#post sburb

[soggedupfrog]

Really messy set of post sburb designs, they kind of ugly but i need to get them out here im crazy

[bookobsessed1412]

So, the kids and trolls win the game, enter universe C, and find themselves back on their respective planets, with their respective guardians/lusii all alive again(with the human guardians being siblings. Which means jane’s dad and John’s dad were cousins, because nanna and poppop were siblings, so it would be weird if their son(s) was/were the same person. Fuck. I wanted them to be the same person.) and they all remember both lives(the players have the memories of their new lives too). Also they’re all gods now, even the ones who didn’t reach godtier in the game. And the ones who went insane and/or evil (if you even want to keep them going evil and not just change it so they didn’t go evil) have turned good again and had redemption arcs and whatnot (whether they went evil in the first place because of mind control/brainwashing/mind manipulation or not), and Gamzee is back to being moirails with Karkat (if they ever stopped in the first place)(cause dammit I really like gamzee and i love gam<>(and/or)<3kat. Also, creepy-but-good gamzee is just as cute as original-nice-kind gamzee, so you can have him be either one).

Anyways. They still have the ability to communicate with each other over the internet or whatever even though they’re, like, galaxies away from each other or something. Probably a reward from the game. And they still have their sylladice even though they don’t exist in the new universe. And they have the ability to shift between troll and human forms. They also have the ability to switch between the two planets. Probably via transportalizers, which they have the ability to create.

So. With all these abilities, and the Alternian empire still being fucking awful (though maybe not quite as awful as before? idk.), they decide to create a rebellion/revolution. Jade finds a space relatively near earth to place the planets she still has(maybe freaking out astronomers in the process, what with new planets suddenly appearing out of nowhere), and they become a safe haven for trolls that they rescue that would otherwise have been culled for some reason or another (of course, they’re only allowed on them after a thorough mind/soul search using godly and/or troll powers to determine that they’re not going to hurt the consorts, as well as informing them of the rules and laws that they have (they probably went through all the earth and Alternian laws they could find in order to figure out which laws they wanted)).

Also, if davekat (which is tied with gamkat as my favorite pairing, with johnkat coming second), you could maybe make it a three-way matespritship-Moiraillegiance-human boyfriends thing between Dave Karkat and gamzee (davegamkat?), because Dave and gamzee totally would have got on like a house on fire if Dave hadn’t accidentally ruined everything by (accidentally?) mocking gamzee’s religion when gamzee was in a delicate place, and I really want to see them learn to like each other. You don’t have to, of course, but it’s rare I find Dave and gamzee learning to get along post-sburb, especially as oftentimes gamzee tends to stay evil, or just doesn’t get the chance to enter into the new universe.

[pancakemolybdenum]

worlds smuggest tween owning noobs on wizard101

[meatsparrow]

HELLO EQUIUS FANS! all... (squints into the crowd) .....three of you!

[cure-typhoon]

I do not understand how Popular Dave even came into existence in the first place he has 3 online friends pre-sburb and he never shuts the fuck up and is not like people are listening to him when he is ramblings like make it make sense

[yaoisquidbob]

[cringefail-clown]

wip for your soul

[doyouremem8erme]

i did this with my trackpad

[r0semultiverse]

Where in Beyond Canon is Arquisprite?

Took inspiration from the above post by @pastabaguette and decided to expand upon it due to The Plot Point update as well as some stuff seen even before Vriska’s arc started in The Point.

Let's examine some stuff that may tell us where Arquiusprite is at this time, seeing as we seemingly have only one chapter in The Point left. I think we've got a lead on his whereabouts already.

We've got horses and horse-adjacent creatures.

We've got a robot that looks like it's literally ripped from Equius' hive with a notable missing horn hole and a dent in the head.

There's also this twitter response from James Roach which could be interpreted as suggesting Equius' return in some way at some point in the future.

OP, I'm not saying you're right, but I am saying that if Dirk were to consult anyone on horses, it would probably be a mashup of his AI & Equius. Also Void player behavior apparently! Also Dirk has narrative reality warpy powers & we aren't sure as to the limits of those yet!

Below are some reddit notes about classpects that also lead credence to the idea that Arquisrpite is on Deltritus with Dirk at this time. Outside of the obvious fact that we haven't seen him in The Plot Point or the bonus comics with Jasprosesprite at all as of the Davepetasprite^2 feather chapter release.

Are the robots in case Terezi goes ultimate? Are they backup bodies for Rosebot? A metal body for Arquisprite? Who knows, maybe all three! 🤷‍♀️ Robots are being made by someone though (for some purpose) and they have troll horn slots on their craniums. The exact style robot that Equius used to make back on Alternia; so, make of that what you will!

Also maybe they just need a sprite to kick off whatever makeshift sburb/sgrub copycat they're trying to get running and seeing as Arquiusprite is a splinter of Dirk, it's fitting that he would accompany him. Plus the sprites can kind of just seem to be wherever & whenever the story needs them to be? Seeing as how Jasprose kidnapped Jane in the meat timeline, but in the candy timeline the sprites just kind of seemed to not do much or be absent entirely after a certain point.

There's at least a guaranteed non-zero chance Arquiusprite is on Deltritus.

[soggedupfrog]

AaaughughAAAUGGHHUGGHGpride

Also this stupid thing

[conceptofjoy]

hypothetical menace of a 13 yr old

[sorrelpaws]

does anyone know this one comic where vriska and dave talk about how godtiering made them transition. plkease give it to me

[nana2009]

so, you made that art abt yandere Dave (the latest one) what’s the backstory behind it???

you sea, sweetie, when daddy loves mommy very much but they arent together, drastic measurements have to be taken......fortunately, dave has been trained his whole life, and knos exactly what to do! :D

[cobwebears]

happy gay month sickos

[homestuckreplay]

This Video Game Ended The World. Now What???

Sburb (Skaianet Systems 2009) has capacities that go far beyond what a typical video game can accomplish – but it is still a video game, bounded by rules, mechanics, quests, non-player characters and programming decisions even while it is not bounded by a digital space. Asking what the end goal of Sburb is, what skills it is trying to teach its players, and what kind of person it is trying to turn them into could shed some light on not only the future of the story, but also what Homestuck is trying to say about video games’ role in the world more generally.

In his book The World Is Born From Zero (2022), video game scholar Cameron Kunzelman discusses his concept of ‘potential labor’ within science fiction video games – where a player takes on the role of a worker and performs the day-to-day specifics of their job in an economy that does not yet exist in the real world, but may exist in the future. He argues that when playing video games, ‘players are subjectivated by a process that encompasses them and demands that they interact with the game in a certain way lest they fail immediately,’ and in his case study for potential labor, VA-11 HALL-A (2016), that ‘[players] become subjects whose entire relationship to the world is determined by the interface we use and how it asks us to labor.’ I think that Sburb is demanding a similar kind of labor from its players, and that this framework is helpful for answering John Egbert’s question of ‘to what end?’

[a short one – only 2.2k words]

Metaphorically, Sburb is the Y2K problem. It’s the computer glitch that destabilizes the tenuous structure of the modern world we’ve built. In its main storyline, Sburb destroys planet Earth, which is ‘done for’ and cannot be saved. It transports the player to ‘The Medium,’ a space outside of time, and kidnaps and holds hostage residents of the player character’s house besides them. Within the Medium, forces of light defend endgame area Skaia and its ‘unlimited creative potential’ while forces of darkness attempt to destroy it. The player, along with their Kernelsprite, begins, influences and participates in a war between these forces. Doing so relies on the three core mechanics described next. The player is encouraged to ally with one of these forces, in John’s case the forces of light – however the forces of light are destined to lose, and the end state or win condition of the game is unknown.

Sburb has three core mechanics. These are 1) to deploy specific machines with the eventual purpose of learning ‘punch card alchemy’, a process that advances out-of-game captchalogue mechanics to create physical items from digital resources [server and client players both contribute to this process], 2) to build a house upwards (or potentially downwards) from limited resources and likely while obeying the general laws of physics in order to reach further game areas [server player is responsible for this process] and 3) to use the out of game skills of captchalogue decks and strife specibi to kill various enemies in order to obtain resources for the above processes and advance the player’s abilities and levels [client player is responsible for this process]. These three mechanics can be shorthanded as Alchemize, Build and Kill.

The genre of Sburb is highly debatable, as genres often are, but I believe it contains elements of both fantasy and science fiction. A player character entering a world unlike their own, filled with magical kingdoms and wars between good and evil, certainly reads as fantasy. However, a player character witnessing an apocalyptic event on Earth and using technology to escape the planet and to become one of a few representatives for their species, is more classically science fiction. Currently, I see the set dressing and surface message of Sburb’s story as closer to fantasy, while the deeper themes and questions the game asks are closer to science fiction. The game is currently essential to the future of humanity, or positions itself as such, and consequently is asking players to think about what that future might look like.

A huge unanswered question about Sburb is who designed the game, and why. While creators cannot directly control how a player will interact with their game or what type of person they will become from playing it, but they often have a goal in mind – an ideal player, and an ideal playthrough – that can be inferred from the game’s design. For example, original Dungeons & Dragons (1974) imagines a player who will solve conflict through violence and define their player character exclusively through numerically-based abilities. A player can instead use the game to roleplay as a medieval fantasy character, acting out how they might ‘realistically’ behave and respond to situations and placing their mechanical abilities within the framework of modern human psychology. This style of play is popular enough that it has been somewhat accounted for in later editions of the game, but does not exist in the original text.

So, who is this ideal Sburb player imagined by the unknown developer? Like in D&D, this player is somebody who overcomes problems and obstructions through violence and is rewarded with additional power and resources - a core mechanic of games throughout history, such as chess (1475), where a player can capture and remove the other player’s piece from the game board to secure an advantage for themself. This player is also someone who performs physical and material labor via a digital interface and purely mental exertion, which is already an increasingly important skill in the age of automation. Finally, this player is someone who has access to – in my interpretation of punch card alchemy, which hasn’t yet been explored in depth – technological power so advanced that it presents as magic.

Sburb's radical moves to change human existence mean that the 'potential labor' discussed above could become the real practice of labor in whatever is next for humanity after completing the game. In time, the Sburb player will probably be guided as to when and how to use these powers. But who benefits from giving people these capabilities? The game’s developers must either be extremely clever or extremely reckless, either placing strict restrictions on what players can accomplish with punch card alchemy and planning contingencies in case of cheat codes and bugs, or have failed to consider the possible consequences entirely.

Releasing this game is high risk, high reward. There is a chance that players will take the very real skills they have learned inside the game and use them to turn against the creators who are ultimately responsible for Earth’s destruction – but if the game works as intended, then its story of light vs dark, the role it places the player in with respect to these forces, and the ways it encourages players to use their alchemize, build and kill skills should shape the player into somebody who would not make that choice.

Another unanswered question is the nature of the Ultimate Riddle, the purpose that the player character is designed to fulfil in the game. I have two possible predictions as to both the nature of Sburb’s developers, and where the main storyline of Sburb will end. Both of these are based on movie posters found on John’s bedroom wall – existing works of science fiction that are known to have at least a small influence on Homestuck.

The first relates to Deep Impact (1998), and to the story of Noah’s Ark from Islamic, Jewish and Christian scripture. In these stories, an apocalyptic event destroys the majority of life on earth, except for a subset of humanity who are pre-selected by controlling forces due to their useful skills and/or strong moral character. These forces are then tasked with rebuilding the earth following the fallout of the apocalyptic event. In Deep Impact, the worst of the event is avoided at the last minute, but this is the situation being prepared for.

In this reading, Sburb may have been developed by a religious or political cult who are either playing God, or believe they are receiving messages from a higher power, intentionally causing a rapture-like event in order to reset humanity. Players are not pre-selected, instead, the game itself acts as a selection mechanism. The best video game players are believed to be the people who will most successfully rebuild the earth from scratch. These players will need building skills to create physical structures and civilizations, fighting skills to hunt for food and defend themselves from external threats, and alchemy skills (which likely draw upon the creative potential of Skaia) to create tools and machines, thereby developing faster than humanity did in its previous incarnation.

Here the Incipisphere functions as the ark itself – the thing protecting players from the conditions outside. Players stay here until they have completed the game and until the world has calmed from meteor impacts and is safe for humans once more. Due to the atemporaility of the Incipisphere, these two events will automatically sync, no matter the relative amount of time that they take. It’s possible that these things happen ‘years in the future, but not many,’ as the wasteland and Sburb technology in these sections of Homestuck suggest that these scenes could take place on Earth. It is also possible that the Wayward Vagabond has somehow escaped the game early, and arrived on Earth at a time before it is ready to rebuild.

The second prediction relates to Contact (1997), among other stories of alien and intergalactic societies. In this excellent movie, a scientist identifies transmissions that come from intelligent life elsewhere in the universe – a species which has identified humanity as ready for their first interstellar contact. Through decoding these transmissions, the scientist uncovers instructions for directly communicating with these aliens and advancing further towards entering intergalactic society.

In this reading, a species from beyond Earth, likely one who has already tapped into the creative potential of Skaia via their own technology, has provided humanity with the instructions for developing Sburb. The team of scientists and/or video game developers who decoded the instructions may not have known that the game would cause an apocalyptic event, but the aliens transmitting the message certainly did. By including the alchemy and digital building mechanics, this species has given humanity a way to speedrun technological advancement, at the cost of their species’ current home.

I highly doubt that this is a benevolent act, or a random act of violence. A species with access to the capabilities of Sburb wanting to annihilate Earth could do so without the complexity of the game. These aliens clearly want to maintain a small subset of human life, and are using the game to train humans to work for them, fulfilling the roles of builders and soldiers that must be necessary to their society, but that the aliens themselves either do not want to fill or do not have enough people to fill. The aliens have selected gamers as a culture to target, because many gamers are used to adapting to and working within the constraints of a set of rules and an ideological framework that they cannot challenge – a mindset that the aliens are expecting will transfer easily from video games into real life.

In either of these possible readings, the creators of Sburb are both selecting for and trying to constitute a specific type of human. Marketing the game to teenagers could also be part of this strategy, as designers may believe that younger, more impressionable players can be more easily molded to the human who alchemizes, builds and kills. Marketing the game in the United States could also be part of the strategy, as a late capitalist society which defines success through hard work already delivers the same values that Sburb hopes to reinforce.

If all this is true, then Homestuck depicts video games as a medium of limitless capability to reimagine the world, but one that can be easily exploited and used as a mechanism of control. Through John and Rose’s excitement about the game’s possibilities and through the power fantasies of alchemizing something from nothing, building an ideal home via simple button clicks, and overcoming problems through simple combat, Homestuck demonstrates an understanding of why technological advancement presents such a draw to humanity, and how dreams of an easier, more automated life let us get caught up in ideas of what technology makes possible. It is empathetic towards young people’s feelings of optimism and escapism surrounding video games, yet also highlights the dangers in this mindset.

Homestuck tells us that the direct and indirect effects of rapid technological progress can be severe, unpredictable, and lasting. It suggests that we should not deploy new technologies without first understanding what they are capable of and what they can and will be used for. It tells us that many of the forces governing futuristic technologies, such as virtual reality and artificial intelligence, are things we do not yet completely understand. And it reiterates that while there are plenty of people – or forces of light – who would take these technologies and attempt to use them to benefit humanity, there are at least as many forces of darkness who intend to destroy the creative potential of video games, taking their infinite and radical possibility and using them instead to produce soldiers and workers, indoctrinating them into the same values that our society already prizes.

[seaverity]

Happy 11/11 y’all