#next whitman??

[betweengenesisfrogs]

A HOMESTUCK MANIFESTO

I want to think about what comes next after Homestuck.

That’s a challenge to the world as much as a personal mission statement.

I want to see writers and artists and creators making the next Homestuck, taking its themes and binding them into new fabrics, giving life to new creatures even more beautiful and uncanny than the original species.

I hunger to see new forms of story and image evolving with Homestuck in their DNA.

This process is already underway. Homestuck is a massive boulder dropped into the waters of culture, and the full wake of its ripples is still to be felt. But let’s call attention to this process and ask: what would happen if we engaged in it more consciously? If we sifted through our feelings about Homestuck to create something new, deliberately, with great and wonderful purpose?

The tools we need are within our grasp. Homestuck presents itself as magic, but it’s a work constructed in time out of specific storytelling choices. So let’s understand those choices. Let’s understand how Homestuck did what it did, and use Homestuck’s tools to build art that grips the soul of future generations as strongly as Homestuck did ours.

What follows is not a traditional literary analysis. It does not cite its sources; it does not seek to give us a comprehensive understanding of Homestuck. If it does, it does so only to the extent it suits its larger purpose.

Our goal here, our quest, if you will, is not to understand the Homestuck that exists, but the Homestuck that comes next.

Let's begin.

0. THE WILD GARDEN

Let’s lay the absolute groundwork here.

Homestuck is constructed as a re-appropriation of itself. Or to put it another way, it’s a big improvisational move, a process of “yes and”-ing so hard it develops a sprawling continuity.

Tiny details are constantly re-contextualized to become part of something else. A joke might turn tragic. A silly aside might turn into something profound.

But it didn’t have to be that way.

It’s crucial to understand that what we experience as continuities were in fact choices made at specific times. Homestuck is a garden where seeds were scattered in every direction, grown en masse, then weeded down to create patterns and forms.

The shape of the garden is designed to conceal the gardener’s hand. But the gardener’s choices are there, every step of the way.

If we are to follow in its footsteps, what choices should we make?

Let’s talk about themes.

1. THE MEANING CRISIS

Nobody in Homestuck knows what they’re doing.

And neither do we.

All the old idols have broken down. The values we were taught in our childhood fail to measure up to the problems of the world we live in. We grasp after careers and lives we were told would make us happy and wonder why we’re left empty. The selves that we were told were us now fit us about as well as clothing we’ve outgrown. Crises loom, political, economic and environmental, and everywhere it feels like the people who are supposed to guide and lead us aren’t doing enough.

It's widening gyres and slouching beasts all the way from here to Bethlehem, is what I’m saying.

The reason people go absolutely insane for Homestuck is that it depicts this crisis of meaning. It shows the questions we might want to ask, and attempts to provide some kind of answer.

The protagonists of Homestuck struggle with what I’ve called “received narrative.” That is, they’ve inherited stories from their families, from the world, that they try to use to define their lives, and it doesn’t work. But these stories are so familiar that it’s hard to think outside them. They have to develop new stories by which to live. Sometimes they succeed, but other times they can’t escape the gravity of the ones they were given.

With me so far?

Great. Now understand that all this was improvised and discovered largely accidentally over the course of ten years.

Here’s a seed that became quite an impressive tree:

The streets are empty. Wind skims the voids keeping neighbors apart, as if grazing the hollow of a cut reed, or say, a plundered mailbox. A familiar note is produced. It's the one Desolation plays to keep its instrument in tune.

It’s a joke. But it was never just a joke. There’s an idea here of dissatisfaction with the stereotypical idea of American suburban life. Egbert here is looking for something more, dissatisfied for reasons they can’t fully articulate. This is typical fantasy protagonist stuff, but there’s something more here, too.

Eventually it’s redirected towards the idea that there really is an unseen riddler. But let’s put that aside for now.

This page, in its moment, says: your life is not the full picture. There’s something else out there, waiting, that’s going to change everything.

That's a potential set-up for a very powerful payoff. It gives us the sense that Egbert and all their friends are going to have to rethink what they know. That this suburban life is not going to be enough for them, that somehow or other they’re going to encounter something they aren’t prepared for, and they’ll have to find a new way of acting and being. That, try as they might to avoid it, they’re going to change over the course of this journey.

But to understand how they change, we need to talk about SBURB.

2. THE PORTAL FANTASY OF IT ALL

A lot of people like to joke that Homestuck is an isekai. I think it might clarify things to use the term portal fantasy instead.

Portal fantasy is simply the fantasy subgenre of characters, usually kids, going to a magical other world. Maybe they make friends, maybe they learn lessons and stuff. You know the drill. I don’t have to to tell you more because the story structure is already so familiar. That’s what gives it power.

Portal fantasy differs from the related Japanese genre of isekai in that isekai in its current form is much more heavily based on video games such as MMORPGs. In the most pervasive isekai narratives, protagonists are rewarded not so much for achieving personal growth as being able to exploit the game mechanics of a game-like system. That’s pretty different from your typical Narnia scenario.

The influence of portal fantasy is everywhere in Homestuck, especially in the beginning. We have nods to the fantasy films of the 1980s that gave us our contemporary idea of this story structure, such as The Neverending Story (itself, in its original book incarnation, a phenomenal commentary on the genre). Our protagonists are genre savvy; they recognize what’s happening here.

But it doesn’t fit quite right. The odd note is first sounded when Egbert asks Nanasprite if what they’re doing is going to save the world. They’re bit unsettled to learn the answer’s no, that something else is going on here. Next we have the fantasy worlds: the planetary lands each present a veneer of exciting adventure. But their inhabitants, the consorts, aren’t fully-realized people, they’re largely cute animals going through the motions, not really understanding the story they’re telling. The carapacians are a little better, but they’re still trapped in a fatalism that feels uncomfortable.

As things rev up in Act 4, we learn about doomed timelines from alt-timeline Dave and Rose, how your entire existence in this setting may be fodder for something other than you. When we learn the true purpose of SBURB and its froggy details in Act 5, we see that SBURB is more like a biological creature, mainly interested in its own reproductive desires. It was never really about the portal fantasy at all. The kids are just along for the ride.

So when we see that Rose wants to tear through SBURB, find out a way to escape fate, and snatch meaning from the jaws of futility, it makes sense. We’ve been given hints already that this is the conflict at hand: the characters vs the story that’s telling them. 

(Note: it’s certainly possible to have a reading that SBURB is not evil so much as empty, that it reflects what you bring into it, that its will for you is your will for you. But that’s also a difficult thing, right? If you lack self-understanding, it’s a struggle to bring about your ideal reality.)

What we haven’t mentioned yet is that this is all mediated through the lens of video games. Which makes perfect sense. Because where do we seek meaning, especially as kids? In imaginary worlds that make more sense to us than real life, that give us achievements to take pride in and clear objectives to pursue.

SBURB evokes mechanics from games like Final Fantasy. We see its players complete objectives, cast magic spells, gain power-ups with colorful costume changes. But unlike the narratives implied by traditional video game progressions, leveling up doesn’t mean you grow as a person or process your trauma. Later, in Act 6, when we meet a player who has made his life about winning the game (Caliborn), it’s horrific to behold. 

Homestuck is a portal fantasy, but it’s fundamentally a portal fantasy about games. It’s a portal fantasy that shows us how characters seek meaning in being the best at arbitrary game mechanics, but ultimately fail to find it.

So I guess…it actually is an isekai? Huh. Wild.

(But seriously, Homestuck is actually fairly prescient in predicting the ideas that come out of isekai and LitRPG. It’s engaging consciously and deconstructively with the weird ideas of self-fulfillment these genres are drowning in.)

So what might a Homestuckian work look like? It will almost certainly critique a false narrative we live by. It may comment on portal fantasy, or our personal satisfaction that comes as easily as playing a video game. But it doesn’t have to be limited to these things. It might talk about our popular TV shows and movies. It may take apart what’s flawed in Marvel, the latest triple-A game, or the modern dark fantasy novel. 

Among its tools will be discomfort. Showing a disconnect early on between our character’s expectations and their happiness can serve as foundation to build on, so that when the flaws of the genre narrative are revealed, it feels like the truth. We may see characters who accept their narratives passively, or rebels like Rose Lalonde, who chose to rip everything apart in search of something better.

These are only some of the possibilities.

When I tell you the stories we live by mislead us, what is your relationship to that? If you were to tear these received narratives apart, what would you focus on, what would you try to say? The art that comes out of this question will be deeply personal to the soul who makes it.

But here’s another question:

Just who is giving us all these narratives, anyway?

3. THE PARENT FLIP

The world we live in was not made by us. It was shaped by forces that predate us, over which we have no control and are born into the grasp of without the knowledge of how to escape.

For instance, our parents.

The guardians who raise us provide our template for how to interpret life. We spend a large part of our lives immersed in the world they built, believing as they believe, living by the values that they instruct us in, so that we might carry their goals forward to the future.

This is an effort that is certain to fail.

Because the problems of today aren’t the problems of twenty or thirty years ago.  At best, their messages can only to help in a limited way with the crises we go through as we live our lives. At worst, they actively hinder us from dealing with them productively.

If we are to escape the broken patterns of our world, then we need break out of the stories an earlier generation gave us.

How are parents discussed in Homestuck?

Initially? As jokes.

If we take our “future knowledge” goggles off for a moment, we can see that the early depictions of the kids’ parents are a goofy parody of standard parental tropes. Mom and Dad are nameless, faceless, exaggerated cartoon stereotypes, and conflict between them and their children is initially expressed through a silly video game fight.

There’s a seed of something real here, though. What we’re parodying is a familiar trope of tension between parents and children in kids’ fiction and YA fiction. But that trope exists for a reason. This conflict is rich with potential for any story about growing up. And Homestuck has smuggled the idea of it in as a silly RPG parody.

So we can extrapolate, for instance, that there’s tension between Egbert and their father in part because Egbert doesn’t know yet who they want to be, and that Rose and Mom’s relationship is awkward and contentious, with alcohol involved. We see that there’s something profoundly uncomfortable going on between Dave and his Bro, and Jade’s life in the shadow of a dead Grandpa suggests a psychology that’s not entirely a healthy one.

Understand that I’m not saying that all this was there from the start. Rather, a choice was made to develop these interesting possibilities out of the jokes, to tell a story about how parents that act like these ones might have affected their children.

A major turning point in this regard is when Egbert learns their father’s seeming clown obsession was the result of a failed attempt to connect with them. It’s quite silly, but it plays around with the idea of a gap in perception between parent and child. It’s also a sign the story’s starting to take more of an interest in character psychology, suggesting that what Egbert processes consciously is not the same as their deeper unconscious feelings. This in turn can become a setup for a portrait of Egbert as someone who represses things they don’t want to think about. From this moment, in the long term, comes June Egbert.

When the psychology machine revs up for all the characters in Act 4 and Act 5, it’s able to do so because this foundation was laid.

We also, as early as Act 3, get hints that the parents have intentions and personalities outside of how the kids perceive them. The original purpose is to hint at a larger conspiracy around SBURB, with Mom building a secret lab, Dad trying to investigate the mystery, and Grandpa jumping in and out of time. But what this suggests is that the psychology of the parents might at some point come into play.

But the most exciting development in the relationship between parents and children is Act 6.

The great role reversal. The parent and child flip.

How do you make your faceless parent figures into characters?

By making them kids.

We’re so used to this concept now t that it’s hard to remember how wild it is that Roxy is a teen version of a main character's mom. But the concept is genius. Meeting these characters on the same level forces our protagonists to understand them as people and reflect on their fallibility.

For us as readers, it adds detail and nuance to the cartoonish portraits we got in the beginning. Conversely, we also see what our protagonists might have been like as parents themselves—and turns it from a story of “parents just don’t understand” to a story of how people, despite their best intentions, can wound each other.

(The Homestuck Epilogues are a difficult text to evaluate, but one of the best things within them is Egbert’s arc in Candy, where we see how Egbert might have done as a parent, how their struggles with finding purpose in the world might lead them to embrace a narrative of parenthood yet struggle to have a good relationship their kid. It’s brilliant, and the culmination of everything we’ve talked about here.)

Thus the Homestuckian work of art will be concerned with themes of parents and children. It will play with the boundary between what children understand about their parents and what they don’t. It will show parents as people—fallible people, who make mistakes with severe costs, whose stories fail their children and themselves. It may build from a simple base of what children understand, or it may weave parent and child perspectives together. It may even show us how children fail when they become parents themselves.  It will show us the cycles we are trapped in, how we wound and are wounded by our context.

And it will force us to look for a way out.

4. CLASSPECTS AS SIGNPOSTS

Hey. You want to know a secret?

Come closer, and I’ll whisper it to you.

Classpects aren’t actually all that complicated. Ultimately, they boil down to one thing:

Symbols we can use to construct a self.

If Homestuck is about a crisis of meaning, then classpects are part of its answer.

What do we do, when the world gives us no story we can live by?

We make one. We make one out of whatever symbols and messages we can find and put together from the stories we’ve read, from the people who teach and inspire us. Such collages are powerful things. They give us a way out of the dark, they give us a sense of something we are and can be, where there was nothing before.

They give us, in short, a personal mythology.

Classes and Aspects have often been read as codes to be unpacked and solved. It might be more productive to see them as creative tools, signposts designed not to narrow down meaning, but to allow us to explore it.

For instance, the portrayal of Light in Homestuck is unique. As a symbol, it combines notions of brightness, knowledge, future, luck, wealth, and narrative focus. These things aren’t inherently linked out in the world, but they are here, and that’s a choice, and an interesting one. It encourages us to imagine connections between these concepts, and to see if they have any relevance to ourselves. Identifying with the concept of Light, in other words choosing to value clarity, luck, and importance, might be a powerful tool for finding one’s way in the world.

Classes play with signposts at an even more basic level. Sure, we can talk about what a Knight does in the context of the story.

But a knight is already a powerful symbol. We bring so much cultural context to it. The word conjures up images and narratives of devotion, duty, violence, the slaying of dragons, armoring oneself against the world, and the rescuing of princesses. If we put that together with a concept like Time, we get a distinct character. If we put that together with our own experience of the world, we can create powerful concepts for who we want to be.

Interestingly, this complicates what we said about SBURB. As much as our protagonists struggle to find meaning within it, there’s still something there that they can latch onto. Classes, aspects, denizens, even consorts and lands—these things don’t have to be devoid of meaning. We can choose to affirm them; we can build something out of them, and say, yes, this is me, this is myself.

But it’s a double-edged sword.

We are responsible for the narratives we choose to live by. And we may find ourselves falling into a narrative that hinders us more than helps us, that creates a self-destructive self.

What does it mean to believe deeply that you are a thief, that taking from others to benefit yourself is the best way or comes to you the most naturally? What does it mean to tell yourself over and over that you’re a prince, with all the attendant baggage of power and grim responsibility that comes with that concept? Or, to follow the path further, what does it mean to tell yourself over and over that you are a destroyer or must be destroyed?

If we are to escape the story we’re trapped in, we must take care, lest we trap ourselves in a story of our own making.

Homestuck never quite resolves the ambiguity around these symbols of self, around whether SBURB hurts or helps, whether classpects are things you create or things that create you. But this ambiguity is a productive one. It gives us symbolic tools we can use in the creation of meaning, and it shows us the side of them that should make us wary.

The work that is to come after Homestuck will be about symbols. It may show us how we seek them in popular culture, or the people around us. It may use some of the clusters of meaning that that we see in Homestuck, but it will not be limited to them. It will write its own language of symbols, joining Light and Time to notions like Memory, Need, Rupture, and War, and be filled not just with knights and princes but brigadiers, lancers, healers, druids, taxidermists, sentries and waifs.  It will build with tarot cards, enneagram types, and Babylonian gods. It will place all the signposts we’ve created in millennia of existence into new contexts and meanings.  

By such means will it show us a way forward.

There’s one kind of symbol we haven’t talked about yet, however.

The kind that holds a mirror up to the world.

5. THE POWER OF ALTERNIA

There’s a reason dystopias have been so popular in young adult fiction. Sure, they’re cliché now, but they speak to something raw and visceral.

When you’re growing up into a world that doesn’t make sense, it’s natural to find refuge in emotional extremes. Stories of blood and violence, fates worse than death, and governments that demand horrific things of their citizens speak to the anxieties of the adolescent mind. They validate the feeling that something is wrong—that the world we’ve inherited is broken and unfair and has no place for us. And they’re right.

Alternia taps into these dystopian feelings perfectly. What makes it so fun is that it’s an inversion of a teenage fantasy. It’s a world where there are no parents, where kids can have access to power and violence, where you can sit around and play video games and design your own house. It almost feels like a response to the “parents don’t understand” themes of the early acts.

But the dystopia’s there, and it’s sneaky. A land of lost boys and girls isn’t actually all that great to live in. It’s lawless, survival of the fittest, with children killing each other left and right. And the future adult roles most of the troll kids aspire to are a glamorous veneer over competition for slots in a fascist military hierarchy. Which is to say nothing of the blood caste system as a way in which the kids are taught by their world to abuse and exploit each other. Crushes, personal slights, competition for status, group dynamics, attempts to define identity – all these familiar teenage dynamics play out on a backdrop of maiming and murder.

Which is perfect. Because when you’re young, all those social interactions genuinely do feel like life or death, and adulthood a regime of exploitation and horror bearing down on you. Alternia is a heightened, exaggerated version of reality. It expresses an emotional truth, not a literal one, validating our most intense feelings and giving us a road map to understanding them.

No wonder so many people wanted to skip to Act 5 and get to the trolls.

(See also Hiveswap Friendsim and Pesterquest, which explore these themes really really well.)

And Alternia, for a world where parents aren’t really a thing, tells us a surprising amount about the parental generation. In mid Act 5-2, Ancestors are added to Alternia’s wordbuilding, and we learn that as much as the trolls skipped having traditional parental figures, they were never devoid of role models. The deeds and exploits of notable figures throughout ancient Alternia gave them models to think about each other and themselves—even when those models were toxic ones. In a way, this isn’t so far from the human kids at all.

Furthermore, as time goes on, we acquire an origin for Alternia’s fascist worldview. Doc Scratch, manipulator of society, stands in for all those aspects of the world that work to create the false narratives we are born into, a true evil father figure – or uncle, if you prefer. And he's an extension of the ultimate evil father figure, Lord English, who controls not just Alternia but the timelines of the human children as well, whose belligerence and apathy give us aeons of toxic narratives and abuse. We see that story played out in Alternia in every interaction, in every moment, the beliefs its architects live by.

This is the power of dystopia—it can hold a broken mirror up to the world we live in.

Therefore the Homestuck that will come after Homestuck will worldbuild gardens of horror. It will not pull its punches but show us insidious societal systems and the effect they have on the people who live under them. It may depict fascism, authoritarianism, feudalistic tyranny, or all three. It will be unafraid to evoke blood and guts but use them to paint a picture of what we want, what we fear, and how we break under our false horizons.

As it depicts the path out, so, too, will it have its reverse side—it will show us all the hells and purgatories we’re trapped in.

6. SAILS TO THE WIND

Much has been written (including by this very author) about Homestuck’s metafictional aspects – the way it comes to foreground a more direct clash between character and narrative.

But the point I want to make here is that the metafictional angle wouldn’t work without these earlier choices. They allow the comic to talk about these concerns long before any notion of canon rears its head.

There are many ways of approaching these themes, and we don’t have to be limited to notions of Ultimate Selves and Beyond Canon to explore them. Such things are valuable, but they are only one retelling of the myth. If we are to make the next Homestuck, we must make our own.

I want to illustrate the space of possibility by offering some examples of works that explore similar themes. Note that I’m not saying these works were influenced by Homestuck in any way, but rather that they use some of the same tools to speak to the same questions, anxieties and concerns.

In trying to make what comes after Homestuck, we might consider:

Revolutionary Girl Utena, which foregrounds the archetype of the Prince as duelist, tyrant, and hero and dares its characters to break free from the false reality that shapes even these aspirations and dreams.

The Familiar by Mark Z. Danielewski, author of Houseof Leaves, whose core narrative concerns an twelve-year-old girl in thrall to an entity whose intentions are unclear but may be shaping the fabric of reality itself; which depicts the inner lives and uncertainties of her parents with just as much detail as they struggle, and sometimes fail, to make the right choices to help her; a story which, even in its incomplete form, explores a notion of a greater S.E.L.F that is not just you but also those who share something with you, where characters from other realities blur into transcendent archetypes in this one.

Digimon, perhaps the quintessential work of portal fantasy, not only Digimon Tamers, which steers the genre into a place of trauma, cosmic horror, and adults horrified by children saving the world, but also Digimon Adventure, which creates strong character arcs for eight very different children as they try to navigate a strange alien world, and shows us their struggle to reconcile with their parents as part of the process of understanding themselves.

The Neverending Story by Michael Ende,foundational text for Homestuck, which tells us not only about the rich possibilities inherent in reading oneself into fantasy worlds, but also the terrible potential for harm in making oneself an emperor over them.

Pale, by Wildbow, author of Worm, an urban fantasy story about three teenagers thrust into a world of magic and murder, a world where symbols literally create reality, where concepts like Carmine and Aurum have a powerful pull, where the Self is something that can be nourished or taken apart and put back together, a story where the parents are not just supporting cast but fully realized people forced to reckon with the ways in which they have deeply failed their children, and which contains perhaps the most thorough investigation of the question of “is it good for children to go on magical adventures?” ever committed to the page.

Heaven Will Be Mine, by Aevee Bee,in which the giant robots we pilot through space become the symbolic manifestation of our inner selves and our way of bringing about our ideal reality, and, relatedly, We Know the Devil, in which the repression of those selves causes them to burst out from us in terrifying and glorious new forms.

Crow Cillers, by Cate Wurtz, an often trauma-filled horror comic in which a group of kids and, eventually, adults, tries to fight back against an ever-present death cult that has its grips on every corner, all the while encountering Psyforms, beings made of pure mind, while characters from television and cartoons dance in the margins and all the while the line blurs between audience and art until it becomes difficult to tell who created who—a story that asks what it means to find meaning in stories when the corporate entities that own them are trying to devour us.

It's a tragically short list, I know. But perhaps it conveys some of the angles we might take.

We can also look at works that are known to have inspired by Homestuck. There aren’t many yet, but there are a few.

Undertale is famous for its Homestuck influences, with parallel timelines, an idea of agency that persists across them, and a contentious relationship between player and character, but for my part, I’m just as interested if not more so in Deltarune, which seems to be slowly building a grand thesis about portal fantasy, where the kids' adventures in the Dark Worlds seems to be offering them an escape and helping them become their best selves—but hints at a coming challenge to that simple worldview in the question of who’s really experiencing that escape.

The Locked Tomb, by Tamsin Muir – This is the big one, that really shows what building on Homestuckian themes can achieve. It turns out there really is an audience for weird aggro formalism in scifi publishing if you make it sufficiently gay. But smartly, like Homestuck, the Locked Tomb builds its weird mysteries gradually, adding on layer after layer on the solid foundation of characters we can follow and get invested in. There’s so much to notice – there’s the highly categorized teenagers involved in a murder feud, there’s the constant whiplash of humor and tragedy, there’s the endlessly open spaces in the story to interpret and project on to.

But to me, what stands out the most is the portrait of God and his court as every bit as emotionally chaotic as the sniping teenagers. You go to heaven, and God’s making out in the corner with his friend group, and you look for the adult in the room but the adults in the room don’t know what they’re doing and they never really did. It’s a portrait of the parents, it’s a portrait of the Ancestors, it’s a portrait of the gods of the new world, and it’s exquisite.

The Locked Tomb gives us a world at war with its own mythological narrative, rich with angst and irony. It’s a worthy successor to everything Homestuck was doing. It shows us how much these themes can say to us, and it gives us a hint at how powerful Homestuck's legacy might be.

7. THE APOTHEOSIS OF HOMESTUCK

There’s a lot of discussion about how to continue Homestuck. How to do it justice. What post-canon might look like, and what it might not. What fan comics, what fan fics, what semi-official works truly live up to the spirit of its characters and its multiverse.

To be clear, those discussions are awesome. I’m so glad those things exist, and it’s wonderful to see them unfolding.

But I don’t want the process to stop there. I'd be disappointed if it was only about adding to and re-articulating Homestuck itself.

I want this—

—This multifaceted, complicated, emotionally laden thing that is the experience of engaging with and creating with and interpreting Homestuck—

To go out into the world and to be infused into the world, to become waves spreading further and further. I want to experience the Homestuck artistic movement, the Homestuck school of thought. I want it to be an influence on the fiction of the coming generation of authors, and the next, and the next.

I want Homestuck to be one of those albums that's too obscure to be known by the general public, but everyone who listened to it went on to start an enormously successful band.

Homestuck can appear like a thing that was conjured out of the ether, but it isn’t. It’s a product of a particular time.

But that in itself is profound. When you create art, you reach back to all the things that have shaped you, and you listen to what the world around you needs, and you try to say what needs to be said. Which means you're a part of a history and culture that needs to say those things, which will be different from the things that needed to be told yesterday, and different from the stories that will be needed tomorrow.

There’s no otherworldliness to it, no platonic other reality. But for all I've talked about art being made of choices, there's still something transcendent here.

To make Homestuck—and to make art inspired by Homestuck—means being a node in a web formed of millions of people, where a light passes down the chain to you, and for the briefest of moments, you get to be filled with its presence, before it moves on to the next person in the chain.

That light isn't yours. Not really.

But at the same time, you do get to choose how that light manifests.

And to engage with that process consciously—to think deliberately about what we want to create—that gives us power and agency over that process, our sense of the world, and ourselves.

So let’s do this. Let’s make the thing that Homestuck is telling us can exist, the thing it’s paving the way for, the thing we know in our soul can come to be.

Let’s make the next Homestuck happen.

—Ari

POSTSCRIPT

“To put out a manifesto you must want: ABC

to fulminate against 1, 2, 3

to fly into a rage and sharpen your wings to conquer and disseminate little abcs and big abcs, to sign, shout, swear, to organize prose into a form of absolute and irrefutable evidence, to prove your non plus ultra and maintain that novelty resembles life… I write a manifesto and I want nothing, yet I say certain things, and in principle I am against manifestoes, as I am also against principles… I write this manifesto to show that people can perform contrary actions together while taking one fresh gulp of air…”

— Tristan Tzara, “Dada Manifesto 1918”

"The cyborg is resolutely committed to partiality, irony, intimacy, and perversity. It is oppositional, utopian, and completely without innocence....the cyborg would not recognize the Garden of Eden; it is not made of mud and cannot dream of re-turning to dust...This is a dream not of a common language, but of a powerful infidel heteroglossia. It means both building and destroying machines, identities, categories, relationships, space stories...I would rather be a cyborg than a goddess."

— Donna Haraway, "A Cyborg Manifesto"

“What we need is works that are strong straight precise and forever beyond understanding... let each man proclaim: there is a great negative work of destruction to be accomplished. We must sweep and clean…to divest one's church of every useless cumbersome accessory; to spit out disagreeable or amorous ideas like a luminous waterfall, or coddle them—with the extreme satisfaction that it doesn't matter in the least…freedom: Dada Dada Dada, a roaring of tense colors, and interlacing of opposites and of all contradictions, grotesques, inconsistencies: LIFE.”

— Tristan Tzara, “Dada Manifesto 1918”

“These are really the thoughts of all men in all ages and lands, they are not original with me,

If they are not yours as much as mine they are nothing, or next to nothing,

If they are not the riddle and the untying of the riddle they are nothing,

If they are not just as close as they are distant they are nothing.”

—Walt Whitman, Song of Myself

𖤓

[savoureuxx]

"Song of Myself," Walt Whitman (1892)

[delurkr]

1858 Carvers

Continuing with my Tilly Johnson era of doubles, here is Solomon Carver, owner of Ravenden factory, and his wife Mona Carver. Solomon is the double of the canon Carvers and Leonard Carson, and Mona is built off the idea of Simon's wife Madeleine who was kidnapped in 1690.

Starting with Mona - Her face is based on the Julia model (basically because Marie Whitman in TDiM happens to be a Julia model and is married to Jeff who's a Carver model) and I tried to age her up a bit and borrowed from Marie's and Julia's outfits for her design:

Pink with knotted trim reminiscent of Julia's pink knotted t-shirt

Her brooch is a landscape painting similar to that t-shirt's graphic (minus the surfer ofc lol)

Her net overlay is inspired by Julia's black top with the openwork design

Blue belt and white (under)sleeves similar to Marie's

No hat because I didn't wanna. A hat would have been required but I have my priorities (curly hair✨), but she does have gloves, which are the random yellow color that was a thing in the mid-1800s

Solomon -

Black because he's in mourning. Mona dies in 1858 and his father was murdered by his evil son died some time before, so mourning is his vibe

Super wide hatband as was customary when a man was mourning his wife

His watch chain is made out of Mona's hair. He cares about her death to some degree so I thought it would be interesting. (Hair jewelry was a thing in the 1800s, not always because the person was dead)

Fancy cane is fancy. It's made out of wood and whalebone, because the whaling industry in the 1800s was centered nearby on the Massachusetts coast and a lot of crafty whalebone products came out of that

Also I don't know how tall the C's are supposed to be but in my mind Mona is tiny so that's where the height difference comes from 😁

[bsaka7]

getting interview requests for my summer season... both so exciting bc like THEY WANT ME (maybe)! But also the whole "am i going to do another season" (yes) slash "where do i want to be"

[salemruinseverything]

*looks at smudged writing on hand* vivienne westwood

[avengerphobic]

slowly but surely all the mi13 will get a secret daughter one member at a time

[sprinkleskirby]

My partner got me Victoria Whitman from Rainbow High and I'm literally so OBSESSED WITH HER !! she's so pretty !!

[greatcomets]

this guy and i have mutual friends & i can attest to this being genuine - please consider helping him out or at least reblogging. more details/specifics in the gfm description

[gaytedlasso]

Oh absolutely not. No way in hell. Pride flag and camera set up in one corner of the press room equals nightmare fuel. Trent looks over at Keeley, glaring daggers at her — and she just giggles. Goddamnit. Apparently that 'pissed off journalist who will end you' expression of his has softened quite a bit over the past few years. Suppose that's what happens when you're married to a literal ray of sunshine.

"So Rebecca and I thought a pride campaign this year—"

"Flattered but no thank you." Trent's voice is clipped, arms crossed in front of his chest.

"But whyyyy?" Keeley pouts up at Trent. "It's not like this is breaking news any more!"

Trent is well aware. The media frenzy when the press caught wind of their fledgling relationship was nothing short of a firestorm. (Trent will kill Ernie. That is non-negotiable at this point.) They always knew it'd be front page headlines, but Trent grossly underestimated the vitriol thrown at them both. Colin's kiss on the pitch was barely a blip on the radar; the press saved all their ire for Ted-and-Trent.

But as with all things, it died down once Rupert had yet another scandal and the news shifted to that story like a flock of magpies gravitating to the next shiny thing. Sure they all circled the proverbial wagons (fucking hell Ted, Trent's tired of thinking like you.) the day Ted showed up on the pitch with a wedding band and Trent, in the press room at his new job as ~~lion tamer~~ press wrangler wore a matching one.

Neither of those were planned events. Ted and Trent had always tried to just keep their relationship quiet — never secret just... quiet. Never flaunting.

This... this is flaunting. This is a public display. This is in your face...

Trent isn't concerned about his own queerness, he's worried about Ted. He's worried about their children. He's worried —

"Don't overthink," Ted says, wrapping his arms around Trent from behind, moustache tickling Trent's ear. "I can smell just how hard those gears are turning. When Keeley asked I said you'd have more reservations than a sold-out Marriott on super bowl weekend."

Turning around in Ted's arms, Trent lifts a hand, threading through the soft tawny strands at the base of Ted's neck.

"You're not worried?"

Ted chuckles, the sound warm and slithers down Trent's spine like a warm hug. "Not a whit, Walt Whitman," Ted replies. "I look at it as an opportunity. Besides, some wise woman once told me to fuck the haters and—"

As always, the f-word spilling from Ted's lips incites some sort of pavlovian response in Trent.

Trent doesn't even hear the sound of the camera click.

- drabble written by my beloved @singaroundelay

~

Fuck the haters! Happy Pride 🏳️‍🌈

inprnt / redbubble

[goodluckclove]

You Don't Need an Agent! Publishers That Accept Unsolicited Submissions

I see a few people sayin that you definitely need an agent to get published traditionally. Guess what? That's not remotely true. While an agent can be a very useful tool in finding and negotiating with publishers, going without is not as large of a hurdle as people might make it out to be!

Below is a list of some of the traditional publishers that offer reading periods for agent-less manuscripts. There might be more! Try looking for yourself - I promise it's not that scary!

Albert Whitman & Company: for picture books, middle-grade, and young adult fiction

Hydra (Part of Random House): for mainly LitRPG

Kensington Publishing: for a range of fiction and nonfiction

NCM Publishing: for all genres of fiction (YA included) and nonfiction

Pants of Fire Press: for middle-grade, YA, and adult fiction

Tin House Books: very limited submission period, but a good avenue for fiction, literary fiction, and poetry written by underrepresented communities

Quirk Fiction: offers odd-genre rep for represented and unagented authors. Unsolicited submissions inbox is closed at the moment but this is the page that'll update when it's open, and they produced some pretty big books so I'd keep an eye on this

Persea Books: for lit fiction, creative nonfiction, YA novels, and books focusing on contemporary issues

Baen: considered one of the best known publishers of sci-fi and fantasy. They don't need a history of publication.

Chicago Review Press: only accepting nonfiction at the moment, but maybe someone here writes nonfiction

Acre: for poetry, fiction and nonfiction. Special interest in underrepresented authors. Submission period just passed but for next year!

Coffeehouse Press: for lit fiction, nonfiction, poetry and translation. Reading period closed at time of posting, but keep an eye out

Ig: for queries on literary fiction and political/cultural nonfiction

Schaffner Press: for lit fiction, historical/crime fiction, or short fiction collections (cool)

Feminist Press: for international lit, hybrid memoirs, sci-fi and fantasy fiction especially from BIPOC, queer and trans voices

Evernight Publishing: for erotica. Royalties seem good and their response time is solid

Felony & Mayhem: for literary mystery fiction. Not currently looking for new work, but check back later

This is all what I could find in an hour. And it's not even everything, because I sifted out the expired links, the repeat genres (there are a lot of options for YA and children's authors), and I didn't even include a majority of smaller indie pubs where you can really do that weird shit.

A lot of them want you to query, but that's easy stuff once you figure it out. Lots of guides, and some even say how they want you to do it for them.

Not submitting to a Big 5 Trad Pub House does not make you any less of a writer. If you choose to work with any publishing house it can take a fair bit of weight off your shoulders in terms of design and distribution. You don't have to do it - I'm not - but if that's the way you want to go it's very, very, very possible.

Have a weirder manuscript that you don't think fits? Here's a list of 50 Indie Publishers looking for more experimental works to showcase and sell!

If Random House won't take your work - guess what? Maybe you're too cool for Random House.

[crienselt]

So a few days ago I saw someone (elsewhere) questioning Zutara fans’ excitement about the scarf scene. It wasn't a mean comment, more general curiosity. And well, I didn't have time to get my thoughts out then. But they haven't gone away, so I'm getting them out here:

Here’s what everyone need to understand about Zutara shippers. We were baited baaaad during the initial run of the show–from the magazines to the shorts to the trailers and how they were cut. And Zuko and Katara’s relationship on the show certainly underwent a lot of development and featured objectively emotional–if not overtly romantic–moments between the two. We were well fed, and we had reason to hope. Right up to the end, we had reason to hope.

The shipping wars were the shipping wars, of course, with all the usual tensions; there are always going to be overzealous fans of each (and any) pairing willing to get toxic. Generally, I think Kataang fans were always jealous of Zutara’s popularity and Zutara fans, post finale, were jealous of Kataang’s, well, canon status. But really it operated much the same as any other large fandom’s shipping wars.

And then came Bryke and the panel where they showed and mocked Zutara fan art, some of which had been created by teens if not straight up children. Then came their, “Come on, kids! It was never going to work. Zutara is just dark and intriguing.”* And the pièce de résistance, their telling Zutara shippers (specifically girls/women) that they were doomed to have failed romantic relationships. Like, what? The thing with the art was arguably cruel, and the rest of it was oh, so condescending. Just all around not well done. 

The after effect was that Zutara went from being simply a fanon pairing to a wrong pairing. The ATLA fandom at large became a far more hostile place for Zutara fans, who were now more commonly deemed delusional and viewed as lesser fans. The vitriol only got worse when the show came to Netfilx and the next wave of antis rolled up with their co-opting of legitimate socio-political terms to paint Zutara not just as wrong but morally corrupt if not evil. It’s all very puritanical.**

So Zutara fans need to be reminded that we weren’t delusional, and we aren’t alone. It’s why it means so much to know that Dante Basco and Mae Whitman shipped their characters. And that so many other VAs came out as Zutara supporters too: Jack De Sena, Michaela Jill Murphy, Grey DeLisle, Janet Varney--even the cabbage man. For it to be revealed that it was discussed in the writers room; that the writers fought over it; that it WAS a canon possibility. (And that writers Joshua Hamilton and John O’Bryan are perfectly comfortable admitting their preference for Zutara.) To know that the Elizabeth Welch Ehasz described Zuko and Katara as an “Avatar-style Mr. and Mrs. Smith,” in the script for The Southern Raiders, and used the phrase “Zutara-feuling synchronicity and cooperation” to describe their action sequences. To see Giancarlo Volpe, a Kataanger, admit Zutara might been the better pairing in retrospect and choose a quiet scene between them (to see their “chemistry”) as what he’d most look forward to in the live action adaptation. It’s why we cling to the artwork done by Korean animation director. We aren’t delusional. We aren’t alone.

But try telling that to the general fandom, right? Most are ignorant of a lot of this, particularly Hamilton and O’Bryan’s revelations re: the writers room. A lot of Zutara fans don't even seem to know. But being baited by Netflix on their official accounts? Oh, people see that. And we are reminded in a big way that we aren't delusional and we aren't alone. And everyone else has to remember it too.

So, of course, we're having fun clowning over the scarf scene. And I think most Zutara fans know we are clowning. I don't think most expect to get canon Zutara in live action because of one little scene or the fact that their Netflix icons are facing each other. (I headcanon that that was totally the doing of Zutara shipper on staff, though, lol. Because there are a lot of us, and we are everywhere.)

And this is okay. Zutara has been doing just fine as a fanon ship. Meanwhile, NATLA might actually do Kataang justice. It always worked better as a future ship. (Really all the pairings do. But I especially don't ever need to see another 12 year old kissing let alone making out, in animation or live action, ever again.) There's a reason Padme and Anakin don't get together in Phantom Menace, after all. Also, there's always the chance they could give us Dante's or Mae's headcanon of them basically suppressing their feelings and choosing duty over love/right person-wrong time. And the odds of getting some more moments to clown over are high enough. 

Anyway, TLDR: Zutara has been made to feel like an out-of-nowhere crack ship and the live action crumbs remind us that it is not. And this is at least partially why we are enjoying it. (Because, also, it's just fun!)

*Side tangent: I’ve never gotten this dark and intriguing comment. Even during Season 1, the height of the capture fic era, Zutara was always a ship fundamentally about hope, predicated on Zuko's redemption. (Back in the day, there were also plenty of antis arguing that there was no way Zuko would ever be one of the gaang.) And they say “intriguing” like it’s a bad thing? Are we not supposed to be interested in the relationships of their characters???

**There have been some very good think pieces written lately on late stage capitalism and consumption as morality. Worth googling.

[augiewrites]

"secret admirer" - dead poets society (part 3)

summary: y/n joins meeks and pitts for a study session

pairing: anonymous!dead poet x gender neutral reader

word count: 977

previous | next

Y/N approached the bespectacled boy before they could lose their nerve.

“Hey—Meeks, right?”

“Yeah,” he stumbled a bit, surprised to be approached by his usually reserved classmate, “you’re Y/N.”

Y/N chuckled, “that I am.”

He signaled to the taller boy waiting for him by the door—Pitts, Y/N remembered—before he gave them an easy smile, "what can I do for you?"

“You tutor Latin, right? I could use a study partner that actually knows what they're doing,” a laugh, "if you have the time, of course.”

"Oh, sure," he glanced at his watch, “Pitts and I are going to the library during common hour if you want to meet us there.”

Y/N touched Meek’s arm briefly, “thanks, Steven. You're a lifesaver.” 

The boy turned a shade of red that rivaled his hair and excused himself.

Relief bloomed in Y/N’s chest as they released a breath they didn’t realize they were holding. Their half-cocked plan was in motion.

_________________________________________

“So much for ‘we’re just going to have to wait and find out’ huh?” Quinn mocked Y/N from their seat at the lunch table.

“Well I can’t just let him be the only player in this whole thing,” Y/N shook the latest letter around, “if he wants to play a game, I want to be the one winning.”

“Y/N, the man is infatuated with you. I wouldn’t exactly call it a game.”

Y/N huffed as they shoved the letter back into their bag, “these things are starting to get annoying.”

“Oh, yeah,” Quinn rolled their eyes, “it must be such a burden to have Whitman reincarnate writing you love letters.”

“Whatever.”

“So, what is your plan, exactly?” Quinn asked around a mouthful of pasta.

Y/N was suddenly bashful, “I honestly didn’t think I would get this far.”

Quinn stared blankly back at Y/N.

“This is the part where you tell me what to do, Quinnie.”

“Torture. Medieval style. Get your answers.”

“You’re truly unbelievable,” Y/N ran a hand through their hair and stood from the table, “I’m going to be nice, and I’m going to study latin. Roll with the punches.”

_________________________________________

Meeks was mildly surprised when Y/N actually showed up at the library. He was well aware that Y/N wasn’t struggling with the subject matter—Welton made sure that its students knew who was at the top of the academic food chain. He was one of the rare lucky ones to be among them. He was curious why Y/N sought him out, but he knew better than to push the subject.

It took nearly all of common hour before Y/N started to feel at ease around the two boys. It seemed the feeling was mutual.

“So, Y/N,” Pitts started, looking bored by his trig homework, “have any hobbies?”

“A few,” Y/N muttered as they finished their last verb conjugation, “I like to read and write. I used to draw, but I barely have time to breathe outside of schoolwork.”

The boys shared a glance that Y/N couldn’t quite decode.

“Welton isn’t exactly a breeding ground for creativity,” Meeks sighed.

“That’s an understatement,” Y/N scoffed, “Welton is where creativity comes to die.”

Another look between the boys.

“Touché,” Meeks drawled, “so…you’re roommates with Quinn, right?”

Pitts grinned as a blush tinted Meeks’ cheeks.

Y/N raised their eyebrows, breaking into a cheeky smile, “yeah, I am.”

Meeks was suddenly very interested in the wall, the bookshelves, his textbook—anything other than Y/N, really.

“Are they…seeing anybody?”

Pitts laughed, earning a scolding hush from the librarian.

“No, they’re not,” Y/N smiled, “I’ll put in a good word for you, Meeks.”

Relief flooded the boy’s features and he was finally able to look at Y/N again, “thanks. I—”

“Like you could pin down someone like Quinn.”

Charlie Dalton had a habit of showing up at the worst times.

“Very nice, Dalton,” Y/N closed their book and slid it into their bag, “that’s my cue to leave.”

“Oh, please. I—”

“Don’t let him get in your head, Meeks,” Y/N looked between their study partners, “see you two around.”

Before Y/N could leave, Pitts called out, “we’re usually here during common hour,” he laughed and nudged Meeks with his elbow, “maybe you could bring Quinn next time.”

Meek’s head turned to Y/N so fast they thought his neck would snap, “could you?”

They grinned, “I’ll see what I can do.”

Y/N could hear the three boy’s rushed whispers as the door closed behind them.

_________________________________________

“So you don’t think it’s either of them? Why?”

Y/N turned onto their side in bed, facing Quinn, who was doing the same.

“I don’t know,” Y/N looked at their nails, “I could just tell they weren’t interested like that.”

Quinn scoffed, “well, we’ve established that you aren’t exactly aware when people are interested like that.”

“Well, they gave me a pretty open invitation to join them again,” Y/N smirked, “maybe you could come and run interference.”

“You’re not taking this seriously enough, Y/N.”

“Whatever,” Y/N flipped to face the wall, “goodnight.”

Y/N couldn’t fall asleep, though.

The issue with infatuation is that it’s nearly impossible to not let it consume you at all times. It burrows deep into the fibers of your very being and suddenly you’re fully engulfed by the idea of that person.

And that’s all this was, really—an idea of a person. Y/N didn’t know what their admirer looked like, how they acted, or even if their proclamations were truthful. Could reality meet the expectations being set by the letters? Y/N didn’t want to admit it to themselves, but they were afraid to find out.

Y/N dreamed of a faceless poet that night. 

Their heart ached in the morning.

~~~

part four

[astrangergivingthestrangewelcome]

Ok but the Thing About Bram Stoker's 2000 word fan letter to Walt Whitman is that Walt Whitman kept it. Like this dude acquired celebrity before he died and he lived to the age where you might start to think about what letters you're burning and what letters the next generation gets to see. Like my 97 year old Grandma has for a fact destroyed some love letters from her late husband bc she felt they were for her eyes alone. You think about these things. And Walt Whitman received and read one of the most touchingly earnest and unbelievably awkward and embarrassing outpouring of fan adoration from this younger man and he said yeah okay the historians can see this one. I want them to know that young men still want to fuck me.

[felassan]

Brigette Lundy-Paine, the actor of Drayden on Instagram: "i voice a character on the Dragon Age: Vows & Vengeance podcast for the new Dragon Age Game !! I play a historian named Drayden. Was an honor to record w Mae Whitman whose voice is so energetic and specific, she made it feel like we were really on a ship fighting dragons, crawling through dimensions, stealing ancient relics, etc. Mae is also a new mom since like yesterday XD. this is turning into a Mae fan post. anyway the first episode of Dragon Age: Vows & Vengeance is now out everywhere !! You'll meet the nerd Drayden next week" [source]

[angstyteenpoems]

Okay I promised I would write a dps book hate post and here it goes. This is gonna be long btw

1. Just, the writing. It’s so fast paced, to be able to cut a 2h movie into about 160 pages makes it lose a lot of character. There are few moments when it’s just describing, it’s always action action speaking small adjective action. Also it feels cheap?? I don’t know if that’s the right word but just one example, when Neil after practicing for the play comes into his room and finds his father there ready to reprimand him, in the movie you can feel the tension and dread. Wanna hear how it’s in the book? “Neil walked into his room. To his surprise, his father was sitting at the table!” No suspension. It feels childish. Also the emotions change way too quickly, a character goes from crying to laughing in two lines. I could rant about this forever but I gotta move to the next part.

2. The characters. Neil loses a lot of his charm. He feels almost mean. Like when Todd is explaining his childhood Neil thinks to himself “No wonder Todd is so screwed up.” Huh??? Neil would never think or say that? Todd also falls flat. There’s no dimension to him. It’s just boy whose parents treat him bad because brother is better. Their actions and emotions feel wrong and they do things that make zero sense. Also their emotions are described badly? In the movie when Charlie is smirking, in the book he’s described as giving a look? How is a person who hasn’t watched the movie supposed to interpret that?

3. The changes. I understand that you can’t just ctrl c ctrl v the movie but cmon. In the movie when Mr.Keating reprimands Charlie from doing the phone call from god he says “doesn’t mean chocking on the bone.” Want to hear the super clever synonym the books writer came up with? “doesn’t mean getting the bone stuck in your throat.” Like what. Just at that point invent a new line, don’t massacre it to the point that it feels clumsy and weird. Also, some really important parts are cut out, like a lot of anderperry parts but I’ll get into that later.

4. Knox Overstreet, yes he requires a whole section. When I started reading the book, I wondered if they’d change the part where Knox was rlly creepy and almost assaulted Chris. Well guess what? THEY MADE HIM WORSE! Like, he literally gropes her, and it’s written to be comedic? He is disgusting in the book, way worse. In the movie you can think him to be a stupid teen boy, here he just feels like a predator who shouldn’t be near a woman ever again in his life.

5. Just the weird predatory vibe of the book? Like the girls Charlie brings into the cave are in their twenties, and Mr.Keating teaches a class where he literally shows the students soft core porn. And the whole Knox thing. And I wouldn’t be opposed to this if it was truly explored and Knox faced some consequences for his actions or the boys would comment on how creepy it is that the girls are in their twenties trying to get with teens but no. It’s all played for laughs.

6. Anderperry erasure. And yea this is kinda stupid but idk, it feels less gay? Like the writer heteroed it? Feels ridiculous to say and it is but like, the scene where Todd and Neil throw the desk set? There’s no throwing, Neil just makes a “funny” joke about the desk set and Todd tells about his family. And this could be really good and a way to differentiate from the movie but it’s done so clumsily and badly that it feels lacking knowing what could’ve happened. Also when Neil and Todd do the iconic “No.” “What do you mean no?” Thing, there’s no scene where Neil chases Todd and calls him Walt Whitman. And again, this could’ve been a really good way to differentiate from the movie but the scene just ends when the conversation stops. Also the scene where they are practicing lines at the dock that isn’t in the movie, yk the iconic “God I love this!” “What, me?” Line?? Yeah, it’s gone. Changed to “God I love this!” “Acting?” it loses a lot of its character.

Closing remarks: I understand that it is really hard to capture a film onto paper but if you can’t do it properly, DONT DO IT. If you have to resort to awkward dialogue and a lacking storyline, just don’t do it. If you like the book, I understand, it has some charm to it but it really didn’t sit well with me. I dont suggest reading it. If anyone is reading this I’m really surprised since I doubt anyone wants to read this rant. Anyway I’ll be rewatching dps and trying to bleach this terrible book from my mind.

Also please add more criticism towards the book if you want, since I probably forgot a lot of things.

[iwasgoodiwasreallygood]

Dead poets society brainrot is real guys. It has me out here reading Shakespeare, learning Latin and planning to go buy a copy of a collection of Walt Whitmans poems.

What’s next? Writing poems? Performing Shakespeare? Finding a cave and reciting poems? Actually, that one doesn’t sound so bad.