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good-to-drive · 6 months ago

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Abuse, Silence, And Why Kevin Can Fuck Himself

I recently finished watching Kevin Can Fuck Himself on Netflix, and, aside from being the most brutally honest portrayal of domestic abuse I have ever seen, I discovered a beautifully written examination of narrative as power and silence as abuse and how this manifests in our larger culture.

Without going into too much detail, the show is filmed in two distinct styles that are interleaved throughout each episode to tell a cohesive story. Allison and Kevin’s relationship as seen by the rest of the world is told through a multi-cam, laugh-track sitcom that depicts a very typical “goofy husband, shrewish wife” mainstream comedy. Allison’s life through her own eyes is told through a single-cam drama/thriller about Allison planning to murder Kevin to escape his abuse.

It’s an absolute masterclass in screenwriting, but more than that, every episode explores the difference between truth, fact, and reality, and how none of these things are quite as much or as little as story. But while the process of transforming the chaotic and plotless reality of life into a story is as involuntary and essential as breathing, misogyny and the degradation of women is just as ubiquitous in our society, and a story that exists at the expense of another person’s lived reality is a refutation of their humanity.

It's also just a great show for anyone who likes to engage with history (or reality TV or true crime or “real life stories” in general), because while we have to tell ourselves stories about her own lives, we have to tell ourselves stories about other people as well. Eternal silence is narrative death, and the perpetual silence of an unspoken narrative is often the last death we can visit on someone whose story we’d rather ignore.

I also pulled up some books – Lolita and Disgrace – that dealt with similar themes, but from the perspective of the abuser. And what strikes me the most is that, across three beautifully written stories about narrative and silence within a culture that normalizes abuse, Allison, who began her story within a state of narrative death, was the only point-of-view character who had any chance of surviving.

One of the main themes of Kevin is that a compelling story is often a story that reinforces what we already believe or like to believe, and while the story may be factual and true it often also exists at the expense of someone's lived reality. The exact same series of events can be a silly joke or a harrowing tale of abuse depending on the lens through which we view it, but historically we've only been willing to see the multicam, laugh track, sitcom perspective on unbalanced relationships.

The alchemical process of turning a series of disjoint facts and experiences into a narrative creates something new and compelling, and erases much of what previously existed. In this way, it’s entirely irreversible. We spin our experiences into a very thin thread, a story we can tell ourselves that elicits something within us, something we need in order to live with the complex, uncertain, and unsatisfying reality of life. In think in many ways the thing we elicit in ourselves is truth. But truth is both more and less than fact, often more a reflection of our own beliefs and desires than the events of our lives. And in telling that truth we may never stray from the facts, but we almost by definition cannot give voice to another person’s reality.

There's a scene in season 2 of Kevin when Allison is hit by a door – a la the classic excuse – because of Kevin’s carelessness. And while he absolutely did not hit her, the way it's written is such an incredible allegory for how Kevin has curated their story and curated their friends' and family’s perceptions of their story such that even if she tells everyone the exact, unvarnished truth of what's happening to her and begs for help, they will only be capable of seeing the laugh-track, sitcom, “Kevin is a harmless goofball and his wife is a total shrew” perspective on the events of their lives.

As so often happens with abuse, their friends and family saw Allison being hurt because of Kevin. But the alchemy of creating a narrative around Kevin and Allison is irreversible, and the series of events they witness can only be spun together to a joke, an accident, a silly, childish mistake. Allison’s reality, Allison’s pain and fear, is completely elided. Like a lost sound in the middle of a sentence, her experience goes silent, and their larger understanding of her relationship never has to change. And you feel so acutely how Allison lives her entire life in that silence.

Storytelling is human, it’s essential, there’s no other way to engage with our own lives. And it’s not lying. It’s never lying to tell the truth. But it doesn’t reflect every reality, either, because another person’s reality can’t be reflected within our own narrative, because that’s what it means to be another person. To spin two different threads.

And because narrative is the essential process by which we understand our reality, denying someone their own narrative, or denying that this narrative be heard, is inherently abusive. To allow someone a voice is to give them humanity, and to suppress it is to strip that humanity away.

Disgrace, by J.M. Coetzee, follows the story of a professor, David, who rapes a student and then fails to protect his daughter, Lucy, from being raped by intruders in their home. He destroys his daughter’s life – not through failing to protect her, but through twisting her rape into a story about why the rape of his student wasn’t wrong. The main theme of the book is generally considered to be exploitation, but Coetzee doesn’t deal with the exploitation of the rape. That’s too direct, too immediate, too easy for the reader to understand as misogynistic and wrong. Rather, Coetzee delves into “the innocuous-seeming use of another person to fill one's gentler emotional needs” (Ruden).

The rape is how we understand David as a fundamentally exploitative person, a person who denies others their humanity by converting them into a vessel for his own desires, who erases their voice in order to speak through them and give himself the things he needs. And that’s how we recognize that the way he absorbs and claims the stories of his daughter and his student is another kind of violation of their humanity. Another way of turning women into vessels for men’s pain and fear and need.

What’s fascinating is that David's student finds her voice – files a complaint against him – and is eventually able to continue with her life. The woman he raped is less damaged by him than his own daughter, because she was the woman he couldn’t permanently silence.

In Lolita, another brilliant novel about abuse, dehumanization, and storytelling, Humbert turns to the reader at the end and says, “Imagine us, reader, for we don’t really exist if you don’t.”

It’s not that Humbert knew he was fictional, but that he knew everyone was fictional. Believed the entire world only truly existed in his own mind, because anything beyond that was irrelevant to his needs. He coped with the collapse of his ability to dehumanize Dolores (who he called Lolita) by demanding that his voice be resurrected. Demanding immortality. Demanding his narrative exist in another person’s world, and thereby be given the existence and humanity that Allison and Dolores and Lucy and David’s student were denied.

Pushing his needs, finally, onto the reader, because we are the only person he has left, and a person like him can only exist through the use of another. In that way, Humbert was powerless. In that way, Kevin and David were powerless, too.

In Disgrace, David’s dream is to write an opera, and at the end of the book he realizes he’ll never finish his magnum opus. He’ll never be able to terminate the process of converting himself, his world, into a story. But he does learn to decenter himself in that narrative. And it’s when he loses all fear of death, and any conception of the self, that he gains the ability to give dogs – who he generally equates to women – a voice within his opera, his life’s work.

It’s in death that we discover our true unimportance as human beings, that we learn to let go of vanity and our conception of the self entirely. And David had degraded women so thoroughly in order to justify how he used them to meet his own emotional needs that it was only in losing all value for his own life that he could gain the ability to see them as equal voices. To actually put those voices into his own life story. It's at the cost of himself that he allows other people to truly exist, in the death of the self that he finally allows the world to exist outside of himself. It’s almost a positive character arc. Almost.

When Kevin finally loses the ability to abuse Allison, he, like many abusers, loses all desire to live. His world was built on a structure of superiority and inferiority, on beings and vessels, on the inherent value of men and the inherent meaninglessness of women’s lives. The system on which he based his entire reality has been destroyed by Allison’s declaration of the self. And, if he was a being because she was a vessel, then in losing the ability to treat her as a vessel, to fully and completely dehumanize her, he has lost his own humanity.

It may be perfectly summed up here: “Become major. Live like a hero. That's what the classics teach us. Be a main character. Otherwise, what is life for?” (Coetzee).

If you’re not to be a main character, if there indeed is no split between major and minor characters, between people and the paper dolls that populate their story, between living beings and the vessels into which they pour their need – what is life for?

Nothing. At least, not for people whose narrative must exist at the expense of another.

And that’s why I say that only a narrator like Allison could survive this kind of story. Despite beginning her story trapped in eternal silence, her reality fully elided no matter how immediate and obvious it became, Allison was the only point-of-view character of any of these three stories who didn’t establish her power through the degradation of another. Who didn’t conceptualize the world via being and vessels. Whose narrative didn’t exist, by necessity, at the expense of another person’s humanity. Whose thread could exist in a larger tapestry without destroying her sense of self.

Don’t get me wrong, she’s not generally a likable character. She’s misogynistic, cruel, selfish, jealous, desperate, afraid, and in pain. Like anyone in an abusive relationship, she’s not at her best, and she’s often pushed to do things that are ugly and disturbing because she’s simply been pushed too far.

But, for me, the power in her character is in how her last scene never felt like a final scene. Her story didn’t have to be killed, her conception of the self didn’t have to be killed, in order to reveal the brutal reality of stories twisting and intertwining without any inherently superior truth or narrative among them. Allison’s story was one of declaring herself. And that’s why it didn’t feel like it ended at the end. Instead, this felt like a beginning.

#this is probably the most egregious 'post that no one asked for' that I've ever written #but man this show HIT me y'all #and then I went back and reread parts of disgrace and that hit me too #it also made me reconsider my online presence and how I myself engage with narrative in the very small little world I'm a part of #I caught some shit a while ago and made a conscious decision to never comment on the narrative around mental health #and to be clear I was just talking about a general narrative in society at large I wasn't bringing up anything specific or attacking people #more how larger social narratives filter into and sometimes come to define individual stories #but it was upsetting to people and I figured instead I can just try to express a compassionate perspective on the mentally ill myself #but now I wonder if I've gone too far #idk without naming any names I'm getting unblocked by people who should definitely still find my mindset intolerable to their worldview #and I don't blame them because we all have reasons for the things we believe and we're all just doing our best #but it's a canary in the coal mine #it makes me think I've become so focused on not ruffling feathers that I'm tacitly approving some disturbing beliefs #and I think I could have happily ignored that if I hadn't just watched this show #posts that no one asked for #kevin can fuck himself #kevin can f*** himself #op #longer rambles

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miraculouslbcnreactions · 3 months ago

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The fandom can't make up its mind on what's supposed to be a joke and what's supposed to be serious because the show can't either half the time. It's a tonally disjointed mess that wants to have absurd over-the-top humor as well as a plot and moments of drama, romance, and angst that demand you see the characters as people and feel for what they're going through. Except you can't do that without also treating the dumb bullshit in a somewhat grounded way. Like, you're still dealing with the same characters. You can't just go "Oh, that? Let's ignore that!" the moment it's no longer convenient to you. You've opened this can of worms and now you have to sleep in it. So, every character flip-flops between two different versions of themselves depending on what the writers need in any particular scene.

This is not to say surreal humor can't be used right alongside characters you're supposed to empathize with, Teen Titans (not Go) did that and it worked. It's just that the absurdity can only come from the setting (Mad Mod, Mother Mae-Eye, pretty much anything Control Freak is in) or from designated joke characters (Date With Destiny). Teen Titans never had the main characters acting in clearly absurd ways as the butt of a joke unless those characters were brainwashed somehow, because the writers knew that would ruin any of the more grounded moments they wanted to write. The writers of Miraculous missed the memo on that one.

I don't disagree. A perfect example is Derision where the show takes all of the bad jokes about Marinette's crush and decides to take them seriously as if you can possible take them seriously without making Marinette come across as unhinged and dangerous. You can't, which brings us to the topic at hand: how do you even begin to understand these characters when the show is constantly making character-breaking choices?

My approach - and the approach I recommend others take if they're going to keep watching the show - is to focus on the characters' cores and reject anything canon does to violate those cores. I don't argue for this stance because I love the characters so much that I only want the good things to count. I take this stance because, if you don't, then the characters fall apart. There is no way to make them work as fully realized characters while embracing every choice canon has made. Miraculous has massive characterization issues that go well beyond the humor.

For example, Adrien has multiple moments of terrible behavior that are played in a serious manner such as the moment in the episode Frozer where he tries to start a fight with Ladybug in the middle of an akuma attack because she wouldn't accept a rose from him earlier:

Setup

Ladybug: I can't accept this rose from you. I told you already. I'm in love with someone else. Cat Noir: I know, M'lady. But if he weren't here, would things be different between us? Ladybug: Well, you know, I can't even begin to imagine him not being here. I'm sorry, Cat Noir. I really gotta get going, and you better do the same. (Swings her yo-yo to head back home; Cat Noir is sad, looking downwards, with one petal of the rose falling.)

Payoff

Ladyice: Cat Noir. We need to set up a trap for whoever turned the city into a giant ice rink. (throws yo-yo) Icecat: (bitterly) My feline instincts prefer to track and observe before I attack. You go your way, I'll go mine. Ladyice: Please don't tell me you're mad at me about the rose. Icecat: There may be a certain chill now between us. Ladyice: I get it, but we should really focus on saving Paris right now. Icecat: We don't always have to do everything together, after all. It's not like we're a couple. (skates away)

There's no way to argue this off as a bad joke. While Adrien has every right to feel hurt, those feelings don't excuse him acting like a pouting child in the middle of an akuma fight. It doesn't excuse him acting like this at any point! Ladybug is not a villain for telling him no. She wasn't even mean about it!

I clearly fully agree that Adrien looks awful and selfish here, but I'd still argue that it's not something that should be used to define Adrien's character if your goal is to tell the "ideal" version of Miraculous. "Ideal" being the version that canon seems to be going for based on the overall picture we can sort of make out if we back way, way, way up and look at the extremely abstract picture canon is clumsily painting.

Unless canon is going to do something monumentally stupid, Adrien is Marinette's endgame romantic interest. It's also clear that there is no plan to cut him from the team. He's going to be Chat Noir for the rest of his life or at least well into his adulthood. This means that he is supposed to be a good hero who deserves his miraculous just like he's supposed to be a charming and cute romantic lead. These are the two things I keep in mind when trying to shift through canon to figure out what writing choices I should fully embrace and what writing choices I have to either ignore or treat as true flaws that get an actual character arc. In my book, either approach is fine because most of the characters are deeply flawed at this point and you can't give them all arcs without bloating the story to nonsense levels.

My goal with this approach is never to say, "oh, that moment shouldn't count in terms of how people feel about the character." It's more, "that moment goes so hard against who this character is very clearly supposed to be that I can't take it into account if I want to tell the kind of story that Miraculous is trying (and clearly failing) to tell."

As an example, let's list off Adrien's worst behaviors. The things that make him look terrible:

He sucks at communicating his needs and feelings, leading to multiple moments where he gets mad at Ladybug for things she's totally unaware of

He has quit or considered quitting without warning multiple times and only one of those was because of something he did "wrong" (NYC Special)

He puts his feelings before the safety of Paris on multiple occasions, even going so far to purposely miss akuma fights to see what happens

He is incredibly pushy about his crush, often ignoring Ladybug's feelings on the topic by continuing to bring it up even after she asked him to stop

There have been multiple instances where he almost cataclysmed multiple people in a fit of anger

His love for Ladynette isn't strong enough to let him break free of things like akumas and nightmare dust even when he's looking her in the eyes making him a pretty crappy romantic lead

People will argue that some of this behavior makes sense for his character because of the abuse that canon has technically introduced, but that the writers seem blissfully unaware of. I don't disagree with that argument, but that doesn't change the fact that none of this is acceptable behavior for a hero and Adrien is a hero who keeps doing these things. A sad backstory doesn't give you the right to behave poorly without consequences.

At the same time, if I fully embrace these elements of canon, what I get is an Adrien salt fic where he loses his miraculous for good while Marinette finds her real true love or even just a non-salty fic where Adrien leaves for his own meatal health and gets replaced by someone who can handle being a hero right now. Canon's not writing either of those, so the only way to engage with these flaws while enjoying canon or aiming for the same end goals as canon is to say, "I guess this doesn't count" or "I guess I need to tone this way down and work through it via a character arc" or even "I guess that was just a bad joke maybe?"

That is the essence of what I mean when I call myself a writing salt, character sugar blog. It comes from looking at canon and seeing that there's simply no way to embrace the worst moments and the best at the same time. We're not dealing with a coherent plot and/or complex characters. We're dealing with a nonsense plot that will warp the characters to bizarre shapes to make random ideas work even if those idea go wildly against canon's end goals.

As an example, Glaciator and Frozer should not exist in the same universe or, at the very least, something should explain why Chat Noir randomly changed his stance on Ladybug's crush from acceptance to pushiness. As is, the pieces don't fit together. The behavior is too contradictory. Remember, this is how Glaciator ends:

Perhaps Ladybug will love me someday. I mean, like, I love her. I have to believe. In the meantime, her friendship is the best gift of all.

Where did this version of Adrien go? Why did he regress in Frozer? There's no in-universe reason. It happened because the writers weren't ready to let the love square date or grow close, but they also wanted the love square to cause drama, so Adrien ends up looking terrible just like Marinette ends up looking terrible when it's her turn to cause love square drama. Her terribleness takes a different flavor so it can be hard to realize that this is a systemic issue, but that's what it is. It's deeply frustrating, but it also clearly stems from cheap writing and not quality characterization.

This is also why my stance is that canon as a whole only supports my Doyalistic core-character analysis style of approach. The writing is too poor quality to do Watsonian analysis where you embrace the full picture and try to put it all together. The closest I'll get to Watsonian analysis is pointing out how much the writing botches a Watsonian take by showing you all the way the writing contradicts itself, twisting into a nonsense pretzel of frustration where the payoffs never satisfy! (See the season four rant for an example or anything where I talked about Chloe's supposed damnation arc.)

There are even characters where canon is such a total mess that you can Doyalistically argue for two separate takes! Gabriel is a perfect example. He is all over the place and his ending was so poorly handled that you can make strong arguments for writing him as a cold-hearted villain or a sympathetic villain without the end result feeling like it spits in the face of canon because both takes maintain his one core element: villain.

That's the big thing I keep in mind when I look at the characters and the lore and the plots and try to come up with versions that the average fan would like. I don't think that there's one true version of any of these things, but I do feel comfortable saying that there are versions that will very clearly only appeal to people who are salty about a specific thing that canon did poorly. That's not who I want to appeal to in my adaptions, so while I'm not going to argue that those takes have no backing in canon, I will argue that those takes are not supported by canon as a whole. Embracing them requires you to take the worst parts of canon at face value while ignoring what canon is clearly trying to do with the overall story.

I get the appeal of that, but it's not fun for me because that approach feels like rolling around in the mud with the pigs. I don't want to sink to canon's level! I want to have fun! That's why I talk about how to make canon into its best self, not its worst self. If you want its worst self, just go watch the actual show. I will be shocked it if disappoints you.

#anon ask #ml writing critical #ml writing salt #pandaofsecrets #character core #Once again none of this is meant to excuse any specific actions as “not that bad”#This is just me explaining how I approach the characters #I know there are fics out there that try to be sugar while embracing some of the bad parts of canon and that rarely works for me #To address these issues correctly you basically have to rewrite canon with the goal of properly setting up and addressing a specific issue #You can't just jump into canon as-is and fix anything in a truly satisfying way because canon is such a disaster #Lila and Alya is a perfect example #Alya's writing in Lila's episodes goes so hard against who Alya is supposed to be that you have to completely rework Lila and/or her lies #Which is why my list of favorite Lila takedowns is so short #Even the ones that are kind to Alya have her painfully gullible because of how badly written the Lila stuff was #You can't have Alya smart and clever while including all the things she's canonically done in the Lila plot and I hate it #Season five at least temporarily killed the fun of writing for this fandom for me #I hope to get it back so I can finish my in progress stuff because I really do love these characters #Canon just makes it so hard to have fun these days #The stuff I've heard about season six is just depressing #I hope my love for the characters and ideas comes through on this blog in addition to my frustration #I wouldn't be here if I just hated everything about the show #Canon is so beyond saving that I can't even read a lot of non-salty fanfic these days #The stuff that tries to embrace the later seasons while also giving happy endings just depresses me because it never works.#I can only read early canon stuff AUS and reboots #Only way I can enjoy the fandom is to treat canon as a popular but horrible fanfic that a bunch of the fandom is embracing for some reason

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coquelicoq · 5 months ago

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if we assume that each of the three pillars comes exactly three times for a total of nine times, and we know that the 7th time it was the 40-year guardian, and if we assume that was her final visit and the last two visits will be split between the 30-year guardian and the 8-year guardian, we can calculate how long ago the miharu family made that deal: (40x3)+(30x2)+(8x2)=196 years. 196 years ago it was 1828, but i think this is supposed to be set in the 1980s or 90s, so call it the late 1700s. that's the kind of thing matoba as the head of the matoba clan has to concern himself with - deals with youkai made by people 200 years ago from families that don't even exist anymore. it's an interesting contrast to the thing he says to natsume at the end of this arc, about the 9th visit, which is 30 years away, being someone else's problem. he's embroiled in the past but doesn't even think he'll get to have a future.

#however i don't think we can assume either 1) that each of the 3 pillars comes exactly 3 times #or 2) that the 7th visit was the 40-year guardian's final visit #based on the end of the arc when natsume asks who will come for the final visit and specifically asks if it will be #the 40-year guardian again. and matoba is just like idk not my problem #if they each come 3x then he should be able to predict which it will be for the 9th visit by process of elimination #(unless the miharu records are missing or something)#and if the 40-year guardian has already done all her tours then matoba should at least be able to say it won't be her. and he doesn't #but i still think 196 is a reasonable ballpark just because we know there have been 7 out of 9 visits #and they're splitting it between them in some way even if not perfectly equally #natsume's book of friends #natsume yuujinchou #matoba seiji #natsuyuu meta #miharu loquats arc #my posts #i think the only assumption we can safely make is that it's never the same guardian two times in a row #i guess the lower bound would be if the 8-year guardian and the 30-year guardian took turns for the first 6 visits #that would be (8x3)+(30x3)+40=154 years #and the upper bound would be if the 40-year guardian started and then switched off with the 30-year guardian up to visit 7 #that would be (40x4)+(30x3)=250 years #both of which seem highly unlikely. so the reality has to be between those two extremes and 196 seems pretty reasonable #and in any case even if it was only 154 years ago...that's still a really long time ago

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lady-quen · 7 months ago

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Hello Guild Wars 2 community! A new poll has dropped! 🐦‍⬛

(At least, hopefully new, lol.) I'm curious, which blessing did your Commander get on their first/canon go through the Raven Sanctum in the story mission "The Invitation?" Choose and tell me in the tags why they made their specific decisions :)

Compiled explanations from the wiki below for ease of access:

The trial choices in order:

Save the wounded man or save the healers

Save the spell tome or save the historical record

Save the queen or save the prince

Blessings:

Blessing of Daybreak

"When the fear of beastly claws and a child's pain is made sharp by the knowledge of elders, we make no mistakes. But do we grow?"

Healers -> historical record -> prince

Grace of Dawn

"When wisdom is favored in all things—a healing hand, a text of old, a beloved queen—we lose the sharpened sword of the truly bold."

Healers -> historical record -> queen

Consecration of Morning

"We seek to destroy monsters with sharp claws and icy breath, but do we protect ourselves from the beasts shaped like us, who prey on the young and vulnerable, who seek to rule us?"

Healers -> spell tome -> prince

Invocation of Midday

"When we flee from the things we fear most - the teeth of beasts, the storm of a dragon, a change of power-we risk running backward."

Healers -> spell tome -> queen

Supplication of Midday

"We favor the skill of healers and the wisdom of elders over the uncertainty of the future. But the young take chances, and the young push us forward."

Wounded man -> spell tome -> prince

Consecration of Evening

"We long for the comfort of a healing touch, an ancestral word of wisdom, a leader we know and trust. But comfort is fleeting, and with it comes inertia."

Wounded man -> historical record -> queen

Grace of Dusk

"We sacrifice so much—safety from the claws of death, knowledge of the ages, a steadfast reign—to propel ourselves forward. But if we move too fast, do we risk the inability to stop?"

Wounded man -> spell tome -> prince

Blessing of Twilight

"We try so hard to do the right thing. We heal, we protect our people, we preserve stability. But we cannot control how the winds of fate may shift, and a tight grip can sometimes hurt more than it helps."

Wounded man -> spell tome -> queen

#guild wars 2 #gw2 #icebrood saga #the invitation #raven sanctum #gw2 ask game #ask game #dash game #character poll #gw2 commander #ibs spoilers #As for mine: Invocation of Midday because Mael values a winning hand by any means necessary. Making choices where the few may have to die so #that more survive in saving the healers #valuing the present victory in saving the spell tome since forgoing the present war will only mean there is no future to preserve #and saving the queen because an immature heir is worse than a stranger hopefully elected by the people #In my personal hc of this mission Raven specifically takes note of how ruthless his answers were and asks if he'd really do anything to #secure a winning hand. From letting the wounded man die for the sake of the healers to letting a child heir die to preserve a nation. It's a #trick question as everything is with Raven but he finally answers Yes. To which Raven comments #''Of course you would. You were even willing to sell your soul.''#This wreaks some havoc on party dynamics because nobody present knew the true extent of what Mael had to do to bring himself back to life :)#Whether his soul will actually be unable to pass on into the Mists... I shall see. But it makes for good thinking. and possible plot hook #for the party coming together to save him from his own doomed magic #Furthermore: Fuel for Rytlock angst because now he has real reason to think Mael would Not Hesitate and kill Ryland. And that he is lying #This doubt of Rytlock's (and Crecia's) Jormag of course capitalizes on #commander's musings

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whatudottu · 10 months ago

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Wouldn't it be funny for the hot doctor Knock Out to not actually be that big a fan of sex. Still tho- it doesn't stop him from tormenting his husband with horny thoughts <3

Hah, instead of leaving him cold and sleaveless in just scrubs alone, I gave dear KO a puffy racer jacket (you know damn well it's ruby red), and to give himself an excuse to wear it in the medbay and on the field, he's got the Decepticon medical symbol patched on his arms :)

hmm does the implied impregnation mean i need to tag this as something?

#knock out #tfp knock out #breakdown #tfp breakdown #kobd #transformers #tfp #humanformers #maccadam #fanart #ask to tag #i saw someone make a knock out human design and gave him a racer jacket which i thought was really nice #especially since robot ko has beeg fuckin shoulders #but i initially wanted to keep him in uniform hence why he's only in scrubs the first time i drew him (the predaking looming comic)#but i thought about tactical gear and how field medics if they don't have their own armour they still have like a jacket or whatever #plus the whole 'doctors and nurses wear cardigans and coats' thing #i put ko in a racer jacket that has a medic patch on it (a legally distinct alternative to the red cross lmao)#ah and before i forget i'm not making ko sex-repulsed ace as a punishment i just thought it'd be cool if the hot doctor wasn't into sex #a joke i make in humanformers specifically because canonically bots are sexless and thus can't be sex-favourable because haha taxonomic ace #he is not immune to rumours but- he's off the market in more ways than also being married #which i realise there isn't a ring on any of breakdown's fingers but lmao don't look at that (if there is a ring its probably elsewhere saf #look at the hands for other reasons please :)

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pokeharvest · 5 months ago

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settling yet another debate with my friend

#dc #batman #bruce wayne #poke things #specifically if he is pitiful #feel more than welcome to leave any reasonings in the tags/replies btw #my friend is surely going to be asking for evidence LOL

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kaveh-a-day · 3 months ago

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Have you heard of the theory that Kaveh and freminet might be half siblings?

WAIT THATS A THING?? Ive heard of maybe Kaveh and Navia being half siblings but never heard about Freminet— although to be fair i havent read much of anything about him

#are there any specific reasons behind it or is it just a silly headcanon???#either way thats really fun #asks #not a kaveh a day

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the-real-couchrat · 3 days ago

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A new chapter of ‘Transdimensional Arc!! Alcor Finds a Ford’ (by @random-dragons-interest-hoarde) came out recently, and I just had to draw the delphinidae dimension residents!

The orca (named Graham) was described as having lots of scars, but I don’t actually know how or where his humanoid self got them, so I just gave him rake marks. (Rake marks are just a fancy name for the scars orcas get from each other)

I Drew some Dolphin!Alcor as well, even though he probably doesn’t exist in this dimension, because I love him and we got his canonical dolphin species confirmed by Stan (who’s name I changed a bit to be more dolphin-y)

Closeups and notes below

I tried to replicate Graham’s wing(?) pattern things on his fins, and his horns(?) on his eye markings, but I’m not so sure how well it turned out. I also tried to replicate Liam’s tattoos from ‘Once Again, Again’ (by @vallis-cineris---wanderer) because I have many theories of how he exists in that world (this will be a separate post once I get my thoughts together). Funnily enough, this is the first fanart of Liam I’ve ever made.

Also some closeups of Fiddleford McBucket, because despite saying I wouldn’t draw him, I did and love how it turned out!

Quick tangent but I’d like to give a thank you/shoutout to Dragon’s Hoard for writing dolphins in a positive light. Recently, dolphins have been getting a terrible rep, and it’s gotten old. There’s duality in anything intelligent, and dolphins s are some of the most intelligent creatures around. Even then, they’re just animals acting on instinct, and we shouldn’t hold them to the same standards we hold humans to.

#transcendence au #my art #graham #Liam pines #Alcor the dreambender #Alcor the dolphin #Stanley pines #fiddleford mcbucket #delphinidae dimension #the reason it took me so long to get this out was because I had to learn to draw various dolphin species #which I did my obsessively drawing them all day long for a week #except for fiddleford actually #I said in my last post that I would refuse to draw any river dolphins but while working on poses (which I was stuck of for hours bc dolphins #only have 3 limbs and all they do is move up and down)#I decided to sketch fidds out and I really liked it! I lined the first one I made #and he’s still my fav out of them #uugghh pls don’t ask about the bg colors #I had no idea what I was doing #I got really sick today and had to stay home so I just wanted to finish this thing already #this took me eight hours btw #excluding all the time I spent trying to find dolphin poses #I tried to find a more specific coral species for Stan’s last name but the best option was the pine tree coral and that was way too similar #why are there satellites dishes on the crab cubes? bc I wanted to make them more crab like and my current excuse is that it translates their #screeches to English #btw I’m not saying that humans aren’t animals #we just work differently than dolphins do #that’s the mystery shack behind Stan btw #I wanted to draw fiddleford’s crab cube but I already had three and not enough space for a fourth #I don’t usually do watermarks I just had extra space below fidds and wanted to try it out #I hc that dolphin!alcor just floats out of water like he’s still doing swimming motions just in the air

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