#biologically what purpose is that fulfilling?

[not-poignant]

Hi! I apologize if you've spoken abt this already, bur how come ruts aren't really a thing in the UtR verse? Anton mentioned he's never had one, and they're very rare - is there a biological reason for it? Did Gary ever have one? (Starting to see what he is like during regular sex, I feel like he'd commit actual murder-by-cock during ruts fjfnfjnfjf) Anyway, love your writing to bits!!

Hi anon!

So I'm gonna write an essay, buckle up (I always write an essay on this stuff, I can't help it, I signed a contract at birth that said I would)

Firstly, ruts are sort of a 'new invention' in the omegaverse landscape. And by new I mean I'm really old and some people don't remember omegaverse without it. But I sure do! Only omegas went into heat, because heat indicated hyperfertility, and alphas were already hyperfertile without a rut. That was the whole point. You know, that's why they make such a perfect match. Hyperfertile mate meet hyperfertile mate.

They didn't need a rut.

Ruts came along later, and honestly in most of the fiction I've read that have them, ruts are very rarely written, and are often more like a threat hanging in the background. A sort of 'lol make sure you have food and water because like people go to hospital if they're in rut / heat at the same time.' Literal just about fuck-or-die situation. Or fuck-and-die. Probably more like fuck-and-who-cares-about-anything-else.

Anyone who has ever fucked a lot in a marathon session knows that eventually you just need carbs. *coughs*

Ruts are conceptually a TON of fun to think about. It's like authors went 'you know what hyperfertile alphas need? Something like a heat, that also makes them completely out of control.'

The thing is... alphas could already go completely out of control around an omega for a lot of reasons. It happened in fated mates stories. It happened in 'an omega is in heat and I just can't help it' (oh bless all those noncon omegaverse stories we have which are literally 'you just smelled so good you had to be mine'). A lot of the things ruts are supposed to achieve, already can easily be achieved in omegaverse.

Conceptually, ruts can be interesting as 'the alpha is also super vulnerable and helpless and needy during this time' but it's almost never written that way and it's not how I like to think about it. And in terms of worldbuilding, the places where it's made the most sense has almost always been as a dystopian thing that's almost dreaded by both the alphas and omegas (and everyone else) alike, and is just as much likely to be controlled by suppressants as heats, because no one likes to turn into an Automatic robot rapist. (Even though that's basically what many alphas become if they smell an omega in heat, I'm not saying ruts are the Department of Redundancy Deparment or anything, but they're a little bit like City of Redundancy in the shire of Redundancy population Already Covered In General Omegaverse tropes in the country of But It's Fun Anyway continent of Redundant.)

I love reading stories with rut worldbuilding but I have to suspend my disbelief so hard. And I know, I know, you kind of have to do that with omegaverse anyway, but there just comes a point where it's like 'but...the heat...triggers a response in alphas...thats mean a rut...is not needed...because that's what the heat does.' In some ways it takes some power and strength away from the symbolism of the omega's heat (romantically it's very interesting as the trope that renders the often hypermasculine character as so helpless to the omega that they basically have to have sex with them (guess what a rut is? Same same not different! Okay it can be different. It's often not though.))

As a result, I personally like worldbuilding that differentiates a general alpha response to an omega's heat, to a rut. And therefore if a rut is the more extreme version of a general 'must fuck' alpha response, it's likely to go pretty not...great. Much like unfulfilled heats are often characterised as agonising, I like to think of ruts are potentially very fatal. (Warning! Warning! The hypermasculinity levels are critical, boss! He's gonna blow! This time his heart! Not his cock!)

The worldbuilding mentioned in the chapter you're referring to - in the Underline the Rainbow universe - states that ruts are vestigial. It's killed too many alphas who have experienced it.

It basically knocked itself out of the genetic line, in the same way that peak alphas are going the same way because people just don't do great living like that in a functional society.

Also consider the...setting of the story if you will. This is a place where we're rehabilitating omegas and helping them recover from extreme trauma. The professional response to 'I go into rut all the time' alpha companion candidates is 'see a health professional, you can never ever ever ever ever be a companion here, because we...care about our omegas, and don't think your rut takes precedent over their health during a heat. Go away.'

None of these alphas go into rut! None of them should! It would be terrible from a story perspective (I mean, for me. I'm writing trauma recovery).

The only alpha on the grounds who potentially could go into rut is Caleb, I think he has the disposition for it. And I think it would be speedily suppressed with heavy doses of medication for the safety of any omega near him.

The thing that really frustrates me from a worldbuilding perspective is that in some ways, heats make sense. It's a fertile period for an animal that cannot afford the physiological cost of being that fertile all the time. That's it. In humans who already have menstrual cycles (which create fertility windows so the woman or person with the uterus doesn't have to be consistently fertile the same amount all the time), this makes actual biological sense.

Ruts in omegaverse don't even mean what they mean in nature, it's so frustrating. In nature, ruts are sort of connected to mates, but not about fucking them endlessly most of the time. It's about competing with rivals. Going into rut is marking your territory, attacking fellow stags (sometimes to the death), and keeping hold of your herd or flock. This makes...much less biological sense. It's not how it's written in fiction most of the time, and it's really just 'what if heat but alpha.' I'd love if ruts were 'HHH I have to FIGHT every ALPHA I SEE to the DEATH or at least MEASURE MY HEIGHT against HIS or SHOUT to see whose VOICE is LOUDER we are DICK MEASURING NOW my dick is BIGGER I am going to FUCK AN OMEGA IN TRIUMPH. YOU! THERE! COME HERE! No wait where are you going? Stop running!' That's... that's the world I want to live in sdalkfjsaflksaj

I have no problems with that, most omegaverse is just pure mindless pornography for fun, or very thin worldbuilding for fun, and orgasms are had by many and it achieves it's purpose.

But I can't justify something like that making sense in the Underline the Rainbow as a thing these characters experience. I like it as a 'oh this used to happen but we couldn't just go around killing each other and also we died so...' I'm pretty sure it's taught about in schools, lol. In the same way that alphas dueling each other to the death is now pretty much illegal in most places, some things you either just culturally change for the betterment of society (which is...literally the purpose of Hillview), and some things you X out of your own genetic lineages because the thing itself kills you.

Since ruts are in most serious omegaverses presented as extreme events, and alphas are already hyperfertile (in worlds where betas exist), they're just redundant.

Fun in PWPs, and fun for angst, but not the kind of angst I'm personally going for.

Thanks for coming to my really-not-a-TED Talk! :D

(Er so no, Gary has never gone into rut).

(In webtoon Define the Relationship one of the alphas goes into rut but because he's like a submissive alpha he basically needs to be fucked like he's in heat by another alpha and I just actually do kind of love the subversion of 'what if heat but alpha' where it's like 'no literally what if they have to be knotted and they have a whole bunch of shame about that.' But almost no one is writing it that way so aslkfjdsa)

[shmorp-mcdurgen]

random question about Project: Freeman. does bro have any unique abilities due to his Xen Splashing or is he sorta just weirder and more invunerable.

Aside from the accelerated healing and inability to stay dead, he doesn't have very many abilities, at least ones that. help him very often. however, there are a few things that showed up that you could call "abilities."

Due to his suit mutating him and malfunctioning, it now tries to make him "evolve" rapidly, by growing things on him that would "help" with certain problems gordon and the suit face. Because of this he actually grew fangs and claws to help with attacking when he doesn't have a weapon, and he also evolved a strong stomach to eat food not normally edible to humans to stay alive. He also has a second pair of translucent eyelids, meaning he's able to blink and close his eyes without giving up his sight in case he is attacked. The suit also gave itself the ability to not run on typical electricity, but rather Gordon's heartrate and the nutrients he consumes, meaning Gordon has to eat more to sustain both himself and his suit.

He also has the ability to vomit up acidic blood, but that's normally a detriment to him rather than to his benefit.

[tortoisesshells]

#GOD OKAY. the fact that burke gives vicki the locket after laura's death is EVERYTHING to me.#burke — twin to jeremiah both physically and psychologically — giving it to vicki —#the stranger brought inside the collins family; much like josette.#(which. according to much much later dialogue laura *was* jeremiah's first wife before josette.#it's an old song. it's an old tale from way back when. and we're gonna sing it again and again and again.)#that vicki; by saving david's life; is preserving the collins line — providing the heir (literally; though not biologically)#david turns away from laura and chooses vicki; replacing laura as mother-figure permanently;#as he's granted new life after the fire; born again into vicki's arms; not laura's.#the new woman in the collins fold — after the previous wife has been defeated and fire has cleansed the memory (à la jane eyre; or rebecca)#positioning her naturally as roger's wife. the mother of his child. the inheritor of the collins bridal locket.#the locket that distinctly belongs to roger's wedding *night* — tied up fundamentally with sex & childbirth & the provision of heirs.#(fitting then that the madonna and child serves as the vicki-as-mother equivalent to the painting of laura: the virginal birth)#and yet! simultaneously! the cri du sang — david's blood calling out to burke's.#roger notably absent during the fire; unaware of david's danger; unable to help him. burke drawn to him when his life is at risk —#and the one who carries him home; over the threshold; at vicki's side. delivers her the locket from the ash.#of course she is drawn to him — david's symbolic mother; his biological father —#jeremiah & josette; the empire-builder and the lost and lonely bride.#and. the vampire-figure; the parasitic lover. meeting her at the cliffs; joking about her falling from them —#who can give josette belonging by bringing her to the family tomb. (tags via @widowshill)

the locket, motherhood, & marriage.

139 / 139 / 136 / 136 / 191 / 191 / 191 / 142 / 134 / 143 / 143 / 144 / 144 / 139 script / 144 / 280 / 144 / 144 / 192 / 279 / 279 / 279 / 279 / 143

[dumbftmholes19]

I pass so well, and everyone sees and knows me as a boy, but I can't help my biological instincts. I crave nothing more than for a real man to force himself on me and take what is rightfully his. I want him to ignore my pleasure and just use me as a fleshlight. I want him to empty himself inside my fertile pussy as I cry and beg for him to stop. I want him to laugh at me as I beg him for Plan B, knowing that I'm just a broke college student and I can't afford it on my own. I want him to watch my belly swell and relish in my dysphoria and discomfort. He'd buy me all sorts of maternity dresses and clothes which I'd refuse to wear until soon nothing else would fit and I'd have to give in and wear them in public. And before i know it, I'd be in the delivery room with him standing next to me, guiding me through labor lovingly. I'd be in so much pain as I push his child out of my feminine body. Soon after, I'd give in and drop out of school to fulfill my purpose as a stay at home mom and servant to his cock.

(I know this isn't well written, but I'm so horny that I can't really think straight)

[theeternalwombtarot]

Phases of the menstrual cycle broken down for divine feminine & divine masculine who are invested in a romantic connection:

Message: hello!, I'm very excited about this post, I've been working on it all day and felt called to talk about this because in a lot of divine feminines lives right now we're focusing on learning to alchemize and transmute energy and how to best prepare for our manifestations and make the proper decisions to keep ourselves in alignment BUT a good amount of divine feminines are also in the energy of seeking out an awakened masculine or cultivating good energies in their connections. This is a magnificent way to create further spiritually inclined connections in your relationships but also to move into the energy of enlightenment as individuals. I also will say that if you're mensurating be wary of physical sex on your cycle while actively bleeding as it can form soul ties, it's meant to solidify attachments and strengthen the ability to share energy in romantic connections. if you're a woman in general be wary of opening up and allowing anyone in your womb, please be discerning and choose wisely.

(There will also be a shortly summarized version on my Instagram and Tiktok for reposting and sharing purposes if you want to share this type of information with friends and loved ones who may not be on this platform! My Instagram & Tiktok: @theeternalwombtarot)

****

phase one: The Menstrual cycle (days: 1-5) / "Winter" / The New Moon

physical symptoms: fatigue, cramps, bloating, headaches, lower back pain, and breast tenderness

emotional symptoms: low mood, irritability, fatigue, and emotional sensitivity

hormonal changes: low estrogen and progesterone, drop in hormones triggers menstruation

spiritual meaning: rest, release, and renewal. letting go, shedding what no longer serves you physically (biologically) and energetically, and preparing for new beginnings.

themes: reflection, introspection, purification & renewal.

spiritual practice & priority for divine feminine: meditation and grounding techniques, journaling, and rituals of release and healing. embrace and lean into intuition and release emotional baggage and limiting beliefs. embrace themes that come up to the surface to come out by acknowledging, surrendering control and worry, and seeking out new perspective and spiritual guidance. You're going to want to hone in and pay close attention to the body and emotional strain at this time to help you best navigate what needs to be put down or released. use the body at its most heightened to guide you in the direction of alignment and enlightenment. prioritize your happiness and peace.

divine masculines role at this time: further aid in themes of the menstrual cycle by creating an environment of rest, relaxation, and harmony. Study the woman and her needs and desires (both on an emotional and physical-biological human scale). Pour back into her through creating solace in her time of rest and relaxation. Attempt to control disturbing influences as much as possible to conserve divine feminines remaining energy left over and reserved for her rebirth and renewal. Move forward in the energy of compassion and service. Take on her needs and emotional state as if it were your own in order to be productive and fulfilling at this time. Move into the energy of compassion (to feel as she feels and to also feel sorrow for her and thus have desire to alleviate suffering and then do so.) Divine masculine should also consider penetrative sex at this phase to alleviate pain and discomfort like uterine cramps.

phase two: The Follicular Phase (days: 6-14) / "Spring" / Waxing Crescent

physical symptoms: increased mood, higher motivation, skin may begin to clear, light discharge

emotional symptoms: increased mood, higher motivation, increased creativity, mental clarity

hormonal changes: rising estrogen, FSH stimulate follicle growth in ovaries, and the uterine lining will begin to thicken to support a fertilized egg.

spiritual meaning: growth, new beginnings, and rising energy. Time for planting new seeds (like ideas, intentions, and projects) and feeling excited for and embracing growth.

themes: creativity, rebirth, expansion, and manifestation

spiritual practice & priority for divine feminine: this is a good time for divine feminine to set intentions, start new projects, and embrace creativity. visualization during meditation, affirmations, and rituals focused on manifestation is best for this phase. divine feminine should shift focus into project planning and pull from naturally flowing creative energies at this time and capitalize on both tapped and untapped talents to accelerate growth and expansion in her life. she should use her creativity, charm, and imagination to her advantage to bring forth abundance in the world around her and profit off of romanticism. Both in romanticizing her life and in her relationships and appealing to others.

divine masculines role at this time: increase romantic energy in the connection and work towards heightening close interpersonal intimacy through action and positive affirmation. The tongue, the mouth, and the throat chakra are powerful at this time. Plan dates, appeal heavily to the love language, and create unfaltering closeness with the woman. create heaven in her reality to better house her angelic and transformative energy at this time. Lean further into your spirituality as you become one with her during this phase through manifestation, prayer, and further acknowledgment of her divinity and connection to the divine. through your harmony with her from a genuine and aligned place, you too will prosper. You can tap into her natural flow of creativity and expansive energy and leverage your own intentions through required openness and respect for the feminine and the feminine cycle, mutual support, shared focus, mutual intentions, and rituals that honor both energies. (tantric sex or alike included.)

phase three: The Ovulation Phase (days: 14-16) / "Summer" / Full Moon

physical symptoms: increased libido, cervical mucus changes (clear & stretchy), mild to intense cramping to help the release of egg.

emotional symptoms: increased confidence, more sociable, higher libido

hormonal changes: luteinizing hormone (produced by the pituitary gland) surge triggers ovulation, high estrogen, brief rise in testosterone.

spiritual meaning: often linked to the peak of summer and the full moon. This period in the menstrual cycle represents abundance, fertility (both literally & metaphorically), and connection. Seen often as a time of heightened energy, power and creativity.

themes: fertility, creation, peak power, connection to others, and potential.

spiritual practice & priority for divine feminine: an ideal time for socializing, connecting with others, or performing rituals focused on abundance, fertility (i.e. sacred baths and cleansing rituals, sex and physical intimacy or tantric practices, spiritual and ancestral rituals, etc.) and gratitude. Many also use this time for creative expression and celebrating their accomplishments as manifestations can be both conceived and reaped and harvested at this time. Divine feminine should be focused on obtaining personal success and self-fulfillment and pleasure at this time. This is a good time for her to capitalize on personal power and energy and transmute passion into energy to move forward and obtain desires. The ovulation phase is a good time for networking and collaborating on projects and progress forward. She will work well in groups with partners or a partner and will excel in learning and implementing lessons and information.

divine masculines role at this time: The divine masculine's duty at this time is to pour into divine feminine through presence and attentiveness, affirmation and acknowledgment, emotional and physical connection creative collaboration and support, physical support and care, respect, and space for self-expression and celebration of her divine feminine energy. divine masculine can offer his full, undivided attention and listen closely to divine feminines needs, desires, and dreams. being present in a time of high intuition and peak power allows him to further honor her wisdom and creativity but also move in the energy of co-creation and further manifestation for his life. spend quality time with divine feminine at this time and prioritize her and her energy. This is also a good time for divine masculine to encourage and provide access to self-care rituals whether they be a paid service or things he does himself. this is a good time for divine masculine to move forward in the emotional and physical realms through his connection to divine feminine much like his ability to co-create or bring prosperity to his life during the follicular phase. He should move forward in the energy of leadership, confidence, and assertiveness in both physical and emotional realms. passion and intimacy with the woman is heavy and significant at this time, pour into her and strengthen thyself. strengthen your outside support by moving in a similar energy by balancing strength and empathy while being open and flexible to others needs and addressing those needs and providing necessary output. Take divine feminine to events and environments where her sociable demeanor can bring you more money, partnerships, and support. Let her be the face of your power and influence. Flaunt, flaunt, flaunt. Show off and prioritize the feminine. Your prize is in your possession. Your sigil is within her. Let her double the success you share, multiply it, and bring it back home with the both of you. Your good luck charm and prosperity token is within the divine feminine. Carry her around in your pocket or leave her at home on the altar you built for her to relax and flourish.

phase four: The luteal phase (days: 16-28) / "Autumn" / Waning Moon

physical symptoms: bloating, mood swings, breast tenderness, fatigue, increased appetite, acne, irritability (PMS and PMDD symptoms)

emotional symptoms: irritability, mood swings, anxiety, sensitivity, depression, craving comfort

hormonal changes: high progesterone, estrogen decreases, hormone levels drop if pregnancy occurs.

spiritual meaning: it's a time of slowing down, turning inwards, and preparing for rest. It's a phase of reflection, harvesting lessons, and preparing for the upcoming menstrual cycle.

themes: harvest, reflection, inner work, slowing down, and transformation

spiritual practice & priority for divine feminine: this phase is ideal for introspection and releasing what no longer serves you much like the entirety of the menstrual cycle itself. grounding practices like yoga, journaling, shadow work and meditation are common spiritual practices at this time. Bask in all three elements in your top three or allow for those elements to be prominent in spaces of relaxation. This is a good time to assess accomplishments and plan for the future. Your job at this time and area of priority divine feminine should be focused on clear boundaries and clear communication and working through mental and emotional blockages that create disruption in your life and emotional body through inner work. We want to try our best to see through the lens of heightened emotion clearly as often times fear and anxiety based distortion is present within us during the luteal phase. Ask yourself what your frustration, fear, sadness, or other complex emotions right now mean to you, what is your body or intuition trying to tell you, and what do you need to communicate to others effectively to further yourself or obtain peace? Get clear and work through illusions and deception. A time like this beckons emotional warfare out of you, your perseverance is needed. prepare yourself and move in the energy of transformation and transition. Baggage will be shed and released throughout the menstrual cycle.

divine masculines role at this time: At this time divine masculine must ready himself to opposite the divine feminines energy to be proactive and create the ideal environment for rest and rebirth. Do your due diligence to create the safest, most abundant environment in all ways necessary. similar to how the male in nature may help build a nest and sing to create a soothing environment or may take over and build the nest entirely on his own to prepare for incoming change and laboring. invest both financially, spiritually, and energetically into creating the optimal environment. your job during the luteal phase is to curate a safe space, your job as divine feminines hard work begins and the menstrual cycle starts is to keep her warm and tend to her in the safe space you built and brought the resources to.

****

notes:

divine feminine if you are single take into consideration beginning to period track whether it be with a calendar or with an app while you're looking for a divine masculine or are in a position where you're looking for love. this way you already know and have known for quite a while when phases of your cycle begin and what takes place during these times.

another thing I really think is interesting is research on what foods are best eaten through different phases of the menstrual cycle, this can also help divine masculine better prepare for your cycle during the luteal phase while he gets things in order for you to enter a period of rest, there are various charts on these things on Pinterest, I could make another post about that specifically another time.

tantric sex practices or rituals or similar intentional intimacy practices could be really good to implement during high energetic phases of the menstrual cycle to help divine masculine tap into your energy that you're radiating and give him the privilege of co-creating a reality with you or aid in him further manifesting abundance in his life. (do be mindful of period sex and soul ties, if you do not intend for him to stay divine feminine keep this in mind.)

also do your job as a divine feminine to choose your partners wisely as his ability to do these things for you and move with you through these phases of your life are incredibly important especially in states of high power or even energetic vulnerability, I touched briefly on how important it is that divine feminine invest her time in relationships that are emotionally and spiritually safe as you are wide open if you make the wrong choice or give your power away.

[locuas642]

Elden Ring, my reading on Marika

Having finished the DLC, I am thinking of this scene. The scene from Ranni's ending, where she replaces Marika as a Goddess and Marika vanishes, finally passing away.

And one of the biggest twists in the game, alongside one of the major unsolved mysteries in the story is the reveal that Marika herself shattered the Elden Ring for some purpose, with the most sympathetic reading being that this was the only way she had to escape from the control of The Greater Will and recover her freedom.

The DLC expands on Marika, giving us an origin for her.

That is, of the horrors her people suffered at the hands of the Hornsent, the same people she would command Messmer to wage War upon them and commit what seems to have been a brutal genocide.

Now, my personal reading is that, after what happened to her people, Marika did a metaphorical deal with the devil. Either The Elden Beast or Metyr arrived to The Lands Between near Marika's village, and she accepted to be a Goddess and a servant of The Greater Will in exchange for her vengeance. and to be perfectly fair to Marika, this was the closest to Justice her people would ever get.

Now, Count Ymir suggests Marika was influenced by flawed advice from Metyr, the Mother of Two-Fingers, who lost contact with The Greater Will. But he also believes the moons are just the closest celestial object to our planet, so he is full of Shit. Because that doesn't yet explain The Elden Beast.

In any case, Marika made that deal and became a Goddess and she got her vengeance. And she fulfilled her duty as accorded, Conquering and expanding and forcing everyone to bow to The Greater Will. Who knows what she felt during this time. If she lusted for power as her empire grew, or if she was horrified and felt trapped by learning what becoming a goddess meant.

Because everything about Marika is always specifically filtered through someone else. Even the closest we get, her very words spoken by her, are filtered through Melina.

The second closest we get is Marika's village, where we see the things she left behind, Specific actions she and she alone did for nobody else but the memory of her village. and I say this because This:

is the closest we ever, ever get to meeting Marika. a broken face of someone who has long stopped being human, he don't see her eyes, we don't hear her voice. Yet you know what I see here?

Marika's Tired. So, so, so, so... Tired.

Was that it? that at the very end, Marika simply grew tired? was she, in her last moments, thinking back and remembering The Grandmother by the tree, and wishing she could be there for one final slumber?

And so maybe, regardless of what The Age of Stars means, on whether it is the "good ending" or not, this is the ending Marika wanted. For someone, any of her children, to hopefully succeed her and let her rest at last.

And what we see is that in the last moments of the Shaman whose entire home village was cruelly massacred (and who delivered blood upon blood onto those responsible and unto the innocent, and whose entire life was now defined to the service of some greater power), she is being cuddled in the arms of her step-daughter (of whom she may be Ranni's biological father), a moment of peace and warm before the end of a long road.

Maybe one of the things the DLC was meant to show us wasn't why Marika did what she did. It was to show us that it was time for Marika to go back home at last

[drowning-moonlight]

Something about the ASL Brothers that I found so intriguing is that in a "normal" shonan manga/anime, Ace and Sabo would actually be the ones that fit into the regular protagonist archetype.

What I mean is, if Luffy is taken out of the story but the world of One Piece is still the same, who could the story feasibly follow? There are lots of characters that could potentially carry the series as the main character but I feel like Ace and Sabo both fill roles that are very protagonisty even though they aren't main characters.

Ace is the son of the previous Pirate King. Roger is the character that sets up the McGuffin that the whole series is named after i.e. the One Piece itself. It would make sense for the son of this character to be the driving force of the story if Luffy didn't exist. Ace, though he is never called this, is essentially the "Prince of Pirates" trying to distance himself from his father's legacy that has caused him nothing but pain. He does not want to live in the shadow of his father or be judged for being Roger's son. "The Sins of the Father" is a trope that very much haunts Ace in the narrative and that trope is also often part of a typical protagonist's journey. Of course not every single protagonist from every media ever follows that trope, but many do. (One can even argue that Luffy follows the "Sins of the Father" trope to a degree with Akainu wanting to kill him for being Dragon's son at Marineford but I digress.)

My point is that one of Ace's roles in canon is to represent the theme of Legacy (even if it's breaking that legacy), which is a strong Main Character theme.

He's on a journey to find himself, to find freedom from the ghost of his father, a journey to find a father that he can actually love and look up to. Ace represents a journey of self love, self worth, and fulfillment. He tries to find worth in himself outside of who his father was in an effort to be his own person. The sheer fact that Ace is the biological son of the character that basically sets up the whole plot of the series and yet wants nothing to do with the man very much has Main Character Energy to me.

Then there's Sabo.

The world of One Piece is deceptively cruel. At first glance, it's just a silly world with lots of pirates searching for treasure. But as the series progresses, we learn that the world is controlled by a corrupt government and military system full of people taking advantage of the system to further their own gains at the expense of the safety and well being of the common citizen.

In a more "typical" series, a world like One Piece's world would have a Main Character that's sole purpose was to bring down this corrupt government. Now Luffy does fight the power structure at times and has no love for the World Government or Navy, but his main purpose as the protagonist is not to tear down the government - his main purpose is to be the Pirate King. Take Luffy out of the story and who is set up to fulfill the task of tearing down the government? The Revolutionary Army as whole and Sabo specifically (also Dragon but this post isn't about him). Sabo is the one that directly declared war on the WG when he destroyed the Hoof/Claw of the Celestial Dragon in Mary Geoise.

Sabo represents the common person fighting against a corrupt power system in order to make the world a better place for the most amount of people. Again, this very much has Main Character Energy in my opinion.

I just love the ASL Brothers so much and the fact that each one of them could be protagonists in their own way make them all the more interesting.

[ohmyrashi]

think of your bladder. an organ that exists for the sole purpose of collecting and expelling liquid waste. as an organism, there’s nothing more primal than the process of ingesting liquid, filtering it through your body, and then eliminating what’s left over from your system. when your bladder gets full and swollen with urine, every instinct, every impulse, every signal from your brain and body, tells you that you NEED empty it. that you need to relieve yourself of that uncomfortable, aching pressure inside of you, to free yourself of the burden of everything you’ve had to drink since your last trip to the bathroom.

think of the way your body rewards you when you give in and pee. the rush of happy brain chemicals as you void your bladder, the wonderful physical sensation of emptiness and lightness and relief inside of you. the incredible pleasure of fulfilling that most basic biological imperative.

but you don’t WANT to give in to that imperative, do you? even though it goes against millions of years of evolution, you want to keep all that waste inside of the bladder that’s so desperate to piss it all out. and, more importantly, i want your urine to stay right where it is. so you’ll clench those muscles and wait, no matter how strong the urge, no matter how loud your bladder screams for relief. won’t you?

[heartgold]

(incest, csa, suicide cw)

umineko is full of complicated and fucked up parent/child dynamics, so the way kumasawa and genji were like the parent figures sayo always wished she could have and then turned out to be the people who hurt her with the most intent often flies under the radar. but I'm constantly thinking about it.

they never saw her as more than an extension of her biological mother and a way to personally atone for failing her... by ultimately failing her daughter too and in very similar ways. kumasawa incentivised young sayo's beatrice roleplay and taught her magic bc "it was like it was meant to be". in kumasawa's eyes, it was as if beatrice's daughter unknowingly shared a connection to her mother thanks to the whims of fate. but to sayo, the magic she was taught became her primary way to cope and to find some confidence in the face of the hardships she was going through. of course the idea of no longer being 'yasu', the clumsy servant mocked by everyone, but rather the powerful witch beatrice who inspires their respect became so important to her! but then as she learned later, she spent all her life roleplaying as her dead mother who was horribly abused (and whose abuse was enabled and covered up by sayo's parent figures!) and by then she had all but absorbed her as part of her identity and sense of self, all while being secretly primed to ultimately play her part and finally "become" her in genji's bullshit redemption arc plan for kinzo. kumasawa knew everything and intentionally encouraged this while sayo had no idea. it's no wonder beatrice went from being something empowering to sayo to the cruel voice tormenting her in her head, reminding her of her worst thoughts. beatrice became an embodiment of trauma! not just sayo's trauma but also her mother's, which she took upon herself. all of the people who knew the truth manipulated her into walking the path of becoming her mother and saw her as nothing but that. a replacement, a vessel for the "true" beatrice. the very same idea behind her mother's grooming and abuse.

the cruel irony here is how all of this was done to prove a point about kinzo not repeating his actions and to relieve his guilt in time before his death, with genji/kumasawa/nanjo celebrating kinzo being "successfully redeemed" by not raping his daughter again... all while sayo comes out of this horrific situation terribly sexually traumatized regardless. all at once, she learns the depth of violation she suffered from some of the few people she thought were on her side. the way she was manipulated and gaslit all her life about the circumstances of her birth, her parentage, her body, her entire identity and personhood. how they were willing to risk her safety by making her work under kinzo to prove that he wouldn't sexually abuse her. the shock of learning what happened to the mother she was unknowingly raised to become, and how those people did nothing to help her back then either. how her mother, too, was groomed into playing the role of her own mother for kinzo!!! the horror doesn't end. the traumatic impact and consequences of all of this on her life were never in their minds, only making sure sayo would play her role in granting kinzo a peaceful death. putting kinzo's guilt to rest was always the priority, and by trying to prove he wouldn't repeat the past, they did so themselves by dooming another beatrice into becoming a vessel for her mother and shouldering generations worth of trauma.

there's this metaphor in umineko about the powerlessness of children before their parents and how many are born to fulfill a specific purpose for them, becoming an extension of their parents who project on their children and try to shape them into a specific kind of person to successfully play a role. having a child is compared to creating a fictional character which is compared to inserting a piece of yourself on a gameboard. this goes for every parent/child dynamic in the story including allegorical ones such as bern/erika, and of course this reflects the way the only people sayo could call her parent figures shaped her into an accessory in her father's narrative. she was always their means to achieve that, not even a person in the grand scheme of things. a piece of their own creation, shaped and molded into a role, without autonomy of her own. furniture in every meaning of the word in sayo's personal lexicon.

it hurts how she trusted them and even made fantasy versions of them to include them in her world! she wanted them to be part of it and that's a precious thing to her! and then turns out the characters she created were much better people than their human vessels. even more encouragement to reject reality altogether and immerse herself even deeper in a rabbithole of fantasy to cope with her real life being almost unsurvivable after nonstop betrayal and hurt!

the nail in the coffin is, after doing all of... That out of his fucked up sense of loyalty to kinzo, genji goes on to enable and help out with sayo's mass murder-suicide plan... as his way to atone for how much suffering he caused her? the results of his actions were a major driving force in her suicidality and furniture complex among all the many factors pushing her into a corner, and then he reasons that agreeing to help her kill herself along with literally everyone and providing her with the means to do it is the correct thing to do for her??? genji's undying sense of duty and loyalty is truly his worst and most terrifying quality. he'll stop at nothing to honor it.

[kleopatra45]

Jaimini Karakas in Astrology

✨ Atma Karaka (Soul Significator): The Atma Karaka is the planet with the highest degrees in your natal chart, representing your soul's essence and primary mission in this lifetime. It signifies the core lessons and experiences your soul seeks to master. The Atma Karaka's placement by sign, house, and aspect will illuminate the deepest desires and spiritual challenges you face. It reveals the path you need to walk to achieve true fulfillment and self-realization, acting as a beacon guiding you toward your higher purpose.

✨ Amatya Karaka (Career Significator): The Amatya Karaka is the planet with the second-highest degrees, symbolizing your career and how you express your talents in the world. This Karaka shows how you achieve success and the areas where you can excel professionally. It also represents your relationship with mentors, colleagues, and those who support your ambitions. By understanding your Amatya Karaka, you can gain insights into the career path that aligns with your soul's purpose and how you can best serve the world through your work.

✨ Bhratri Karaka (Siblings & Courage Significator): The Bhratri Karaka, the planet with the third-highest degrees, governs your relationship with siblings, cousins, and close friends. It also reflects your courage, communication skills, and ability to navigate challenges. This Karaka sheds light on the support system you have within your immediate environment and how you interact with those who are like brothers and sisters to you. It also speaks to your mental fortitude and how you face life's adversities, indicating the strength of your willpower and determination.

✨ Matr Karaka (Mother & Nurturing Significator): The Matr Karaka, determined by the planet with the fourth-highest degrees, represents your mother, maternal figures, and your emotional foundation. This Karaka delves into your early nurturing environment and how it shaped your emotional security and capacity to care for others. It also provides insights into your relationship with your home, your sense of belonging, and how you create a safe and nurturing space for yourself and those you love. Understanding your Matr Karaka can reveal how you seek comfort and the role of the motherly influence in your life.

✨ Putra Karaka (Children & Creativity Significator): The Putra Karaka, the planet with the fifth-highest degrees, relates to your children, creativity, and the way you express joy and love. It reflects your relationship with your offspring, whether biological or creative (such as artistic projects, business ventures, or anything you birth into the world). This Karaka also highlights your capacity for playfulness, passion, and how you channel your creative energies. It indicates how you nurture and guide the younger or more vulnerable aspects of your life, bringing forth your legacy.

✨ Gnati Karaka (Obstacles & Enemies Significator): The Gnati Karaka, the planet with the sixth-highest degrees, signifies the areas of life where you encounter obstacles, diseases, and challenges. It reveals the nature of your struggles, including hidden enemies or health issues, and how they manifest in your life. This Karaka also points to the areas where you need to develop resilience and the lessons that come from overcoming adversity. By understanding your Gnati Karaka, you can better prepare for the difficulties you may face and find ways to transform challenges into opportunities for growth.

✨ Dara Karaka (Spouse & Relationship Significator): The Dara Karaka, determined by the planet with the lowest degrees, represents your spouse, marriage, and long-term relationships. It reflects your approach to partnerships and what you seek in a significant other. This Karaka provides insight into the dynamics of your intimate relationships, including the qualities you are drawn to and the challenges you may encounter in love. Understanding your Dara Karaka can help you cultivate deeper, more fulfilling connections and navigate the complexities of commitment and shared life paths.

Note: Rahu/ North Node and Ketu/South Node cannot be classified as jaimini karakas along with generational planets i.e. Uranus, Neptune and Pluto.

©️kleopatra45

[floweringlamb]

Doctor that administers my T but knows how to break girls like me- whenever he’s with me he tells me all about my female body, no matter how much I insist I’m a boy. Whenever I ask him to up my dose, he orders me to let him see me nude, assuring me that he’d tell everyone that I was trans if I refused. I should’ve just gotten a new doctor, left, done something, but every time I obliged.

He traces along my breasts, telling me how they’re specially designed to produce milk, how when I was impregnated my nipples would go dark to signify the start of production. I tell him that I’d remove them one day, and he shakes his head.

He grabs my hips, pulling me into him, explaining how they are wider than a biological males because they are made to support the weight of a baby. I whimper at the thought of being pregnant, doing the thing that biological males cannot do, revealing to everyone that I was not one.

He presses his lips to mine, caressing my chin, whispering to me about how I have a completely different bone structure from a male like him, and my wide eyes and plump lips were obvious markers of being a female. It was silly of me to think anyone would think I was a boy, everyone already knew I was a fertile female made for cock.

I began to cry as he pulled my legs open, fingers dancing along my folds, him able to tell me the name of each part- instantly able to find my clit and beginning to rub it, making my attempts to push him off begin to fade as my body trembled with pleasure.

He finally pulled out his hardened cock, and gently pressed it into my tight cunt, shushing my pleading as he reminded me of how this is exactly what my body was designed to do. He slowly but rhythmically thrusted, groaning that he was soon going to pump me full of his seed, going to make me finally fulfill my purpose as a female. I sobbed for him to pull out, that if I got pregnant that I would have to go off T, but he just smiled calmly and grabbed into my round hips as he cummed deep inside. I orgasmed and moaned as he did, and he smirked.

He pressed his finger to my hole to keep his cum from leaking out. I looked at him in disbelief, trying to deny what he did. He had probably used some sort of protection right? Maybe my T would protect me?

He knew what I was thinking, and simply says that he will do this every session, until I either admit I’m really a girl or I’m knocked up with his baby. And if I admitted that, he would immediately take me off T and recommend to any other doctors to never let me transition. On the other hand, if I became pregnant for him, he would treat me well and use me as a new study for converting trans boys back into women. I stared in horror, knowing I might not have been impregnated this time, but since I would never admit that I wasn’t a boy he would eventually successfully breed me… and then I would be used as an example of being turned back into a girl…

I convinced myself that both were horrible options, both forced me to detransition. But deep in my mind? I knew what I wanted. So I kept returning. And soon a bump appeared.

[genderqueerpositivity]

I just wish that more people could understand how common and dangerous this transphobic conservative "protect our daughters" rhetoric is.

It's weaponized against trans women and transfeminine people all the time. This is visible in bans against transfeminine people playing on girls and women's sports teams, and it's visible in bathroom bans.

However, it is also weaponized against trans men and transmasculine people in different, but less discussed, ways.

We're infantilized. Regarded as impressionable, lacking in self-awareness, and easily influenced. We are victims of our doctors, gender therapists, big pharma, liberal teachers, and social media. We are misled, brainwashed. We don't choose to transition, we are "transed". We have no true agency of our own, we're manipulated. (And if we are neurodivergent, that adds tax; we aren't competent, we aren't capable of understanding the significance of transitioning or of fully consenting to gender affirming care, we are exploited.)

The "permanent" and "irreversible damage" that conservatives refer to is nearly always loss of fertility. We are "poisoned" by testosterone, "mutilated" by hysterectomies that leave us unable to have babies and mastectomies that leave us unable to breastfeed. "Damaged" pitiable things that can no longer fulfill our true "biological purpose".

Or course all of this is bullshit. But this narrative is absolutely a driving force behind trans healthcare bans. It's the reason behind the outrage over a few pages in a body image book aimed at teen girls.

It's fucked that more people don't see this for what it is.

[lets-try-some-writing]

In the Pretender AU, the "issues" that Pretender!Ratchet has for Bumblebee is maybe this jealousy between him and his relationship with Optimus?

Despite his apathetic attitude it's clear in familiarity Bumblebee has more of a bond with the Pretender Patriarch given their early time together and him being the first generation. Which makes Pretender!Ratchet jealous.

With maybe his jealousy eventually morphing into brief anger after Bumblebee had his voice modulator torn out by Megatron and Ratchet was unable to fix it.

Once again, making him look like a "failure" in the eyes of his Patriarch.

You got it spot on! Pretender Ratchet is SO jealous of Bumblebee and Optimus's connection and it drives him up the wall. Bumblebee is one of Optimus's direct offspring which he molded with purpose. Ratchet is a host born, a being intended to serve as an advisor. He must fulfill his design and that means that he is not granted nearly as much room for error as his fellow Pretender. Optimus needs useful advisors, and if Ratchet fails to be useful, there are other Doctors for the Pretender Patriarch to take instead.

Pretender Ratchet is VERY aware of how precarious his situation is. Optimus does care for all his creations, but he is above all else, logical when it comes to the usefulness of those around him. If one of his advisors becomes more trouble than they are worth, he is not opposed to taking the biological data of the advisor in question and creating natural born Pretenders from them instead. Would they have the memory and skill? No. But Optimus abhors waste.

Bumblebee losing his voice evened out the playing field a degree for Ratchet. But it also left Ratchet in incredibly hot water for a while. Failure to repair Optimus's eldest creation had the Prime prowling around threateningly for a while. Ratchet took that as his sign to self exile for a time to claw his way back into Optimus's good graces.

This is how he gained his combat prowess.

If he could not be as great a Doctor as his host, Pretender Ratchet was determined to prove his worth in other ways. There is a reason that Decepticons are now incredibly paranoid around rafters and high ceilings. The good doctor of the Autobots may be lurking nearby.

Megatron is both terrified of and holds a unique hated for Pretender Ratchet. He holds a certain degree of pity for all of Optimus's creations since they did not ask to be formed the way they were. Ratchet is no different for him in this regard. But the hatred and fear stems from the simple fact that Ratchet, in his exile, managed to slaughter his way to one of the largest Decepticon encampments in Tarn. It was his slaughter that led to Damus being infected alongside dozens of other far less fortunate sparks.

Megatron only met Pretender Ratchet once on the field, and he received one of many facial scars from the Pretender before he managed to tear off several of the Doctor's additional limbs. Ratchet dragged himself away unable to serve as a solider any longer. But he got what he wanted. Optimus allowed him to return in light of his offerings and Ratchet has since become incredibly cunning to the point of sabotaging other host born if they threaten his position.

Brutal and desperate to remain useful, Pretender Ratchet is a force to be reckoned with.

[creature-wizard]

im just a dumb kid btw, but it "The purpose of evolution is to produce higher and better lifeforms." not it? or is the keyword lifeforms?

I'll try and break this down!

So, evolution doesn't have a purpose. It's just a thing that happens as a consequence of a species living in an environment it's not already optimized for. Like for example, arctic environments favor traits like smaller ears and thick fur, so animals with these traits are more likely to survive and pass on their genes, and they will gradually become more prominent over many generations, until the animals become more adapted to their environment.

However, there's this misconception that evolution is a thing with an actual goal it's trying to reach, and that goal is to produce the Ultimate Organism Ever. What this hypothetical organism would be like depends on who you ask, but it usually involves traits that sound really good on paper when you don't understand biology or ecology. Like a common one is "higher intelligence," which can definitely be a useful trait to have, but it's also expensive as hell because the more complex a brain is, the more energy it uses. For example, a cat is already a marvelously successful predator; it just doesn't need higher language skills, and the idea that evolution is some force that would drive them to evolve it regardless completely misunderstands what evolution is and does.

In a New Age context, there's this idea that humanity is essentially destined to evolve into crystalline or even ethereal beings with all of these superpowers, which sounds very nice in theory but has more to do with wish fulfillment fantasy than any kind of biological destiny.

I hope this answers your question!

[itssomeonetofightfor]

Father/Son Themes in Cobra Kai

I have always been a passive social media reader, but this season made me want to write about this show, or on a platorm, EVER, forgive my innaptitude to accompany arguments with appropiate gifs. I'll learn, I hope.

The most compelling thing that came out of The Karate Kid was the relationship between Miyagi and Daniel. His teachings, their struggles, their love. Cobra Kai followed suit, however, they seem to have forgotten it throughout the seasons...

I have loved the experience of seeing what our beloved OG characters have been up to. From oblivious drunken (maybe not the oblivious anymore :)), hard to hold a job, troubled by his past Johnny to a renewed man with a passion for the only type of karate he knew in his life,encountering a lonely bullied kid which leads him to search for his own identity again after being let down by the only father figure he ever respected in his life after the abandonment of his father. (Even though he followed suit and abandoned his own son)

On the other side, we have his rival Daniel, THE Karate kid, who is now a fulfilled family man who has learned nothing but love, determination and balance from a man that stepped into a mentour role in his life after the loss of his father. He still feels the loss of purpose until he encounters a lonely kid ( said rivals abandoned son) in need of guidance and balance.

This was a beautifully written dance the first 3 seasons. The "nerd" in need of toughening and the "criminal" in need of guidance. They were paralled perfectly. Miguel was Daniel if he had been taught Cobra Kai and Robby was Johnny if he had been taught Miyagi Do.

Both fall in the gray because they can't let go of their independent grudges and they both fail their kids because of it. Johnny fails not only Robby who he OFTEN forgets is his biological kid ( on the exception of mentioning it to Miguel, but in reality doing nothing to redeem it) but also Miguel as he tries to redeem his past by leading him into the no mercy way.

Daniel on the other hand goes off the deep end with his PTSD and kicks Robby out not once but TWICE of his life for simple misunderstandings. This was compelling because I always thought the writers were aware of their parallels, both kids and adults.

After the school fight, both Senseis start to fall apart in consequence. Both riddled with guilt. Johnny goes the drunken crazy route only to be told off by his pupil for showing mercy and Daniel cast off by Robby as he is heading to juvie. It's a whirlwind that takes our heroes in separate and tough directions. What a challenge for a writer, what a beautiful predicament. Miguel gets his due, love and effort here, but Robby starts to get forgotten, at least by his own father, until it is too late. Daniel tries, but after abandoning Robby twice I get the distance and lack of trust.

In season 4, even though I love the season, you see these links start to fall apart. I love the karate drama like no other, however...it started to get tiresome, the bickering, the not learning, the abandoning..still I thought it was leading somewhere great, until it had to be Robby to be the one to make the first significant move to have a relationship with his father in spite of his father not giving a shit if he went to his loathed mentor, at least Daniel still cared. Miguel found it overwhelming to think he was not a son to Johnny that he fled in search of identity.

Season 5 is where they start going of the rails within this theme. Which forgive me , but is intrinsical to the lore. I wept when Robby went back to Daniel , one of my favourites in the series and never to be seen again thus far.The show has apparently forgotten there was once a bond there.

I loved the moment Johnny found Miguel after his father turned out a dissapointment. Most of all I enjoyed finally father and son time between Johnny and Robby even if tainted by a deceitful trip for Miguel. I get it, he's trying.

But otherwise, the plot turned into their endless bickering and ridicuoslusness.

In Season 6, fuck their mentorship roles, away goes the depth of their bonds. They are so worried about other things that the most significant moments that made this show great are spent elsewhere. Daniel might as well be a stranger to poor Robby at this point and to Johnny as well..he alludes to it but I have not seen anything to back it up. Even though his son is having a hell of it. Miguel and Johnny are in this, weird on and off I'm your son, love me more that your biological son merry go round ..and are probably the only ones given any closure. I love the fights and drama. But I do wish they went back to the father and son thematic that made this franchise so compelling.

[homestuckreplay]

[EOA2] Years In The Future, But Not Many: Adolescence and Time in Act 2 of Homestuck

‘Stories of cultural evolution and of individual adolescent development prioritize the ending; they are primarily narratives of fulfillment.’ – Nancy Lesko (2001)

Act 2 of Homestuck takes place in a single afternoon, and also spans the whole history of life on earth, from before the Pacific Ocean formed to a post-apocalyptic wasteland. As time flashes and contorts and makes a maze of sequential storytelling, our main characters remain frozen at thirteen years old, locked in time at the end of the world. The modern teenager is culturally constructed as a person who is always waiting and preparing, running to keep up with milestones and punished for stepping outside a correct order. Teenagers’ only, and very difficult, job is to adequately prepare for adulthood – an adulthood that is always years in the future, but not many.

This essay looks at adolescence as it is theorized in society and in young adult literature, with a focus on its temporal dimension. It then applies these theories to Act 2 of Homestuck, asking to what extent Homestuck recreates, explores or subverts dominant ideas of adolescence with its characterizations and nonlinear storytelling. It’s about 8,000 words; to skip the theoretical background and just read the Homestuck analysis, Ctrl+F for ‘Paragraphs in the future…’ and read from that section onwards.

This essay is also hosted on ao3 and has a bibliography.

Background: Normal Teenagers, Normal Development

‘A child’s social, and ontological purpose is therefore, it would seem, not to stay a child… any signs of entrenchment or backtracking, like play for example, may be interpreted as indicators of a failure to ‘develop’’ – Chris Jenks (2009)

All current adults have experienced childhood and adolescence – it is ‘the only truly common experience of being human’ (Jenks). Adolescence was not theorized in academia until the late 1800s, but had a social meaning much earlier; in 1818, Isaac Taylor published Advice to the Teens, Or, Practical Help Towards the Formation of One’s Own Character at the tender age of fifty-nine. G Stanley Hall, the first scholar of adolescence, was also fifty-nine in 1904 when he characterized the teenage experience as ‘storm and stress’, a time of turbulence, mood and behavioral changes, and conflict with authority.

In this early era of research, children and adolescents were studied in terms of their deviations from the ‘normal adult’, who was explicitly characterized as a middle-class white man. Young people were seen as speedrunning all stages of human evolution before reaching this ‘enlightened’ state at the onset of adulthood; the entirety of history recreated in each individual life. Those seen as ‘further down’ the evolutionary ladder – people of color and the working class in addition to adolescents – were viewed as biologically determined, controlled by their hormones and ‘underdeveloped’ brains, making it the job of those more ‘advanced’ to restrict their behavior. In this way, minors became a marginalized group, and adolescence became a training ground. By positioning teenagers as not yet capable of rational thinking and decision making, it was easy to justify controlling them until they were ‘ready’ to be full members of society.

Modern social scientists generally believe that our idea of ‘the adolescent’ was constructed in the early 20th century, in response to specific social conditions – but many people, including parents, teachers, journalists and young adult fiction authors, retain ideas about the ‘inherent nature’ of teenagers. Science surrounding the ‘teenage brain’ is picked up by popular media and adopted as proof of a biological basis of behavior, and two studies found that preservice teachers saw their future teenage students as ‘incomplete people’. Teenagers have long been described as overly emotional, as unstable due to raging hormones, as disrespectful and rebellious towards authority, delinquents and criminals, lacking individuality, lazy and disengaged, loud and disruptive, politically inactive, hedonistic, immature, as wasting their youth and health, and as not to be taken seriously. In the 21st century, the discourse shifts slightly: teenagers are just as much of a problem, but now they are entitled, inattentive, lacking in intelligence, work ethic and critical thinking skills, reliant on technology, spending too much time indoors, self- and celebrity-obsessed, irresponsible with money, overly sensitive and nihilistic towards the future. When these beliefs are dispersed throughout society and reiterated from all angles, it is no surprise that young people internalize them, and fulfill the prophecy they are told is unavoidable.

Politically, the ‘correct’ development of young people is crucial. The youth are the future adults, and as future adults, it is crucial that they advance society in the ‘right’ direction, and continue along the same path as the current adults. Hand in hand with the idea of teenagers’ inherent nature is the idea that their future trajectory can be changed through the right guidance and the right policy. Placed in a political spotlight, young people are always the ones to be concerned about, never able to formally raise their own concerns. Teenagers are denied the right to vote in countries they will likely be citizens of for their whole lives, and if they attempt to enter political arenas, are widely disparaged with their ideas seen as unrealistic and overly radical. They should instead be waiting their turn, with the expectation that their views will become more moderate by the time they are ‘mature’ enough to guide society.

In her re-theorization of adolescence Act Your Age! A Cultural Construction of Adolescence, Nancy Lesko points out that adolescence is defined through chronological age, and therefore through time. Pointing to theories of the clock as the technology that best defines the modern age, she discusses how youth are kept to a schedule of universalized milestones. One example is age graded schools, where all students are expected to turn thirteen during the seventh grade, and to all achieve the same defined educational standard at this age. Activities such as learning to drive and entering paid work are legally prohibited until a certain age, but people are expected to do these shortly after reaching these milestones, or they will be seen as falling behind. Physical markers of puberty are expected in narrow age ranges, and teenagers are medically pathologized if their bodies mature too fast or too slow. Social development, such as the expectation that adolescents will have their first kisses and first romantic relationships in their early teens, also qualify as milestones. Placed in narrowly age-grouped environments, young people will continually compare themselves to their peers, and those who reach milestones on time are socially rewarded by each other as well as by adults.

These milestones are not end points in themselves, but simply necessary steps along a path of becoming, always focused on the adult a teenager will be. Adults are positioned as superior in society, and to develop as a child is to become more adultlike. When a young person is given increased freedom and responsibility, it is bestowed by adults with the expectation that they will make the decisions of the adult – a teenager told they no longer have a curfew is probably still expected to come home at an adult-defined ‘reasonable time’, otherwise, the curfew will likely be reinstated.

The significance of adolescent decisions and experiences are often minimized. A first heartbreak, a failure to qualify for a sports team, or a decision between two potential friend groups or two academic tracks has a major impact on a teenager’s day to day life, but adults are typically dismissive, framing the issues from their perspective – when the teen is older, they will surely realize the insignificance of this training-ground decision to the arena of real life. Future reflections are privileged over in the moment feelings.

Time, more broadly, has been theorized by philosophers in many different ways, and studies have shown that humans intuitively understand time as both linear (happening one moment after another, continuous and unstoppable) and spatial (held in memory, with moments from the past able to be recaptured and moments from the future rehearsed). Western society heavily privileges the linear view, where time is measurable, unidirectional, and correlated with progress. Once a milestone has been reached, regression is unacceptable. A teenager putting away their Lego sets to get a part time job would be criticized for quitting that job and returning to their toys, and a high school that sees a year-on-year decline in standardized test results is seen as ‘failing’, regardless of other metrics (such as students’ mental health). Individuals and societies must continue to grow and advance with time; a logic which guides our current economic system as well as previous colonial projects. The fear of a society in decline is arguably the primary driving force behind the general obsession with youth, and with the ways the current adolescent generation is inferior to the previous.

This runs contrary to real experiences of time, which involve expansion, compression, twists, circles, loss, gain, running out and having too much. Time passes faster for a fifty year old compared to a fifteen year old. It passes faster when spending time with friends than when waiting for a bus in the rain, faster when anxiously preparing for a final exam than when waiting for results with fingers crossed. Adolescence, in its entirety, passes faster for a teenager raised in poverty who helps provide income and childcare at the age of fourteen than for an upper middle class teenager given a sizable income until they leave college at twenty-two. The past is returned to, over and over again, by adults who relive their high school yearbooks, watch television shows set in high schools, and reconceptualize their own adolescence by watching their children. My personal experience of time changed radically when I took on a seven year project, and started planning for a long term future as well as a short. Time is important not only in how it is spent, but in how it is captured, preserved, and shared.

Technological developments have further changed the experience of time for people of all ages. Writing in 2008, Judy Wajcman discusses the common belief that the pace of life is speeding up, as studies have found that across the second half of the twentieth century, people subjectively experienced feeling more rushed with decreased time for leisure. Some possible explanations discussed are how mobile communication has led to people organizing their lives around blocks of time instead of physical locations, as more activities are available ‘on the go’. There are greater expectations for people to do multiple tasks simultaneously, and mobile devices allow for people to plan and coordinate their time, and therefore optimize it for maximum productivity. Communication and the search for information happen at beyond-human speeds, and time that would historically have been ‘waiting time’ becomes obsolete.

For teenagers especially, social media has changed the experience of time, with young people feeling increased pressure to post frequently, respond to messages in the moment, and record their lives. One teenager explained social media as ‘kind of like documenting your life – you can look back in ten years time, you'll have all these pictures and comments’ while another, discussing taking photographs at Madame Tussauds, suggested that ‘the images became significant after the visit when they could be used to “tell stories” to others, providing digital prompts and enabling conversation about culture’ (Manchester & Pett, 2015). As affordable cultural spaces for teenagers decline, with fewer discos, malls and parks as well as a cultural shift away from parents allowing their children to roam outside, teenagers’ use of time also changes, and young people – especially the working class – report finding themselves with nothing to do.

In contrast, some middle-class young people have the opposite problem, their lives a far cry from the ‘leisure class’ of their peers fifty years before. Some schools begin careers education in middle school, and high achieving youth with college prospects are encouraged to fill their time with extracurriculars, volunteer work and academic preparation, held up against their peers who are using their time more effectively now, and are sure to see better futures because of it. In this way, some teenagers find themselves quite literally waiting for the time to pass and the next stage of life to arrive, while others find themselves working against the clock, trying to complete all preparatory work in time for their entry into adulthood. Despite attempts at standardization, real experiences of both adolescence and time are highly variable, responsive to individual differences, social positions, and new technologies.

Background: Narratives About Youth

‘Behind every disempowered teen narrator is an empowered adult author conveying ideology about the superiority of adult norms.’ – Petrone et al. (2015)

As teenagers became a distinct marketing group, new culture industries grew up around them. The first teen movies, focused on delinquent teenage boys committing crimes due to lack of adequate parenting, were released in the 1950s. In his book The Road to Romance and Ruin: Teen Films and Youth Culture, Jon Lewis argues that via these movies, adults projected their own discontent with modern society onto the teenage characters they created. He views all narrative as ideological, as even the most rebellious and anti-establishment teen movies end up reinforcing adult authority, with characters coming to regret their deviance and ‘reform’ themselves, or being punished for their actions.

Young adult literature was slower to develop, but grew in popularity throughout the 1970s and 80s. So named because it focuses on similar themes to adult books but intended for a younger audience, young adult books can work in any genre, but focus on teenage protagonists and coming of age narratives. Whether real or fantastical, these protagonists navigate the rules and power structures of the world around them, go through some type of trial and eventually learn a lesson crucial to adulthood. It has been argued that the classical narrative is inherently adolescent, as stories by their nature deal with development and change; postmodern fiction does not always follow these rules but it is true for many works for all age groups.

Jon Lewis also discusses the ‘notion of cause and effect’ as it applies to teenagers being ‘at once a mass movement and a mass market’. Many people have argued that the ‘teenager’ was partly created by marketing industries, who, noticing young people’s increased free time and money in the 1950s, created products to fill that niche. Other scholars assert the agency of young people in creating their own subcultures, saying that teen culture arises spontaneously, with adolescents just as likely to adopt a symbol not specifically marketed to them – such as the safety pin’s role in punk culture – as to be swayed by intentional marketing.

In media, the product being sold is an identity to embody. The protagonist of a teen movie can be both relatable and aspirational – they reflect both who the viewer is, and who they want to be. A teenage protagonist is described as ‘relatable’ and ‘authentic’ if they appear to reflect experiences of actual teenagers, who are conceptualized here as a monolith. Petrone et al. point out that such an analysis would seem ridiculous if a character were described as an ‘authentic adult’. They advocate for a more nuanced discussion of ideas surrounding adolescence in fiction – a Youth Lens, which questions how literature represents adolescence, what assumptions the story makes about youth and how that frames plots and characterizations, and to what extent the text reinforces or subverts the dominant understandings. They believe this could pave the way for more varied representations of teenagers, which could positively impact young readers, as ‘writers who foreground examples of youth who do not follow conventional expectations of adolescence can shift how youth might be understood’.

Young adult literature is typically written by adult authors, capturing a reflection of teen culture instead of the reality. It is also regulated by adults – editors and publishers who decide whether a book can be marketed for young adults, and librarians and bookstore owners who decide whether to categorize it as such. Mature themes – including mental health, death, drug abuse, sex, and structural issues such as racism – do feature in young adult fiction, but there are no formal guidelines, and any book seen as ‘going too far’ is liable to be kept away from teenagers.

Writing about young adult fantastical fiction, Alison Waller shows how fantasy narratives reinforce adult norms just as much as realistic fiction; the expectations of growth on a young witch, werewolf or ‘chosen one’ are not radically different from those on real life teenagers. A common theme in dystopian and high fantasy fiction sees a teenage protagonist framed as the only hope for the future, a person prophesized to both change and save their world. Although this narrative may seem progressive as it allows for radical change, in reality these characters are generally guided by wiser adult characters who influence their decisions, and the story is not so different from the real life expectation that the next generation will save us from the problems caused by the previous.

In time travel narratives specifically, a protagonist may go back in time to a situation where they have improved agency and a subjectively better life, but by the end of the story, will voluntarily decide that returning to the present is the right thing to do. A temporary move backwards gives this character the tools they need to succeed at the next stage of life, and overall, their chronological and developmental trajectory is not disrupted. Where a secondary character chooses the past over the future, the narrative tends to treat them with anxiety, positioning them as cautionary tales or as mistakes in need of fixing.

Novels, movies and video games are typically released as completed works – the creators know how the story ends before the work is released. This may not apply to books in a series, and also does not apply to many television shows, comic books, or audio dramas. In a format such as the sitcom, the growing up narrative is complicated – a teenage character may learn a lesson about sensitivity to others’ emotions in one episode, and return to their previous self-centered ways in the next, thereby allowing ‘adolescent’ to be a primary descriptor of the character, not a state to be grown out of. Creators who are teenagers themselves, such as published British author Rachael Wing and many online writers producing fanfiction and original fiction about characters their age, also present a new paradigm. Although they may be influenced by the judgments of adults, they are still writing based on their present experiences instead of memories and observations.

The internet expands possibilities for both narratives and creators. A work posted serially online has the chance to respond in real time to a young audience, and there are far fewer restrictions on what can be posted on the internet, meaning that stories can be made accessible to young adults even if a major publisher or a parent would disapprove. As the internet itself is an ‘adolescent’ rather than a ‘mature’ medium, exploring the possibilities of the medium itself could go hand in hand with disrupting a typical coming of age narrative.

Paragraphs in the future…

‘Try not to be so linear, dear.’ (p.421)

Homestuck is written by Andrew Hussie, a former teenager who turned 30 while writing Act 2 in 2009. Its principal characters are teenagers and like most stories, it is written from memories of being a teenager and observations of what teenagers are like today. Its first act is entirely linear, but Act 2 begins to explore time, continuity, and cause and effect. Readers can no longer assume that a page takes place after its preceding page, and the main characters – John, Rose, Dave and the Wayward Vagabond – all exist at different points along the timeline.

I believe that Act 2 represents time as it is actually experienced by teenagers, where growth and personal development are not always linear and not always in sync with that of others. John, Rose and Dave are all growing up in the 2000s USA, and are all subject to roughly the same cultural expectations as described in the earlier sections, just as the overall work is written in that context. Looking at each character in turn, I will discuss to what extent they conform to dominant conceptions of ‘the teenager’ and how they experience time within the narrative, with a view to asking whether Homestuck could offer a new understanding of adolescence.

John Egbert

‘And even meanerwhile, in the present. Sort of. Once again, the slippery antagonist eludes you.’ (p.385)

As the principal character and the first introduced, John’s time is arbitrarily defined as ‘the present’ – pages 334 and 385 both say as such. However, at the end of act 1, John is transported to a ‘realm untouched by the flow of time’ (p.421) and while time continues to pass for him, it’s not necessarily in step with Earth time, indicated by the ??:?? timestamps on his Pesterlogs. As such, John’s ‘normal’ development has been stalled on the day he becomes a teenager, and he’s locked off from the future of his society.

For John, time and space are linked. Although he has been removed from time and therefore from normal expectations, he’s still stuck in his house, the one piece of his culture that he brought with him. The picture John’s dad pinned to the fridge and the green slime pogo ride John continues to define himself by in this act both keep him tied to his childhood. While he’s here, John can’t escape a multitude of authority figures. His dad has been kidnapped, but still leaves notes around the house congratulating John on his maturity – ‘You are strong enough to lift the safe. You are now a man… I know you will take this responsibility seriously’ (p.546).

With Dad gone, Nannasprite steps in, having not seen John since he was very young. She restores John’s bedroom door to its hinges and restores the family order in the house, giving advice, controlling what John knows, and baking unprecedented amounts of cookies. Nannasprite calls John a ‘good boy’ (p.428), and the Wayward Vagabond’s first command to John is ‘BOY.’ (p.252), a word with assumptions about both John’s gender and current stage of life. Rose and WV also have guardianlike roles over John, able to control how he spends his time.

John is younger than Rose and Dave by a few months, but retains far more childlike qualities. His priorities lean towards play and silliness, as shown when he captchalogues shaving cream in case he suddenly needs to make a Santa beard (p.488) or makes a tent out of cruxite dowels (p.615), and he isn’t in any hurry to reach the signifiers of adulthood, such as shaving (p.544) or taking personal responsibility (p.643). The trait John most shares with the stereotypical teenager is poor emotional regulation – both his excitement and his frustration are obvious on his face and regularly interfere with his behavior (for example, p.429, p.637).

He passes the time instead of using the time, and is easily swayed by his peers. He has a drive for autonomy and self preservation, and will attempt to stand up for himself, but usually ends up deferring to the authority of his friends or guardians. He’s not very self-motivated except when it comes to putting bunnies back in boxes, and he enjoys consuming media, not all of which is age-appropriate – three of the movies on his wall are R-rated, including Con Air. He also plays popular video games and buys media merchandise such as T-shirts and posters, so falls into a mainstream youth marketing demographic.

As a prophesized savior positioned to undertake a hero’s journey, John is a classic young adult protagonist. He demonstrates the idea that the youth are our only hope, though they still require guidance from previous generations and are defined by their opposition to adulthood (seen through Nannasprite’s presence). However, despite Skaia influencing Earth since before life itself existed (p.757), it wasn’t until its power was harnessed into a video game that it began to threaten the world – youth’s popular culture is the thing that sends us all into decline, even if that culture was created and marketed by adults.

The earth already being ‘done for’ (p.427) allows for a subversion of the typical progress narrative. Page 757 indicates that Sburb may be influenced by ancient technology from outside of Earth, The end goal is not known, making John’s narrative defined by the journey and not by the ending, highlighting adolescence as a meaningful experience in and of itself, not only because of where it leads. And Sburb is already poking fun at John’s culture – the echeladder (p.405) parodies the milestone progression of youth, filled with meaningless and generic titles placed in an arbitrary order.

John’s destiny to ascend through the Seven Gates to Skaia, fighting with the light kingdom and attempting to overcome the dark forces’ destined win, could be read as an ascension from childhood to adulthood. John would be moving away from the sinful childlike state where young people are ruled by their base instincts of hunger, sleep, hormones and emotions, towards a rational and enlightened adulthood. But an inversion of this metaphor would work, too. John could move away from his culture’s ideal adult that he’s been told he’ll become – a person who is cynical, conformist, an obedient worker, driven by money and personal success – back towards the childlike state, retaining the open-mindedness, sense of whimsy and possibility, and creativity of childhood. Earth is done for, and so there’s no reason John should still be tied to the linear march of the culture he came from. He is perfectly positioned to imagine a new paradigm of adolescence, if he can break away from the ties – his house and his guardians – that try to tie him down to the ‘old ways’.

Rose Lalonde

‘To hear his mammoth belly gurgle is to know the Epoch of Joy has come to an abrupt end.’ (p.302)

In the narrative, Rose’s time is defined as the near future. Although her story directly overlaps with John’s, putting them at the same point in time, Rose is three timezones ahead and refers to other timezones as ‘younger’ (p.174). It’s night time for her, which visually distinguishes her panels and gives her story a more adult atmosphere. She is future oriented and proactive, planning for the next thing, and typically portrayed as one step ahead of John.

Rose has experienced the passage of time quickly, and has not had the luxury of lingering in childhood as John has. With a mother who is inattentive towards raising her and communicates through daily arguments (p.389) and ‘notes’ on the fridge (p.366), Rose likely had to develop independence and adult traits at a young age. She would be considered ‘precocious’, a word typically carrying a negative or judgmental tone describing a young person whose achievements or inclinations are happening ‘too soon’. In the narrative, Rose is continually running out of time, watching the battery on her laptop slowly drain and the forest fire surrounding her house creep closer. This anxiety of something yet to come positions Rose as a teenager who is awaiting the future and making use of every possible moment to prepare for it.

Educationally, she has a larger vocabulary than the average person her age, and likely a higher reading level. Practically, she understands construction and generator safety, has a good grasp of modern technology such as computers as well as classic skills such as knitting, and the hand eye coordination to do these things well. She demonstrates abstract and critical thinking, and attempts – with varying levels of success – to understand the consequences of her actions. She shows an understanding of a world greater than herself when she wishes Jaspers had been allowed to decompose (p.414) and avoids allocating her grimoire to her strife specibus (p.297). Despite being raised by a rich mother, she enjoys a challenge and is willing to work hard, rejecting childlike wish-fulfillment fantasies such as princesses and wizards.

Rose is a teenager who attempts to fill her time with activities she sees as productive and as bettering her as a person. She has internalized adult values and would prefer to get there too soon than be left behind, and she works hard to define herself through timeless, sophisticated hobbies such as literature, knitting and the violin, generally resisting mass culture that would be typically marketed to teens; unlike John she disrupts the idea of the teenager as mindless consumer or as defined by her peers’ interests. She tries to avoid juvenile behavior and scorns it in others (p.249) and is very attuned to cultural expectations, feeling a nebulous pair of eyes upon her judging the appropriateness of her actions, which affects her decisions (p.370), almost as if she is trying to skip the complicated, messy parts of being a modern teenager and move directly from childhood into rational adulthood.

It’s rare for Rose to regress into childlike behavior, such as the ‘W’ mustache (p.370) and the Youth Roll (p.379), and she usually ends up regretting or correcting the behavior afterwards (p.398, p.380). Her disdain for her mother suggests that she is self-correcting and trying to parent herself in response to these ‘slips’. Notably on page 440, Rose works on her GameFAQs, which are intended as an informative guide to future players. Accidentally slipping into a frustrated and self-berating personal anecdote, she strikes out the passage and again criticizes her own regression, which is immediately followed by a narrative shift into Rose’s actual past.

Rose struggles with patience, and with waiting for other people to catch up to her. She understands the seriousness of her situation; for her adolescence is a time of survival, her decisions now liable to affect her entire future. Act 2’s title, ‘Raise of the Conductor’s Baton’, appears in the text in relation to Rose - ‘Somewhere a zealous god threads these strings between the clouds and the earth, preparing for a symphony it fears impossible to play. And so it threads on, and on, delaying the raise of the conductor's baton’ (p.307). This certainly links to Rose’s experience of time, her living in expectant mode for a terrifying, looming future.

Primarily Rose strives for the ‘positive’ markers of adulthood, such as responsibility and educational attainment, but she also tries to be casual regarding sex, such as claiming to enjoy Dave’s bro’s websites (p.419). The only markers of adulthood she openly rejects are alcohol and domestic chores, both of which the text associates with Rose’s mother, who Rose views as a cautionary tale and the ‘wrong’ kind of adult. Through Rose’s relationship with her mother, there is space to question the idea put forward by other media that teenagers become dangers to society through poor parental oversight; Rose is certainly a rebellious and anti-authority teen, but her ‘rebellion’ consists of asserting her own capability and responsibility, such as turning down alcohol in favor of water (p.388).

Rose sees herself as the more responsible of the two of them, but it remains uncertain whether the narrative will legitimize this. By being positioned in a guardianlike role over John she disrupts the typical adult-youth dynamic, and is given a chance to prove her chesslike skills of thinking several steps ahead while staying responsive to new information, evidenced by her GameFAQ updates. However, in the final page of the act, Rose’s ability to manage her own life reaches its limits, and it is her mother who saves her by opening a secret passage, having apparently planned for this all along. Here Rose’s independence is taken from her and she is once again the teenager who needs a firm guiding hand, despite apparently working much harder than her mother. This reinforces a typical authority structure and is dismissive of Rose’s legitimate problems with her mother, as despite her flaws she is still a necessary figure in Rose’s life.

In future acts, Rose’s character arc could go multiple ways, particularly once she enters the Medium and is presumably separated from her mother. The story could legitimize her drive to grow up at a young age and allow her to take on a leadership role that she does seem well positioned for, given her ability to keep a clear head and solve problems in real time. In this narrative, Rose would not be punished or put back in her ‘rightful place’ for speeding through time, instead, her early development would allow her to be valuable to the group, and to challenge herself in ways a thirteen-year-old would not have access to in the real world. Alternatively, Rose could have an arc that allows her to go ‘back in time’ and reclaim her more youthful traits, taking on some of John’s silliness, handing over responsibility or making bad and uninformed decisions when in a new context, for example when she becomes a client player. This could also be subversive if returning from a more adultlike to a more childlike state is portrayed as a valid and meaningful journey in its own right, instead of as someone who grew up too fast returning to their ‘correct’ place in time.

Dave Strider

‘You just don’t have time for this bullshit. You’ll catch up later.’ (p.332)

Dave’s narrative time is defined as the past. His story begins on page 308, at the same moment where John’s story began on page 1. John and Rose are several hours ahead of him by now, and Dave’s storyline is constantly racing to catch up. Like any teen looking around and watching their peers maturing physically and socially while they fail to keep up, Dave is always missing information and excluded from his friends’ activities. The narrator makes sly references to Dave being in the past and unaware of what’s to come (p.314) like a nagging thought in the back of his head, and in every page, he has the relic of a five-year-old movie stamped on his face.

In reality, Dave is not failing to meet developmental milestones – quite the opposite. In a world where the athletic achievement of young men is prized and adults are expected to be in control of their own bodies, Dave is physically fit with quick reflexes, able to fight, jump, dodge and perform an ‘acrobatic fucking pirouette’ (p.579, p.665), even without regular access to food. The original, early 20th century Boy Scouts prepared boys for military service primarily through obedience, a sense of duty, and personal responsibility towards physical development; Dave’s brother with his strict sword-training and Saw trap regime is instilling similar values.

Dave does participate in mainstream culture, evidenced by his regular reading of GameBro and his desire to be ‘cool’ and to like the same things as his brother – but he’s not only a consumer of culture, he’s also a producer. He writes a blog, ostensibly on a regular schedule, and produces a webcomic, combining creative and analytical pursuits. He regularly refers to himself as ‘busy’ (p.309, etc) and says he ‘doesn’t have time’ for things (p.310, 332), has ‘a lot on [his] plate’ (p.333), and that it’s ‘hard to get any work done’ (p.381). Dave sees his internet projects as work, as commitments he needs to make time for, and he’s not afraid to push back against the player’s commands if he thinks they wouldn’t be a good use of his time.

He has the Complete Bullshit desktop application and keeps up with his brother’s projects, and likely other internet culture too, to stay on the cutting edge of irony that he prides himself on. It seems like Dave’s time is largely full and he struggles to fit everything in. He is very aware of the constantly changing, modern society that he lives in and wants to stay on the pulse of these changes. Less than six months after Obama’s election, a black president is no longer noteworthy to Dave (p.287), and he creates remixes with electronic samplers instead of playing classical instruments like his friends. He’s always online and always keeping in real time contact with his friends; he ‘pesters [Rose] like clockwork’ (p.415). Trying to keep the beat of an ever-shifting internet meme culture to stay cool and avoid being outdated at all costs is exhausting, and it’s no wonder Dave sometimes struggles to keep up.

Living in the city, a place where the pace of life is quickest, in a time of rapid technological and cultural change already creates a ‘racing against the clock’ mindset, and Dave’s relationship with his brother compounds this. By modeling himself on Jigsaw, a villain who created complex, physically violent traps with strict time limits, he forces Dave to be constantly on guard, constantly expecting the next danger, yet often a moment too late for it, behaving like an intense ‘no pain, no gain’ style sports coach. On the surface, Dave’s sunglasses, frown and monosyllables look like a rebellious teen movie protagonist, but beneath that, Dave best corresponds to a real life high achieving teenager who is put under pressure to achieve even more by the adults around them.

Dave’s story so far has focused on the ‘campaign of one-upmanship’ between himself and his brother as he fights for his brother’s Sburb game discs – his brother is an obstacle to both his plot development and his emotional development (for example, admitting that he’s uncomfortable with his brother’s hobbies). This is likely setting up a ‘loss of innocence’ story, where Dave has to come to terms with harsh realities of the adult world by recognizing that an authority figure is imperfect. This is a fairly typical growing up narrative that does not disrupt conventional ideas of linear growth, as the adult world is widely seen as darker, more serious, and something young people need to be protected from.

However, I think Dave’s status as a subcultural producer places him outside a typical youth/adult binary. Dave is not overall presented as adultlike, as he follows trends and is fully subservient to the adult in his life, and his hobbies – Sweet Bro and Hella Jeff, sweet bro’s hella blog, and remixing music – don’t place him on a typical path to adulthood. By establishing that Dave sees these as responsibilities, and as things he creates for a real audience of at minimum four people and potentially many more, Dave’s teenage experiences and creations are given importance without needing to be legitimated by adults (such as the narrator or his brother).

Dave’s self-motivation when it comes to his creative pursuits also disrupts ideas of teenagers as lazy or needing to be shaped by outside forces; he’s capable of sticking to a self-imposed schedule. However, his creative drive is part of a real-time responsiveness to internet culture – if he is taken to the Medium, outside the normal progression of time, would he be able to maintain this? An arc that focuses on Dave as a creator instead of Dave as a soldier could do more to complicate a typical youth narrative.

Wayward Vagabond

‘The APPEARIFIER cannot appearify something if it will create a TIME PARADOX’. (p.752)

The Wayward Vagabond is not a human adolescent, and does not come from the same culture as John, Rose and Dave – they discover the concepts of ‘cutlery’ and ‘politeness’ in Act 2, so are a long way from internalizing age-based ideals. As such, although WV exists in the future – their story taking place 413 years after the human characters’ – they are not more advanced, or more adult, than the others.

Alone in a wasteland and free from social influences, WV does not regulate their eating, is described as physically weak, expresses black and white opinions on governance, and loses track of time playing pretend games. At the same time, they show a good understanding of art, chess strategy and precise movements and distances. They pick up social and technological skills quickly and are very attuned to positions in space (p.743), but far less attuned to positions in time (p.755). Many of their actions are similarly nonsensical to John’s, and these moments of whimsy frame WV as childlike.

However, WV has a privileged position in time. Not only are they in the future, but they have the technology to experiment with temporal mechanics. Through a set of screens they are able to look back at and directly influence events from the past; they have authority over at least one young person, and can appearify objects from other points in time.

Being an adult and a child at the same time feels like a time paradox to us, just as appearifying a rotten pumpkin they ate earlier is a time paradox to WV. Having authority over a young person who, if he continued to grow in linear time, would be long dead by the time WV enters the bunker is also a paradox of normal development. By mixing childlike and adultlike traits, WV draws attention to the way roles in society are socially mediated and may not exist outside of their cultural moment. By living in a post-apocalyptic wasteland where advanced technology is lost to the ravages of nature, WV represents a type of person who could live in the future if the world does not follow a path of strict linear progress, but simply of change.

The appearifier and command station in WV’s bunker fundamentally change the function of time in the narrative. Although WV’s mastery of time is limited by the need to avoid paradoxes, if characters take actions to influence or improve the past, they disrupt the norm of future orientation and give equal importance to the past. Indeed, the pages titled ‘Years in the future…’ are not presented as the desirable end goal of the narrative, nor are they a terrible fate to be avoided. They are interesting asides to the story, but they are asides, with the bulk of them taking place in pages hosted outside of the main story. The story structure lets the past and present be centered in themselves, not just through their leading to the future.

The Narrator

‘Maybe you could go bug someone somewhere else for a while? Or at the very least, somewhen else.’ (p.440)

The position of any given Homestuck page within the timeline is uncertain until established by the narrator, who regularly exercises their power to shift back and forth, and to conceal these movements until the player has made a fool of themself. In this way, the narrator is positioned as an adult with perfect knowledge of the timeline, viewing adolescence in its totality. They have transcended the limitations of adolescence and have moved onto a real and meaningful time of life, and will occasionally reference their superior knowledge of future events with winks to the audience while keeping characters out of the loop – ‘you can’t imagine how a video game could save someone’s life’ (p.314) or ‘only… babies who poop in their diapers believe in [monsters]’ (p.387).

However, moments of the narrator criticizing or speaking condescendingly to the teenage characters is surprisingly rare. It happens occasionally, like with ‘This is COMPLETE BULLSHIT.’ (p.458) or ‘The circle of stupidity is complete’ (p.490) but the vast majority of narrative criticism is directed towards the Wayward Vagabond, the only character the narrator regularly speaks directly to. The narrator calls WV stupid on multiple occasions (for example, p.437, p.746), and tells them to defer to Rose’s decision making (p.277), but the majority of narrative text criticizing the kids’ behavior is actually just reporting their own thoughts, either towards themselves – ‘It seems the woman has you at a clear disadvantage’ (p.373) – or towards each other, such as ‘What the hell is that nincompoop doing?’ (p.508). When a command would lead to a bad decision, it’s generally the character who refutes it, not the narrator (p.489). In this way, although the narrator does have superior knowledge, they give center stage to adolescent perspectives.

Implicitly, the narrator controls the flow of time in the story – deciding who to switch to and in what moment of their story, allowing characters to speak or moving focus away from them – and the narrator is willing to indulge the characters in their non-plot critical diversions, rarely hurrying them along when they take extended time to read books or rearrange their sylladex, but allowing the minutiae of their experiences to matter. The narrator lists characters’ interests without judgment – adult characters are interested in clowns, wizards, puppets and sugary foods, while adolescent characters are interested in computer programming, knitting and specimen preservation, with no clear line on ‘acceptable’ interests for a given age group.

Zooming out a layer, Act 2 posits the idea of John, Rose and Dave’s stories available for viewing through a screen, four hundred and thirteen years in the future. As well as reflecting the existence of the webcomic itself, this contrasts the idea of adolescence as a transient state. The 13-year-old versions of these characters are frozen in time on the Wayward Vagabond’s screen. Born in the mid-1990s, these characters are among the first to grow up with social media, and with an internet moving away from anonymity. Their lives being recorded on the command terminal, in Rose’s GameFAQ screenshots (p.510) and in Bro’s Jigsaw puppet (p.570) are not a million miles from the teenagers documenting each other’s lives on Facebook in 2009 – and at the time of Act 2’s writing, it’s not yet certain what the real world impacts of this will be on current young people’s experiences of time.

Conclusion

‘Temporal movement into the future is understood as linear, uni-directional, and able to be separated from the present and the past… a conception of growth and change as recursive, as occurring over and over again as we move into new situations, would reorient us.’ - Nancy Lesko (2001)

Written in 2009, Homestuck carries the baggage of over a hundred years of public discourse around the teenager. Adulthood is seen as the most important stage of life, with teenagers as flawed, incomplete versions who need to be corrected before reaching the end goal of conventional adult society through conforming to a series of linear milestones. The expected development of real teenagers is reflected in the stories told about them, which focus on characters ‘coming of age’ and successfully internalizing adult norms.

By introducing nonlinear storytelling in Act 2, Homestuck represents time as teenagers actually experience it, which gives the comic a chance to explore and question dominant ideas of adolescence and adolescent time. John and Rose have relationships with guardian figures, including the narrator, that reinforce adult superiority, and all three kids have communication breakdowns between themselves and their guardians – but the skills and interests of teenagers are also given importance, and adults are not exempt from narrative criticism. The narrator is happy to indulge the teenagers just as often as to correct them.

The end of Act 2 positions Sburb as an organic entity of sorts, not necessarily created by adults in universe. Sburb encourages linear gameplay with progression up the Echeladder and through the Seven Gates, but the Medium’s position outside of time, and the fact that restoring the Earth is not the game’s goal, allow for narratives of change that are not necessarily narratives of progress, as the characters’ future in rational adult society no longer exists. The comic’s focus on creativity – both the potential of Skaia and with Dave’s role as an artist – means the story could focus on the importance of not losing childlike traits along the path to adulthood.

The narrative structure allows teenage characters to be nonlinear, to move between past and future moments, to experience sudden growth and moments of regression, to overtake their friends and then fall behind. The real-time nature of Homestuck’s creation allows readers to linger in the characters’ day to day moments and to experience their present alongside them, instead of tightly focusing on their plot development, and the reader submitted commands central to Act 2 mean that real life teenagers likely contributed to their own story. Homestuck is still early on in its story, but has already laid the groundwork for a novel conceptualization of time, and therefore an understanding of adolescence as more than just its ending.