M3dovnik

So like… me and my friend are making lesbian furries…😝 WHAT DO WE THINK OF MY DESIGN SO FAR?? Just a little disclaimer, this is the 3rd time I’ve ever drawn a furry properly so please don’t jump me😥

MY FIRST POST OMG NO WAY🤯🤯‼️

After a year of this app just sitting there untouched, I decided to finally post something here ! Let me introduce you to my two recently made ocs Rem and Nate. They used to be best friends when they were teenagers. Used to….

Some redesigns of my ocs I am currently obsessed with😝 ( ofcourse they are connected to Vincent somehow….) fun fact: everyone on this picture is technically dead 😋

I wanted to embed slavic folklore into my rendition of the tasks, and so for the illustration i chose a fire-water based unlikely friendship between a fire-breathing dragon and a vodyanoy/vodník/hastrman, a water man who drags people down to the bottom of the lake to steal their souls. (which he keeps in jars and mugs and cups in certain interpretations.)

For the comic strip, I got inspired by a Saint Nicholas based holiday in my country on the 6th of December, where a trio dresses up as an angel, a devil and Saint Nicholas himself, and walk through town, scaring or rewarding children, based on if they were nice or naughty. The most naughty children get warned that they'll get dragged to hell. So I took that and I made em friends!!! Evil friends who go around pranking Lucifer >:3

TW for the comic: Blood, lots of death and injuries

@prudeau okay but this is exactly where the filmmaking side becomes impossible to ignore. when you look at the sheer consistency of mike’s eyeline dropping to will’s mouth, across seasons, across directors, across different cinematographers with different visual instincts, you’re not looking at coincidence. you’re looking at a choice that’s been protected at every stage of production: blocking, performance, coverage, editing.

actors don’t repeatedly stare at someone’s lips unless they’re directed to. cinematographers don’t frame for it unless it’s intentional. editors don’t keep those takes unless they’re serving a narrative beat. and these aren’t will‑pov shots. the camera is aligning us with mike’s internal state. we’re watching him watch will. that’s a very specific cinematic grammar.

and the mouth is one of the most loaded focal points you can give a character. it’s intimate, anticipatory, romantic. if the intention were purely platonic, the visual language would shift, wider two shots, neutral eyelines, gestures that read as friendly rather than charged. but the show keeps choosing the romantic grammar of cinema. and once you understand that grammar, it’s impossible to unsee.

which leads to the real question: if all of this visual signalling wasn’t meant to build toward something, then why preserve it? why repeat it? why escalate it? because in filmmaking, you don’t reinforce a motif unless it’s serving a payoff, emotional, narrative, or thematic. otherwise it gets cut for clarity.

and honestly, at this point you can call the lip glances part of the queer baiting of byler. not because the moments are fake, the camera language is too deliberate for that, but because the show keeps deploying romantic visual cues without giving the characters the narrative space to resolve them. it’s the classic tension between what the cinematography is saying and what the script is willing to say out loud.

and that’s exactly why the lack of payoff in volume 2 and the finale feels so jarring. the visual language had already done the heavy lifting. the emotional groundwork was there. the camera had been telling the same story for four seasons, escalating it, sharpening it, making it harder and harder to read as anything but romantic tension. so when the narrative swerved away from resolving it, it wasn’t just disappointing; it was a break in the contract between the cinematography and the script.

because if the show truly intended nothing, the simplest fix would’ve been to stop shooting it that way. but they didn’t. they doubled down. they let the camera keep telling a story the dialogue refused to finish.

REALLY proud of this animation, this idea has been stuck in my head since the vol 2

the duffers absolutely queer baited the audience. everything I learned academically about visual storytelling was pointing toward a byler slow burn, and then they completely abandoned their own setup. we didn’t hallucinate subtext; we didn’t “make up” a ship. they built it, then pretended they didn’t, and the result reeks of homophobia.

Fuck the people who hinted at byler endgame in interviews. Fuck the person with the “byler won’t write itself” sign. Fuck the people who chose to parallel byler to canon couples. Fuck the people who added rainbow imagery around Mike. Fuck the people who pointed a one-way sign at Mike’s closet. Fuck whoever made the code “blue meets yellow in the west.”

The Duffers really did make history. They managed to pull off the Biggest Queerbait in History.

Not only did they take over six years to deny the ending they never intended to give these characters, but they also made sure this awful memory would be burned into everyone’s minds, not on some random date, but on every December 25th and 31st for the rest of our lives.

Congratulations, Duffers, on this shitty ending!

Vecna defeated in two minutes, the Mind Flayer was all size and no threat, and Will’s powers and his connection to Vecna ended up being completely useless.

And SEVERAL plot holes were left wide open. SEVERAL!

Congrats on fooling people for so long and ruining two “festive dates” for so many fans.

noah lied when he said most of his scenes were with finn. he lied when he said we would be hap- satisfied. he HAD to know what the implications of all of this is.

shawn levy lied when he said finn had to carry a lot of emotional weight this season.

finn lied when he said that the duffers told him the paiting and mike's oblivion was going to pay off.