[image id: a four-page comic. it is titled "immortality” after the poem by clare harner (more popularly known as “do not stand at my grave and weep”). the first page shows paleontologists digging up fossils at a dig. it reads, “do not stand at my grave and weep. i am not there. i do not sleep.” page two features several prehistoric creatures living in the wild. not featured but notable, each have modern descendants: horses, cetaceans, horsetail plants, and crocodilians. it reads, “i am a thousand winds that blow. i am the diamond glints on snow. i am the sunlight on ripened grain. i am the gentle autumn rain.” the third page shows archaeopteryx in the treetops and the skies, then a modern museum-goer reading the placard on a fossil display. it reads, “when you awaken in the morning’s hush, i am the swift uplifting rush, of quiet birds in circled flight. i am the soft stars that shine at night. do not stand at my grave and cry.” the fourth page shows a chicken in a field. it reads, “i am not there. i did not die” / end id]
a comic i made in about 15 hours for my school’s comic anthology. the theme was “evolution”
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people bitching and moaning about fob "turning mainstream" as if that was never the entire point of fall out boy. that's In the goddamn dna of the band, it's baked into the ethos of why the band started in the first damn place. to be accessible to kids and especially to girls, who were often ridiculed and shunted out of the hardcore community. to be a gateway to bands that aren't as mainstream. to comment on the society they live in, as they live in it. people act like fall out boy "turning mainstream" was some kind of "betrayal" when from the start they were seizing on the trends of the time, putting their unique, unhinged fall out boy spin on them, and shooting them back out as a funhouse mirror. take this to your grave capitalized on the pop-punk zeitgeist that was big in the late 90s and early aughts and put their own spin on it: enmeshed catchy choruses with high-dexterity lyrical & linguistic skewerwork. infinity on high was basically a massive critique of the scene they were in - this ain't a scene it's a goddamn arm's race is a fucking thesis statement on what it is to be catapulted into fame in an industry that wants nothing more than a thousand cookie-cutter copycat acts of a successful formula, and fall out boy WAS the formula everyone desperately wanted to emulate. american beauty / american psycho blended sampling and modern hip-hop stylings with polished pop-rock and pointed those songs back at the snapshot of the 2010s we all lived in: commenting on racial injustice and the freeze-frame nature of relevancy. but even then they weren't doing it quite right - because fall out boy never does things quite right, they're never quite conventional, whether it's wentz's darkly confessional lyrics double-bagged in metaphor or stump's distinctive clear tenor or trohman's inescapable rock 'n roll edge or hurley's thunderous hardcore-punk-rock soul.
this band has always been too clever for its own critics, is the thing. but then, they always knew that. they knew they had a thriving fanbase of largely female fans so they were going to be mocked and belittled and ridiculed. they weren't quite right. they weren't quite so easy to market. pete wentz had to have all his hard edges filed off and cut down to size, skin lightened, literally whitewashed ("i feel like a photo that's been overexposed") to hell and back, even as he was marketed as the pretty boy of the band. and the other three members never even bothered with the spotlight: the soft-spoken vegan straightedge anarchist drummer and the wry, wisecracking, whip-clever guitarist who was more concerned with being the connective tissue than anything and the reticent vocalist who sang the words and wrote an awful lot of music but wasn't really the guy fronting the band. wentz's charisma carried the band, because the rest of them were really just some guys and never aspired to be anything else.
fall out boy is too pop. fall out boy is too mainstream. fall out boy isn't the real poster child of the emo movement. other bands are better. even within fall out boy's own narrative, they are repeatedly ignored, sidelined, and belittled, as though they weren't one of the only acts from the big 00s emo-pop movement to successfully not just survive the transition from the aughts to the '10s, and then later from the '10s to the '20s, but to thrive in it without banking on nostalgia. this band was supposed to be a flash in the pan. they weren't supposed to last and they weren't supposed to get big. they started off in joe's parents' attic because joe and pete were sick of how exclusionary and homophobic the hardcore scene was.
i think it's high time that people acknowledge how fall out boy has repeatedly succeeded where most of their other peers failed. cunning, clever, capable, and hyper-aware of the space they occupy in the culture surrounding them. that they are just as powerful, important, and artistic as any of the other bands in the scene that others might deify at their expense. that they deserve a hell of a lot more respect than they get from critics or hardcore punks who think they sold out. i hope one day they get that recognition. because they've earned it, time and time again, and the more i see people pushing back against that, the more certain i become of its inevitability.
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I wonder how many people really love and relate to Alisaie because they too were the girl who struggled to understand how folks around her could act like suffering and selfishness and hivemind behavior was normal and their softness was called a weakness and so they built up an abrasive exterior to force people to take them seriously and now they don't know how to be vulnerable without feeling embarrassed or cringe even though they still feel things so deeply it's almost suffocating...
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"well, look what we have here. welcome aboard, princess."
a macheresin pirate x prince au that has completely taken over my life. (@salemfrogtrials i blame you)
jake's the captain of the hidden dagger, one of the kingdom's most prolific pirate crews. he's cocky and arrogant and doesn't let anyone get close to him. javy is the crown prince, sheltered from birth and knowing nothing about the world. he runs away one day and gets kidnapped by jake's crew, who are ecstatic to have the prince as ransom. except, they quickly realize that using the prince as a bargaining chip won't work, and javy actually wants to stay.
jake decides to let the prince stay. and of course, they fall in love.
javy learns what it's like to be loved for who you are, not who you're expected to be; jake learns what it's like to be loved despite who you and others think you are.
(natasha is javy's knight who is leading the charge to rescue him. reuben and mickey are part of her crew. the rest of the daggers are a part of jake's crew.)
if you want to hear about the choices behind my designs ↓
jake: long hair and a beard because pirate lol, he's got fancy belts and necklaces and earrings and keeps a sword on him. he's got green on him bc he deviates slightly from your typical pirate color scheme, reflecting how despite his appearance, he is, in fact, a green flag. lol.
javy: his main color is purple because it reflects royalty. on his prince outfit, the orange represents rebellion as its his favorite color and a part of his individuality. he doesn't have his piercings or eyebrow slit before he runs away, but after he joins jake he does (probably a swordfight for the eyebrow). also. he's wearing jake's little belt tassel (the green one) after he becomes a proper pirate and jake gives it to him. he gets jewelry BUT he keeps the purple on his design because he's still a royal after all.
javy’s got white pants and jake has dark pants, and javy’s got a dark top while jake’s is white. it's a representation of their experiences being essentially opposites. HOWEVER they do share the same gold-orange color throughout their design- both on the bottom of their shoes, both on the jewel they wear (javy’s under his collar and jake’s on his belt). jake’s green sashes are closer to yellow on the color wheel which makes it more complementary to javy’s purple. over time, javy slowly gains bits and pieces of jake’s design and vice versa- specifically javy gets jake’s green and jake gets javy’s orange. javy wears dark pants like jake while jake starts wearing dark tops. essentially over time their color choices begin to match each other but they still keep individuality.
okay sorry ramble over. i will be returning to this. please enjoy!
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Been reading Law Novel 👍
(super legally and not at all from a Google Docs English fan translation 👀)
WOLF ONE PIECE I KNOW YOURE NOT CANON BUT YOU REMAIN FOREVER FAMOUS TO MEEEE!!!
(Handwriting translations under the cut)
1-
Law: Junk-ya this is Bepo. He’s a polar bear and he’s going to live with us now. Be nice
Bepo: He brought me here without explaining anything..sorry….
2-
I like this sad old man :)
3-
Wolf: I swear, I let ONE kid stay - out of pure convenience - and they just kept multiplying!
Dadan: Tell me about it…
Both of them, thinking: I LOVE MY FUCKIN KIIIIDDDDSSSS!!!!
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