#i ignore how he is in canon i do not see it Andrew hussie hes my character not yours GRRRRRRRRRRR

[eggwishing]

tavgross

[davekat-sucks]

Do you think Homestuck has value despite its flaws, or do you think the whole comic is a wash because it couldn't stick the landing?

Speaking as someone who didn't like basically anything after Game Over and agrees that Davekat was a dopey pairing (or at least too underexplored to be as satisfying as Rosemary or even a non-starter like JohnVris), I think you're being too hard on Homestuck. There are lots of ways it could've "made more sense" in Act 6 and beyond, lots of setups I wish it had paid off, but a comic doesn't have to be an equation. It can fuck up and fall to pieces and still be worthwhile, you know? It's okay for art to be messy.

Criticism is warranted, I'm not telling you to shut up and keep your opinions to yourself and I'm especially not going to defend all of Hussie's choices, some of which are definitely kinda nuts! But it sucks to see people turn on an artist like this just because he didn't deliver exactly what they wanted. Especially if the reason is that he went through a big transition and changed his perspective on the work.

Was the change in perspective from things like Hussie's father dying that the mood of the series turned out to be this way? Was it from bad influences from people he hired in WhatPumpkin? If it was something like this, I could almost give Andrew Hussie a bit of sympathy. Maybe more that he had the weight of the fandom on his shoulders and didn't react properly because he the attention made him nervous. Or that he took his persona of being an asshole author to far that he deluded himself thinking he is a likeable asshole. Of course, Andrew Hussie could have just given the series away or make the IP open to public. But did not choose that if it means he will lose attention on him and potential money. Whatever it may be, we won't ever know. Hussie sure as hell won't admit it out loud without his ego and pride placed out in the front. I probably wouldn't be as harsh on the series if stuff like the Homestuck Epilogues and Homestuck^2 did not existed to let people enjoy the webcomic. But if the sequels still needed to exist, then I just blame the new generation that took it too seriously as part of the next installment. It has been stated numerous times it was not canon, but now, it is still taken as part of canon from the fanbase. Even now, some of the fanart and fics will happen to be connected to those sequels in some manner because it solidify popular fanon for the modern generation, such as Davekat or Trans Roxy. I just wish WhatPumpkin comes out from the indefinite hiatus and lets out the story outline to say what was the complete plan for HS2. That or cancelling outright. Because the dubious sequels after it came out, left a horrible mark. You can't say you like DaveJade or say Roxy is not trans without people going on Davekat being a thing as well as Trans Roxy being now canon because of the non-canon sequels. It's why people are still arguing about John Egbert or June Egbert because of a damn Toblerone wish that was brought up. Some art can be messy. How one handles it varies from each individual. Just the way Andrew Hussie went about it was a clusterfuck in itself. I also don't mind if art is still messy to this day as I believe we can still like the things that it had worked well in. I mean, people still love RWBY for Monty Oum himself, the fight scenes, and the music that was in it. They don't have to like current RWBY under RoosterTeeth's control. That's how I feel it is with Homestuck now. Just that the fanbase is ever as hostile to others who disagree with certain opinions, as it is with this modern fandom under the influence of progressive activism. Either way, Hussie is a strange person that you know he is a massive prick, but still have small sympathy for. Those dark moments in his life had shaped to what Homestuck has become now and it is still being somewhat shown in the dubious materials and Psycholonials. People can still like old Homestuck and ignore the newer shit.

[themageofblood]

(sorry for long post and fake blog i don't actually use tumblr) i agree with most of the takes you put on ur main post. as a indigenous/white person it did make me reconsider how i view some of the characters. i always knew to a certain degree that gamzee and meenah were offensive but since a lot of the fandom didn't care it just slipped from my mind. tho, i was always aware of how white coded the alpha and beta kids were, i always interpreted all the black hcs as andrew hussie slander cause he did say that all the kids were aracial but they were not black (i thought that was bullshit also even tho it's not canon i REALLY enjoy black jade. i really do think it fits her even if not canon), and since i personally do not care about nor read hs2 so i don't really consider it canon so your jane point doesn't make sense to me (i think hs2 a total mischaracterization of her character from original canon). tho, i did want to ask, what race would u rather hc meenah and gamzee as? i think that in order to actually hc them as black you would need to write out all of the racist ass stereotypes, but in the end i think you can tell really interesting humanstuck stories. also. sorry for all the hate ur getting dude.

It's not the headcanons that are the problem it's both hussie and the Fandom way of putting black people in a monolithic way. I see gamzee and meenah as white because they were written to be the troll equivalent of white supremacists. But what really irks me and rubs me the wrong way is that the reasons people claim certain characters to be black, they don't apply to other characters. For example: roxy uses aave. Well so does rufioh more than most other characters in fact. But I've seen Nothing about him being black coded from the Fandom. Another one is Gamzee has an "afro" as insulting as it is to have his hair be compared to a black hairstyle, no one in the Fandom hc the captors as black because mituna canonically actually has an afro, not to mention the whole slave story arc. Speaking of slave story arcs the entire jade blood caste are literally wet nurses and don't get me started on the Dolorosa her entire story is a racist black coded allegory and agin the Fandom completely ignores it. There are several black coded characters in homestuck but the fact that the Fandom collectively agreed the gamzee meenah and the strilalondes are black due to stereotypes that don't just apply to black people rubs me every wrong way. I get that hussie is a racist and the Fandom wants to do a big fu to him by claiming them as black but at the same time they're promoting the idea that black people are a monolith. It's like the whole tiktok "megamind is black because he understands how fucked the prison system is" all o er agian. I hope this makes a bit more sense

[rosemary-is-in-pesterquest]

HS2's themes are fuckin wack crap cuz like... idk it all starts with the epilogues, right? the thing that the epilogues are trying to say is that all conflict that the characters face within the narrative is there because the audience cast their gaze upon this story and demanded entertainment. something has to happen on the stage to keep us watching, thus, it is the audience's fault that the characters suffer. but that's bullshit for so many reasons. for one thing, it ignores the role of the author. audience demand doesn't force an author's hands to write... that's a decision that the author made. we could've lived with nothing at all.

and conflict comes in many flavors. some stories hardly have any conflict at all. the whole iyashikei genre exists, like, I think we're well past understanding that cynicism, tragedy, and destruction are not the only forces that can drive a narrative. "conflict" is not the only reason for a story to be told. once again, stories tell us as much about the author as their audience. the kind of story an author deems worthy of telling is just as relevant to consider as the kind of story an audience deems worthy of attention.

and even in conflict driven stories... it matters what the conflict is, who wins, how, and why. as a simple example, when the conflict is a battle between good and evil, good wins, it does so by way of the power of friendship, and the reason it is presented this way is to promote the idea that you should be kind and help others... that's a story with a purpose. obviously this is like, children's cartoon level simple, and a story can be written to say different or more complex things, but I should always be able to ask those questions and come up with an answer.

if, as an author, Hussie wanted to accuse his audience of being culpable in the suffering of his characters, he would at least have to present the reader with a meaningful choice. and at first glance, it would almost seem like he did. meat and candy, even by their naming convention, seem as though they are giving you the option to consume a light or dark tale. but even in the names, there is a seed of judgement. Hussie has described the concept of a narrative containing both "meat" and "candy" in terms of story content, wherein meat is anything heavy in terms of plot or drama, and candy is anything that provides levity as a counterbalance, such as jokes or feel good fluff. these categories are already identified as "substance" vs. "a lack of substance" which places value on the cynical, dark route as being more truthful... conflating cynicism with realism.

and already I can see making a case for the idea that neither route is legitimate, because no story should subsist on just one or the other... both need to be at play for the story to be balanced. and you could even argue that the lampooning of the epilogues' legitimacy was the point... that they were supposed to be outside of canon and regarded as illegitimate all along. but then not only does that negate the author's ability to let the audience choose the kind of story they're participating in, but the story itself doesn't play by its own rules.

does candy truly read like some fluffy pandering fanservice filler, the way one might expect it to? and is meat totally devoid of any levity, while focusing only on plot machinations and/or the characters' dramatic downward spiral? I would argue that, even though the consensus seems to be that both routes are equally dismal, neither even gets dark enough to live up to that end of the bargain either. the execution is messy... the concept doesn't hold up.

and what of the initial concept? that the audience's observation of a story forces the characters to enact a conflict for the sake of our entertainment? is that really what's going on here? from the initial pitch, you could already tell that the answer was no. nobody asked for this. and so we cast our apparently destructive audience gaze onto Homestuck 2.

but there, we find another curveball. the story is... almost becoming self aware? in that it casts a character in the role of the author, and also identifies him firmly as the villain. but see, this is still a blame shift. and maybe that would've been less obvious if Andrew Hussie had not introduced himself as a character inside of his own web comic throughout the original narrative. the true author is already here.

the villain of homestuck was never the audience, and it was never a fictional character. if we're really shattering the 4th wall... if we're really ceasing our suspension of disbelief, pulling back the curtain, and acknowledging that these characters are fabricated, manipulated entities with real people behind the wheel, then there is only one conclusion we can possibly come to. the author has control over the narrative... no one else. and the things the author chooses to say with the platform they've made for themselves? those things are on them. what are we to understand about the author, as his audience?

this is why people are looking past the story entirely and engaging with the creative team, for better or for worse. if you break your story enough, it won't work anymore. and when the audience finds it in shambles, completely unusable as a story... you know, the thing it was intended to be? they might actually look to the people who broke it and ask them why they did that. it was a nice story. it performed several functions that people actually enjoyed. was dismantling it like this really the most fulfilling thing they could've done with it?

and I'll tell you another thing. part of why people take it so personally is because, just like how Andrew Hussie, the homestuck character, was a stand-in for Andrew Hussie, the human being... many of the characters in homestuck were stand-ins for us. John Egbert was for people who had an obsessive nerdy interest in movies, Rose was for people who wrote fanfiction, Nepeta was for people who ship characters a lot, she and Terezi were for people who RP, and also... Dave was for people who were trying to act cooler than they felt, Jade was for people who were lonely, Kanaya was for people who wanted to help people and be accepted, Vriska was for people who were hard to love and felt judged for that.

who do these writers think they're messing with?

and I just want to make it clear that I'm not condoning any kind of harassment of them, or anything like that. ultimately, my point here is that we are not our effigies. and in the same way that an author can't blame shift onto a fictional character, a person cannot claim the direction of a fictional story as a reason to do real harm.

but homestuck was always unique in that it spoke very directly to its audience. when Hussie added real pieces of us to his fake people, he had a powerful vehicle for the messages that he wanted us to hear. lots of stories have characters that are written to be relatable, but you'd be hard pressed to find ones that feel quite so specific as the cast of homestuck. to our era. to our humor. to the values of people growing up in our online cultural circumstances.

if this specific author is going to choose to act like a villain, at least in the small-scale context of this comic, then what is that setting us up to be? maybe nothing so presumptuous as a hero... maybe just like, Dave of Guy, y'know? but Dave made normal a pretty heroic thing to be... I think it's up to us to just be normal and have normal fun, in spite of the shit show. regular old homestuck already said all the valuable stuff it was gonna. for my part, I'm just gonna take that and run off with it. ignoring HS2 doesn't make it go away, but paying attention to it doesn't make it good either... so I guess whatever.

that's the themes. the themes are just a big "so what" shrug. most complicated way to say "who cares" I've ever seen.

This is a really good analysis

[stormsbourne]

reactions to hussie’s fucking shit because I’m still angry a day later, don’t fuckin click this if you don’t want to see me complain about homestuck for hopefully the last fucking time!!!!

anyway spoilers I had already skimmed through it before I made my post yesterday and it’s garbage, don’t bother with it, andrew is high on his own fucking farts. that is why you should not read it. I can tell you for certainty that it’s just a long, long, long sermon on why If You Didn’t Like It, You Didn’t Get It.

so don’t fuckin read this unless you want to read me explode for what I really hope is the last time now that I blacklisted this garbage

1) I cannot believe the sheer unmitigated gall of andrew hussie to like, put all this shit down. “has anybody really examined the delineation and definition of epilogues ever??? I seriously think that might not have happened ever!” shut the fuck up andrew the written tradition stretches back for thousands of years with many, many better and more meta writers than you, and you didn’t even write this fucking garbage

2) ooh yeah it’s just that we can’t confront anything DIFFICULT, which is why you had to put in all those cuck jokes and all those references to jade having a dog dick. those really challenged the audience. those really made the audience have to think about how to deal with new revolutionary content. also, it’s not like there was anything challenging and difficult about homestuck right. no long arcs about abuse, about morally gray characters that I don’t even like doing things that polarized the fandom so harshly that discourse about her still happens today in this nuked-out husk of a fandom, about life and identity after an apocalypse or in the midst of an oppressive government, like, you think that stuff wasn’t challenging, andrew? oh but you know what really is challenging. vriska fucking a clown after he licks her shoe. brilliant.

3) he gets on the same high horse as the rest of fandom about how he thinks posting it formatted like fanfiction is “diminishing his presence” and handing it off to the fandom but andrew, for fuck’s sake, that’s not how it works. it’s got your name on it. it’s on the web site. it is premised as the Official Epilogues even if it says “dubious authenticity” on it. I know some people still argue with me on this but let me make it clear: it does not matter how many times andrew or the other writers say that it doesn’t have to be canon. it’s still canon. an author cannot remove their own authority from the stuff they write, that’s not how it works. don’t get me wrong: I’m ignoring it. but not because it’s not canon. it’s canon.

4) nice of him to own up that he just fullsale stole undertale’s concepts about the danger of wringing every last drop of content from something and how ultimately the reader is the most destructive force to a story if they’re unable to let go. good of him to admit that. pay toby his due fucking royalties and stop being so jealous of his success. jesus christ. do something original for once in your life. 

5) also nice for him to admit that the characters and their personalities, growth, arc, personal struggles, all of that is just in service to the meta. not even the plot. the meta. none of the remaining fandom will admit that’s what he’s saying but it’s what he’s fucking saying. it was always just about metanarrative. not everything that’s mainly about metanarrative is automatically bad but homestuck pretended to give a shit about what its characters wanted, how they viewed the world, all that shit, but as it turns out andrew hussie was just really high on the concept of narrative! too high to stop fucking writing it and let it go though!!

6) the whole thing is just so fucking. it’s so fucking philosophy 101 I want to die. andrew hussie is cornering you at a party and asking you how you know the blue he sees is the same blue you see. that’s what’s going on here. you don’t really want to lecture this dumbfuck about the properties of light which we know thanks to science or how rods and cones work or that you have heard this question fifty thousand times from fifty thousand other assholes at fifty thousand other books. I mean parties. but he just took philosophy 101 and he has an amazing idea for a book and thinks you’ve never read a song of ice and fire so you can’t deal with anything Difficult and haven’t read House of Leaves so you’ve never seen someone dissect the concept and structure of text and question why it is we label things how we do and oh my fucking god andrew, shut the hell up.

god.

I cannot believe I ever thought this guy knew shit about storytelling.

[abundantchewtoys]

Homestuck Meat p13-16

Page 13

Oh jegus god.

So, Dave has a little version of Brain Ghost Dirk - a semi-manifestation made from years of abuse and the self-therapy that followed, giving him an accurate gauge of what Dirk/Bro would do in most any situation. Really, the more you ready of the Candy path, the more it seems as if Dirk had been vaguely influencing the post-game Earth versions of his friends all this time too, with vague feelings of approaching doom.

Okay, for a moment I feared that the figure Dave met would have been one of the following a) Bro Strider (Dirk transformed) b) Lil Cal Or that Dirk would have turned into a slob, now that his control of the timeline (and the people in it) was gone.

But, well.

Gamzee. The fuck? Did Calliope send him over?

He claims Dirk told him what to say, but his vaguewave nonsense zen mode can't really be trusted.

Though that reference Gamzee made:

"GAMZEE: YoU dOn’T gOt AnY nEeD tO gO aNd CoNcErN yOuRsElF wItH hIs MoRtAl FlEsH bOdY oUt HeRe In ThIs CaNdYcAnE wHiRlPoOl BeYoNd ThE iNfInItE bLaCk WiNk Of ThE wIcKeD sInGuLaRiTy, My NiNjA."

That's something else. It almost seems to imply the Candy path, by virtue of not being essential, true and relevant to canon and all that... Is located INSIDE the black hole in Paradox Space. As if they automatically transitioned into a vaguely dreambubble-like state. Gog.

Of course, now that I think about it, it could also just imply that the Candy path is outside of the Green Sun's domain, and therefore also the Black Hole's... Yeah... That's probably more likely.

Still.

So Dave goes into the basement (Dave: Descend), and finds the Rosebot that Dirk was working on.

The note he finds has dark implications, of course, but given who we're dealing with, I wonder if it says

"bro come to the roof bring the robot."

---

Page 14

What the shit.

Well, I was wrong.

That was gruesomely over the top.

And a parallel to when Dirk ensured Jane's presidency in the other timeline by climbing the bell tower and shooting for Jake. (No, wait, I misremember - he was aiming for Jake before shooting Jade. Still.)

I.

Wow.

I wonder as well if the narration will be "claimed" by someone, or whether this is just meant as Andrew Hussie's quiet opinion on Dirk Strider.

It seems Dirk did not in fact have any backups, nor a desire to stay in a non-alpha timeline. Now I remember Game Over Dirk, who disippated into the glitches...

It seems as if Dirk has a tendency to be connected to everything regarding his ego, be it impressions people have of him, or alternate timeline shootoffs...

And at the same time, his ego doesn't seem to lend itself to continued existence if it isn't his alpha self.

Blaperile has a good point - think of what that means for the Alternate Future Dave's Bro, whom Davesprite attested he had never seen again...

Where is this going to go, are we really going to see more of this timeline? Will Dirk be proven wrong, and something else narratively important will come from this timeline? I suspect so.

Still, very egotistical of Dirk, no. Unable to find meaning in the fact that there is no grand design, meaning he could've finally loosened up.

---

Page 15

Wow. That was a huge page. And yes, like what was said, it's only fitting Dirk's eulogy is a metric shitton of words.

I didn't figure we'd get this but we did.

And it figures Gamzee went and upset the scene at some point. Still, the least that came out of this is that Roxy's enamoration with him has ended.

The little Prospitian-passing paparazzo was adorkable.

Heh, of course John would accidentally break up (or at least, delay) this timeline's version of Dave and Karkat hooking up for the first time. And Jade's still flirting black with Karkat. Of all things in this timeline, that's actually the most normal thing, almost, even how far out of left field it came during the session.

Dave and John talking about resetting the timeline was a conversation I didn't think we'd get or needed, but I was wrong on both accounts.

Also... The fact that John's retcon powers are gone... Wow. That means this timeline isn't going to be left in any easy sense. It seems to imply that things are irrevocably outside of "canon" now.

I like how John's still struggling with all this. It's a parallel to his deeper depression in the Meat timeline. And it would figure that he's ending up with his "other" main girl in this path.

The chances are high he wouldn't be able to contact Terezi anymore if he tried, either!

It seems he's going to be letting go of his sense that something's wrong, and just enjoy this Lotus Eater Dream, sort of speak. I wonder how much of a timeskip is going to follow this page.

Are... are there actually going to be progeny of the characters (biological I mean, outside the adopted Vriska expy) shown in this path???

Calliope's remarkable in her absense. If she's the narrator of this path, than we'v sure gotten a good idea of what tales she wrote for Callie Ooopee, or what was it, her fantroll.

---

Page 16

Wow.

So.

John IS still able to contact Terezi.

And Roxy's pregnant. It figured it would lead up to this. But a real child, that... Damn. Now I don't want this John to leave Earth C, or anything bad to happen to him.

... I'm going to do like John and ignore what's going on with Jane, Jake and Gamzee. It just doesn't compute.

And it seems that all is not well in the Candy path, after all! Seems that where Dave and Karkat were pushed by Dirk but something positive came out of it... Well, in the candy path, with no-one actually pushing them, they keep revolving around each other without breaching the subject... All teasing and no pay off. Slow burn but no ignition.

Meanwhile, I'm more and more getting the feeling that this version of Terezi is the one John met in the Meat timeline in the Furthest Ring and brought with him to his Earth C. She's avoiding to talk about her "mission" in detail, she's avoiding talking about finding Vriska... In fact, I'm starting to suspect the only reason she contacted Dave and Karkat is because John mentioned them. She wasn't "ghosting" them, she just had no idea they would enjoy hearing from her. Not sure how it works of course, but I think that messages from the Candy path aren't received by Terezi unless she sets her client to receive them, something like that. And she just wanted to see what this other version of John was up to, whether he was happy. Knowing her, she'd understand that his choice for going back to fight Lord English would have spawned an alternate timeline!

The additional exposition on what kismessitudes should entail was nice. And it settles what Terezi was looking for, and found in John!

[homespork-review]

Spork Introduction

CHEL: Hi! I go by Chel, they or she pronouns, and I’m the one spearheading this project. I still like at least a fair percentage of Homestuck, but after the ending disappointed me a great deal, I got bitter, and when Hussie pissed me off further by Godwinning himself, I decided to do something about it. I’m no longer angry about it, but I felt I’d benefit from picking out what I hate from what I love so I can focus on the latter without annoyance getting in the way, and also to benefit my own writing efforts.

BRIGHT: Howdy! I’m Bright, and I got into Homestuck fairly recently. After ploughing through the archive and digesting for a while, I realised that I was thoroughly annoyed by how something enjoyable had fallen apart so comprehensively. I am looking forward to the time-honoured practice of ripping the story apart to identify its weak points and shout at them.

FAILURE ARTIST: Hello, I’m Failure Artist (call me FA for short), she/her/herself pronouns, and I’m so old-school they burned the school down. I was introduced to Homestuck via Something Awful’s Webcomic thread. I checked the old mspadventures.com site and the latest update was [S] John: Bite Apple. After watching that bizarre piece of animation, I had to know what the hell happened before then. I found I enjoyed the wit of the comic though I didn’t really care much about the plot. It was only when Act 5 came around that I became a serious fan. I currently have 122 Homestuck works on Archive of Our Own. I have a lot of free time, you see. I am very disappointed in how Homestuck ended. Possibly there was no completely satisfactory way it could end but it still could have been better. I feel like Hussie was a juggler who threw a lot of balls into the air and ignored them as they fell to the ground and some fans think not catching them was a master move since you’d expect he’d try to catch at least one. Sadly, lots of the problems with the ending are embedded deep within the canon.

TIER: Hi hi. I am Tier, a very late newcomer to the wonderful world of Homestuck (2018 reader!) and average fan overall. I love this webcomic to bits, but the low points are deep and I enjoy seeking out what the heck went wrong. Not particularly analytical myself, hope that's cool!

CHEL: Cool by us! We’ve already done plenty of analysing before we started, as you may realise from my Tumblr’s “homestuck ending hate” tag (at @chelonianmobile).

FAILURE ARTIST: But let’s put that aside for a moment and talk about the good stuff. 

Homestuck is incredibly innovative. It is the first true webcomic. It’s not just a print comic posted online. It uses not just still images and words but also animation, music, and interactive games.

Homestuck is the latest adventure in the series MS Paint Adventures. MS Paint Adventures started as a forum adventure. In forum adventures, the OP acts as a sort of Dungeon Master and other forum members give them prompts. Andrew Hussie’s previous works under MS Paint Adventures were Jailbreak (which is little more than Hussie dicking with the prompters in scatological ways), Bard’s Quest (Choose-your-own-adventure), and the actually-completed Problem Sleuth. Problem Sleuth lacks the music and animation and despite the weird physics shenanigans is a simpler story than Homestuck. The characters aren’t even two dimensional.

Homestuck (and the previous MS Paint Adventures minus Bard’s Quest) are set up like adventure games. Adventure games are where the player is a protagonist in a story and are usually focused on puzzle-solving though sometimes there’s combat. In the beginning, these games were purely text. The player would type what they wanted to do and the game would spout back text describing it - assuming the computer parser understood you.

CHEL: Oh god, I HATED that. I wasn’t around for the heyday but I’ve played a couple and

Pale Luna

was barely an exaggeration (horror warning).

FAILURE ARTIST: As graphics improved, adventure games started using them, but the commands were still in text. Only later was the point-and-click interface created and players didn’t have to guess what exact sentence the computer wanted them to type. Homestuck and the other MS Paint Adventures play with that frustration while paying tribute to the genre. The game within the comic uses RPG elements but the comic itself is set up like those good ol’ adventure games. In the beginning, Homestuck was guided by commands from forum members. Even after he closed the suggestion box, he used memes and fanon created by readers.

CHEL: How good an idea this was varies, as we’ll be showing.

We probably don’t need to describe Homestuck much more. Everyone here who hasn’t read it will doubtless have heard of it. Almost everyone with a Tumblr will have seen fanart, almost anyone at a convention will have seen cosplay. Shoutouts have been made to it in professional works such as the cartoon Steven Universe, and the Avengers fandom latched onto “caw caw motherfuckers” as a catchphrase for Hawkeye to the point that it’s now often forgotten it didn’t originate from there.

FAILURE ARTIST: The Homestuck fandom term “sadstuck” for depressing stories/headcanons somehow leaked into other fandoms. Using second-person is actually cool now and not just for awkward reader fics. Astrology will never be the same again.

CHEL: Now, in the interests of fairness, we will say that when Homestuck is good, it’s amazing, and it’s good often. The characters at least start out appealing and are all immediately distinguishable; even with the typing quirks stripped, it’s easy to tell who said what. The magic system is one of the coolest I’ve ever seen, who doesn’t love classpecting themselves and their faves? Hussie also shows a lot of talent for the complex meta and time travel weirdness, and it is fascinating to watch a timeline thread unfurl. And whatever else one says, it’s a fascinating story that’s captivated millions. I think it is deserving of its title as a modern classic.

However, as the years have passed, we have ended up noticing problems, big and small, and they nagged at us until we decided it had to be dissected. Our intention here isn’t to tear apart something we loathe entirely. It’s to take a complex work and pick out what works from what doesn’t. As I said, when Homestuck is good, it’s very very good. But when it’s bad, we get problems of every scale from various offensive comments to dragging pace to characters ignoring problems and solutions right under their noses to an absolute collapse of every theme and statement the comic stood for before.

The comic is ludicrously long; eight thousand pages, or thereabouts, to be specific. Officially one of the longest works of fiction in the English language, in fact. Naturally, we can’t riff that word by word in any timeframe short of decades, and we can’t include every picture, even if that was permitted under copyright law. Instead, as comics have been done here before, we’ll recap most of the time, and include sections of dialogue and pictures when particularly relevant to a point.

Here are the counts we’ll be using, possibly to be added to later if we find we forgot anything. Most of these counts will only start to climb post-Act 5, but we’ll be keeping track of them from the beginning. Most of them could have been fixed with a decent editor, which is sadly a hazard of webcomics, but still frustrating to read.

TIER: Note: we started this endeavor months before the thought of a "technically not but still we'll count it" set of canon epilogues were a twinkle in the eyes of the fandom. That is, by the way, a whole 'nother can of worms that will be dealt with at a later date if that ever comes around. We're judging Homestuck the Webcomic as a whole, so no after the credits stuff is to be noted for whatever reason.

ALL THE LUCK - Vriska Serket constantly gets a pass or gets favored over every other character. This count is added to every time she pulls some shenanigans with which others wouldn’t get away. ARE YOU TRYING TO BE FUNNY? - Sometimes it’s not entirely clear whether a thing is supposed to be taken seriously or not. We don’t require hand-holding through every joke, but when, for example, we’re supposed to take one instance of violence seriously while a similar case is supposed to be funny, this count goes up. CALL CPA PLEASE - Instances of creepy sexual behaviour (and perhaps particularly gratuitous acts of violence) from the thirteen-year-old cast. Now, mileage may vary on this one. We won’t pretend that thirteen-year-olds are perfect pure angels, especially thirteen-year-olds growing up in what is openly supposed to be a nightmarish dystopia. However, when full pages focus on said behaviour, there comes a point of it being very uncomfortable to read. Clarification: does not refer to cases where the adults do something heinous, this is strictly when the kids do. CLOCKWORK PROBLEMATYKKS - When an offensive joke or comment is made, particularly when not justified by the personality of the character involved, or presented in the narration as being okay. GET ON WITH IT! - When the pace drags. ‘Nuff said. Hazard of the format, but it makes archive bingeing very annoying. GORE GALORE - For unnecessary and/or excessive torture porn which is treated less seriously because it features troll characters, and therefore less “realistic” blood colours. HOW NOT TO WRITE A WEBCOMIC - When the comic does something mentioned in How Not To Write A Novel, and it isn’t justified by the webcomic format. HURRY UP AND DO NOTHING - Characters repeatedly neglect to do something about or even react to terrible happenings, either because they don’t care even if they should or they forget they have the capacity. Not necessarily anything to do with their magical powers, either - characters ignore personal problems that are right under their noses, too. IN HATE WITH MY CREATION - For reasons that are unclear, Hussie chose to create characters he apparently hated writing, or at least ignored in favour of others. Every time he’s clearly disrespecting one of his own characters, this goes up, whether it’s by nerfing their powers or changing their personalities. RELATIONSHIP GOALS? - Romantic relationships in particular get fumbled quite often. Ship Teasing is used with skill, but that skill tends to be lost when the characters actually hook up. Fumbled friendships and family relations can also come under this heading. SEND THEM TO THE SLAMMER - When characters other than Vriska get away with something morally questionable. Covers everything from sexual harassment to not trying to save people from the apocalypse. SOME OF MY BEST FRIENDS - Later on in Homestuck’s run, Hussie tried to make up for the offensive humour and casual -isms counted by Clockwork Problematykks above. How successful he was at this varied. This count goes up whenever an attempt at progressivism is waved in front of the reader but doesn’t stand up under scrutiny. WHAT IS HAPPENING?? - When the already confusing plot kicks it up a notch. Admittedly this is as much a selling point of the comic as it is an issue, but either way, we’re going to keep track. Points will be added to when it gets confusing, and taken away when a previous confusing thing is explained adequately. WHITE SBURB POSTMODERNISM - What is shown about Alternia repeatedly contradicts what we’re told about how different it is from Earth. For example, trolls still use heteronormative terms even after it’s established they reproduce bisexually, and the demonstration of the class structure doesn’t always add up. This count goes up every time that happens. It also goes up every time something happens which strongly implies Hussie was envisioning the human kids as white, despite his later claims that they were always supposed to be “aracial”, and every time their economic statuses don’t add up either.

[gal-liveblogs]

So let’s just start with the beginning.

So it’s not just Homestuck 2, it’s Homestuck². That’s fun. Also it has a subtitle of “Beyond Canon”. Makes sense, given what went down in the Homestuck Epilogues. Kinda wish I had liveblogged those now, but I had been too excited. Legitimately spent an entire day reading. I was too focused to even think to liveblog those.

The ^2 looks handwritten and is orange, also makes sense given what happened in the Epilogues. Dirk has his fingers all over this. How much influence will he have, I wonder?

Now that I’ve spent so long staring at the title perhaps I should get to reading the actual comic? Perish the thought! There appears to be a link to an FAQ! Let’s check that out first.

Oh man, this is bringing back some nostalgia. Putting the questions in the exile command boxes is a nice touch.

It is actual Homestuck. That is, an extension to the "canonical" Homestuck storyline,

Those are some big quotation marks around canonical, after the mess the Epilogues were. Not to say the Epilogues were bad, they just flipped and twisted everything around and made you really question what was “real” in a story.

It was designed to include the writing and art contributions from fans of the series. Many writers will be involved, and collectively they will be allowed significant latitude in shaping the direction of the story and the way it's told.

Interesting. Homestuck itself was no stranger to having art done by someone other than Andrew Hussie and the Epilogues were written with the help of someone other than Hussie. Even Homestuck was not solely written by Hussie, in the beginning fans wrote the commands that propelled the story forward. Plus we have Hiveswap, Friendsim, and Pesterquest all belonging to the Homestuck mythos but made by a team only overseen by Hussie. Homestuck 2 seems to be falling in line with the games. Different people make it and bring their own ideas to it, all while Hussie occasionally peeks in to give his nod of approval.

An "official fanonization" of the ongoing epic, if you will.

I can’t wait to see what happens. This is such a weird idea and I love it.

Oh my god. The Epilogues started off with a spoof as if they were written on Archive of Our Own, and now the recap of them is spoofing SparkNotes. Glorious.

Reading through said recap just so all the important bits are fresh in my mind (never skipped the Homestuck recaps, so I’m not skipping the Epilogue recap) and come across this:

In the heat of the moment, the two embrace passionately.

That’s an understatement. John and Terezi boned n the back of a car. Stiiiiill don’t know how to feel about that. Like, Terezi was flying around in Paradox Sapce for who knows how long from her perspective. Everyone else, including John, grew up and became adults. Was Terezi also an adult by this time, or did John just have sex with a minor?

They then fuck in the back of the car and there's really all there is to say on the matter.

Oh. So the previous sentence wasn’t an understatement. I just hadn’t read far enough yet.

But when they arrive, our hero finally succumbs to LE's venom, which has the effect of corroding a person's canonical existence beyond any hope of revival.

AKA, we really needed John to die but also didn’t want to deal with godtier revival rules.

Jade, who is now somehow aware of Dirk's influence, declares that he must be stopped. Dirk agrees with her, claiming his role as the villain of the story outright. He accepts the intrinsic antagonism of his narrative power, and has decided to carry that antagonism to its natural conclusion. He states that his eventual death will be Just.

Dirk is such a fascinating character. He has always been painfully aware of his faults. Yet he doesn’t try to stop himself. He has just accepted that he is not a good person and even encourages everyone else to give up on him. He is full of so much self-loathing and yet he does it all without any self-pity. It is truly something I have never seen in a character before.

Calliope distracts him with one final task: he must rescue Gamzee, who she insists deserves to begin his redemption arc immediately.

Gamzee used to be a fascinating character to me. I had so many questions about him. How much of his fall was out of his control? Was he to blame for everything? Outside forces? Mental instability? Then the Epilogues happened and I finally had to give up on him. I couldn’t hold out the hope that Gamzee could be a good character (if not a good person). Everyone who hated him were right all along. Gamzee is just a trash clown and should have stayed in the fridge.

As Jane joins in with Jake's day drinking, she attempts to seduce him but is ignored. Not to be denied, she resorts to using the terrible power of the trickster lollipop. The two sleep together. When they come to, Jake is alarmed by his lack of consent in the matter--Jane manages to talk him into a committed relationship.

Speaking of characters I gave up on: Jane. I never really had any strong feelings about Jane in Homestuck. She wasn’t interesting, but I didn’t dislike her. She was just... there. Had a few moments that really hit me in the feels, but overall kind of forgettable. Then in the Epilogue he not only turns into a xenophobic fascist, but she also pulls stuff like this. For all her pining over Jake she never actually did care about him it would seem. He wasn’t a person, he was a prize.

I didn’t care about Jake either, and he often annoyed me, but he deserved better than always ending up as Jane’s sex toy without any autonomy.

Gamzee has started performing public redemptions featuring sloppy makeouts and baby bottles full of Jane's breastmilk.

Seriously, Gamzee is just the worst. I hate him. Before the Epilogues the only character I hated was Kankri, but I hate Gamzee now too. This is also a reason why Jane has sunk so low in my standing with her.

They're interrupted by Gamzee, who tries to manipulate Vriska into a sexual relationship in the name of "redemption".

Now here is a sexual encounter that is without question involving a minor. Another reason to hate Gamzee.

She no longer cares if this reality is true, relevant or essential, and is enjoying the simple happiness of loving her wife and daughter.

This was a really sweet moment. Rose always did have a hard time just letting herself be happy.

Phew, O.K., done with the recap. Back to the FAQ!

Oh sweet, optimisticDuelist is part of the writing team for Homestuck 2! I’ve seen some of their stuff. It’s good stuff. Keep meaning to do a deep dive into all their analysis of Homestuck. Also Xamag is the art lead. Nice.

Homestuck has a Patreon now. Neat. Need to pay they people at What Pumpkin after all!

> Is this canon?

It's being pulled further away from direct control by the original author, and allowed to expand into spaces governed by fandom desire - a fanontinuum, you might say.

I’ve always liked the literary lens of Death of the Author. Homestuck 2 is diving head first into it. Yes, there is still an author (or authors, as the case may be), but The Author of Hussie is having less and less control (which makes sense from a narrative standpoint as Hussie, The Author, died in the story to really cement Death of the Author) and the fans are encouraged to take things into their own hands more and more. Homestuck is built by the fans and as such fan-created stories should have the same amount of importance as “canon” does.

> I just can't get enough Homestuck. I want to shove more and more of it into my slavering maw. Please help me.

Did they just plagiarize my diary?

Alright. Now I can start the dang comic!

In the next post. This one is getting a little long.

> Get on with it.

[betweengenesisfrogs]

Toward a Critical Re-Evaluation of Homestuck, or: A Prayer for Andrew Hussie

(aka Off-the-Cuff Homestuck Thoughts #7)

This might be a manifesto.

Since the ending sequence of Homestuck in April 2017, and even well after the establishment of a canon aftermath for its main characters and the confirmation that there will be a further Epilogue, I've seen a sentiment among Homestuck bloggers and the Homestuck fandom that I find very frustrating, one that persists well into 2018.

The sentiment goes something like this:

"Homestuck is a meaningless work by a flippant, irreverent prankster (Andrew Hussie) who dropped his commitment to the story at the last second, and made fun of his fans for expecting there to be a meaningful ending. Furthermore, he continues to harm and belittle his fandom in the creation of Hiveswap, and only continues his work on Homestuck-related projects to exploit his audience."

Not only is this idea wrong, I find it disingenuous at best, malicious at worst, and actively detrimental to an understanding of Homestuck as a work. While it comes from an understandable frame of mind - the feeling of disappointment many of us felt at the end of Homestuck's pretty short and to-the-point Act 7 - it actively ignores the main reason *why* that ending came across as disappointing at first glance. Namely, it ignores the role serial storytelling - a necessity at that point in Homestuck's existence - played in creating misleading impressions of where the story was going among fans. Furthermore, it completely ignores how well the story arc of Act 6 Homestuck generally works when taken as a whole.

It demonstrates a very shallow understanding of Andrew Hussie as a storyteller, conflating his in-story persona with the actuality of a creator who demonstrates nothing but work ethic and commitment to his creation.

It ignores what actually happened with Hiveswap, which is that despite a frankly horrific set of circumstances that nearly prevented it from being made, Hussie was nonetheless able to gather a small team to create a game studio that delivered on every promise it ever made to Kickstarter backers and created a pretty solid, fun, and novel adventure game, with more installments and a rich evolving mystery on the way.

Finally, this interpretation completely misunderstands the way the idea of narrative is being used in the ending of Homestuck, not as a cudgel to beat off fan desire for thematic completion, but as a tool for delivering a thematically powerful narrative that draws parallels between the specter of Lord English and the way stories themselves are used as tools of oppression.

Homestuck isn't perfect, and neither is Andrew Hussie. But by and large, this popular perception of him is flat-out wrong, an exaggeration of whatever flaws he brought to the creation of Homestuck, and contributes to a misunderstanding of its ending. Indeed, I'd argue it is, in some ways, part of why Homestuck has rarely been acknowledged as a significant work of art. To understand why Homestuck is important, first we need to be able to acknowledge what it achieved.

Here's a daring notion: overall, Homestuck was and is pretty damn good.

Here are some reasons.

1) Being Forced To Tell the Story Serially Over a Slow Drip Messed With the Experience for the Reader

I can hear the bristling now. "I hated the ending," I can hear some of you saying. "It left me cold and unsatisfied, and damn it, that's an objective fact. Who are you to take that away from me?"

Actually, I'm not trying to take that away from you. Like, you're allowed to have been disappointed. I just want to point out that it might be a better ending than you gave it credit for, and explain why it came off the way it did. If you're interested in hearing me out, read on. You should know that initially, I was disappointed, too.

But after rereading Act 6 and the whole narrative leading up to that ending? I changed my mind. Rereading, I found it pretty satisfying, making a great deal of sense, capitalizing on major themes, and delivering a meaningful ending for most, if not all characters

I'll talk more about *what* I think the narrative is doing in a bit, but here's why I think it was misread, by me among many others.

Serial reading fucks with the quality of a story experience. I feel like this is a pretty uncontroversial statement. The problem with serial storytelling is that stories build on themselves, drawing on themes and ideas from earlier on to make a powerful build-up to moments of catharsis. This is the nature of story and character development. However if you're getting a story as little bits and pieces, it is much more difficult for this to happen. You lose track of these threads.

More dangerously, it's very easy to develop a set of expectations around a narrative while it's in pause mode. Little moments - intended to be part of a larger flow of ideas - completely dominate one's thinking for as long as they hold the stage. This is a common thing in fandom, especially webcomic fandoms, who deal with the slowest-drip narratives.  Again and again I've seen expectations generated during webcomics' hiatuses lead fans to disappointment with the results, simply because those results have nothing to do with what was expected during one of those moments of downtime. El Goonish Shive, Sluggy Freelance, Gunnerkrigg Court - I've seen it in webcomic fandoms again and again, that the dashing of narrative expectations seemed like a betrayal of the story when read at a drip pace, but made perfect sense when viewed as a whole story.

This is not a problem Hussie was ever unaware of. Here’s an excellent discussion (among many) from one of his early Q&As that takes on the problem in detail:

The longer I do this the more I'm struck by how radical the difference is between the experiences of reading something archivally vs. serially, both for the reader, and the author if he's prone to sampling reactions frequently as I do. For the reader especially, I think the experience of day to day reading is so dramatically different, they might as well be reading a different story altogether.

The main difference is the amount of space between events the reader has, which can be filled with massive amounts of speculation, analysis, predictions, and something I guess you could call "opinion building", which can have both positive and negative effects. On the positive side, these readers become more closely engaged with the material than archival readers can be, zeroing in on details and insights which might be overlooked otherwise. On the negative side, I think that excess mental noise the space between pages allows can potentially be a bit suffocating, and put a strain on the experience the material was intended to deliver.

The archival reader always has the luxury of moving on to the next page, regardless of how he reacts to certain events, and thus can be more impassive about it. That internal cacophony isn't given time to build, and if there are reservations about a string of events, whether due to shocking revelations, or questions over the narrative merit of something, or really any form of dissatisfaction, all he has to do is keep clicking to see how it all fits together, and can make a more complete judgment with hindsight.

He goes on to discuss a specific example of how this played out for the readers:

The recent pages [the start of Horrorstuck] had me particularly conscious of the nature of serial delivery. [Eridan's betrayal] was rolled out over the course of a weekend, first with Feferi, then Kanaya. When Fereri dies, this registers as one extremely dramatic event. Cue the waiting, speculating, worrying and all that. When Kanaya dies a day or so later, it registers as a second dramatic event! Again the scrutiny begins which the space allows. Is this all too much? How do I feel about this narrative turn? Is this setting a trend for a bloodbath? Does that serve any purpose? The reader projects into the future, does a little unwitting fanfiction writing in his head, and may not like what he sees! All this activity becomes the basis for opinion building, which is sort of the emergence of an official position on matters, good or bad, which is only able to flourish in the slow-motion intake of the story. That official position can be a very stubborn thing, especially when it's negative, and seriously textures the way additional developments are regarded. It's really hard to shake a reader off an entrenched position on a matter, even when it was formed with an incomplete picture.

Reading the same events in the archive is quite different. Very little of that inner monologue takes shape. And while the events are still shocking, and the reader may raise his eyebrows a mile high, he then simply lowers them and keeps reading. In fact, because of the reading pace, I would suggest these two deaths actually register as only ONE DRAMATIC EVENT! One guy snaps and kills two characters. In the flow of straight-through reading especially, it is quite startling, tension-building, and can only serve to propel the reader into further pages, at a pace which suspends the experience-compromising (augmenting??) play-by-play.

Hussie would return to this topic again and again, including here and here and here and h8re.

This is in incredibly valuable insight for anyone who creates stories over the long term, especially  webcomics. You may or may not agree that Homestuck's finale is well-executed, but I think it's hard to escape the fact that the response to Homestuck's ending, indeed, to most of Act 6, was hugely influenced by these factors. Why? Because the experience of Act 6 and 7 was more affected by hiatuses and the speculation problems they create than any other part of Homestuck.

It's hard to remember these days, but one thing that Homestuck was known for from about 2010-2013 was its absolutely preposterous rate of updates. I'm pretty sure that *was* the initial fuel for the fire that made Homestuck a huge fandom. What other website could you go to see a huge chunk of a story drop on you so regularly? No other webcomic had people using Update Checkers, programs designed to check the RSS feed of Homestuck and tell you within the minute that it had updated so you could check it out before your friends spoiled everything to you. What other webcomic ever needed such a thing? But the first era of Homestuck fandom was predicated on the idea that the comic would update every couple of days, sometimes once a day, sometimes *multiple times in the same day*. No wonder it got so huge so fast. It was an experience unlike almost anything else out there.

Around 2013 this began to change. Homestuck began having large hiatuses, the famous "pauses," and though Hussie indicated the story was working its way towards the finale, it ultimately took until the 2016 anniversary to complete.

Interestingly, it's around 2013 or so that we started seeing frustration with Homestuck break out into a large phenomenon, with many people arguing that the comic had stopped being good, and it's after the largest of these pauses, the Omegapause before the end of Act 6 and Act 7 updates, that we had the famous ending backlash.

The fact that very few people seem to have considered this in their analysis of whether Homestuck is good or not is absolutely staggering to me.

Given these factors, we would expect to see some of the enthusiasm taken out of the Homestuck fandoms during these periods, and strong opinions on where the story should go next, and, lo and behold, that's exactly what we see. The common sentiment is that Homestuck "stopped being fun during Act 6." Well, yeah, it's a lot less fun to have a comic that updates rarely than a comic that updates with loads of content very, very often. That doesn't necessarily mean the content got worse. And yet I see no one asking if this altered our perception of the story.

2) Serial Reading Problems Are Worsened In an Experimental, Twisty Story

This hiatus problem was exacerbated by the nature of Hussie's storytelling. I'd describe his writing style as "affectionate teasing": testing and pushing readers' boundaries, aiming for strong emotional reactions, constantly working to defy and mess with expectations, but ultimately working towards a rich character-based story. Hussie's work whiplashes between humor, horror, worldbuilding, action - it's intense and disconcerting at first, but once you get familiar with it, you see these that all these elements build toward a coherent whole.

I'd argue that this storytelling style is *uniquely* well-suited to long-form reading and endangered by drip-feed reading.

Because when you read piece by piece, you experience whiplash slowly, and that’s not everybody’s kink. Pieces that are meant to work together take on a different tone when read on their own. As discussed above, continuous events seem like separate events when read on their own, and this creates a *false* expectation of where the narrative is going. Furthermore, it's not as much fun to be teased or messed with in slow motion. The expectation that there will be satisfaction and resolution disappears when the current update is all you can think about. This, not a deficit in storytelling, is what created the feeling of "Homestuck’s not fun anymore." But it was the same affectionate, gently teasing storytelling as ever. But this only comes out when the work is re-read.

This is exactly what happened in Act 6 Homestuck. Events seemed like they would go on forever, when in real story terms, they went on for moments. Take the notorious Trickster "arc" (I can't even call it an arc - it’s more of a sequence if anything). Today it's remembered as an unendurable gauntlet of Hussie pushing buttons. The reality of it is, though, if you read through it, it's like Hussie pushing buttons for all of five minutes, like half a chapter from a novel. Literally all it is is: The Gang Gets High on Magic Candy > They Do Stupid Things > Blackout. Mostly it's an excuse for some serious character development *afterward* as the Alphas discuss the bad decisions that led them to this place. It may or not be perfect, but it's definitely a lot more reasonable when you see it's a quick tangent.

Act 6 is full of things like this: events remembered as horrible slogs that are really quite brief in retrospect.

This is brought home when you consider that events in Act 5 – hell, even Acts 3 and 4 – also brought on strong negative responses from the fandom - it's just that they were quickly buried under a story that was quickly moving on to other things.  Here are some strong fan outrages from those days I can name off the top of my head:

--This interlude with the trolls is too long, nobody cares about the trolls, Hussie has abandoned the human kids --Nobody cares about troll romance, switch back to the kids --Jade hasn’t been seen onscreen for ages --Vriska’s creation of Bec Noir shows that she is too powerful a character, she will never face comeuppance --John is dead again and Vriska killed him??? --Killing Feferi, Tavros and Kanaya? That’s too many deaths --I thought Feferi was supposed to unite the troll races! You’re telling me that’s not going to happen? --Kanaya is dead??? Fuck that --Scratching the timeline? What, Hussie, you’re going to reset everything and ruin the story? --Equius should have gone out with more dignity, this is a betrayal of his fans --Nepeta shouldn’t have been murdered, this is a betrayal of her fans --Gamzee used to be cute, now he’s a murder machine, this is a betrayal of his fans --We never found out what happened between Gamzee and Karkat? Why won’t the narrative switch back and tell us? --Nobody cares about Doc Scratch --Nobody cares about these stupid Ancestors, switch back to the trolls --Vriska is DEAD? This is a betrayal of her fans

And so on. Reading Hussie’s old Formspring archives is a graduate class in this era of Homestuck fan frustration.

And yet today Act 5 is universally remembered as brilliant, thought of by many as “the time when Homestuck was great.” In my book, while Act 6 does take on different themes than Act 5 (focusing more on the protagonists’ psychology and failures), and thus may not be to everyone’s taste, the biggest difference between the two is that during Act 5, the twists and turns of the story were thought of as part of a unified whole, because the story was barreling along too fast for these complaints to stick around for long.

Given that Hussie has always been aware of the challenges of serial vs archival storytelling, I feel like the relentless output of the first five acts was in part an attempt to mitigate those problems. As if by shoveling content into the mouth of the behemoth, he could propitiate the ravenous fandom horrorterror and thereby stave off the descent of the Infernal Internet Speculation-Expectation Monster that was prophesized to devour all.

Unfortunately, he couldn’t stave it off forever, and lo, in 2013 did the IISEM descend with its glistening tentacle teeth, IA, IA, IA! CHOMP CHOMP.

It astonishes me that in some quarters folks talk about the 2013-2016 pauses as if they were something Hussie wanted, when by all evidence he tried desperately to avoid them up until that point. I don’t need to explain that these hiatuses had to do with restarting the whole process of creating Hiveswap and building a game studio from scratch, right? I don’t need to explain that he got screwed over and these were circumstances outside his control, right? Let’s assume we’re on the same page there. If not, I suggest you look into the matter before assuming these hiatuses had anything to do with creator apathy.

After a certain point, Hussie faced a difficult choice. Unable to keep up the rapid-pace storytelling, he could change the storytelling to make it suit a serial reader, or he could focus on making the story the best it could be for an archive reader.

I think he went for the better option: aiming for the archive reader. If you’re going to argue that he should have put the emphasis on the serial reader: which serial reader are we talking about here? The one who started following in Homestuck in 2010, like me? The one who started after Horrorstuck, and viewed it, but not the end of Act 5, as a complete whole? The one who joined during late Act 6? How the hell would you decide that? Whose experience is the one to privilege?

The only option that really makes sense is to aim for the version of the story that will be around the longest and experienced by the most people: the archive that is the complete story of Homestuck.

Ultimately, I don’t think he could have changed his style of storytelling anyway, and to do so would have been to lose the combination of humor, madness, and surprises that brought us all to Homestuck in the first place. Forced to reckon with a difficult situation, he focused on making his kind of story the best that it could be, and I think Homestuck is better for it.

Given his awareness of the problem as expressed above, I’m sure Hussie knew proceeding over the long term would stoke a lot of resentment in the fandom. But he went ahead and did it anyway, because his goal was not to live up to a certain set of expectations. His goal was to tell what he saw as the best possible version of the story. I have an immense respect for him for that.

3) The Last Pause is the Deepest (or: Omegapause Killed the Character Development Star)

The final hiatus problem I want to point to is that in terms of the narrative arc of Homestuck, the final pause, the Omegapause, came at the most inopportune time for readers to get a sense of the conclusion of that narrative.

Basically, many character arcs in Homestuck were concluded *before* Collide and Act 7. Before the Omegapause. Indeed, Hussie brought many long-running arcs to an end in a very satisfying way during the “conversation” sequence before the final fight, from Dave’s long-needed conversation with Dirk about Bro to Rose’s finally getting to meet and befriend Roxy, to Game Over!Terezi and (Vriska’s) reunion. In narrative terms, Collide was not the climax, even if it might have been perceived to be. The climax was the Retcon sequence preceding the conversations – the desolation of Game Over, our surviving protagonists’ despair, then victory in the form of negotiating with the Denizens, representatives of Skaia, to create a timeline in which victory may take place, both in game terms and emotional terms. The conversation before the final battle showed us an emotional victory – victory in game terms was really just icing on the cake, or an echo of that emotional victory.

The trouble is, having a long pause before the final battle sequences created the false perception that the conversation was merely the prelude to the climax: that, in fact, the climax had not yet taken place. For us serial readers, it was easy to conclude that there was further character development to come.

Well, in some ways there was, and in some ways there wasn’t. Dirk and Dave got to have another big moment in Collide that drove their themes home, while Rose and Roxy had basically already done their thing earlier and just got to fight alongside each other. Meanwhile Vriska and Caliborn’s arcs really culminated in Act 7, and some, like John’s and Ret-Terezi���s, were complicated and continued by the Credits aftermath and probably won’t be brought to a final end until the Epilogue. There’s a degree of variation, which I enjoy. Collide does serve some functions: characters who were at an emotional distance from each other (for instance Jane and Jake), got to fight alongside each other and start building back their friendships.  Overall, though, the bulk of emotional entanglements got resolved in that conversation, making the Retcon the load-bearing piece of Homestuck’s climax.

This is why the Omegapause was the most dangerous pause: because it built up an expectation that things would further develop from there with new entanglements and complications, instead of aiming towards a tying-off of plot elements into a conclusion.

I remember what *I thought* the post-Omegapause sequence was going to be: a showdown between the kids and Lord English as he entered the game session through Bec Noir, Spades Slick and Lord Jack. I expected there would be a twist, and I expected one or more of our protagonists would die. I was thrown for a loop when I realized the story had basically been almost over, with no last twist, no “secret final battle” of kids vs LE in sight.

But as I reread the ending of Act 6, I realized: that would have been so much stupider than what actually happened. The fact that the kids don’t directly face LE and Vriska does is one of the most brilliant parts of the ending, and on the reread I rapidly fell in love with the Homestuck’s conclusion. What had thrown me off was the fact that I developed my expectations during a period where it looked like we were further from the end.

But in retrospect, Hussie had been saying all along that we were very close to the conclusion – it was just, at that moment, very easy to get the wrong impression.

Rarely do I see anyone taking anything like this into account.

I do think we could have benefited from more character development after the pause, if for no other reason than to overcome these problems and make the victory feel a little more grounded, and I do feel like certain characters (Jane comes to mind) got more limited and abbreviated endings. But these are minor points for me in the overall arc of Homestuck’s narrative, which in my experience establishes its conclusion very, very well.

4) Homestuck’s Ending Is a Glorious Queer Gnostic Account of Escaping from Narrative Oppression (and Yes, Virginia, it Has Character Arcs)

Okay, so I’ve written a lot about *what* I love about the ending of Homestuck elsewhere, going on for pages and pages, which you can read here and here. For now, let me just attempt (as absurd as it is) a quick summary.

Homestuck in Act 6 parallels many different motifs to drive home the idea that escaping from Lord English’s domain is an escape from a cosmic oppression, and serves as a metaphor for escaping and defying real-life oppressions and hegemonies. These motifs include Gnosticsm, queer identity, pluralism, and a metafictional examination of the controlling role of the narrative that is Homestuck itself.

Gnosticism is an ancient early alternate version of Christianity that posits a false reality created by a false creator, the Demiurge Yaldabaoth, who rules over human beings but whose domain it is the Gnostic’s quest to escape. The Demiurge styles himself a Lord God (often the very same one from Judaism and more mainstream Christianity) and an artist but is in fact incompetent and limited in comparison with the true harmonious reality. That he was able to create such a false world was a cosmic accident caused by angel-like beings known as Aeons, who existed perfect symmetrical pairs until an asymmetry caused Yaldabaoth’s creation. Sophia, the asymmetrical Aeon is our path back to that perfection. Furthermore, the false world is the world of flesh and matter and material things, while the true world is the world of ideas, symbols and archetypes, a place of divine Platonic form. By knowledge (gnosis) we become our true selves and are set free. Gnosticism is anti-authoritarian, anti-patriarchal, and devoted to each human being’s quest to connect to the divine on their own terms.

Gnostic motifs proliferate everywhere in Homestuck, especially Act 6, from such chat handles as GardenGnostic, TimaeusTestified, and TipsyGnostalgic to basically everything about Calliope and Caliborn, including and especially their role in the finale. Act 7 depicts Caliborn as trapped within the realm he is created, destined for power but ultimately doomed to it, destroyed in the perfect moment where Calliope, his counterpart, brings his domain to an end.

Caliborn’s realm is the sequence of time loops and set of worlds that brought Lord English into being, but it’s also the narrative Homestuck that depicts those events and worlds. He complains about the narrative Homestuck, argues with its author, and tries to make his own version, just as a demiurge would. (Secretly, because of his cosmic influence, he’s more of an influence than he realizes. He places limits and boundaries on these worlds in the form of the narratives he perpetuates, and is obsessed with sexist ideas, exploitation, and themes of masculinity, importance and power. That the heroes escape this realm in which he has control is also them escaping these narratives that have been placed upon them.

This is the sense in which Dave says “we don’t have arcs.” As I’ve said elsewhere, it’s not Hussie rejecting the idea of giving his characters meaningful stories (this is largely a false impression generated by the Omegapause weirdness), as shown by the fact that Dave himself has one of the best, strongest arcs in the whole story. What Dave means, and what Dave’s arc is about, is that he had to let go of the false ideas, false narratives placed on him by the world (Lord English’s world, the Demiurge’s world) in which he lived. He did this by understanding the abuse he suffered from Bro (a Caliborn-esque figure) was wrong, and by overcoming his internalized homophobia to realize the value of the relationship he’d found with Karkat.

This is a frequent motif in the final pages of Homestuck. Queerness is represented as a way of escaping the patriarchal, conservative God of the Demiurge, and that these revelations about Dave appear in parallel with the final departure from the domain Caliborn controls is no coincidence. Queer relationships and identities build in the ending of Homestuck into what Hussie tongue-in-cheek called “the gay singularity.” This growth in queerness is represented as growth toward meaning, and further queer figures like the non-binary Davepeta appear as idealistic mentors to teach our heroes to understand their cosmic circumstances.

At the same time, the growth from a material world to a world of ideas is represented as the heroes taking on God Tier identities that embody aspects—ideas that are literally the building blocks of the universe. To know yourself as an aspect is to know who you are, and by knowing who you are, you become an idea that is divine. This all takes place at the same time characters grow towards queerness. To know your own queer identity is also to become divine.

And, at the same time, the characters leave the narrative. Everything that was Caliborn’s – his worlds, his time loops and influence— is left behind by the characters as they move into the realm where they are heroes, leaders, and gods. They pass through a door that resembles the weapon that he used, that is his narrative, the weapon shaped like the symbol of Homestuck, the weapon that *is* the narrative Homestuck. It is a weapon against him because he stays behind, on the other side of the door. Lord English can never leave. He’s in the dark pocket of the black hole forever. Caliborn enters a realm that appears to give him power—but he never comes out. He’s trapped by his own limited idea of who he is and what the world should be.

This is a fantastic, culturally resonant, and very Gnostic ending.

And as to Vriska—I’ve seen many people say that Vriska’s retconned revival gives her too much power and agency, but I actually think it strikes the perfect balance. The story understands what she wants. But it’s not on her side. I have a lot more to say about her (perhaps l8r), but here’s the most important thing: Vriska can’t leave, either. She gets what she wants: the ultimate fulfilment of her identity as The Hero. She gets to Kill the Bad Guy. But at a cost she is incapable of recognizing. Like Caliborn, she never gets to go on to be a fulfilled, happy patron of the new universe. She is always on the inside of the door, stuck inside Homestuck. And the fact that we’re asked to observe her breaking off her relationship with Terezi to go out in a blaze of glory? The fact that we’re asked to compare her to another version of herself who’s let go of her ego, whose bond with Terezi is the most important thing in her life? The fact, that in her eyes, she comes up better, but in ours, she comes up short? How incredible is that?

Neither the Hero or the Villain, trapped in their own ideas, trapped by their own ideas, can ever be free.

It’s a pretty good ending, is what I’m saying.

5) Against Apathetic Lazy Troll Hussie

So, back to that perception of Hussie I discussed earlier. The idea that he’s a flippant, irreverent prankster who never cared about bringing his story to a good conclusion.

By now it should be clear why I don’t really buy that line of thinking.  The sheer effort put into Homestuck after the pauses began, the level of thematic complexity Homestuck was going for at the end—these belie the idea that he was apathetic or lazy or wanted to piss off his fans. What seems obvious to me was that he was committed. He devoted himself to driving towards an end he was personally satisfied with, whatever anyone else thought of it, and chose to accept the consequences of having to tell it over the long term.

I could see how it might be easy to get the impression that Hussie’s a very frivolous, thoughtless guy, when his in-story self is a ridiculous, flighty orange goofball. But come on. That’s mistaking the persona he uses for comedy with his actual self as a writer. Reading any interview, Q&A session, or discussion with him reveals how much thought he put into every moment of Homestuck, and above all, that he was committed to putting an incredible amount of effort into it from the very beginning.

He was also committed to challenging himself and bettering his work, whether that meant trying new experiments (flash games, new animation styles, splitting panels and dialogue, messing with formatting, letting the villains take over the website, etc., etc., etc…) or rethinking his work to take account of a larger, more diverse perspective, as we saw with the developing queerness and introspection of characters like Dave.

Yet he knew that not all experiments would be received well. He chose to accept that, to not wallow in the familiar but to take on new things regardless of in-the-moment reader reactions. As he put it:

I guess I just believe in sticking to your guns as a creator. It doesn't mean you completely ignore what people have to say or fail to take it under advisement, but pandering and caving into critics for fear of diminished appreciation is the wrong way to go. Staying the course with your vision doesn't mean you'll do everything right, but if included in that vision is serious, concerted exploration, you can only benefit as an artist. Adversaries to this cause should be regarded as villains.

There are two ways to do the "obstinate douche bag" thing as an artist.

One is in vehement defense of stagnation. Some artists I've encountered do this, and it's completely indefensible. It's as low as you can get, creatively speaking.

The other is in vehement defense of exploration. This is just the opposite. This is a posture everyone should strive for, and these artists are the ones people should be most inclined to offer their attention and support.

That's just how I feel about it, and I come from a zero-BS standpoint on it all. This isn't a job for me, and I'll never modify my approach to protect a bottom line. If it was just a job, I guarantee I wouldn't spend every waking hour doing it. It's kind of a strange personal mission I'm on, which I happen to make money from, and that's cool. People are welcome to come along for the ride.

There’s a deep, deep irony to me in the fact that some talk about Act 6 Homestuck like it was a stagnant period in Homestuck’s development, when in fact, it was one of its most creative and experimental periods. This is true both of its structural and visual experiments, where messing with form finally revealed itself to be central to Homestuck’s major themes, and of its storytelling experiments. It’s understandable that diving into the kids’ psychological problems was a shift, and not everyone was down with it, but the very fact it was a shift shows that Hussie was trying new things. It would have been easy for him to stay in a comfortable place doing the same things he did in Act 4 and 5, but instead, he began to ask different questions and take the story someplace new. And honestly? Act 6 took a long time to pay its full dividends, but I loved where we ended up in the end.

(What kept us from enjoying it in the moment? The pauses. Once again the pauses.)

But for me, the thing that most puts the lie to the idea of Lazy Hussie is the sheer fact of Act 6’s existence itself.

Consider how easy it would have been to drop Homestuck completely when things got rough in the middle years. Consider how many webcomic authors would have done just that. I can name many webcomic hiatuses where the webcomic never came back.

But Homestuck did. Not only did it return, it returned spectacularly, scorchingly, with the shocking and dynamic Game Over, with Caliborn’s claymations, with two spectacular, full-length animations, one of them lovingly-hand drawn. It returned with metafictional shenanigans and glorious queer Gnostic themes. Hussie kept going, and kept experimenting all along the way.

This is the furthest thing in the world from laziness.

And the same is true for Hiveswap. It astonishes me how much I’ve heard Hiveswap talked about as a debacle or a betrayal of its fans. Despite having horrible problems dropped on him, the sort that would ruin any other Kickstarter, Hussie spent the next few years working to make sure he met the promises he’d made to his fans. He did.

My dudes, Hiveswap is real. It exists. It delivers on every promise that was made about what it might be: it’s a fun, pretty, point-and-click adventure game telling a new story in the world of Homestuck. It’s creative and clever and updates an old style of gameplay by letting you put things on things to your heart’s content. It’s certainly more accessible than Homestuck, and not yet as structurally complex, but given future installments, there’s plenty of time for it to grow into something rich and thorny. And rather than see this idea go under, from basically nowhere Hussie worked to bring together a small, diverse team of queer artists and creators to make this thing happen.

Again, not exactly laziness.

That’s why it angers me when I see people calling Hiveswap (somehow?) a betrayal of Homestuck fans, or advocating pirating Hiveswap or demanding their money back because it doesn’t live up to some weird set of expectations they placed on it. Maybe during the periods of drought and ambiguous release dates, both for Homestuck and Hiveswap, it made a little sense to be skeptical of Hussie making promises, but now?

It’s basically spitting in the face of a creator who kept working in the most difficult circumstances, and the small, insanely hard-working team who made it possible, over something that they’ve handed to you exactly as you specified right on your doorstep in a gift-wrapped box.

I’m not saying you can’t critique Hussie or his storytelling. He’s definitely a weird dude with a lot of quirks (Which is perhaps the only kind of dude who could have made something as quirky as Homestuck.) I think it’s fair to say he hasn’t always communicated well with the fandom. But the reaction to him these days is totally, ludicrously, out of proportion, beyond anything that would be a useful critique.

A related question is whether Andrew Hussie is burnt out on Homestuck.

Well, maybe?

It’s certainly true that since 2013ish he’s stepped away somewhat from communicating directly with his fans. But 2013 is also the time when Homestuck fandom was at its most massive, its most full of infighting and meaningless arguments, and its most overwhelming to keep up with. I’m not saying I wouldn’t like to hear more of his insights, but it’s pretty understandable that he wanted to step back a bit under the circumstances. That doesn’t necessarily mean he’s burnt out. I mean, he seems to be living his best life, posing glamorously with his fidget spinners and Minion t-shirts. Not exactly hiding in a cave. Rock on, dude.

If he is burnt out on Homestuck, though, that makes what he’s done with Homestuck and Hiveswap all the more impressive.  That he brought them this far, and wants to see them keep going and keep doing well, when he could have let them drop unceremoniously a long time ago. If he’s delegating some of the work to others, all the better. I can think of nothing better for an artist who’s burnt out and ready to move on than to find people he can trust to keep the things he started going into the future, and that, I think is exactly what we have in What Pumpkin, Viz, and Homestuck’s artistic team.

But even to assume that he’s burnt out is to presume a lot about his mental state from some very scant data. By many other indications, he wants to keep engaging with Homestuck. There’s an Epilogue to come—a capstone for those last few ambiguities surrounding the timeline, John and Terezi. And he’s getting the Homestuck books re-published with new commentary through Viz—so maybe that’s where he wants to have his conversations with his audience. And he’s still the creative director of Hiveswap itself. It’s very possible he’s not burned out—if anything, wants to keep building the world he created in Homestuck and seeing where he can take it next.

Ultimately, I think people’s ideas about Andrew Hussie say a lot more about their lingering feelings about the ending of Homestuck—a backlash brought on by the pauses he had to work with—than anything about Hussie himself.

6) The Conversation Around Homestuck

Homestuck is a goddamn triumph.

There are certainly critiques I could make of it. But they pale in light of what Homestuck is: is one of the most rich, genre-bending, experimental, character-driven, hilarious, innovative, metafictional, transcendent, optimistic works on the Internet—to say nothing of how it dwarfs much of the rest of literature.

Ultimately, I think Hussie was right: as an archive, as the story it is from beginning to end, Homestuck stands. It’s a rich, meaningful work with a meaningful finale, and it’s right there to be read by anyone who wants to read it. In that sense, Homestuck was and Homestuck is. It doesn’t really need me to defend it. Nor does Andrew Hussie.

So why did I write all this? Why did I write everything I’ve written here on this blog?

Well, mostly for Homestuck’s readers. For fans like myself.

Because I still see people who came away from Homestuck feeling totally burned and abandoned by its creator, when that was anything but the truth. Because I still see people who feel like they can’t escape an awful negativity about this comic, about the ending of something they passionately loved. I want them to see that it doesn’t have to feel that way.

And because I want Homestuck criticism to be better. Because I see prominent bloggers, some of whom I really respect, taking so little of this stuff into account. I want to see people talk about Homestuck’s place in literature, in internet culture, without discounting how circumstances shaped how it was perceived. I want to get away from a lazy cynicism—that cynicism everywhere online—about whether stories can be meaningful at all. A cynicism that Homestuck is the very antithesis of through its themes of transcendence and hope.

I think for some people, Homestuck is that weird old obsession they cringe at. The ghost of teenage fandoms past. Which is fine. It’s reasonable to want to move on. But it frustrates me when I see the same cynical, cringing attitude affecting how people feel—or feel like they’re allowed to feel without social stigma—about the work Homestuck itself. I’m not interested in cringe culture.

I frankly don’t have time for it when Homestuck’s as good as it is.

Don’t get me wrong, I want Homestuck to be criticized, too. I want to hear what its flaws are. I think that’s also an important part of the conversation. But don’t tell me it’s a pointless, apathetic work, that it’s just the product of laziness. Because we know better than that by now. Because we need a better conversation than that. Don’t tell me that Homestuck doesn’t have Gnostic themes. Tell me how it uses them, and how it could use them better. Don’t tell me Homestuck’s meaningless. Tell me how it strives to be meaningful—because it does, in every aspect of its storytelling—and tell me where it succeeds, and where it fails.

That’s the kind of conversation I want to have about Homestuck.

You may not agree with the things I’ve pointed to here—you may think that Homestuck’s ending is much more flawed than I do. But that’s totally fair. All I want to say is this:

If you were holding off from letting yourself enjoy Homestuck, or if you once enjoyed it and wish you could enjoy it again, or if the experience of the ending left you feeling disappointed and frustrated and burned out…

Give it another read, especially Act 6 and 7.

You might be surprised how much you like what you find.

[lotarclasspects]

could you do the personalities of a witch of light and a witch of void thank you

Well the classpect system is too small to describe personalities, however aspects describe the main themes surounding your climb to maturation/what you affect reality with and classes describe somewhat how you affect reality and channel that which makes you yourself. 

Light and Void are very similar aspects, which may sound like a contradiction of sorts, but its more like they are two sides of the same coin. The path which a void player must climb will have similar themes to one a light player struggles with because they are complementary. For example, Vriska’s bad luck and her desire for relevance, vs Equius’s work in shadow up until he made a grand gesture, which would affect all reality and be impossible to ignore. The main difference with these, however, is how they manifest. Aranea describes void players as having a very difficult climb to relevance, yet once they arrive there it is truly a sight to behold. Equius is the best example of this, for the reasons described above. If Heirs embody their aspect to a degree then Equius for sure represents a lot of the more disgusting and vulgar elements of Andrew Hussie’s works. Therefore the Narrative’s Focus (Light and Void govern this aspect of reality and by reality i mean stories because in Homestuck theyre the exact same thing) always shifts away from him, trying to keep him out of it. The same happened to Roxy Lalonde to an extent. She being described as a “dark horse leader” who no one could see as the “leader” but she was singlehandedly keeping the team together. Later on she becomes far more important when She and John travel to the Empty Space (my theory is that it is the physical white border around the pages of Homestuck which Calliope could also go to which is why LE couldnt find her) and she rescues Calliope and makes the Matriorb. Both of which are imperative to the New Universe. (actions impossible to ignore out of the understanding that comes from being in shadow). Light Players, however, are far more relevant. The spotlight is drawn to them in a way that seems almost inexplicable. They all have had very interesting and nuanced personalities and all have shown prowess in bending and manipulating the rules and laws which govern their reality or their sessions to meet their ends. (Vriska and the House Juju/Cueball, Rose and tearing apart the stitches of her session, Aranea and... well all the shit that she did we know what shes like lmao). Light heroes see reality as something they can activley change and will try and do so to an incredible degree. A big part of Light is Agency, which is also a part of other, somewhat similar aspects such as Breath or Life or Time. And agency itself is a big part of Homestuck, the way that thoughts and actions affect reality and what it means to not be able to do so. Light Players excel when they embrace their agency, and will bring about the most change that way, but these arent isolated things. Both Light and Void players can easily flip to the actions which some would consider to be of the opposing aspect as easily as Red goes to Black, just like, for example: two sides of a coin? :::;) (Vriska) when she embraced her unimportantness and gave up her agency was replaced by Vriska, because paradox Space needed it to be. Rose when she went voidy, no, not Grimdark, when she gave into her inhibitions and gave up control of her actions to alcohol. Alcohol is also a liquid which “obscures” one’s judgement. Therefore, if this ask is about you it can be difficult to decide. Your Aspect is about which themes are present in your life, and i would definitley use the canon test to determine which way the penny falls on that its very helpful.

Now onto witches! A lot of times in classpecting Witches are described as “powerful and manipulative” which isnt really textually true at all! All witches shown have a very bubbly personality, or used to (damara) in the beginning, and are very supportive towards their friends. Witches embrace the weird, the unordinary, the extraordinary, and will often either not be aware of, or activley diss their society’s standards. Witches have a major rebellious streak too! As bringers of change they will outright change a system that isnt working for the sake of everyone in it. Jade didnt get to show a lot of this in her session, but Grandma English did so to an incredible degree. She made an entire line of computers which looked like the only man Crocker was afraid of, just to spite her and what she did to her and her brother under her tyrannical and ruthless care. Feferi wanted to change the meaning of culling, and make a world where the lowest lowblood and the highest highblood could live in peace. Damara succumbed to domination in her adult form, as the Lord, as powerful as a Witch is, is still stronger. However before this happens she is a spunky young lass, showing gutsiness and grit despite the terrible abuse and condescendingness of Doc Scratch. If you are a witch, you desire in some way to change your reality, whether it be changing the meaning of something or using something aspect related to impact the world the desire still stands. If the Light aspect is yours, then this desire i imagine would be even stronger. What a sight to see! I wouldnt be betting against you thats for sure. If it was Void, I imagine youd want to change something about what it means to be irrelevant, or using your irrelevance or inherent obscurity from societys eyes to get away with things you might not be able to, and change it for the better. Another minor thing is that Witches are often associated with some sort of “familiar” a powerful other which is symbollically connected to them. But im not sure if Post Scratch Jade had this so i am not sure if it is a necessity. Anyway, i hope this helped you, and I hope you change the world, Witch, in any way you can.

-Some Hero of Breath probably hehe

[hampermarketplace]

Why I can’t understand Homestuck

the thing with Homestuck is that you can appreciate it on a “lol buckets” kind of way, you can appreicate in on a “deeply relating to the characters, their arc and their struggle” kind of way, and you can appreciate it in a “post-modernist literary masterpiece of meta narrative” kind of way, but the thing is each way of liking it kind of ruins at least partially the two others, or at the very least, having people like it in a different way than you do is kind of uncanny. 

Like somewhere overlap between them exist, but it’s also extremely hard to juggle perspectives without getting a headache. You could write an entire thesis just on like, the narrative structure of Homestuck without ever even mentionning buckets, just like you could spend your entire life within the Homestuck fandom without really considering its perspective on death of the author. 

Being the hopeless Intellectual(TM) that I am, one of the reasons Homestuck stuck with me is because I never run out of literary, contextual and metatextual perspectives to compare it to. When I get tired of making connections between Homestuck and Nietzsche, I can start looking at it from a Death of the Author point of view, or examine how it plays with the conventions of fourth wall breaking, or how similarily to Shakespeare it owes most of its success to the way it panders both to the lowest common denominator of fandom and to a deeper human yearning to decipher meaning from probably pretty arbitrary narrative choices. Yet I also connect much more on a personal level with the likes of Dave Strider, Kanaya Maryam and Rose Lalonde than with let’s say, Winston Smith, Hamlet or Galy Gay. 

And yet...

It’s hard to know WHY Homestuck is important. A lot of people have never even heard of it. Tons of people who formerly liked it now despise it, and many others have just kind of moved on. It’s not anywhere near being recognized in the literary canon, at least not by most major institutions. No one even really knows what state Andrew Hussie lives in and if he died, would anyone even know? Sometimes I swear I can look at a panel and immediately forget how and why I spent so much time over this thing. it’s pretty weird. 

That’s kind of why it’s such a marking work. It builds on everything that came before it and yet is nothing like them. It manages to be meaningful and meaningless at once. It has so many things to look at, so many angles and perspectives to take that present an apparent full picture that two people looking at the very same thing see different things and yet insist that they have seen enough to judge it all. It’s inanely dedicated. It puts together apparently completely unrelated narratives just because it can. 

It summarizes the context, importance and building processes of the internet in a mere 10 000 pages. 

It embodies the worldview of the digital age, its lack of focus and conclusion, its odd shitposty humanity, the way it can make strangers and aliens familiar and our own kind vaguely alien. The way we can never tell if any meaning was really intentional or coincidental, and how in the end we most often decide to ignore it anyway, and just give it the meaning we want it to have.

Memes and absurd running gags are a part of Homestuck. Likeable and less likeable people of familiar and unfamiliar cultures are a part of Homestuck. Building History and the Future of Humanity are part of Homestuck. They are also core elements of whatever this thing that comes after post-modernism is.

If you have read and understood Homestuck, then for as long as you roam the internet, as long as you look at modern History, Homestuck stays a part of you. 

I could go on with this, but this is just my idea as to why I keep coming back to that filthy webcomic. 

[blaperile]

Homestuck Epilogues - Meat - Pages 17 & 18 (Epilogue 3 Page 4 & Epilogue 4 Page 1)