#andrew rose

[binders-and-beanies]

Stick to Your Guns // Fashion or Fascist

[ifuckinglovelemondemon-srs]

You know a characther is fucked up and traumatized when they are wearing one of these

Edit: half of this characther were put against my will

Edit 2: i reached the fucking tag limit

[soggedupfrog]

Homestuck kid designs in 2024

[nobleriver]

The Walking Dead // The Ones Who Live

After I left here, why did you come after me? You know why...You're the love of my life. I couldn't just let you go.

[dudoserswag]

Maybe the last art wit this thematic idkk but it's fun to draw that silly stuff :p

[screaming-sparrow]

almost (sweet music) by hozier + ninejackrose and their parallels

[eyeonyou]

TEXTPOSTS - no theme! this is madness! mayhem! lawlessness!

[devonsawas]

TITANIC | 1997 ↳ Directed by James Cameron

[pussyexy]

Andrew: you have a boyfriend and he... makes you feel

Andrew from past: he fucking what

Andrew: yeah

Andrew from past: sounds terrible

Andrew: I know. But he's worth it

[malacandrax]

So like what if there’s no Jack.

Partly fuelled by a group watch of titanic, partly ‘nobody has ever drawn this therefore I Must’. I think drawing this made me kind of fonder of the platonic relationship they have in canon, but it was fun! And I Do love a good may/december haha.

[binders-and-beanies]

Stick to Your Guns // Where the Sun Never Sleeps

[caligvlasaqvarivm]

Why the Alpha Timeline is the Alpha Timeline

I figured I'd make a post, since it's pretty subtle and I think it genuinely passed a lot of people by? Homestuck is made up of a lot of words, haha.

The alpha timeline is described by Doc Scratch, functionally, as "the timeline that causes LE to exist."

The path which alone has my absolute mastery is the alpha timeline, a continuum I define as that which boasts exclusive rights both to my birth and to my death, two circumstantially simultaneous events.

Aranea also gives the explanation that the alpha timeline is the one where reality is perpetuated.

AG: Reality itself is using you and many others to propagate its own existence. Strictly speaking, there is only one path to its successful propagation. 8ut it still permits you to make choices.

Caliborn also states that his quest as a Lord of Time is coming to terms with the inevitability that everything, ever, in all of time, will be because of him - that he'll be the one to shape it, including the circumstances of his own defeat.

uu: AS A LORD OF TIME. I THINK I'M GOING TO MASTER TIME. NOT WITH MY BRAIN. WHICH WOULD BE TOO HARD. BUT WITH MY INSTINCTS. uu: LIKE IN A WAY THAT WORKS WITH MY NATURAL IMPULSES. SUCH AS MY AMBITION. MY WILL TO COMMIT MAYHEM. MY DESIRE TO PUNISH THOSE I DESPISE. uu: SO IF I WANT YOU TO BECOME STRONG. SO YOU CAN CHALLENGE ME LATER. AND I SEE EVIDENCE. THAT YOU PROBABLY BECOME SUCCESSFUL. uu: I THINK TO MYSELF. WHY SHOULDN'T I BE THE ONE TO MAKE THAT HAPPEN? IF IT'S GOING TO ANYWAY. uu: I THINK PART OF MY PERSONAL QUEST. IS TO BECOME AT EASE WITH THE FORCES OF INEVITABILITY. uu: INEVITABILITY THAT ALL THINGS SHOULD AND WILL FALL IN MY FAVOR. THAT ALL CAUSALITY ANSWERS TO ME. AND THAT ALL OUTCOMES NOT ONLY SERVE ME. BUT CONSIST OF MY BEING. uu: SO I FEEL THAT. THE MORE I GROW IN POWER. uu: THE MORE STUFF IT SHOULD TURN OUT I AM RESPONSIBLE FOR. uu: UP TO AND INCLUDING. EVERYTHING THAT EVER HAPPENS. uu: EVEN IF IT HAS TO BE. uu: RETROACTIVELY.

Aradia's stint as stewardess of the afterlife is explicitly described as "service to the lord of double death," and Dave explains that he acts instinctively - like Caliborn does - to fulfill the conditions of the alpha timeline. It's also worth noting that their classes, Maid and Knight, are roles that directly serve a Lord in the real world.

TEREZI: LUCK1LY YOU M4K3 4N 4DOR4BL3 H4NDM41D TO TH3 M4ST3R OF D34TH, 3SP3C14LLY 1N YOUR CUT3 CH3RRY P1X13 3NS3MBL3 ARADIA: you think so?

GG: well youre from the future right? GG: dont you know already if itll work? TG: yeah more or less TG: i never really studied how it went down all that closely TG: i just figured when the time came to sort it out the right thing to do would be obvious TG: like it is now TG: managing the loops is a balance of careful planning and just rolling with your in the moment decisions TG: and trusting they were the ones you were always supposed to make TG: by now im pretty used to having my intuition woven into the fabric of the alpha timeline

I'm starting with all that so I can explain that the GAME OVER timeline doesn't end when the time players disappear from it, like doomed timeline offshoots normally do, because it IS the alpha timeline: the sequence of events that causes GAME OVER to occur is the sequence of events that Caliborn/Lord English have chosen: one where (nearly) everyone dies, all hope of victory is lost, and his servant, the Condesce, gets to claim the Ultimate Reward, perpetuating the same misery and oppression in the new universe, and presumably all universes to come.

We see from Caliborn's chess match with Calliope that his (and by extension, LE)'s modus operandi is to follow the rules to the letter, while manipulating his opponent, tricking them with "shitty twists". It's always been explained that LE's actions have been "sanctioned by paradox space," that is, everything he's doing is explicitly allowed, nothing he's doing is against the rules - including the fact that he must be defeated. He has, via his mastery of time, perfectly engineered a situation where the only viable reality is the one where yes, he IS defeated... in the dream bubbles, by the dead and doomed, whom he sent to the dream bubbles in the first place via Condy, Jack English, and all the other boss fights. And his will, his ideals, are imposed on the new universe in spite of his defeat.

In a completely Watsonian read of the text, Lord English is an incredible villain because - subtly and unsublty - he IS basically responsible for every bad thing that ever happens, ever, to everyone. He has legitimately been the puppetmaster pulling the strings the entire time, pretty much all because Caliborn is a huge asshole who loves to hurt other people, and wants to do it as much as he can, to as many people as he can, for as long as he can.

But I think he's especially interesting through a Doylist perspective, through a reading of the text as a coming of age. Homestuck is a worth riddled with theme and symbolism, and thematically, Lord English represents everything that these kids need to overcome in order to mature into kind, empathetic adults who will be one day responsible for the care and oversight of a new universe. He represents selfishness, sadism, greed, destruction, oppression, fascism, murder, genocide, and hatred. And also literally the patriarchy.

And, you know what? Don't take my word for it. Here's Andrew Hussie's commentary from Book 6 Act 5 Act 2 Part 2:

Much of the logic [for who contributes to Lord English] orbits around these negative traits associated with men, or more specifically, the “toxically masculine” aspects often linked to certain male personalities. Dirk has a lot of these traits, which are central to Dave’s feelings of tension and abuse concerning his bro. The intellectual aggression, the power of assertion, the knowitall-ism, the mansplaining. That’s a lot of Dirk stuff when he’s at his worst. Equius shares a lot of those traits too, with some different points of emphasis. Both of them have this creepy-guy streak running through them, with strange or offputting interests, and seem to get a quiet kick out of making others uncomfortable through demonstrations of these fascinations. They are actually pretty similar characters in this way.

He's invited into the trolls' universe (and, by extension, the kids' universe) via the Dancestors, in an original sin kind of way. I'll let Hussie explain on their Formspring (emphasis mine):

We learn more about the troll race, as a once peaceful species and such before kid-ancestors as players scratched their session, though the short term relevance of this is mainly as a preamble to Scratch's religious story. Establishing an Eden-like paradise from which there is some departure through sin is sort of the boilerplate basis for religious lore. ... The failed players from peaceful Alternia made a classic "deal with the devil" move by causing the scratch after being given a choice by the mother of all monsters. (Echidna. Hey, she's a big snake!) By doing so they brought Scratch into their universe, and therefore all the things you'd expect that comes with summoning the devil.

The Dancestor's "departure through sin"? It was the fact that they couldn't get their shit together and grew up inside the Medium. That's why they're the age they are, 9 sweeps - adulthood by troll standards. They aren't kids anymore because that's the ultimate sign of having failed to do a coming of age. Symbolically, the Dancestors represent a prior generation of grown-ups that fucked everything up, leaving a huge mess for their descendents to clean up after. In fact, Doc Scratch even describes the alternate choice Echidna gave them:

The heroes could either accept their defeat along with the extinction of their race, and put no others at risk.

In other words, they could have stopped LE if they'd simply chosen not to Scratch. But once more, in line with their behavior up until that point, they chose the selfish option, and bore descendants into the world they ruined. They're immature, nasty, mean-spirited, cruel, callous, and shallow on purpose, because their role in the story is antagonistic. They're aligned (even if unwittingly) with Lord English, as they're the ones who directly invited him in via their failure to grow the fuck up.

There's also a reason why SBURB/SGRUB directly tie achieving godhood and reaching the Ultimate Reward to planetary quests fundamentally designed to help children mature. God-tiering is supposed to come at the end of one's quest, as achieving it directly teleports you to the Battlefield for the final boss.

AG: I really think how successfully they mature is tied to success in the game. It challenges the players in all the ways they need to 8e challenged to grow, which is different for every individual, and veeeeeeeery different for every race. AG: I don't think we were so hot at that aspect of the game. In fact, I'm sure we were quite awful. Hell, even I wasn't that gr8 at it! I actually just kinda fell ass 8ackwards into the god tier, to 8e honest.

And there's a perfectly functional Watsonian explanation for this - in order to increase the odds that the new universe will successfully propagate new universes, it's ideal to leave it in the hands of kind, mature people. But the Doylist explanation is, again, even more interesting.

Hussie has spoken extensively about the comic having always been about two things at its core: first, a creation myth... and second, a coming-of-age. These are complimentary themes, as Homestuck also makes statements about society and its effects on kids. In the real world, the kids of today become the voters, revolutionaries, and lawmakers of tomorrow. In Homestuck, they create, and are responsible for, a new universe.

I always saw HS as an exploration of young people developing relationships over the internet […] There’s a lot more to HS than just that obviously, but if there’s anything which it’s been about through and through, it’s modern kids relating to each other from afar, developing as people and growing up.

In fact, all the initial kids' entry artifacts are metaphors for "departures, loss of innocence, and sometimes the journey from childhood to adulthood outright." John biting an apple, symbolizing the act that cast Adam and Even from Eden. Rose breaking a bottle, the act of christening a boat, and an item integral to the main means by which she relates to her mother, alcohol - an adult substance. Dave hatching an egg, literally the act of bringing new life into the world. Jade shooting an effigy of her dog, both symbolic of Old Yeller, and of breaking a pinata, an act often done at quinceneras.

There comes a point in childhood where the child stops being a child - the safe, familiar, comfortable world that they knew stops existing, and they can never get it back. They are thrust into a world that is alien and massive, and forced to grapple with the weight of their future duties. They deal with losing their guardians and finding direction in their absence. They must decide how they want to grow up, and then are responsible for shaping the society that comes after them. In other words, SBURB/SGRUB in this metaphor represent adolescence.

Within that context, God-tiering is actually interesting because it symbolizes adulthood - a semi-permanent state that a child is supposed to reach at the end of their SBURB/SGRUB journey. And, in fact, it's treated that way - none of the characters reach god-tiering the "proper" way... and of our god-tiered characters, nearly all of them have some sort of emotional struggle with growing up too fast. Vriska with the expectations of her shitty society, Rose with her emulation of her mother, Dave with his abusive brother, and the Alpha kids with substance abuse (the jujus) and romantic drama.

Anyway, sometimes when Mario's running sideways he gets a star that makes him magic and invincible. OH. YOU MEAN HE BECOMES TRICKSTER MARIO. Yes, but less stupid. So for a while he becomes flashy and hyperactive and nothing's challenging anymore. He just starts barreling over mushrooms and leaping over pits as fast as he can, then gets to the end and jumps on the flagpole and that's it. Mario "wins". But the point is, he didn't really win. That magic star was actually devastating to his development as a human being. WHY. Because he skipped over many critical trials on his spiritual journey. Mario NEEDS to stomp on all those mushrooms. He NEEDS to bonk those bricks with his head, for the sake of his personal growth. By using the star, he is denying himself many powerful moments of catharsis.

Like... I dunno... seems pretty blatant to me!

So with Homestuck so firmly being a coming of age, and with the Dancestors - whose primary failure is that of unrelenting immaturity - being cast in an antagonistic role, doesn't that make Caliborn's position of ultimate final boss extremely fitting when we take this conversation into account?

You may be destined for bigger things, but you’re still an atrocious, stupid child. And you may have won the “game” with your sister, but that doesn’t mean it was the best thing for your development as a person. You had her dream self killed, which is not an opportunity your species typically gets. So she died prematurely, instead of allowing the conflict within you to settle itself naturally. In short, you forced your predomination to happen a little too early, and now you’re stuck. STUCK? Yes. Your personality is stuck in some sort of cantankerous prepubescent limbo. You are going to be a stunted, miserable tool forever.

He's literally a child who chose to stunt his own growth so that he could reap all the game's rewards for himself. Someone who so stubbornly desired the selfish, greedy, and immature option that he was willing to hurt himself to achieve it. Caliborn - and by extension, Lord English - is a direct symbol for the refusal to mature, to be kind, to care about other people. By including Dirk, Gamzee, and Equius at their worst, he also comes to represent misogyny, toxic masculinity, the patriarchy. He's the Condesce's master, and so by extension, he represents fascism and oppression; as Doc Scratch, he gets off on abusing girls, and so he also represents predators and abusers. And his goal is to perpetuate himself, his ideals, what he symbolically represents, down every successive generation. Much like how these cycles of abuse and oppression seek to perpetuate themselves in the real world!

And that's why the alpha timeline, the GAME OVER timeline, is the way that it is: it's one where Lord English WINS. In Lord English's version of the story, everything is fucked up forever. He might be defeated, as is the timeline's inevitability, but his politics, his bigotry, and his ideals live on.

Except.

Our Breath player gains a power that literally unsticks him from time.

Now, personally, I don't believe that the ending we got is the one that was originally intended. I don't feel the need to elaborate upon that here, but suffice to say, given how clearly and consistently these themes are set up throughout the entire rest of the comic, it just makes sense to me that the ending we got, where characters stay dead, never finish their character development, etc. etc., is a MASSIVE tonal and thematic departure, which smacks of external pressures and influences. Everything after [S] GAME OVER is soft canon to me for this reason. But there's things that survive in it that are really really interesting, so I'll mention some.

First, the pre-retcon versions of the characters still exist, as we see from (Vriska). That means that everyone who died in GAME OVER would not necessarily have stopped mattering to the plot. I firmly believe that the original ending would've seen Lord English confronted by the GAME OVER (characters), who would also have the most karmic claim to beating Lord English's face in. This would also satisfy his whole deal of playing by the rules - he knows he HAS to be defeated, he just gets to choose the circumstances of his defeat; without realizing that John's retcon powers can rewrite a timeline, he would've set up his own death to be in the bubbles, at the hands of the already-dead, while Condy claims the Ultimate Reward - thus making it so that he still wins in the end.

But Breath represents freedom, choices - and the retcon powers are something John gains mastery over after completing his personal quest, which we've established is directly tied, both literally and symbolically, into growing up and maturing. By becoming a kind, empathetic, mature adult, John is able to choose something else.

Second, that the Ultimate Self is brought up at all, which seems to me like it would mitigate the bittersweetness of the (characters) from GAME OVER staying dead - because, in my head, the original plan for the retcon was that it would bring everyone back, and therefore, all the (characters) from GAME OVER would live on through the surviving post-retcon gang, who will eventually achieve Ultimate Selfhood, as Davepetasprite^2 says they will. This would also directly mirror the words Godtier!Calliope gives to her counterpart:

CALLIOPE: bUt then... CALLIOPE: what shoUld i do? CALLIOPE: you don't need to do anything. CALLIOPE: be who you've become, and who i didn't. CALLIOPE: consume the fruits of an existence i could never understand. CALLIOPE: live.

Third, there's just so many outstanding plot threads, even for the characters that DO survive. Jake's prophesized to defeat Lord English, Dave never actually gets over his hesitance about time travel and defeating Lord English, Karkat has multiple means of bringing his dead friends back to life and doesn't say anything, Vriska and Terezi still aren't 100% reconciled, Gamzee's tragedy is never addressed, Jane, Dirk, Jake, and Roxy never really figure out their situationship, etc. etc. etc. ... to say nothing about all the plot threads left dangling for the characters that stay dead.

And finally...

Isn't that just kind of a better story? One where the kids get to grow, change, learn from their mistakes, and create a better, kinder universe, after defeating the avatars of cruelty, oppression, and immaturity?

Is it just me? Haha.

[yourcrumblingsaikiisnotmyproblem]

Oh you don't like cliches?

Can't relate. Gimme character A who is completely obvious, always pining, everyone in the entire plot knows they're in love with character B. And B is just so oblivious that they never even realise when the flirting hits them smack in the face. Until literally the entire plot is just everyone trying to spell it out that A is in fu*king love with them.

I love cliches. Gimme idiots in love.

[skuleighrose]

I wanna see an essay about how/why Andrew never says "I love you" back to Ashley.

The only time we come close is when he says, "I like you, but you're exhausting."

While it can be chalked up to, he's being snarky, being an ass because he knows not saying it will upset her OR

He's so deeply in love with his sister that even saying 'I love you' in a familial way is too much for him. Saying it in any context toward Ashley may reveal too much of his own fucked up attraction that he avoids it altogether

[lempickathemusical]

We do not control the world  We control one flat rectangle of canvas at a time LEMPICKA (2024)

[eyeonyou]

Roxy: seize the mweas of production!

*mains **mwans