#but i was also insane that year i drew so much

[neurospiczzzziee]

Blitzø is actually really good at Art

From an Art Educator Perspective

Okay so I saw some posts on Blitzø actually really enjoying art and that being his passion other than horses. I don't know if in the fandom we have had this consensus or if this is a hot take on my part, but Blitzø is actually really good at drawing.

You may ask why I know this and why I am so confident?

My credibility: I literally specialize in it.

I am a professional artist. I am a High School Art Teacher, who got their degree in art education and attended a well acclaimed art school.

(Self-taught artists are extremely valid and you do not need to go to art school to be an "actual artist". I am bringing up my background to show that I have a lot of knowledge of the development of fine motor skills and the ranges of art abilities and how to further improve them.)

As an educator, if Blitzø was a student and I saw Blitzø's drawings/doodles I would automatically recognize that he was actually advanced in abilities. Based on looking at his drawings I can tell if he were to actually take his time and focus on something he could create really beautifully detailed/rendered artwork.

You may ask how I know this??? I'm glad you asked.

THE AMOUNT OF LINE QUALITY THAT IS DEMONSTRATED IN BLITZØ'S DRAWINGS IS INSANE.

✨Art Lesson time✨

Okay so everyone learning to draw goes through the necessary stages of development

I'm just going to give humans as an example because obviously this is a fictional demon we are talking about.

Generally everyone goes through these stages as they grow and work on learning to draw. (Prodigies are extremely rare and I've only seen one once)

Art skills are like a sport. You need to train in order to develop fine motor abilities and control in your hands. The more you draw and do art the more you gain control of your muscles. It takes a lot of time and years of work to improve.

When a person's fine motor skills aren't as developed their lines tend to be shaky and they have less control. The more a person draws the better their line control becomes.

(Think of when you were little and you were first learning how to write)

The way I can tell how advanced Blitzø is, is through his line quality.

Now what is Line Quality?

This is a screenshot from this wonderful article

So in Blitzø's artwork he very much illustrates good Line control, force, thickness, and fluidity.

Okay first of all I want to Mention

THAT BLITZØ IS DRAWING IN PEN. You can tell this because different parts of the Calendar are crossed out with his scribbles. Also anybody with a calendar knows you have to write with a pen.

LOOK AT HOW CLEAN, FLUID AND CONFIDENT THESE LINES ARE DESPITE THAT HE IS DRAWING IN PEN!???

My assumption is that Blitzø is not using a reference for these drawings. You could make the argument that he has photos for M&M, Loona, and Stolas; however, he definitely does not have a photo of Striker.

I want to mention how dynamic of a pose he is drawing people in. He isn't avoiding hands at all. All of the hands are relatively accurate (Strikers especially).

In these drawings you see variation in line weight meaning parts of his lines are thicker to thinner. So Blitzø is purposely pressing harder and lighter to show variation and depth. His lines are very clean. I don't see repetitive Stokes and lines for the shapes. He is really confident with his mark making and you can tell because his lines aren't shaky at all.

By looking at his line quality and how clean it is you can tell he drew it quickly.

Not to mention he actually has a huge range of items he can draw confidently including and not limited to horses, weapons, leashes, cars, demons, and of course genitalia.

Blitzø isn't what you call a one trick pony 🐴 when it comes to what he can draw.

You can see this skill demonstrated in his other doodles.

You can even see this ability demonstrated in his drawings on the whiteboard

Okay anybody who has drawn on a whiteboard knows that they are difficult to draw on.

Whiteboards smear and are very streaky. In this photo you can tell where Blitzø made a mistake or changed information. Notice that none of his drawings have any smears. That means he did these drawings in literally one take.

I also want to mention his drawings in spring breakers. He is speed drawing directions and illustrating a plan perfectly to his employees.

HE IS LITERALLY RAPID FIRE SPEED DRAWING HERE

His drawing of Veroskika which he DREW FROM MEMORY.

Demonstrates the following:

Line control, Line Confidence, Line Fluidity, Variation in Line weight, and still has relatively correct proportions!?

Basically shut up MOXIE?!!! He did a good job!

Why have we not seen more detailed Blitzø artwork?

Okay so I as we know in the show Blitzø puts his doodles everywhere. So if he is good at Art why isn't he showing his artwork he spent a long time on????

The answer: he's insecure

Showing someone your art is a very vulnerable action. This is especially true if you spent a long time on it.

If someone doesn't like or makes fun of your doodle you can brush it off and be like well it's only a sketch and I did it in under 5 min.

It's a lot easier to show someone a silly little horse drawing you did than something you poured your heart and soul into.

We already are aware that Blitzø is insecure and has self-esteem issues. He literally covers his face in the photos of himself throughout his apartment. He is a very guarded individual. Of course he wouldn't show people the art he spent hours on. What if people reject them? They judge him for spending that much time? What if they see how much he actually loves them?

Blitzø feels like the kind of person who would crumple up or destroy his art that he spends long amounts of time on. It's a way of self-sabotaging yourself and further self-loathing.

Now do I think he has these hours long art pieces/drawings????

ABSOLUTELY

My guess is that Blitzø most likely has a hidden sketchbook. Artists tend to draw their loved ones and especially their children and partners.

There is no doubt in my mind that Blitzø hasn't been doing long observational drawings of Stola's especially when he is sleeping.

He has most likely been drawing Loona all the time. Why do you think he takes all the photos? Those are his references. He has probably been drawing detailed artwork of his loved ones this whole time (and of course horses too lol).

In conclusion

Blitzø actually can draw really well because his doodles demonstrate high levels of skill in line quality.

Going forward I would really appreciate if someone actually finds Blitzø's sketchbook or portfolio of his artwork he spent large amounts of time on. It would be really cute. It would be adorable if Loona or Stolas found them.

Blitzø could gain more confidence and put is artwork he really cares about on display 🥺

I also just want Moxie to find out and eat his words. (Guys I swear I don't hate Moxie 😂)

Thank you for joining me here today on my Ted talk on how I think Blitzø is actually a talented artist. I'm just an art teacher who has problems with how much helluva boss lives in rent free in my head.

[washiinmachiine]

yearly redraw of this suselle piece i originally drew back in 2021 (2022 version here), i sketched this back in november of 2023 but forgot about it and only finished it recently oopsie

[qaanngi]

being economical and borrowing my art summary template from 2019 lol. notes under cut

I did want to do something similar to my 2020 art summary which had notes/thoughts on each digital piece baked into the image itself (and is also the prettiest lmfao) but I haven't been as proactive or even content since then sdfhsdkflds but I'm also of the opinion that artists should talk about their work, even if I still struggle to call myself one T_T

I met my monthly quota of one digital piece per month + one coloured sketch per month except October, which tends to be the month of exceptions since some sort of art challenge crops up. This year I opted to meme countdown loosely for Veilguard, and was the most free and loose I've been with drawing but also kind of burnt myself out a little on that front.

I do appreciate that there have been a few style experiments in the monthly things (March/Sept./Oct/Nov). I always found my style to be pretty generic but able to emulate other styles a little as a result. Except anime/manga evidently. But that means I can evoke different tones with different styles and do really left field stuff, which is always fun and leaves a lot of room for experimentation and a diverse body of work, which I prefer.

Managed to land LNY piece, which is a tradition I want to keep. I think my favourite piece is probably June's, the Lumine/Paimon/Osse/Scylla piece, which I referenced a screenshot because the location in-game was too pretty for me to not draw it. The Lumine/Girl With a Pearl Earring piece I'm pretty fond of, only because it was a genuine study of an old master, and I think it turned out well. The Lucanis minimalist piece is also a favourite, and it was me doubling down on the things I'm better at instead of trying to aspire to whatever the fuck I've been trying to do. Improve in some way I haven't defined yet, or operating on the notion that there is always room to improve (which is true and healthy to think), but also I guess a sense of dissatisfaction that my work is Objectively Broken in some way and desperately needs to be fixed. What's it like being content with your style and process?

The 2019 art summary had a template for Honourable Mentions since I actually managed to do more than one piece per month throughout the year (tho admittedly a lot of those were schoolwork). That's kind of been a struggle since 2021 for Reasons I still haven't fully recovered from, but I did manage a few extra things this year, chief among them the 19/20 Day Countdown mark for Veilguard, which I really wanted to do since I did one for Inquisition 10 years earlier, and I'll probably do one for the next Dragon Age game lol. I'd also like to probably redo the Inqusition one, and do full illustrations for both since I can actually draw backgrounds now. Something for 2025 I guess.

Others among the Honourable Mentions include a twt xlmi event piece I got a ton of "omg it's giving Sailor Moon + Tuxedo Mask" comments which makes it sound derivative as hell 🙃 The concept, was the moon (Lumine) and her night sky (Xiao). He is often associated with darkness and depicted looking at the moon pretty regularly. Also he is literally fading into black in the piece. My interpretation was that the night sky is quiet, and it darkens the sky so we can see the moon. The moon sits in the night sky's embrace. I actually quite like this one, the more I look at it. I've also used Giant Moon in the Middle of a Drawing a lot throughout the years, so that absolutely tracks. Maybe I should do one every year.

Other Honourable Mentions are my friend's commission (she was so patient with me), a noir Neve piece I did around September-ish too (was supposed to be a comic, might revisit the idea. I picked up reading comics again and was inspired to give one of my greatest inspirations a run - comic art, specifically the way they ink), and a quick lineless illustration for the xlmi zine I helped with.

For daily sketching, I only filled about 4-ish sketchbooks this year, all about 30-32 pages, but I've started to double up on pages so each is filled with more than one thing. Some sketchbooks were lazy in terms of what I did than others. Some were great, and had a lot of stuff where the things I practice (people in environments, action-oriented things, foreshortening, the bane of my existence) were abundant and pretty well executed. With the exception of one Lumine sketch that was so very in my own style that I really love and an adapted sketch of an OC, the favourites are all very action-oriented, and I'm glad. I really love the ones with Lucanis and Rook since there's genuine contact and an energy to them that feels very alive, which is something I've been working desperately towards, so it's nice to see it pay off. In a little daily drawing no less~

Around June there's a huge shift in subject and I all but ditched Gnshn immediately, which I think is healthy. I spent an inordinate amount of time in the months leading up to June and throughout with my daily sketches trying to force change my style to be more anime-esque since the gnshn fandom isn't particularly fond of western art styles, of which mine is painfully so. I have a lot of uncoloured sketches of Lumine that I'd like to get around to, but feel like a waste of time now. Leaving trying to make it in the gnshn fandom behind has been good for me, and it's been really nice to go back to the shit I love, which is just fights and blood. It's funny, since I ended my Cybird Ikemen run with swords and blood to jump into soft, cute shippy art for xlmi only to return to swords and blood.

Appropriately, I started my art blog ages ago for my silly little Dragon Age doodles, and I've returned to that. So: thanks, Veilguard. I hope I'm still fixated on you throughout all of 2025 because I have a loooot of ideas. And hopefully the patience and skill to get them out there.

[pikhachu]

its time for this thang again lesgo

[axolozzy]

louie dump

there’s a wholeee bunch more old art but it sucks ass so i’m not posting it

[mumpsetc]

would like to see two as a little horsie..

Twony...

[radlegowaffle]

【please do not reupload!】 red string of fate redraw of this

[infizero]

grgrhgahahh i wanna read more pokespe but i cant do it on my phone and im not unpacking my stuff until the morning

[hazardsoflove]

ndcw is so tragic to me bc they took one of my favorite things in the world (nancy drew) and combined it with more of my favorite things in the world (murder mystery, supernatural elements) but then ruined Everything in just a matter of episodes

[iamthescalesofjustice]

had a locked tomb dream in which one of gideons lowkey-only-bc-she-glosses-over-it-in-her-narration powers was teleportation as in she fucking kept teleporting and didnt seem to notice or think it was weird and when people called her on it she was like ‘yeah its called flash-stepping i read about it in some ancient-ass comic books i dug up in a back corner of the library on the ninth’ and everyone is like ‘???’ bc she says its not a necromantic technique bc everyone who did in it the ‘comic books’ (only the sixth know what manga is) she read was a warrior and most of them used swords so clearly its a secret advanced cav technique. and, she says, its not like it uses any spooky necro stuff, its ‘just a matter of honing yourself until you can move really fast’ so it might look like ‘teleportation’ to all of them but clearly that just shows that she got really good at it and is better than all of their fancy smancy ‘properly trained’ cavs. anyway, it turns out that using flashstep as the framework is the only reason why its been short line-of-sight bursts for her until now, once the penny drops she can straight up pop between planets. also she at one point mentions how ‘the wind’ roars really loudly in her ears while doing it and it turns out thats the sounds of the feral river ghosts bc she is, and i cannot stress this enough, constantly taking brief dips into the river. 

[yuriyuruandyuraart]

that's it i'm officially DEAD and in tears omg zu.. oh my GOD zu omg i'm i can't even TYPE i'm shaking so hard it's so!!!! i'm so!!! ahjgzdyhagahgfd ZUUUUUU<33333

Happy birthday @yuriyuruandyuraart! ◟(๑•͈ᴗ•͈)◞

Ribbon (pink!Cross) & Buns (pink!Killer) by yuriyuruandyuraart respectively ;3

Cross from xtaleunderverse by jakei95

Killer by rahafwabas / rahaf-wabas / rahofy-sketch

+ the transparent one ehehe <3

[badnewswhatsleft]

rock sound #312 (nov 2024)

transcript below cut:

ROCK SOUND 25 ICON

FALL OUT BOY

A BAND THAT CAPTURED THE HEARTS, MINDS AND HEADPHONES OF A GENERATION OF KIDS WORLDWIDE, FALL OUT BOY UNDOUBTEDLY CHANGED THE LANDSCAPE OF THE ALTERNATIVE SCENE FOREVER, NEVER AFRAID TO EXPERIMENT, TAKE CHANCES AND MAKE BOLD CHOICES AS THEY PUSHED FORWARD. FOLLOWING A SUMMER SPENT EXPLORING THE 'DAYS OF FALL OUT PAST', PATRICK STUMP AND PETE  WENTZ REFLECT ON THEIR PATH FROM POP PUNK, HARDCORE MISFITS TO ALL-CONQUERING, STADIUM-FILLING SONGWRITERS AS THEY ACCEPT THEIR ROCK SOUND 25 ICON AWARD.

WORDS JAMES WILSON-TAYLOR

PHOTOS ELLIOTT INGHAM

Let's begin with your most recent performance which was at When We Were Young festival in Las Vegas. It was such a special weekend, how are you reflecting on that moment?

PATRICK: It's wild, because the band, I think, is going on 23 years now, which really came as a surprise to me. I know it's this thing that old people always say, 'Man, it really goes by so fast', but then it happens to you and you're just taken aback. There were so many times throughout the weekend, every 10 minutes, where I'd turn around and see somebody and be like, 'Holy shit, I haven't seen you in 18 years', or something crazy like that. It was hard not to have a good time. When I was going up to perform with Motion City Soundtrack, which was an exciting thing in itself, I turn around and Bayside is there. And I haven't seen Bayside since we toured with them. God, I don't remember when that was, you know? So there was so much of that. You couldn't help but have a good time.

PETE: I mean, that's an insane festival, right? When they announce it, it looks fake every time. The lineup looks like some kid drew it on their folder at school. For our band, the thing that's a little weird, I think, is that by deciding to change between every album, and then we had the three year break which caused another big time jump, I think that it would be hard for us to focus on one album for that show. We're a band where our fans will debate the best record. So it was amazing that we were able to look backwards and try to build this show that would go through all the eras - nod to Taylor obviously on that one. But it's also an insane idea to take a show that should really be put on for one weekend in a theatre and then try to take it around the world at festivals. The whole time on stage for this particular show production, I'm just like 'Is this thing going to go on time?' Because if the whole thing is working totally flawlessly, it just barely works, you know what I mean? So I give a lot of credit to our crew for doing that, because it's not really a rock show. I know we play rock music and it's a rock festival, but the show itself is not really a rock production, and our crew does a very good job of bending that to fit within the medium.

That show allows you to nod to the past but without falling fully into nostalgia. You are still pushing the band into newer places within it.

PATRICK: That's always been a central thing. We're a weird band, because a lot of bands I know went through a period of rejecting their past, and frankly, I encounter this thing a lot, where people have expected that we stopped interacting with older material. But we always maintained a connection with a lot of the older music. We still close with 'Saturday'. So for us, it was never about letting go of the past. It was about bringing that along with you wherever you go. I'm still the same weird little guy that likes too much music to really pin down. It's just that I've carried that with me through all the different things that I've done and that the band has done. So for us, in terms of going forward and playing new stuff, that's always the thing that's important to me; that there should be new stuff to propel it. I never wanted to be an artist that just gave up on new music and went out and played the hits and collected the check and moved on. It's all got to be creative. That's why I do it. I want to make new music. That's always why I do it. So something like When We Were Young is kind of odd really. It's an odd fit for that, because it's nostalgic, which is not really my vibe all that much. But I found a lot of nostalgia in it. I found a lot of value in looking back and going 'Wow, this was really cool. It was amazing that we did this, that we all did this'. That scene of bands, we're all old now, but it has taken off into such a moment culturally that people can point to.

Let's jump all the way back to the first ever Fall Out Boy show. There is very little evidence of it available online but what are your memories of that performance?

PATRICK: So the very first Fall Out Boy show was at DePaul University in a fancy looking dining hall. I actually applied to DePaul, but I never went there because the band went on tour. I think there were only two or three other bands. One was a band called Stillwell, who were kind of a math rock emo band, and then this heavier, more metallic band. And then we were there, and we had a guitar player, John Flamandan, who I have not seen since that show. He was only in the band for a week or two, and we were still figuring ourselves out. We had three songs and I had never sung before in front of people. I did a talent show at school one time when I was a kid and theatre kind of stuff where you would sing, but it was more in that context. And I was also a kid too. This was the first time ever that I'm the singer for a band and I was fucking terrified. We had a drummer named Ben Rose, really great guy. I haven't seen Ben in a million years, either, but we were still figuring ourselves out. The other thing is that all of us, with me being the exception, were in other bands, and all of our other bands were better than Fall Out Boy was. We were very sloppy and didn't know what we were doing, and so I don't think any of us really took it seriously. But there was a thing that was really funny about it, where even though we kind of thought we sucked, and even though we weren't really focusing on it, we had a lot of fun with each other. We enjoyed trying this other thing, because we were hardcore kids, and we were not the pop punk kids and the pop punk bands in town, that was like 'the thing', and we were not really welcome in that. There was a fun in trying to figure out how to make melodic and pop music when we really didn't have any history with that. It was very obvious that we didn't know what we were doing at the beginning.

So when did it begin to feel like things were finally clicking? When did you find your roles and what you wanted the band to be? 

PETE: In regards to the music, I liked Fall Out boy, way before I probably should have. I remember playing the early demos and it giving me a feeling that I hadn't felt with any of the other bands that I had been in. Now, looking back on it, I might have been a tad early on that. Then as far as the roles, I think that they've been carving themselves out over time. We've always allowed ourselves to gravitate to our strengths. Between me and Patrick, we'd probably make one great, atypical rock artist if we were one person. Because our strengths are things that the other doesn't love as much. But I think that what has happened more is it's less of a fight now and there's more trust. We have a trust with each other. There's things that Patrick will play for me or explain to me, and I don't even really need him to explain it, because I trust him. I may not totally understand it, but I trust him as an artist. On the other side of that, it's also very nice to have someone who can veto your idea, you know what I mean? It's nice to have those kind of checks and balances.

PATRICK: I had been in this band called Patterson, and all three of the other guys sang in kind of a gravelly, Hot Water Music vibe. I was not intending to be a singer, but I would try and sing backups and, it wasn't a criticism, but there was this vibe that, while I could do the gravelly thing, my voice was coming through and it didn't fit. It was too pretty and that became a thing I was kind of embarrassed of. So when Fall Out Boy started, I was actively trying to disguise that and mute it and hide behind affectation. Pete would really push me to stretch my vowels because that was in vogue in pop punk at the time. There were all these different ways that we were trying to suppress me, musically, because we were just trying to figure out how to do the things that the bands we liked did. But that wasn't really us, you know? It's really funny, because 'Take This To Your Grave' was recorded in three sections, about six months apart. Over the course of that time, I can hear us figuring it out. I think a really defining moment for me was 'Saturday', because I am not brave, I am not a bold person, and I do not put myself out there. When I was showing the band 'Saturday', we were jamming on the bit after the second chorus, and I was mumbling around, just mucking my way through it, and I did the falsetto thing. I didn't think anyone could hear me over us bashing around in Joe's parents house in this tiny little room. But Pete stopped, and he goes, 'Do that again'. I was so terrified of doing that in front of these guys, because you gotta remember, I was incredibly shy, but also a drummer. I'd never sung in front of anyone before, and now I'm singing in a band and I'm certainly not going to take chances. So I thought the falsetto thing was really not going to happen, but when I did it, there was this really funny thing. Somehow that song clicked, and it opened up this door for us where we do something different than everybody else. We were aiming to be a pop punk or hardcore band, but we found this thing that felt more natural to me.

As you embarked on Warped Tour, simultaneously you were finding this huge level of pop and mainstream success. How was it navigating and finding your way through those two very different spaces?

PATRICK: I used to work at a used record store and what shows up is all the records after their success. So I got really acquainted and really comfortable with and prepared for the idea of musical failure. I just wanted to do it because I enjoyed doing it. But in terms of planning one's life, I was certain that I would, at most, get to put out a record and then have to go to school when it didn't work out. My parents were very cautious. I said to them after 'Take This To Your Grave' came out that I'm gonna see where this goes, because I didn't expect to be on a label and get to tour. I'm gonna give it a semester, and then it will almost certainly fail, and then after it fails, I'll go to school. And then it didn't fail. Warped Tour was very crazy too, I was talking about this at When We Were Young with My Chem. Both of us were these little shit bands that no one cared about when we booked the tour. Then we got to the tour, and all these people were showing up for us, way more than we expected, way more than Warped Tour expected. So Warped Tour was putting both of us on these little side stages, and the stages would collapse because people were so excited. It was this moment that came out of nowhere all of a sudden. Then we go to Island Records, and I had another conversation with my parents, because every band that I had known up to that point, even the biggest bands in town, they would have their big indie record and then they would go to the major label and drop off the face of the planet forever. So I was certain that was going to happen. I told them again, I'm going to put out this record, and then I'll go to school when this fails. 

PETE: I think that if you really wanted someone to feel like an alien, you would put them on TRL while they were on Warped Tour. You know what I mean? Because it is just bananas. On our bus, the air conditioning didn't work, so we were basically blowing out heat in the summer, but we were just so happy to be on a bus and so happy to be playing shows. You go from that to, two days later, stepping off the bus to brush your teeth and there's a line of people wanting to watch you brush your teeth. In some ways, it was super cool that it was happening with My Chemical Romance too because it didn't feel as random, right? It feels more meant to be. It feels like something is happening. To be on Warped Tour at that time - and if you weren't there, it would be probably hard to imagine, because it's like if Cirque Du Soleil had none of the acrobatics and ran on Monster energy drink. It was a traveling circus, but for it to reach critical mass while we were there, in some ways, was great, because you're not just sitting at home. In between touring, I would come home and I'd be sitting in my bedroom at my parents house. I would think about mortality and the edge of the whole thing and all these existential thoughts you feel when you're by yourself. But on Warped Tour, you go to the signing, you play laser tag, you go to the radio station. So in some ways, it's like you're in this little boot camp, and you don't really even think about anything too much. I guess it was a little bit of a blur.

Pete, when you introduced 'Bang The Doldrums' at When We Were Young, you encouraged the crowd to 'keep making weird shit'. That could almost be a mantra for the band as a whole. Your weirder moments are the ones that made you. Even a song like 'Dance Dance' has a rhythm section you never would have expected to hear on a rock track at that time.

PETE: You know, I just watched 'Joker 2' and I loved it. I do understand why people wouldn't because it subverts the whole thing. It subverts everything about the first one. That's something I've always really loved, when I watch artists who could keep making the same thing, and instead they make something that's challenging to them or challenging to their audience. Sometimes you miss, sometimes you do a big thing and you miss, and we've definitely done that. But I gotta say, all the things that I've really loved about art and music, and that has enriched my life, is when people take chances. You don't get the invention of anything new without that. To not make weird stuff would feel odd, and I personally would much rather lose and miss doing our own thing. To play it safe and cut yourself off around the edges and sand it down and then miss also, those are the worst misses, because you didn't even go big as yourself. This is where we connect with each other, we connect by our flaws and the little weird neuroses that we have. I rarely look at something and go 'Wow, that safe little idea really moved me'. I guess it happens, but I think about this with something like 'Joker 2' where this director was given the keys and you can just do anything. I think a lot of times somebody would just make an expected follow up but some people turn right when they're supposed to turn left. That's always been interesting on an artistic level, but at the same time, I think you're more likely to miss big when you do that.

PATRICK: Going into 'From Under The Cork Tree', I had this sense that this is my only shot. It has already outperformed what I expected. I don't want to be locked into doing the same thing forever, because I know me. I know I'm not Mr. Pop Punk, that's just one of many things I like. So I would be so bummed if for the rest of my life, I had to impersonate myself from when I was 17 and have to live in that forever. So I consciously wanted to put a lot of weird stuff on that record because I thought it was probably my only moment. 'Sugar, We're Goin Down' was a fairly straight ahead pop punk song but even that was weird for us, because it was slow. I remember being really scared about how slow it was, because it's almost mosh tempo for the whole song, which was not anything we had done up to that point. But in every direction, in every song, I was actively trying to push the boundaries as much as I could. 'Dance, Dance' was one of those ones where I was seeing what I can get away with, because I might never get this chance again. We were on tour with a friend's band, and I remember playing the record for them. I remember specifically playing 'Our Lawyer…' that opens the record, which has that 6/8 time feel, and they kind of look at me, like 'What?'. Then I played 'Dance, Dance', and they're like, 'Hey man, you know, whatever works for you. It's been nice knowing you'. But I just knew that, on the off chance that I ended up still being a musician in my 40s, I wanted to still love the music that we made. I didn't want to ever resent it. It's ironic because people say that bands sell out when they don't make the same thing over and over again. But wait a second. Say that again. Think about that.

That attitude seemed to carry directly into 'Infinity On High'. If you may never end up doing this again then let's make sure we bring in the orchestra while we still can... 

PATRICK: That was literally something that I did say to myself this might be the last time, the likelihood is we're going to fail because that's what happens, so this might be the last time that I ever get a chance to have somebody pay for an orchestra and a choir. I always think of The Who when they did 'A Quick One, While He's Away' and there's a part where they go 'cello, cello', because they couldn't afford real cellos, they couldn't afford players. That's what I thought would happen for me in life. So I went in and thought, let's do it all. Let's throw everything at the wall, because there's no chance that it's going to happen again. So many things came together on that record, but I didn't expect it. 'Arms Race' was a very weird song, and I was shocked when management went along with it and had kind of decided that would be the single. I was in disbelief. It did not feel like a single but it worked for us. It was a pretty big song and then 'Thnks Fr Th Mmrs' was easily the big hit off that record. So then we have two hit songs off of an album that I didn't even know would come out at that point. But again, it was very much just about taking the risks and seeing what the hell happened.

As you went on hiatus for a few years, you worked on a number of other creative projects. How did those end up influencing your approach to the band when you returned?

PETE: On the areas of the band where I led, I wanted to be a better leader. When you're younger and you're fighting for your ideas, I don't think that I was the greatest listener. I just wanted to be a better cog in the machine. When you're in a band originally, no one gives you the little band handbook and says 'these are the things you should do', you know? I just wanted to be a better version of who I was in the band. 

PATRICK: There's a combination of things. 'Soul Punk' is a weird record. I love that record but I kind of resent that record for so many things. It's my solo record, but it's also not very me in a lot of ways. I had started with a very odd little art rock record, and then I had some personal tragedies happen. My EP that I put out far out sold expectations so then all of a sudden, Island Records goes, 'Oh, we think this could actually be something we want singles for'. I think we had all expected that I would be putting out a smaller indie record but then all of a sudden they were like 'oh, you could be a pop star'. So then I have to retrofit this art rock record into pop star hit music, and also channel personal tragedy through it. I hadn't ever really been a front man - I'd been a singer, but I hadn't really been a front man, and I hadn't really written lyrics, certainly not introspective, personal lyrics. So that whole record is so strange and muted to me. So I went from that album, which also failed so fucking hard - I should have gone to school after that one. But Pete had reached out to me just as a friend, and said 'I know you're in your own thing right now, and I know that you're not the kind of person that is going to be in my fantasy football league, so I'm not going to see you unless we make music. But you're my buddy, and that kind of bums me out that I don't see you at all, so I guess we have to make music'. I thought that was a fairly convincing pitch. It's true, that was what we do when we hang out - we make music. So we reconvene, and going into it, I had all these lessons that really made me understand Pete better, because Pete is the natural front end person. So many of our arguments and frustrations and the things that we didn't see eye to eye on, I grew to understand having now been in the position of the point man that had to make all the decisions for my solo thing. It really flipped my understanding of why he said the things he would say, or why he did things he would do. I remember early on thinking he was so pushy, but then, in retrospect, you realise he was doing it for a reason. There's so many little things that really changed for me doing 'Soul Punk' that were not musical but were more about how you run a band and how you run a business, that made me understand and respect him a lot more.

What are memories of that initial return and, specifically, that tiny first show back at the Metro venue in Chicago?

PETE: Those first shows were definitely magical because I really wasn't sure that we would be on a stage again together. I don't have as many memories of some of our other first things. We were just talking about Warped Tour, I don't have many memories of those because it is almost wasted on you when it's a blur and there's so many things happening. But with this, I really wanted to not take it for granted and wanted to take in all the moments and have snapshots in our own heads of that show. I did a lot of other art during the time when we were off, everybody did, but there's a magic between the four of us and it was nice to know that it was real. When we got on that stage again at the Metro for the first time, there was something that's just a little different. I can't really put my finger on it, but it makes that art that we were making separately different than all the other stuff.

Musically, as you moved forward, everything sounded much bigger, almost ready for arenas and stadiums. Was that a conscious decision on your part?

PETE: Patrick felt like he was bursting with these ideas. It felt like these had been lying in wait, and they were big, and they were out there, and whether he'd saved them for those records, I don't really know. That's what it felt like to me. With 'Save Rock And Roll', we knew we had basically one shot. There were really three options; you'll have this other period in your career, no one will care or this will be the torch that burns the whole thing down. So we wanted to have it be at least on our terms. Then I think with 'American Beauty...' it was slightly different, because we made that record as fast as we could. We were in a pop sphere. Is there a way for a band to be competitive with DJs and rappers in terms of response time? Are we able to be on the scene and have it happen as quickly? I think it kind of made us insane a little bit. With 'American Beauty…', we really realised that we were not going to walk that same path in pop culture and that we would need to 'Trojan horse' our way into the conversation in some way. So we thought these songs could be played in stadiums, that these songs could be end titles. What are other avenues? Because radio didn't want this right now, so what are other avenues to make it to that conversation? Maybe this is just in my head but I thought 'Uma Thurman' could be a sister song to 'Dance, Dance' or maybe even 'Arms Race' where it is weird but it has pop elements to it.

PATRICK: I had a feeling on 'Save Rock And Roll' that it was kind of disjointed. It was a lot of good songs, but they were all over the place. So when we went into 'American Beauty…', I really wanted to make something cohesive. I do think that record is very coherent and very succinct - you either like it or you don't, and that's pretty much it all the way through. By the time we got to 'MANIA', I had done all this production and I'd started to get into scoring. The band had done so many things and taken so many weird chances that I just felt free to do whatever. At that point, no one's going to disown me if I try something really strange so let's see what happens. 'Young And Menace' was a big part of that experiment. People hate that song, and that's okay. It was meant to be challenging, it's obviously not supposed to be a pop song. It's an abrasive song, it should not have been a single. However, I do think that record should have been more like that. Towards the end of the production, there was this scramble of like, 'Oh, fuck, we have no pop music on this and we need to have singles' and things like that. That took over that record and became the last minute push. I think the last half of that record was recorded in the span of two weeks towards the end of the recording to try and pad it with more pop related songs. I look at that record and think it should have all been 'Young And Menace'. That should have been our 'Kid A' or something. It should have really challenged people.

But we have spoken before about how 'Folie à Deux' found its audience much later. It does feel like something similar is already beginning to happen with 'MANIA'...

PETE: I agree with you, and I think that's a great question, because I always thought like that. There's things that you're not there for, but you wish you were there. I always thought about it when we put out 'MANIA', because I don't know if it's for everyone, but this is your moment where you could change the course of history, you know, this could be your next 'Folie à Deux', which is bizarre because they're completely different records. But it also seems, and I think I have this with films and bands and stuff as well, that while one thing ascends, you see people grab onto the thing that other people wouldn't know, right? It's like me talking about 'Joker 2' - why not talk about the first one? That's the one that everybody likes. Maybe it's contrarian, I don't really know. I just purely like it. I'm sure that's what people say about 'Folie à Deux' and 'MANIA' as well. But there's something in the ascent where people begin to diverge, you are able to separate them and go 'Well, maybe this one's just for me and people like me. I like these other ones that other people talk about, but this one speaks to me'. I think over time, as they separate, the more people are able to say that. And then I can say this, because Patrick does music, I think that sometimes he's early on ideas, and time catches up with it a little bit as well. The ideas, and the guest on the record, they all make a little bit more sense as time goes on.

'MANIA' is almost the first of your albums designed for the streaming era. Everything is so different so people could almost pick and choose their own playlist.

PETE: Of course, you can curate it yourself. That's a great point. I think that the other point that you just made me think of is this was the first time where we realised, well, there's not really gatekeepers. The song will raise its hand, just like exactly what you're saying. So we should have probably just had 'The Last Of The Real Ones' be an early single, because that song was the one that people reacted to. But I think that there was still the old way of thinking in terms of picking the song that we think has the best chance, or whatever. But since then, we've just allowed the songs to dictate what path they take. I think that that's brilliant. If I'd had a chance to do that, curate my own record and pick the Metallica songs or whatever,that would be fantastic. So it was truly a learning experience in the way you release art to me.

PATRICK: After 'MANIA', I realised Fall Out Boy can't be the place for me to try everything. It's just not. We've been around for too long. We've been doing things for too long. It can't be my place to throw everything at the wall. There's too much that I've learned from scoring and from production now to put it all into it. So the scoring thing really became even more necessary. I needed it, emotionally. I needed a place to do everything, to have tubas and learn how to write jazz and how to write for the first trumpet. So then going into 'So Much (For) Stardust', it had the effect of making me more excited about rock music again, because I didn't feel the weight of all of this musical experimentation so I could just enjoy writing a rock song. It's funny, because I think it really grew into that towards the end of writing the record. I'd bet you, if we waited another month, it would probably be all more rock, because I had a rediscovered interest in it.

It's interesting you talk about the enjoyment of rock music again because that joy comes through on 'So Much (For) Stardust' in a major way, particularly on something like the title track. When the four of you all hit those closing harmonies together, especially live, that's a moment where everything feels fully cohesive and together and you can really enjoy yourselves. There's still experimental moments on the album but you guys are in a very confident and comfortable space right now and it definitely shows in the music. 

PATRICK: Yeah, I think that's a great point. When you talk about experimentation too and comfort, that's really the thing isn't it? This is always a thing that bugged me, because I never liked to jam when I was a kid. I really wanted to learn the part, memorise it and play it. Miles Davis was a side man for 20 years before he started doing his thing. You need to learn the shit out of your music theory and your instrument - you need to learn all the rules before you break them. I always had that mindset. But at this point, we as a band have worked with each other so much that now we can fuck around musically in ways that we didn't used to be able to and it's really exciting. There's just so much I notice now. There are ways that we all play that are really hard to describe. I think if you were to pull any one of the four of us out of it, I would really miss it. I would really miss that. It is this kind of alchemy of the way everyone works together. It's confidence, it's also comfort. It's like there's a home to it that I feel works so well. It's how I'm able to sing the way I sing, or it's how Andy's able to play the way he plays. There's something to it. We unlock stuff for each other.

Before we close, we must mention the other big live moment you had this year. You had played at Download Festival before but taking the headline slot, especially given the history of Donington, must have felt extra special. 

PETE: It felt insane. We always have a little bit of nerves about Download, wondering are we heavy enough? To the credit of the fans and the other bands playing, we have always felt so welcomed when we're there. There's very few times where you can look back on a time when... so, if I was a professional baseball player, and I'm throwing a ball against the wall in my parents garage as a kid, I could draw a direct link from the feeling of wanting to do that. I remember watching Metallica videos at Donington and thinking 'I want to be in Metallica at Donington'. That's not exactly how it turned out, but in some ways there is that direct link. On just a personal level, my family came over and got to see the festival. They were wearing the boots and we were in the mud. All this stuff that I would describe to them sounds insane when you tell your family in America - 'It's raining, but people love it'. For them to get to experience that was super special for me as well. We played the biggest production we've ever had and to get to do that there, the whole thing really made my summer.

PATRICK: There's not really words for it. It feels so improbable and so unlikely. Something hit me this last year, this last tour, where I would get out on stage and I'd be like, 'Wait, fucking seriously? People still want to see us and want to hear us?' It feels so strange and surreal. I go home and I'm just some schlubby Dad and I have to take out the compost and I have to remember to run the dishwasher. I live this not very exciting life, and then I get out there at Download and it's all these people. Because I'm naturally kind of shy, for years, I would look down when I played because I was so stressed about what was happening. Confidence and all these have given me a different posture so when I go out there, I can really see it, and it really hits you. Download, like you said, we've done before, but there's something very different about where I am now as a person. So I can really be there. And when you walk out on that stage, it is astounding. It forces you to play better and work harder, because these people waited for us. The show is the audience and your interaction with it. In the same way that the band has this alchemy to it, we can't play a show like that without that audience.

[james-bucky-barnackle]

Froyo

Synopsis: During a premiere red carpet with Drew, an interviewer’s question accidentally reveals that a seemingly ordinary dinner was actually Drew’s attempt at a first date covered by two random tiktoks. Pairing: Drew Starkey x Actress!Reader Word Count: IDK I'm too sleep deprived to count A/N: I know I still owe you guys a Gwayne Hightower fanfic, but the chokehold Drew fucking Starkey has on me is insane. btw, I realized this is the second time I've created a fic based on real people vs the normal Marvel character thingy I do. And to be honest, there's gonna be a lot more... so maybe I should make this a series considering they're all triggered by an interview and Y/N's always an actress lol. ALSO at the end, there's a poll on what you think should happen next, and best believe I'll do my best to write that.

There’s an edit circulating on TikTok of you and your co-star Drew Starkey from your red carpet interview together. You’re both starring in an Amazon limited series about college classmates who become close after witnessing your professor’s murder and are now on a shared mission to solve the crime. You’ve known him closely for a year now, but have been following his career even before that. I mean, who wouldn’t? The man is gorgeous. But of course, you couldn’t let him know that.

As shooting began, the two of you grew closer, and you decided to be professional and put that whole fascination aside. You’ve both even dated other actors and celebrities, which have also been topics for gossip channels and paparazzi photos. Despite all that, you’ve hung out plenty, mostly in groups but also during breaks in filming—often grabbing lunch and coffee together.

Today, you and Drew are laughing as you finally see the edit that’s been at the top of both your PR’s nightmare list.

You’re dressed in an elegant beige gown, skin-tight and slightly sheer, which Carrie Bradshaw would definitely call the naked dress. Your hair is pulled back in a low bun, bangs effortlessly framing your face. You’ve just arrived at the red carpet, taking your time to chat with interviewers. The first few questions are light, mostly about how fun it was working on set and, of course, what you're wearing.

After a few minutes, Drew catches up to you. He’s in a baby blue suit, sepia shades covering his eyes, smelling incredible. His presence is like a tight, warm hug—well, a little tighter on your chest. His voice sends tingles down your spine as he whispers, one hand casually placed on the small of your back.

“What did I miss?” He smiles at you and the interviewer.

“Oh, nothing much, I was just telling Amelia how you’re always late to everything.” You smirk, shooting a playful look at the camera. Amelia, your interviewer, raises her eyebrows dramatically, playing along. Both of you laugh as Drew backs away, feigning offense.

“I’ve been here since like—” He starts to defend himself.

“Like five minutes ago,” you say, rolling your eyes.

“Valid,” he agrees with a shrug, laughing.

Amelia continues her interview, moving on to ask about the possibility of a second season.

“I mean, yeah, I’d love to do a second season, for sure,” you nod, glancing at Drew, who’s nodding along, letting you take the lead. “But I’m not sure if it makes sense, since it was originally written as a one-season story. For that to happen, someone might have to die again so Kelsea and James can investigate something new.”

Kelsea and James are the names of the characters you play—who, of course, end up dating on the show.

“So you’re saying someone has to die for the two of you to get back together on set?” Amelia jokes, her deadpan delivery only making it funnier.

“I mean, I don’t know!” You laugh. “You’re twisting my words, Amelia!”

“I honestly think you just don’t want to hang out with me anymore, Y/N,” Drew chimes in, a playful pout on his face. “I’m hurt.”

“Is that why there wasn’t a second date?” Amelia asks, teasingly. Her tone is light, but the question lands hard. Drew’s eyes widen in surprise, his smile freezing as if even he didn’t see that one coming. He covers his mouth, trying not to laugh while you stand there, looking utterly confused.

“Second date? What?” You laugh, trying to figure out if this is some sort of red carpet joke you weren’t briefed on. You glance at Drew, who’s just shaking his head, still grinning but not offering any explanations.

You lower your voice, leaning towards him, “What is she—what date?” You chuckle awkwardly, trying to maintain your cool, though the confusion is clearly written all over your face. Drew glances at Amelia, then back at you, and you can tell he feels a little bad now.

Finally, after what feels like an eternity of awkward silence, Drew admits, “When we got dinner and froyo.” He says it so nonchalantly that it takes you a second to process.

“That was a date?!” you whisper-yell, smacking his arm, your jaw practically hitting the floor. “You said it was just dinner!”

“I know!” Drew laughs, his cheeks turning a little pink. “I said that because I thought you didn’t like me back! I was sending out signals!”

“What signals?” you ask, still reeling from the shock. “That’s unfair, you said it was just dinner! I feel so bad—I didn’t know!” You place your hand on his arm, squeezing it apologetically. You’re both laughing now, but you’re also genuinely flustered.

“I did tell you!” Drew protests. “I said, ‘Do you want to have dinner with me?’ And you were like, ‘Are we bringing Madz along?’ And when I said no, you were like, ‘Why?’”

“That is not enough, Drew!” You laugh, cheeks burning with embarrassment. Your PR team is probably dying, but at least this little moment might boost some publicity for the show. You actually remember the video Amelia might be referring to; your assistant had sent it to you a few months back. You found it interesting and even funny because you honestly thought it was just a fan shipping the two of you together—cutting together videos and photos of you and Drew when you were out to eat. You try to recall what that day was like and pick apart whatever signals Drew was referring to, but you really can’t remember anything different from the way he’s interacted with you since you two first met.

You realize the gag has gone on long enough and decide to wrap it up before the awkwardness can escalate further.

“Amelia, I’m so sorry about this,” you say with a dramatic sigh, trying to regain your composure. “Even while confessing his undying love for me, he’s still late. Men, what can you do?”

Drew, still chuckling, wraps an arm around you and presses a soft kiss to your forehead, his way of apologizing. You feel a warmth settle over you, even as your mind is still catching up to everything.

The camera flashes pop around you, and suddenly, those TikTok edits of you looking perpetually confused start to make a little more sense.

When the premiere starts, halfway through the screening, you excuse yourself to the bathroom. You check your makeup, but instead of heading straight back to the theater, you decide to take a moment. The whole "date reveal" situation has thrown you off more than you realized, and you need a second to process it. You stare at your reflection in the mirror, replaying the interview in your head. You haven't had the chance to talk to Drew about it since, and the thought lingers in the back of your mind. You don’t want another clueless moment to make it into the tabloids.

You wash your hands, fix your makeup, and prepare to head back out. But as you step through the door, you see Drew standing there, waiting.

“Well, look who it is—the jokester,” you say, crossing your arms with a mock grin. “Here to ask me out on another one-sided date?”

Drew smirks, stepping closer. “Huh? What are you talking about? I’m just here to pee,” he teases, nudging your shoulder.

“Not funny,” you mutter, rolling your eyes but feeling a smile tug at the corner of your mouth.

“Hey, I’m sorry.” His smile softens, and for the first time since the red carpet, you can tell he actually feels a little guilty. “I really am.”

“You should be!” You huff, but your tone is playful now, your annoyance melting away as you meet his eyes. "That was so long ago."

Drew takes a step closer, and you suddenly become very aware of the quietness around you. It’s just the two of you now, the noise of the premiere distant, almost forgotten. His gaze flickers to your lips for just a second, and your heart skips a beat.

“Y/N…” He hesitates, like he’s trying to find the right words. “About that second date…”

“You mean actual first date?” you correct him, raising an eyebrow, trying to keep your cool.

Drew pauses, then chuckles softly. “Yeah,” he admits, rubbing the back of his neck. “Actual first date. What do you think?”

You stare at him, caught off guard. You weren’t expecting him to just put it out there like that. His easygoing nature usually means he hides behind jokes or avoids direct confrontation. But now, with no cameras, no noise—just you and him—he’s being sincere.

“You know,” you say, your voice quieter now, “if you made it clear the first time, I still would’ve said yes.”

Drew’s eyes widen slightly, and a smile slowly spreads across his face. “Really?”

“Yeah,” you nod, feeling a mix of relief and excitement. “Really.”

His grin widens, and there’s something boyishly excited about it, like you’ve just given him the best news of the day. “No froyo this time, I promise.”

“Good,” you laugh. “Because that wasn’t a date.”

“Duly noted.” He steps closer, his hand brushing yours, and this time it doesn’t feel accidental. His fingers curl around yours lightly, the touch sending a spark through you.

“You know, we could leave early,” he suggests, glancing back towards the theater. “Skip the rest of the screening, maybe grab some dinner… somewhere where I make it clear it’s a date.”

You bite your lip, considering it, but your eyes narrow playfully. “And deal with the wrath of our PR teams later? You must love living dangerously.”

He chuckles, shaking his head. “You make a good point. But I promise, after all the photos, after all the interviews... we’ll do this right.”

You nod, smiling at him. “I’ll hold you to that.”

With that, you both walk back into the theater. His hand lingers on yours for a moment longer before he finally lets go, and even as you take your seats for the rest of the screening, the air between you has changed.

You glance at him once more, feeling that familiar warmth return, only this time, it’s not confusing or awkward.

The noise of the film dims around you, though you’re still hyper-aware of the room, the hundreds of eyes on the screen, and the occasional flash from the press in the back. Drew leans back in his seat, arms crossed loosely, but he’s not watching the movie either. Instead, he looks over at you, catching your eye.

You feel the heat rise in your cheeks, and you quickly face forward, pretending to focus on the movie. But then, from the corner of your vision, you feel him move slightly closer. The tension that was always there, that you’d pushed aside so many times, is undeniable now.

After the premiere ends, there’s the usual round of applause and the hum of people slowly rising to leave. Drew stands up first, offering you his hand, and even though you can stand up just fine on your own, you take it. There’s something about that gesture that feels significant—like you’ve crossed a line you didn’t realize you were approaching until now.

You’re both still in work mode, nodding and smiling at the industry people you pass, but the moment you’re outside, the cool night air hitting your face, Drew turns to you, a glint of mischief in his eyes.

“Alright,” he says, running a hand through his hair. “How do you feel about grabbing that dinner tonight?”

You blink, caught off guard by how fast he’s moving. “Tonight? We just got out of the premiere,” you laugh, though there’s excitement bubbling under the surface. “I know, but if I wait any longer, who knows what crazy schedules we’ll get caught up in again.” He steps closer, his smile genuine, warm. “I’ve waited this long to actually do it right. What’s a few more hours?"

“Alright,” you say, a grin breaking through. “Let’s do it. Dinner—our actual first date.”

His eyes light up. “Great. I know a place.”

The restaurant Drew takes you to is tucked away, quiet and intimate, and you laugh at how quaint it is, most of the other diners are old enough to be your grandparents. You feel comfort knowing most of them don't have phones let alone know who the both of you are. For all they care, you could be two kids coming home from a costume party just ending the night with a bite.

“So,” you say as you both sit down, menus in hand but neither of you really looking at them. “This is what a proper date feels like, huh?”

Drew leans back in his chair, grinning. “Better than froyo, right?”

You laugh, rolling your eyes. “Significantly better.”

There’s a moment of comfortable silence, the kind where you both just look at each other and realize this is happening—really happening. You’re on a date with Drew, and it’s not some PR stunt or a casual hangout. It’s real. And for the first time, you’re letting yourself want it. "You think they're wondering why we're over dressed?" You hide behind a menu. "Overdressed? Excuse me? This is what I wear everyday." Drew retorts, making you chortle.

“So,” you say, resting your chin on your hand, “What’s the plan after this? Froyo?”

Drew chuckles, shaking his head. “You’re never going to let me live that down, are you?”

“Not a chance.”

He grins, eyes glinting with that same playful energy you’ve always liked. “Well, I’ll make sure tonight’s memorable enough that it overshadows that.”

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[cupcakeslushie]

Now that 2024 is coming to a close:

1) Of everything you've made this year, which ones are you the most proud of?

2) What are a few of your favorite things (art, comics, fics, etc) that someone else has made this past year?

1. Probably these two? (I’m leaving out EW comic pages, because I’m so happy to have finished another arc! So that whole thing counts as one lol). Also a pic of my big crawfish piece that sold after six months of putting it out at every market!! I’m very proud of it and happy it went to a good home!

2. This is much harder because there’s an insane amount that had me like 🤩 this year….

This piece of my angry boy, by @kathaynesart! It’s still my iPhone wallpaper!! She nailed the pose and the atmosphere!! He looks so badass!

This piece by @matchstique has also been my laptop screen for so long! (I also loved every single submission for this dtiys! It was my first time doing one, and I’ll definitely be doing another at some point. All the submission were so sweet, and amazing!

@tizeline drew me this for our secret Santa discord exchange and I love it!!!! It’s been my iPad screen! There’s so much whimsy and silliness 😂!!

As for fanfics I’ve been screaming about @qoldenskies’s Canary Continuity so much, it’s probably no secret that it’s my top fic of the year!! It’s just amazing.

A Bird in Your Teeth by stillateenageabomination for my Feral Leo AU absolutely destroyed me. I cried for forever 🥰

Also Service Manual by @fluffydice for my Kendratello AU was great! I loved the way they wrote Donnie’s healing

Neon Void by @sugarpasteltmnt was finished this year and it had me by the throat from start to finish!

Firefight by @remedyturtles was the perfect, equal (okay maaaybe not—more like 70/30) parts angst and comfort!! Amazing disaster twins fic!

@dandylovesturtles Emotional Support Water Bottles series has been great. Dandy is one of the best Rise authors that just absolutely NAILS every single brother’s voice and personality in their writing. I’d list everything else they’ve done this year, just because the second Dandy puts something new out, I am THERE.

And I just started re-reading Lemonade Leak by @turtleinsoup literally last night and read 21 chapters in one sitting, and can’t wait to fully finish catching up.

There’s about a thousand more links I wanna think of, but my brain is like a smooth piece of sea glass, and I can’t remember much more. But this fandom is so talented, I always wanna just go on and on and on for these things!

[dear-ao3]

hey wait im also new to f1 but i saw the other ask and i was curious abt what you meant when you said no one will ever do it like nico rosberg?? also retiring after your first championship win is insane lmao what a power move

nico rosberg is just. he’s insane. he’s cunty. he’s wonderful. he possesses sass and audacity unlike any other. we unfortunately do not have time to get into his whole story (my lunch break is only so long) but here’s some highlights:

-technically he’s a nepo baby. his dad, keke rosberg, won the world championship in 1982 and they remain one of the Few father son duos to both win a world championship (don’t ask me who the others are idk but i know they exist)

-he and lewis hamilton met when they were kids in the late 90s sometime and were gokarting teammates at some point in i think the early 2000s? (not fact checking i don’t have the time rn) and they were Besties. they’ve talked about this before, mostly in older interviews, but the gist is that both of them were outcasts from the other karting kid in opposite ways (nico was the son of a champion and rich and lewis was from nothing and pretty much the only poc most of the time) and that drew them together and they were Menaces according to legend. everything was a competition and they trashed hotel rooms and ate pizza and ice cream and kellogg frosties and went to greece and dreamed of being in f1 together

-nico signed with williams in 2006. his teammate was mark webber. and nico had long flowing blonde hair (this is important). he crashed at one race and mark webber said “britney’s in the wall” cementing the nickname britney, like britney spears. jenson button (another driver) said later on that they called nico britney because he was “very pretty” (do with that what you will)

-he was just. insane. cunty. constantly looked like a european bond villain. wore god awful shoes. whole bit. once he stayed in his car when it got craned off the track cause he didn’t want his hair to get wet. which is insane cause he’s wearing a helmet it would have gotten equally as not wet had he gotten out.

-anyway, lewis made it to f1 in 2007 and they had their first podium together i think that year (?) and it’s cute and fun and oh boy you’re not ready for what these two have coming

-lewis won the championship in 2008 (but he almost won in 2007, his rookie year) at mclaren.

-nico went to mercedes when they recentered the grid in 2010. his teammate was michael schumacher, who was fresh out of retirement. (yes the michael schumacher, 7x world champion). michael fucked with nico endlessly according to legend, including making him piss in a bucket pre race because he would hog the bathroom until the last possible second. nico still out preformed him most of the time, and the car was mid as hell.

-michael retired part 2 at the end of 2012. and who replaced him but lewis hamilton

-so the two of them were teammates again. the cards were absolute Stacked against them. because yes they were besties yes they’d known eachother forever but the first person you’re judged against is your teammate. and you’re trying to beat your teammate. and lewis already had a championship. nico wanted a championship.

-2013 was relatively chill. the car was kinda mid. they did well but not fantastic and did some fuck ass pr (highly reccomend looking those videos up)

-2014 they had a car that could win. and they started fighting eachother for wins. they played all kinds of mind games against eachother and withheld stats and nico ran illegal engine modes (supposedly) and lewis said they were no longer friends after nico supposedly wrecked his monaco qualifying one year but they claimed they still supported eachother and were friends off track. lewis won in 2014 and in 2015. but nico was right behind him and he wanted to win a championship, he didn’t want to be a number 2 driver

-so in 2016 nico did some insane shit. he stopped sleeping with his wife so that he could get better sleep or something, he did weird things to cut weight, he basically did everything and then some to win. and then he did. he won the championship and then at the prize giving ceremony announced he was retiring. he didn’t tell lewis this.

more after i get off work :)

[kobebibebi]

@thegiftedau toolshed sketch(-ish)

this tfbw au has been stuck in my brain since last year, genuinely i have been thinking about it almost everyday,i cannot stress how much i think about this specific au,,, i check their profile so frequently just to see updates 😔

the designs, the backstories, the concepts, the characters, the writing AAA EVERYTHING about this au is perfect, well-executed and amazing omfg i love the gifted au so much you do not understand 💔💔

there hasn't been much out from this au but it's already so great im so excited to see more fr

i drew this in class so yea i call it a sketch lmao

but yeah i have like so many wips, due gifts, and things to prioritize but my brain said gifted au fanart NOW,, so i did

also i really need to draw more of my own au :')),

ik i have to do paladin butters next (yes i can see ur asks) but school is taking all of my time it's insane how i even drew this, but ngl it's a really great au 😭

but srsly school is taking such a toll on my mental health,, it's only the second week and im already drowning in schoolwork,,,,,,,,, so i might draw more fanart of south park aus that i really really love 👀

these south park aus are honestly whats keeping me together rn