Yesterday I realized that you canât see the gifs of them chilling on my profile without an account, so Iâve compiled the robots into one gif :]
Kohn's profile as of 4/10/26 under the cut! Iâll only be updating the descriptions on Artfight.
Character Profile
Curt and intense, Kohn is the most hostile robot that pursues the player through the ruins of the outer streets. As the leader of the patrols, heâs both strong and highly intelligent.
Although he remains distrustful of the player for the entirety of the game, Kohn is well respected among the robots, if a little intimidating. Those who work more closely with him will assure you that heâs actually quite reasonable despite his outward appearance.
Kohn lurks everywhere, but most of his time is spent patrolling the outer streets. Between shifts, he can be found instructing guards in the repurposed factory base, asking about stock in the warehouse, and having repairs done in Channelle's workshop.
Relationships
Channelle - TLDR, best buddies and confidants.
They are extremely close, sharing many of the same views and a generally dry personality off the clock. The two frequently seek each otherâs company to talk, both for leisure and regarding work, but are just as comfortable hanging out in silence.
They also work on a side project together that the player can piece together through the environment. Kohn approached her about creating a leg model that other robots could use to replace faulty limbs. The two have since continued to develop and test duplicates of the current model he uses in their spare time.
Garrett - Theyâve known each other for years and while friendly, as co-workers tend to be, theyâre more work acquaintances than friends. While they encounter each other regularly they have difficulty holding an amiable conversation for long.
Still, Kohn views Garrett favorably. He appreciates Garrett's dependability and can respect his distaste for violence despite their disagreements over Kohnâs use of the latter.
Kohn occasionally asks him for advice on how to be more approachable to newer scouts, though he's hard pressed to admit it. He also lingers in the area when Garrett plays guitar. While he's just 'passing through', he seems to enjoy the music.
- While he stands stock still at rest, heâs very reactive. He may impulsively crush things in his hands at loud noises and become snappy at false alarms. Kohn keeps an even temper in most other circumstances.
- Heâs light for his height, like a scarecrow, and is built for speed. Channelle and other workers can, and have, half-dragged half-carried him back to the base when injured.
- Kohn is instinctively physical. Heâd rather grab you by the shoulders to turn you towards a target instead of wasting time explaining it to you. Unfortunately, this doesnât combine with his clawed hands very well.
- Kohn does his laundry the most among anyone in the group. This is usually due to blood and grime.
- He has worn giant oven mittens over his hands while helping Sydney with stray dogs in the past.
- He has a pair of indoor/standard legs for day to day life around the base. He just never uses them during the gameâs events due to being on high alert.
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For Arendt, all destructive force, even when it is unavoidable, is in itself anti-political: what it destroys is not only our lives but also the world that lies between our lives and makes them human. A human and humanizing world is not manufactured and no part of it that has been destroyed can ever be replaced. To Arendt, the world is neither a natural product nor the creation of God; it can only appear through politics, which in its broadest sense she understands as the set of conditions under which men and women in their plurality, in their absolute distinctness from each other, live together and approach each other to speak in a freedom that only they can grant and guarantee each otherâŠArendt [also] writes of a metaphoric desert-world, with life-giving oases of philosophy and art, of love and friendship. These oases are subject to ruin by those who attempt to adjust themselves to the conditions of desert-life, as well as by those who attempt to escape from the desert into the oases. In both cases the desert-world encroaches upon and devastates the oases of their private lives. The desert is a metaphor that ought not to be taken literally as a wasteland, or wasted land, envisioned as the final product of unleashed industrial expansion that depletes the earthâs natural resources, pollutes its oceans, warms its atmosphere, and destroys its capacity to nourish life. The desert is a metaphor for our increasing loss of the world, by which Arendt means our âtwofold flight from the earth into the universe and from the world into the self.â She is not thinking, as she does elsewhere in these pages, of a catastrophe in whose aftermath only the âvestigesâ of a destroyed civilization would remain. That could happen quickly, as the result of thermonuclear war or a new totalitarian movement rising from the conditions of the desert that are indeed most propitious to it. The desert is a metaphor for something that already exists, and in the worldâs constant need of renewal, of being âbegun anew,â always exists. So far from being caused by public political life, the desert is the result of its absenceâŠThough the desert is not [the evil that is the reduction of plural human beings to one single massed man, as under Nazism or Bolshevism], today, insofar as we have become increasingly estranged from the public world, we are well positioned to fall into evil as into hell; into empty interminate space, where nothing, not even the desert, surrounds us, and where there is nothing to individuate us, to either relate or separate us. This is our predicament, in which only the roots we are free to strike, providing we have the courage to endure the conditions of the desert, can make a new beginning. In analogy to the way trees in the natural world reclaim arid land by sinking their roots deep into the earth, new beginnings can still transform the desert into a human world. The odds against that happening are overwhelming, yet the âmiracleâ of action is ontologically rooted in humankind, not as a unique species but as a plurality of unique beginnings. The promise inherent in human plurality provides perhaps the only answer to Arendtâs chilling question: âWhy is there anybody at all and not rather nobody?â
Jerome Kohn, âIntroductionâ from The Promise of Politics by Hannah Arendt, pg. xxx-xxxii
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Itâs still a bit janky, but thatâs okay! Nice little practice that Iâd like to stick onto his AF profile :] Probablyâll clean and color the concept sketches for it too!
Now does anyone have tips for posing a character with four armsâŠHahaâŠ
Fun fact! Iâve doodled this idea before, though itâs changed a bit!
Iâd ignore the scenario in the caption, thereâs better options for when he would use it.
KOOOHN! Unsure if/when Iâll finish this so Iâm posting it for now because I like it a lot!
I also wanted to draw him lunging, but I couldnât picture how the legs would wind up for it :[
Progress snapshots/ramble under the cut.
Itâs an 8 frame animation! I went limb by limb and drew the poses chronologically out of habit which took up a lot of time. Keyframing is probably better, I need to develop that skill.
Separating limbs with different layers and colors is super helpful though! It let me mess around with the arm placement when I was looping the torso. Also, I used a linked 4 frame cycle for the torso/head/coat.
