#This is rlly late lol

[r0tt1ng-bunn1ez]

HAPPY TRANZ V1Z1B1L1TY DAYYYYYYYYYYYY!!!!!!!!!!!!!!!!!!!!

[lunarin64art]

That feeling when he can't stand to see you that way, no matter what you do, no matter what you say😩😭💔

[bones-of-a-rabbit]

pov ur abt to b kisst by a shy lord/prince who is so so so extremely smitten with u

[clownmoontoon]

WDTAJN WEEK 1!! MEMES N COMEDY

hes doing FINE guys dw about it :^)

[julykings]

fav albums to listen all the way thru??

[deeply-unserious-fellow]

Something I don't like about a lot of Vox takes I see is that they tend to portray Vox as someone who's unpleasant to work with and has weird ideas about what partnership means when really... he's not? He's not and he doesn't. It's just that two of the most prominent interactions we've seen him have are with Valentino(who is a fucking NIGHTMARE to work with) and Alastor(a man he has undisclosed, deeply emotional history with). But everyone seems to discount his OTHER important relationship: Velvette. Which by all accounts, is INCREDIBLY normal.

Like, yeah, their first interaction opens with her yelling at him, but that's less about Vox himself and more about Valentino. As they keep talking throughout the first bit of the episode, she starts calming down, and they just seem to genuinely get along? She has every right to look upset during Stayed Gone because Vox is being really weird and she's nOT THE ONE WHO ACTIVELY ENCOURAGED HIM TO DO THIS SHIT(staring directly at Val rn), but even then during the meeting after Stayed Gone she does actually. Participate. Unlike s o m e people. Despite being on her phone the whole time(which is literally her job-), she actually pays attention and contributes real ideas! Which tbh she didn't have to do at ALL like she did not have to put up w/ Vox's bs in RKtVS the way she did. There's also their phone call during the overlord meeting which, while I definitely think Vel was playing it up to annoy Carmilla, still sounded like a conversation between two ppl who genuinely like and respect eachother!

No matter what you think their relationship is(romantic, platonic, etc...), Vox and Velvette seem to get along REALLY well(outside of Alastor-related incidents). Like, better than either of them do with literally anybody else in the show. Vox & Val do LIKE eachother, but I find whatever the fuck is going on beneath the after the battles & masterless cattles to be DEEPLY upsetting to think about for too long(ex; any of my other posts abt their relationship), and the only other interactions we've seen either Vox or Vel have are Stayed Gone & Respectless, which are literally just song battles. Both of their only interactions outside of the Vees have been song battles. Aw fuck I'm getting off topic... BACK TO THEIR RELATIONSHIP AS COLLEAGUES- okay uh basically, I don't think they would get along this well if Vox was a terrible person to work with(note I said WORK WITH. Hate that I need to specify this but I don't think Vox is a good person overall, just a good business partner). I think Velvette is generally a good bench mark for both Vox & Valentino's relationships with other characters because she's their equal, their friend, and isn't in a weird toxic relationship with either of them. Their interactions with her provide a window into how they just generally interact with people. And based off of their interactions, Vox seems to be actually pretty decent to work with when he isn't being Actively Provoked for shits and giggles or trying to sooth the tantrum of a man child. Also when he views you as an equal and doesn't own your soul that helps too.

Edit: Hiiiiiiii just here to say that now, in the light of day, I don't really agree with everything I've said in this post? I wrote it at midnight while like half asleep so my ability to consider the fact that. We barely know anything about either Vox or Velvette at this point in time. Was kind of impaired I think. Cuz we really don't. I do stand by everything I said about their relationship to EACHOTHER, and I stand by the idea that we should take that dynamic into consideration for character analysis more often, but everything else I'm a little iffy on and I just woke up like an hour ago so my brains still a little fuzzy & I can't explain exactly WHY I'm iffy on it, but just know that I think the conclusion I drew is a bit of a leap in logic at the very least and I recognize that now lol

[badnewswhatsleft]

2023 september - rock sound #300 (fall out boy cover) scans

transcript below cut!

WHAT A TIME TO BE ALIVE

With the triumphant ‘So Much (For) Stardust’ capturing a whole new generation of fans, Fall Out Boy are riding high, celebrating their past while looking towards a bright future. Pete Wentz and Patrick Stump reflect on recent successes and the lessons learned from two decades of writing and performing together.

WORDS: James Wilson-Taylor PHOTOS: Elliot Ingham

You have just completed a US summer tour that included stadium shows and some of your most ambitious production to date. What were your aims going into this particular show?

PETE: Playing stadiums is a funny thing. I pushed pretty hard to do a couple this time because I think that the record Patrick came up with musically lends itself to that feeling of being part of something larger than yourself. When we were designing the cover to the album, it was meant to be all tangible, which was a reaction to tokens and skins that you can buy and avatars. The title is made out of clay, and the painting is an actual painting. We wanted to approach the show in that way as well. We’ve been playing in front of a gigantic video wall for the past eight years. Now, we wanted a stage show where you could actually walk inside it.

Did adding the new songs from ‘So Much (For) Stardust’ into the setlist change the way you felt about them?

PATRICK: One of the things that was interesting about the record was that we took a lot of time figuring out what it was going to be, what it was going to sound like. We experimented with so many different things. I was instantly really proud. I felt really good about this record but it wasn’t until we got on stage and you’re playing the songs in between our catalogue that I really felt that. It was really noticeable from the first day on this tour - we felt like a different band. There’s a new energy to it. There was something that I could hear live that I couldn’t hear before.

You also revisited a lot of older tracks and b-sides on this tour, including many from the ‘Folie à Deux’-era. What prompted those choices?

PETE: There were some lean years where there weren’t a lot of rock bands being played on pop radio or playing award shows so we tried to play the biggest songs, the biggest versions of them. We tried to make our thing really airtight, bulletproof so that when we played next to whoever the top artist was, people were like, ‘oh yeah, they should be here.’ The culture shift in the world is so interesting because now, maybe rather than going wider, it makes more sense to go deeper with people. We thought about that in the way that we listen to music and the way we watch films. Playing a song that is a b-side or barely made a record but is someone’s favourite song makes a lot of sense in this era. PATRICK: I think there also was a period there where, to Pete’s point, it was a weird time to be a rock band. We had this very strange thing that happened to us, and not a lot of our friends for some reason, where we had a bunch of hits, right? And it didn’t make any sense to me. It still doesn’t make sense to me. But there was a kind of novelty, where we could play a whole set of songs that a lot of people know. It was fun and rewarding for us to do that. But then you run the risk of playing the same set forever. I want to love the songs that we play. I want to care about it and put passion into what we do. And there’s no sustainable way to just do the same thing every night and not get jaded. We weren’t getting there but I really wanted to make sure that we don’t ever get there. PETE: In the origin of Fall Out Boy, what happened at our concerts was we knew how to play five songs really fast and jumped off walls and the fire marshal would shut it down. It was what made the show memorable, but we wanted to be able to last and so we tried to perfect our show and the songs and the stage show and make it flawless. Then you don’t really know how much spontaneity you want to include, because something could go wrong. When we started this tour, and we did a couple of spontaneous things, it opened us up to more. Because things did go wrong and that’s what made the show special. We’re doing what is the most punk rock version of what we could be doing right now.

You seem generally a lot more comfortable celebrating your past success at this point in your career.

PETE: I think it’s actually not a change from our past. I love those records, but I never want to treat them in a cynical way. I never want there to be a wink and a smile where we’re just doing this because it’s the anniversary. This was us celebrating these random songs and we hope people celebrate them with us. There was a purity to it that felt in line with how we’ve always felt about it. I love ‘Folie à Deux’ - out of any Fall Out Boy record that’s probably the one I would listen to. But I just never want it to be done in a cynical way, where we feel like we have to. But celebrating it in a way where there’s the purity of how we felt when we wrote the song originally, I think that’s fucking awesome. PATRICK: Music is a weird art form. Because when you’re an actor and you play a character, that is a specific thing. James Bond always wears a suit and has a gun and is a secret agent. If you change one thing, that’s fine, but you can’t really change all of it. But bands are just people. You are yourself. People get attached to it like it’s a story but it’s not. That was always something that I found difficult. For the story, it’s always good to say, ‘it’s the 20th anniversary, let’s go do the 20th anniversary tour’, that’s a good story thing. But it’s not always honest. We never stopped playing a lot of the songs from ‘Take This To Your Grave’, right? So why would I need to do a 20-year anniversary and perform all the songs back to back? The only reason would be because it would probably sell a lot of tickets and I don’t really ever want to be motivated by that, frankly. One of the things that’s been amazing is that now as the band has been around for a while, we have different layers of audience. I love ‘Folie à Deux’, I do. I love that record. But I had a really personally negative experience of touring on it. So that’s what I think of when I think of that record initially. It had to be brought back to me for me to appreciate it, for me to go, ‘oh, this record is really great. I should be happy with this. I should want to play this.’ So that’s why we got into a lot of the b-sides because we realised that our perspectives on a lot of these songs were based in our feelings and experiences from when we were making them. But you can find new experiences if you play those songs. You can make new memories with them.

You alluded there to the 20th anniversary of ‘Take This To Your Grave’. Obviously you have changed and developed as a band hugely since then. But is there anything you can point to about making that debut record that has remained a part of your process since then?

PETE: We have a language, the band, and it’s definitely a language of cinema and film. That’s maintained through time. We had very disparate music tastes and influences but I think film was a place we really aligned. You could have a deep discussion because none of us were filmmakers. You could say which part was good and which part sucked and not hurt anybody’s feelings, because you weren’t going out to make a film the next day. Whereas with music, I think if we’d only had that to talk about, we would have turned out a different band. PATRICK: ‘Take This To Your Grave’, even though it’s absolutely our first record, there’s an element of it that’s still a work in progress. It is still a band figuring itself out. Andy wasn’t even officially in the band for half of the recording, right? I wasn’t even officially the guitar player for half of the recording. We were still bumbling through it. There was something that popped up a couple times throughout that record where you got these little inklings of who the band really was. We really explored that on ‘From Under The Cork Tree’. So when we talk about what has remained the same… I didn’t want to be a singer, I didn’t know anything about singing, I wasn’t planning on that. I didn’t even plan to really be in this band for that long because Pete had a real band that really toured so I thought this was gonna be a side project. So there’s always been this element within the band where I don’t put too many expectations on things and then Pete has this really big ambition, creatively. There’s this great interplay between the two of us where I’m kind of oblivious, and I don’t know when I’m putting out a big idea and Pete has this amazing vision to find what goes where. There’s something really magical about that because I never could have done a band like this without it. We needed everybody, we needed all four of us. And I think that’s the thing that hasn’t changed - the four of us just being ourselves and trying to figure things out. Listening back to ‘Folie’ or ‘Infinity On High’ or ‘American Beauty’, I’m always amazed at how much better they are than I remember. I listened to ‘MANIA’ the other day, and I have a lot of misgivings about that record, a lot of things I’m frustrated about. But then I’m listening to it and I’m like ‘this is pretty good.’ There’s a lot of good things in there. I don’t know why, it’s kind of like you can’t see those things. It’s kind of amazing to have Pete be able to see those things. And likewise, sometimes Pete has no idea when he writes something brilliant, as a lyricist, and I have to go, ‘No, I’m gonna keep that one, I’m gonna use that.’

On ‘So Much (For) Stardust’, you teamed up with producer Neal Avron again for the first time since 2008. Given how much time has passed, did it take a minute to reestablish that connection or did you pick up where you left off?

PATRICK: It really didn’t feel like any time had passed between us and Neal. It was pretty seamless in terms of working with him. But then there was also the weird aspect where the last time we worked with him was kind of contentious. Interpersonally, the four of us were kind of fighting with each other… as much as we do anyway. We say that and then that myth gets built bigger than it was. We were always pretty cool with each other. It’s just that the least cool was making ‘Folie’. So then getting into it again for this record, it was like no time has passed as people but the four of us got on better so we had more to bring to Neal. PETE: It’s a little bit like when you return to your parents’ house for a holiday break when you’re in college. It’s the same house but now I can drink with my parents. We’d grown up and the first times we worked with Neal, he had to do so much more boy scout leadership, ‘you guys are all gonna be okay, we’re gonna do this activity to earn this badge so you guys don’t fucking murder each other.’ This time, we probably got a different version of Neal that was even more creative, because he had to do less psychotherapy. He went deep too. Sometimes when you’re in a session with somebody, and they’re like, ‘what are we singing about?’, I’ll just be like, ‘stuff’. He was not cool with ‘stuff’. I would get up and go into the bathroom outside the studio and look in the mirror, and think ‘what is it about? How deep are we gonna go?’ That’s a little but scarier to ask yourself. If last time Neal was like a boy scout leader, this time, it was more like a Sherpa. He was helping us get to the summit.

The title track of the album also finds you in a very reflective mood, even bringing back lyrics from ‘Love From The Other Side’. How would you describe the meaning behind that title and the song itself?

PETE: The record title has a couple of different meanings, I guess. The biggest one to me is that we basically all are former stars. That’s what we’re made of, those pieces of carbon. It still feels like the world’s gonna blow and it’s all moving too fast and the wrong things are moving too slow. That track in particular looks back at where you sometimes wish things had gone differently. But this is more from the perspective of when you’re watching a space movie, and they’re too far away and they can’t quite make it back. It doesn’t matter what they do and at some point, the astronaut accepts that. But they’re close enough that you can see the look on their face. I feel like there’s moments like that in the title track. I wish some things were different. But, as an adult going through this, you are too far away from the tether, and you’re just floating into space. It is sad and lonely but in some ways, it’s kind of freeing, because there’s other aspects of our world and my life that I love and that I want to keep shaping and changing. PATRICK: I’ll open up Pete’s lyrics and I just start hearing things. It almost feels effortless in a lot of ways. I just read his lyrics and something starts happening in my head. The first line, ‘I’m in a winter mood, dreaming of spring now’, instantly the piano started to form to me. That was a song that I came close to not sending to the band. When I make demos, I’ll usually wait until I have five or six to send to everybody. I didn’t know if anyone was gonna like this. It’s too moody or it’s not very us. But it was pretty unanimous. Everyone liked that one. I knew this had to end the record. It took on a different life in the context of the whole album. Then on the bridge section, I knew it was going to be the lyrics from ‘Love From The Other Side’. It’s got to come back here. It’s the bookends, but I also love lyrically what it does, you know, ‘in another life, you were my babe’, going back to that kind of regret, which feels different in ‘Love From The Other Side’ than it does here. When the whole song came together, it was the statement of the record.

Aside from the album, you have released a few more recent tracks that have opened you up to a whole new audience, most notably the collaboration with Taylor Swift on ‘Electric Touch’.

PETE: Taylor is the only artist that I’ve met or interacted with in recent times who creates exactly the art of who she is, but does it on such a mass level. So that’s breathtaking to watch from the sidelines. The way fans traded friendship bracelets, I don’t know what the beginning of it was, but you felt that everywhere. We felt that, I saw that in the crowd on our tour. I don’t know Taylor well, but I think she’s doing exactly what she wants and creating exactly the art that she wants to create. And doing that, on such a level, is really awe-inspiring to watch. It makes you want to make the biggest, weirdest version of our thing and put that out there.

Then there was the cover of Billy Joel’s ‘We Didn’t Start The Fire’, which has had some big chart success for you. That must have taken you slightly by surprise.

PATRICK: It’s pretty unexpected. Pete and I were going back and forth about songs we should cover and that was an idea that I had. This is so silly but there was a song a bunch of years ago I had written called ‘Dark Horse’ and then there was a Katy Perry song called ‘Dark Horse’ and I was like, ‘damn it’, you know, I missed the boat on that one. So I thought if we don’t do this cover, somebody else is gonna do it. Let’s just get in the studio and just do it. We spent way more time on those lyrics than you would think because we really wanted to get a specific feel. It was really fun and kind of loose, we just came together in Neal’s house and recorded it in a day. PETE: There’s irreverence to it. I thought the coolest thing was when Billy Joel got asked about it, and he was like, ‘I’m not updating it, that’s fine, go for it.’ I hope if somebody ever chose to update one of ours, we’d be like that. Let them do their thing, they’ll have that version. I thought that was so fucking cool.

It’s also no secret that the sound you became most known for in the mid-2000s is having something of a commercial revival right now. But what is interesting is seeing how bands are building on that sound and changing it.

PATRICK: I love when anybody does anything that feels honest to them. Touring with Bring Me The Horizon, it was really cool seeing what’s natural to them. It makes sense. We changed our sound over time but we were always going to do that. It wasn’t a premeditated thing but for the four of us, it would have been impossible to maintain making the same kind of music forever. Whereas you’ll play with some other bands and they live that one sound. You meet up with them for dinner or something and they’re wearing the shirt of the band that sounds just like their band. You go to their house and they’re playing other bands that sound like them because they live in that thing. Whereas with the four of us and bands like Bring Me The Horizon, we change our sounds over time. And there’s nothing wrong with either. The only thing that’s wrong is if it’s unnatural to you. If you’re AC/DC and all of a sudden power ballads are in and you’re like, ‘Okay, we’ve got to do a power ballad’, that’s when it sucks. But if you’re a thrash metal guy who likes Celine Dion then yeah, do a power ballad. Emo as a word doesn’t mean anything anymore. But if people want to call it that, if the emo thing is back or having another life again, if that’s what’s natural to an artist, I think the world needs more earnest art. If that’s who you are, then do it. PETE: It would be super egotistical to think that the wave that started with us and My Chemical Romance and Panic! At The Disco has just been circling and cycling back. I  remember seeing Nikki Sixx at the airport and he was like, ‘Oh, you’re doing a flaming bass? Mine came from a backpack.’ It keeps coming back but it looks different. Talking to Lil Uzi Vert and Juice WRLD when he was around, it’s so interesting, because it’s so much bigger than just emo or whatever. It’s this whole big pop music thing that’s spinning and churning, and then it moves on, and then it comes back with different aspects and some of the other stuff combined. When you’re a fan of music and art and film, you take different stuff, you add different ingredients, because that’s your taste. Seeing the bands that are up and coming to me, it’s so exciting, because the rules are just different, right? It’s really cool to see artists that lean into the weirdness and lean into a left turn when everyone’s telling you to make a right. That’s so refreshing. PATRICK: It’s really important as an artist gets older to not put too much stock in your own influence. The moment right now that we’re in is bigger than emo and bigger than whatever was happening in 2005. There’s a great line in ‘Downton Abbey’ where someone was asking the Lord about owning this manor and he’s like, ‘well, you don’t really own it, there have been hundreds of owners and you are the custodian of it for a brief time.’ That’s what pop music is like. You just have the ball for a minute and you’re gonna pass it on to somebody else.

We will soon see you in the UK for your arena tour. How do you reflect on your relationship with the fans over here?

PETE: I remember the first time we went to the UK, I wasn’t prepared for how culturally different it was. When we played Reading & Leeds and the summer festivals, it was so different, and so much deeper within the culture. It was a little bit of a shock. The first couple of times we played, I was like, ‘Oh, my God, are we gonna die?’ because the crowd was so crazy, and there was bottles. Then when we came back, we thought maybe this is a beast to be tamed. Finally, you realise it’s a trading of energy. That made the last couple of festivals we played so fucking awesome. When you really realise that the fans over there are real fans of music. It’s really awesome and pretty beautiful. PATRICK: We’ve played the UK now more than a lot of regions of the states. Pretty early on, I just clicked with it. There were differences, cultural things and things that you didn’t expect. But it never felt that different or foreign to me, just a different flavour… PETE: This is why me and Patrick work so well together (laughs).  PATRICK: Well, listen; I’m a rainy weather guy. There is just things that I get there. I don’t really drink anymore all that much. But I totally will have a beer in the UK, there’s something different about every aspect of it, about the ordering of it, about the flavour of it, everything, it’s like a different vibe. The UK audience seemed to click with us too. There have been plenty of times where we felt almost more like a UK band than an American one. There have been years where you go there and almost get a more familial reaction than you would at home. Rock Sound has always been a part of that for us. It was one of the first magazines to care about us and the first magazine to do real interviews. That’s the thing, you would do all these interviews and a lot of them would be like ‘so where did the band’s name come from?’ But Rock Sound took us seriously as artists, maybe before some of us did. That actually made us think about who we are and that was a really cool experience. I think in a lot of ways, we wouldn’t be the band we are without the UK, because I think it taught us a lot about what it is to be yourself.

Fall Out Boy’s ‘So Much (For) Stardust’ is out now via Fueled By Ramen.

[nyaskitten]

I think it's kinda sad they stopped referring to the ninja based on color... like I GET it they didn't wanna deal with saying "Nya, the Azure/Maroon/Grey Ninja!" but I dunno there was something so special about being the Red Ninja and the White Ninja and the Blue Ninja and the Black Ninja and the Green Ninja...

[benetnvsch]

[thwackk]

blah blah , old green lantern design for hal i did for an old au idea

[cupcakerias]

more of her. i have ally kabam disease instead of brain there is ALLY KABAM

[superbellsubways]

Do you still think about your Not Evil Tartar AU sometimes? Loved that one

I didn't forget about it! I wasn't sure how many people would've been interested in that concept considering its been done so many times hdnsjdj.. and also other fixations got in the way so I haven't rlly done anything with it, but perhaps I'll draw more.. i had ideas for it i thought up a year ago that i never got to

I would also like to change up it's design a lil..

[doodoodinklefart]

back for another jjk yap sess, this time abt geto LOL...

im honestly a little surprised i never noticed this before but the way that geto (who thought that his best friend was killed and saw a girl he was essentially willing to uproot his life for get murdered right in front of him) tries SOO hard to stay calm while toji's talking and then the MOMENT he brings satoru up again and trivializes riko's death, suguru loses it. i'm thinking suguru let him talk in the first place despite the risk of letting toji reveal his pact (and wanting to kill him Very Bad) cuz he figured it would be better to understand toji's deal since he beat satoru, something that suguru trusted would not happen

but then he starts referring to satoru strictly as "the six eyes", and i think that suguru, one of the few people that saw satoru as a person beyond his cursed technique or his family name could not help but get super pissed abt toji's dehumanization of satoru (and riko too, who he only refers to as the star plasma vessel). i just thought that it was very interesting....... suguru cared so much and it makes me CRAZY AS FUCK.

like, to begin with i think its sooo so interesting that suguru made it a point to be considerate of all the human parts of satoru despite the fact that im sure most other people assume he doesn't need to be worried about. i'll never stop thinking about suguru asking if he needs a break since he's overusing his technique, telling him he worked hard after getting back to the school, trying to rush to his side after he's been stabbed and being conflicted when satoru tells him to leave with riko and kuroi... he didn't just assume satoru could handle all that shit on his own cuz even if he could have he shouldn't have to.

also related omg im almost done i promise but!! the scene where suguru gets to the star religious group and sees satoru again for the first time...

the way that he can't even believe his eyes, probably in part because he's acting way different but also because he thought he FUCKING DIED. and he had to drag himself out of the tomb of the stars and probably went to look for gojo's body before even going to shoko. and then he had to tell her he couldn't even find his body man WHAT THE FUCK!!! i think maybe saw a twitter post about this part in particular but he might have thought toji took riko's body and satoru's, so the thought that he went all the way there thinking he'd have to see two dead bodies of people he cared about... ugh. suguru geto i love you

[crazymecjc]

shuake week day 1 - reunion.

[deeply-unserious-fellow]

The reason I think Alastor should be in the wrong(or at least mostly in the wrong) in his and Vox's falling out is that I don't think their relationship would be worth exploring as deeply as it sounds like it will be next season if Vox was the primary reason they started fighting, because it would do NOTHING for Alastor's arc.

Like- okay, Alastor's arc is very clearly going to be about learning that trusting people is Okay and not a sign of weakness, right? He's literally the only character in the show that is very clearly about the power of friendship who refuses to accept any sort of help, like even the VILLAINS are constantly hyping eachother up! If they fell apart because of something Vox did, and their relationship is going to be super important next season, wouldn't that not really do anything for Alastor's arc? Unless Vox pulling some weird shit is the ROOT CAUSE of Alastor's trust issues, but, given what we know about his past and how his ego seems to be the biggest contributor to said issues, I don't think it is. Alastor would HAVE to have contributed SIGNIFICANTLY to their falling out if their relationship is going to mean anything to his arc, because otherwise it just feels more like a weird aside then anything else? Like "oh yeah we used to be friends but then he did some weird shit and now we're not friends anymore". It adds nothing. There's nothing emotional for Alastor to confront in this scenario.

Which makes for a more interesting story, the relationship between the mc and someone from their past who, while they miss, isn't the kind of person they want to be around anymore so they don't really feel bad about cutting them off who ALSO doesn't pose any real Active Threat to the mc, or the mcs relationship with someone who they respected a lot but cut off because they felt the two of them were getting too close and we can't have THAT, now can we? It's the second one. It's the second one because the second one HAS HIGHER STAKES! The first one makes for a good one episode plotline, but for a season long arc? Takes where Vox is in the wrong actually make VOX a more interesting character to follow then Alastor, because that makes HIM the only one with an actual emotional stake in the conflict. But this isn't Vox's story. It's Alastor's story. Alastor is the main character. Which means, for their relationship to provide anything of value to the plot, Alastor needs to have emotional stakes in the situation too. The best villains are the ones that force your characters to grow and become better people(unless you're doing a silly little monster of the week type of show but THAT'S NOT WHAT HAZBIN IS-), and the only way Vox being the main antagonist next season is gonna cause any kind of growth is if Alastor is being forced to reconcile with his past.

Anyways uh, yeah that's it. I could do a tangent about how their relationship lowkey parallels Fizz & Blitzø(a comparison I made in this post but didn't actually go into depth on bcuz it wasn't relevant to the post beyond supporting my argument + didn't have much backing at the time), but I do NOT have the brain power to go in-depth comparing and contrasting that stuff rn, bcuz, despite the similarities, whatever the fuck Vox & Al have going on seems to be a LOT more Complicated and Sad then an accident and some dad-induced miscommunication. So I'm just gonna leave it at that :)

[sundewa]

recently got an atla art book and i wanted to share some of my favorite things from the first two sections :D