group begins depending on him.
That connection is essential because Caleb’s later arc only works if losing him genuinely hurts.
The actor must also be comfortable gradually changing the performance as Caleb approaches his Breaking point. The transition should not feel like a completely normal character suddenly becomes insane in a single scene. Ideally, subtle signs of strain can become increasingly noticeable until maintaining the Caleb everyone knows is no longer possible.
His final material will involve some of the most emotionally and vocally demanding scenes in the early series, requiring an actor capable of portraying both the terrifying destructive side of a Broken Expressionist and the tragedy of the person trapped inside it.
CompensationCaleb Riordan is classified as a Major Supporting Cast role and is compensated through the production's Supporting / Additional Voice Cast revenue pool, which is allocated 2% of total distributable project revenue.
Because Caleb is a recurring and story-critical supporting character with a substantial amount of dialogue and performance responsibility, including several emotionally and vocally demanding scenes, he will receive a defined individual portion of this pool rather than being compensated as a general background or additional voice actor.
His exact revenue-share percentage will be established in his individual contract before official production work begins and will account for the size of the role, expected workload, and the number of other recurring supporting cast members participating in the pool.
Caleb's contracted share will apply to the production period and material covered by his agreement, including revenue associated with episodes in which his completed performance is used, subject to the full royalty and participation terms contained in the contributor contract.
Full royalty, accounting, payment, and contract terms are available in the project's Payment & Contract Details section.
All selected contributors will be required to sign a written agreement before beginning official production work.
- 20
- male young adult
- american
(Caleb has been watching Elliot, Maya, and Javier struggle through a training exercise for far longer than necessary. They finally finish it and immediately start arguing over whose fault it was.) “Oh, this is fantastic. Please, keep going. I was worried one of you might accidentally learn something.” (Someone tells Caleb he could have helped.) “I could've. Very easily, actually. But then you'd learn that whenever something goes wrong, Caleb fixes it, and unfortunately for all of you, Caleb has better things to do.” (Maya asks what exactly those better things are.) “Right now? Watching six supposedly intelligent adults discover that screaming different plans at each other does not technically count as teamwork.” (Elliot insists that his plan worked.) “Elliot, you went through a wall.” (Elliot points out that he meant to.) “That doesn't make it better.” (He laughs.) “Look, you finished. Nobody's unconscious, Javier still has enough Aether left to patch up whatever the hell Maya did to her shoulder, and Isaac only looked like he wanted to kill all of you twice. I call that progress. Take five, get some water, then we're doing it again.” (Everyone complains.) “Oh, come on. You guys wanted to be heroes. Nobody told you it was gonna be fun. I mean, I'm having fun. You look miserable.”
(Caleb has brought the group beneath the city and is preparing to introduce them to a side of Expressionist society that universities, agencies, and official institutions rarely acknowledge. His usual humor is noticeably absent.) “Before we go any farther, I need you all to understand something. What you're about to see isn't a field trip, and these people aren't here for you to stare at. Everything upstairs has rules. Hubs, agencies, universities, Helix watches, Aether reports, licensing there's a system for practically every part of being an Expressionist. The Underground is where you end up when that system doesn't have a place for you.” “Some of the people down here couldn't afford what they needed. Some refused registration. Some have Expressions that made somebody important nervous. Some got chewed up by an agency, a company, or the government and decided once was enough.” “And some of them are criminals. Real ones. So don't romanticize this place just because it's hidden. You're going to see people doing things that would get them arrested upstairs. You're also going to meet people who are alive specifically because nobody upstairs knows where they are. Those two groups are sometimes the same people.” “Keep your watches covered. Don't ask anybody what their Expression is unless they tell you first. Don't touch anything you haven't been invited to touch, and if somebody tells you to leave an area, you leave.” “Yes, Maya, that includes you.” (A brief trace of his normal personality, then serious again.) “I brought you here because if you're serious about becoming heroes, then eventually you need to understand the people who don't trust heroes. You've spent your whole lives being taught how the system is supposed to work. Tonight you're going to see what happens when it doesn't, and you'll even get to fight some pretty cool opponents.”
### 1. Jovial / Mentor *(Caleb has been watching Elliot, Maya, and Javier struggle through a training exercise for far longer than necessary. They finally finish it and immediately start arguing over whose fault it was.)* “Oh, this is fantastic. Please, keep going. I was worried one of you might accidentally learn something.” *(Someone tells Caleb he could have helped.)* “I could've. Very easily, actually. But then you'd learn that whenever something goes wrong, Caleb fixes it, and unfortunately for all of you, Caleb has better things to do.” *(Maya asks what exactly those better things are.)* “Right now? Watching six supposedly intelligent adults discover that screaming different plans at each other does not technically count as teamwork.” *(Elliot insists that his plan worked.)* “Elliot, you went through a wall.” *(Elliot points out that he meant to.)* “That doesn't make it better.” *(He laughs.)* “Look, you finished. Nobody's unconscious, Javier still has enough Aether left to patch up whatever the hell Maya did to her shoulder, and Isaac only looked like he wanted to kill all of you twice. I call that progress. Take five, get some water, then we're doing it again.” *(Everyone complains.)* “Oh, come on. You guys wanted to be heroes. Nobody told you it was gonna be fun. I mean, I'm having fun. You look miserable.” --- ### 2. Serious / Introducing Them to the Underground *(Caleb has brought the group beneath the city and is preparing to introduce them to a side of Expressionist society that universities, agencies, and official institutions rarely acknowledge. His usual humor is noticeably absent.)* “Before we go any farther, I need you all to understand something. What you're about to see isn't a field trip, and these people aren't here for you to stare at. Everything upstairs has rules. Hubs, agencies, universities, Helix watches, Aether reports, licensing there's a system for practically every part of being an Expressionist. The Underground is where you end up when that system doesn't have a place for you.” “Some of the people down here couldn't afford what they needed. Some refused registration. Some have Expressions that made somebody important nervous. Some got chewed up by an agency, a company, or the government and decided once was enough.” “And some of them are criminals. Real ones. So don't romanticize this place just because it's hidden. You're going to see people doing things that would get them arrested upstairs. You're also going to meet people who are alive specifically because nobody upstairs knows where they are. Those two groups are sometimes the same people.” “Keep your watches covered. Don't ask anybody what their Expression is unless they tell you first. Don't touch anything you haven't been invited to touch, and if somebody tells you to leave an area, you leave.” “Yes, Maya, that includes you.” *(A brief trace of his normal personality, then serious again.)* “I brought you here because if you're serious about becoming heroes, then eventually you need to understand the people who don't trust heroes. You've spent your whole lives being taught how the system is supposed to work. Tonight you're going to see what happens when it doesn't, and you'll even get to fight some pretty cool opponents.” --- ### 3. Breaking / Holding It Back *(During the placement fight, Caleb suddenly realizes what is happening to him. His Aether has crossed the threshold. Concrete around the arena begins cracking without him commanding it, electricity is arcing uncontrollably from his body, and something inside him is pushing harder against his control every second. His opponent initially thinks Caleb is trying to intimidate them.)* “Stop.” *(His opponent hesitates.)* “No. Fight's over.” *(Caleb looks down at his trembling hand. Electricity crawls between his fingers.)* “Get out of the arena.” *(They question him.)* “I said get out.” *(Concrete fractures beneath his feet. Caleb's breathing becomes strained as he tries to suppress the Expression.)* “Don't call an instructor. Don't wait at the door. Don't stand there trying to figure out what's wrong with me.” “Run.” *(His opponent finally realizes Caleb is afraid.)* “My Aether crossed.” *(A long breath as another surge hits him.)* “I can't bring it down.” *(His voice strains, as if he is physically forcing each word through something trying to take control of him.)* “Listen to me. The second you get through that door, you keep moving. Get everyone out of this building. Then get as far away from the arena as you possibly can.” *(His opponent refuses to leave him.)* “DON'T.” *(Caleb immediately forces himself back under control.)* “Don't do that.” “Don't stand there and make me choose between holding this back and keeping you alive.” *(Concrete begins lifting around him. He forces it back down.)* “I can feel it.” “Every crack in this floor. Every wall. Every fucking piece of concrete around us.” “And it wants to move.” *(Electricity violently arcs across the arena.)* “I'm not doing that.” *(For the first time, genuine terror enters his voice.)* “I'm not doing any of this.” *(His opponent asks what they can do.)* “Nothing. That's why you need to go.” “I've got it right now. I don't know if I've got it ten seconds from now.” *(His breathing changes. Something in his voice almost seems to answer underneath him.)* (Raspy) “Get out.” *(He grips his head, fighting against himself.)* “Please. I don't want the last thing I do as myself to be killing you.” *(His opponent finally begins backing toward the exit.)* “Good. Keep looking at the door. Don't turn around.” *(The strain in his voice becomes almost unbearable.)* “And when you hear me start screaming—” “Run faster.”