gerard way is the type of artist who could sing the goddamn phone book and i’d listen to it for three weeks on repeat because i’d follow his voice to the ends of the universe and boldly go where no fan has gone before
The Black Parade and the Phoenix Witch are essentially the same thing. TBP is based on the belief that death comes for you in the shape of your favourite memory - in the Patient’s case, that’s seeing the marching band as a kid. In the Zones, however, many people grow up with legends and the faith of the Phoenix Witch, so that’s what death looks like to them, because that’s what they imagine it to look like. To some Killjoys, who don’t believe in the Witch or follow another religion, it might look different. Both the Witch and the Black Parade serve the same purpose: to guide and bring peace to the souls of those who die in battle, be it an actual war, a rebellion like the killjoys’, or the battle against illness and your own demons, like the Patient.
HC: There is an expression in the Zones,“don’t write their name on the mailbox“. It is used against negative thinking when a killjoy has disappeared and it is unknown if they are alive or dead. Example:
Poison: Kobra should’ve been back days ago. What if he got himself ghosted?
Cherri: Don’t write his name on the mailbox just yet. We don’t know what might be keeping him, I’m sure he’s fine.
…about the Dangerverse is how open it is in terms of interpretation and representation. there are multiple characters whose gender and/or sexuality is purposely ambiguous, the way the gay relationships are introduced and portrayed is pretty natural and chill, and gee confirms vaya and vamos as genderfluid and encourages people’s gender headcanons on twitter, and everyone in the fandom is super accepting of each other’s interpretations, and that’s just another reason why I love danger days and everything it gave us so so incredibly much.
In their heydey, music videos were quite the medium. Being broadcast daily and often on places like TRL, VH1, and BET, in the 80s and 90s the music video peaked as its own art form. There is no doubt a daunting task in creating a film out of a song. They’re two entirely different artistic mediums, and in unskilled hands, good intentions can lead to lackluster results. However, evolving into a sort of short film industry of its own, music videos led many budding young directors to create significant works. They pioneered new visual effects, iconic imagery, and even plots emblematic of the cultures they were conceived in.
This evolution of a simple part of music promotion doesn’t make it too surprising that animation got its own say in the matter.
Animation gave artists even more creative freedom in making a music video. Why stop at the limits of props and 90s CGI? You could create a complete world from nothing. This also fostered the growth of virtual bands from all over the world, like Prozzak and Gorillaz. It’s no surprise that places like Cartoon Network began to utilize the potent combo of music and toons, creating imaginative videos with their own properties alongside bands like Soul Coughing and They Might be Giants.
With the rise of internet broadcasting, music videos still continue to come up under animators, with a stronger undercurrent of independent works starting to thrive. Here you’ll find some animated music videos to get you started (titles of the videos feature above will be visible when clicked on). Some are serious, some are campy, some are funny, and some are totally unique. Note: I tried to add some less-obvious ones here!
If you are photosensitive, please be aware that some of these videos may contain bright colors and flashing lights.