#so that dirk plato post is a WIP. a slow WIP but a still a WIP

[applestorms]

i just binge-played off over the course of a couple days so let's relate that back to homestuck now

exactly what the title says. WARNING for spoilers of off, undertale, & omori (and homestuck. obviously), all fairly minor but involving some of talk about endings, as well as warning for canon-typical suicide talk (distri moment)

TLDR: off & undertale both use meta elements in a neat way, especially for their more horrific/fucked up parts, ult. dirk is definitely being puppetted by something (lord english, it's lord english).

so just as the title says, i've recently spent the last few days playing through the game off (also yume nikki but i haven't found a homestuck connection there so i guess you all will have to wait for that essay), and after poking around a bit for other interpretations of the themes & story i stumbled across this video that's given me some ideas about the post-canon content again, since i apparently can't stop relating everything back to that. specifically, the conclusion that he comes to near the end about the "real" story of off being a kind of parody of other rpgs where you mindlessly follow a protagonist's divine mission while actually just brutally exterminating/destroying an entire world of beings reminded me a lot of a criticism i heard of the epilogues that said it felt like the creators just watched the hbomberguy undertale video and decided to do that, but badly.

i talked about this a bit in my last essay about the post-canon stuff (don't be surprised if you missed that one btw, i got nervous and buried it under a mountain of reblogs ;v;), but one of the things that really fucking gets my goat about the epilogues & hs^2 is the fact that the creators both 1. talk down to the audience so goddamn much, and 2. are actively antagonistic to the audience, in a way that even homestuck proper never really felt, which, just to say, is also weird as hell to me because homestuck wasn't exactly nice to its audience either?? there has always been this back and forth between audience & creator in this fandom that is a prominent underlying dynamic in both the story itself & responding fanworks (a notable example being theater of coolty, which i personally interpret to be more of a character study of hussie rather than dirk), but even ignoring the history of twitter battles & literal petitions to get creators off the team, post-canon homestuck wants to make you fucking hurt and it refuses to be subtle about that fact.

anyways, here's a couple sections working through my thoughts on all that into something slightly more coherent.

1. off & purification (ft. undertale, omori, & yume nikki)

one of the things that really stood out to me throughout my playthrough of off these last couple days is the ways in which "purification," as a concept is associated with the mission of the batter, and, more broadly, all of the heavily religious connotations associated with his extermination of/destruction of the world.

a cool feature of the games that i've been playing recently (e.g. off & yume nikki) is seeing retroactively how they influenced other wildly popular games that i've played before that came out after (namely, undertale & omori). in particular, this more recent generation seems to take huge inspiration from the previous specifically in some of their most fucked up/horror-related elements, largely through the use of similar imagery/ideas that are then incorporated into the context of a new, clearer storyline. a good example of this is how black space in omori takes a lot from the imagery/mechanics of yume nikki (sleeping, doors, fucked up rooms with weird floors, etc.) but re-contextualizes it within the storyline of sunny's trauma/mental state as presented through the earlier sections of the game.

undertale does this too, taking both from yume nikki and, for what i'm focusing on here, off. from what i can tell, undertale seems to have taken a lot of inspiration from off in the creation of both its genocide route and the more meta elements of the game in general, which is interesting to me specifically in the interpretation of off it gives back retrospectively.

if you haven't watched it (though you really should it's only like ten minutes long) the key point that the hbomberguy video about undertale revolves around is the idea that at some point the game actively wants you to stop playing it and let the story & characters go. this is most obvious throughout the genocide route where characters in the game repeatedly & explicitly tell the player to give up, go back, and leave them the fuck alone, but notably also at the end of a true pacifist run where upon reopening up the game flowey pops up to tell the player to leave everyone be & let them enjoy their happy ending.

the divine quest of purification that the batter goes on throughout off (as is implied through his own words) is a lot less overt about the fact that its just murder & destruction but that element is definitely there, especially when revisiting the zones post-purification. the batter, bluntly speaking, gives no shits about the fact that he destroying everything in his path, even when enemies start switching from ghostly specters to "burned" people (or coughing children). if anything, destruction of the world is his outright goal as evidenced by the ending w/ the titular flipping of the switch "off," and he seems more surprised to come across people that claim to be happy when running through the area of cannibalism sugar drugs in zone 3 than all of the typical misery elsewhere. the repeated use of the word "purification," & heavy religious symbolism found throughout the game give this path of destruction a very different connotation to undertale's genocide route, however.

this ties into the use of meta elements in both games, which are also quite different: where undertale explicitly appeals to the player in quite a few instances when it's trying to get players to stop playing/taunting them about saves & whatnot, off only breaks the fourth wall in a few notable places, primarily through the judge & batter's dialogue at the start & end of the game as well as the character zacharie, all of whom directly refer to the player as a separate entity in control of the batter, slightly different to how undertale distinguishes the player character both as frisk vs. chara but also as powerful player/human vs. npc/monster* (since flowey is also equated w/ the player through his ability to utilize saves).

*deltarune also hammers this shit in even more w/ the opening character creation sequence & the fact that you have to enter two names, for creation & creator.

so- how does all of this relate to homestuck's post-canon? one word: puppets. (and dirk. it's always dirk)

2. homestuck^2 hates you & wants you to know it (dirk & puppets)

the epilogues begin with a nightmare wherein john watches the entirety of paradox space, reality as he knows it, begin to fall into a crack in the void. the meaning of this dream is made very clear over the course of a conversation with rose soon after: the story is in danger of becoming "non-canon," after too many years without an official continuation, and if john wants to stop that from happening he's going to have to make a big decision. meat or candy: either john directly tries to deal with the leftover major plotholes of the original story, enacting the previously foreseen events of the masterpiece in order to stop lord english, or he can choose to stay on earth-c and continue with the rest of his life as is.

one thing that only gets more and more overt the more i read through the post-canon content, whether that be the actual material released or authors notes from the patreon archive, is the fact that these two timelines were built from the start to be nightmares of slightly different flavors. i've talked about this many times, and there's honestly so many things pointing to this that i think it'd be more helpful if i just wrote it out as an actual list by this point, so here you fuckin go:

calliope compares the decision between meat & candy to a coin flip, invoking the image of terezi's coin flip that led to the killing of vriska & thus the game over timeline (HS^2:406)

in the smut drawing conversation, caliborn strikes down the idea of a dirkjake drawing specifically because the colors green & orange invoke the image of pumpkins which he doesn't like, instead preferring meat & candy (A6A3:4971), thus tying the epilogues to the whims of homestuck's biggest endgame villain

another connection to caliborn: despite having 43 & 40 chapters for meat & candy respectively, each route of the epilogues is split into 8 sections, reflecting the fact that LE gets 8-ball eyes midway through act 7

meat & candy also reflect the kind of content that caliborn (as a stand-in for the kinds of annoying fanboys hussie hates) loves, w/ brutal violence, death, & a power-struggle involving alt. calliope in the meat route, and the horrors of heterosexual marriage & reproduction in candy

ult. dirk in particular seems to take a lot of influence from the more LE/caliborn-connected splinters of himself- the fact that there seems to be more of a focus on dirk & jake's relationship in particular in the post-canon content also points to more of caliborn's underlying influence since they're very connected to him (both thematically through their struggles w/ masculinity & their literal connections in the lore as the boys that caliborn is the closest to as he literally looks up to them as inspiration e.g. LE's outfit matching jake's, etc. etc.)

also when it comes to narrators, note that in meat the fight is between ult. dirk & alt. calliope for control over the story while in candy (as the archived patreon commentary notes very pointedly) it is unclear who the narrator actually is

the routes are also just. fucking bad, to an extreme that is both phrased initially like a joke through the numerous ao3 tags & very carefully, thoroughly executed. we begin with a timeskip and every character is just spontaneously the absolute worst version of themself w/ quite minimal explanation as to how they got that way other than "adulthood is just Like That". even ignoring Absolute Horrors like the dirk suicide chapter & the gamzee/jane breast milk thing, you don't tag and execute the concept of gerrymandering for no reason

anyway, there are two main ways that this connects to the undertale genocide/off discussion from before: meta elements & nightmarish world destruction. but first, speaking of meta elements:

2.1 the post-canon creators don't understand the concept of what "canon" means and they ain't gonna let us forget that

homestuck is really fucking good at making up the weirdest shit imaginable but presenting it in such a natural, meticulously careful way that by the time you're saying sentences like, "He took the hammer which had been captchalogued into his sylladex and made it his strife specibus," you barely even realize you're doing it. the singular exception to this is the use of the word "post-canon" in all content created after the run of the original comic, which fails so incredibly to establish itself as a new term that it's honestly kind of embarrassing. every single time i have to write the term "post-canon" in relation to homestuck i cringe a little bit inside at just how unnatural it feels and frustrating it is to type. imo there are a few distinct reasons why the attempt to call the epilogues/homestuck^2 post-canon fails so badly:

"canon" as a term already has a very strongly established practical use within fandom: namely, to distinguish between original ("canon") works & fan-made creations like fanfiction, fan art, etc. this is to the point that an alternative, related term, "fanon," is also used to distinguish creations on the other side of the line.

the use of "canon" in fandom is thus typically quite intuitive, in that a creation is either "official," (created by the same person & set within the same universe, created by a person closely related to the original creator & clearly established to be connected to the original work, etc.) or not. there is no in-between of canon vs. fanon, it is simply a clear line distinguishing between what is considered official and what isn't.

in the cases where it isn't necessarily as clear if something is canonical, whether that be due to the work being done by a different creator, long after the work is over, etc. (e.g. the yume nikki comic, jk rowling's dumb baseless twitter ramblings, etc.) the word "canon" is often dropped entirely with the context of the new works instead being invoked to clarify the distinction

people tend to only feel the need to distinguish between the original/"canonical" run of a story & its new content/additions when they fucking hate the new additions. nobody says that deltarune is not canonical just because it doesn't connect to the original undertale universe, they just say its in a different universe & take note of the implications. on the other side of things, even ignoring rowling's stupid ass tweets, people have been ignoring the epilogue to the final book of harry potter for ages simply because it sucks & many people hate the kind of future it presents

"post-canon" does not make any goddamn sense. no amount of ao3 formatting or desperate pleas from the creators can take away from the fact that the epilogues & hs^2 show up on the official website, were in part outlined by the original creator, & pick up the story right from where the comic ends. i can turn around in my seat right this second & look to my right to see a shelf where the words "THE HOMESTUCK EPILOGUES" is printed twice on the spine of the official goddamn book (don't ask why i bought that thing. i was in a distraught mental state in 2019 okay) printed by viz fucking media, come the fuck on you guys.

this is all to say that the meta elements of the epilogues & hs^2 (okay i'm gonna start saying post-canon again but remember. remember) is pretty fucking weird to begin with, and that's not even accounting for the direct antagonism that the continuations take when addressing the audience.

a key quality of the epilogues that make them come across as particularly nightmarish comes from the fact that so many aspects seem to be specifically designed to hurt the audience as much as physically possible. characters like jane & dirk fall into villainy and become the worst versions of themselves and more with very little regard for the reasons why they might've been sympathetic originally. even outside of those two obvious examples, there are a lot of elements that seem to only exist to make the audience hurt. the most overtly edgy example of this is the chapter in candy where dirk very graphically commits suicide (which comes entirely out of nowhere with basically no warning- the trigger warning wasn't added until later), but there are a shitton of minor examples that slowly build up to make even just reading through the epilogues an agonizing experience if you ever bothered to care about any of the characters involved. imo even characters like dave, karkat, & vriska, all of whom are generally considered to have gotten through alright by the greater fandom, suffer when it comes to characterization, dave & karkat from how much it feels like they've backtracked on character development when it comes to self awareness, and vriska because the creators are frankly unable to face any of the major character flaws that made her actually interesting, instead preferring to depict her as this tired hero above everyone else come back to earth to save everyone from the horrific versions of themselves the authors twisted them into to create plot.

what really stands out throughout all of this though, and is the reason why that connection between the epilogues & the hbomberguy undertale video was originally made, is the fact that the epilogues contextualize all of this suffering as a punishment for the audience wanting more out of the story- a point which especially stands out since, as far as i can remember, end of comic homestuck fans really didn't give that much of a shit about a continuation? while the response to act 7 & homestuck's ending was fairly disappointed, and there was some talk about a continuation after it got teased by some elevated fans with a closer connection to hussie, the consensus that i remember was that the epilogues were the snapchat update and that was it. lasting homestuck fans from 2016-2019 seemed to have come to understand that the ending was unsatisfying due to being planned far in advance and/or executed quickly so that hussie could get the story fuckin finished already after the last few years of long breaks & legal disputes surrounding what would be hiveswap, and many of the people who stuck with the fandom after the comic ended were late fans that were already well-acquainted with archive reading & thus cared much less about the original ravenous upd8 culture. the epilogues coming right out the gate trying to punish readers for wanting more therefore not only felt cruel, but confusing considering the more recent vibe of what the fandom felt like.

so, to link this all back together- between these three stories (off, undertale, & homestuck's post-canon) we end up with three different takes on how to incorporate meta elements w/ horror:

for off, meta elements are largely incorporated through the separation of the player & the batter, with certain notable characters referring directly to the player (or even referring to the game itself, as in the case of zacharie). the destruction of the world is given the connotations of a religious crusade through the batter's talk of "purification," with the supposed "official" ending of the game leaving the world entirely destroyed and gone, and the "special" bonus ending (where you pick the judge) leaving it desaturated and depopulated. a potential interpretation of this can thus be that the game acts as a meta commentary on other games of the same genre, twisting the typical routine of, "play as a dude going a something something vague mission for justice while destroying/murdering everything in your path," into something more explicitly horrifying. the path of divine destruction that the batter goes on w/ little to no regard for the suffering of the world is something that typically makes players quite uncomfortable, many people choosing to side with the judge by the end of the game despite siding with the batter being the "official" default ending.

for undertale, meta elements are utilized through characters like flowey & sans, most obviously in the genocide route where characters actively ask you to stop playing but also in true pacifist where flowey asks you to let them keep their happy ending. the horror of the game comes from the fact that the player has power unmatched by any of the characters in-game through the use of saves, clarified within the lore as a distinction between humans (players) & monsters (npcs) with some timeline fuckery thrown in for flavor. "punishment" of the player is introduced through sans & his genocide-run boss battle following the judgement of the player, which notably only happens when someone explicitly goes through and grinds out the killing of every single major & minor fight in every area of the game.

for homestuck's post-canon, meta elements are utilized through characters directly engaging with the concept of what it means to be "canon," and narration fuckery, as seen most notably through the character of ult. dirk taking over the narration in the meat timeline. nightmarish elements are present throughout the structure & content of each timeline largely through how they relate to LE, homestuck's main villain. "punishment" of the reader is introduced by contextualizing the inclusion of the most terrible elements as a way of punishing audiences for wanting more, enacted by the continuation's creators.

SO. puppets fuck i forgot about the puppets

3. what kind of villain is dirk trying to be, actually (okay we're actually talking about the puppet thing now)

at the end of off, the separation between the batter & the player is again emphasized through the final decision where you choose between siding with the batter (the "official" ending) or the judge (the "special" ending). no matter what you choose, the battle ends up fairly easy, affirming the fact that it is up to your choice as the player to decide who wins the fight. the player is fairly explicitly denoted as the puppeteer, and if the batter succeeds in his mission to destroy the world, the blame is placed on the player for going through with playing the game.

in undertale, the identity of the human moving through the underground is different depending on which route you take: frisk in the pacifist route, and chara/the player-entered name in genocide. at the end of the genocide route, chara takes over entirely, stopping the player from even being able to get the final hit in to kill the final boss before killing the player themself.

there is a pretty distinct difference between how off & undertale are able to tell their story in the context of a game vs. how homestuck tells its story as a mostly set-in-stone comic (at least now), but the key theme continuing throughout all of these stories as far as i see it comes down to one thing: puppets. WHICH is especially significant considering the fact that dirk, The Puppet Guy, is now one of the big post-canon villains, in part taking on the role of LE in parallel to jane taking on the role of HIC.

this post has been fucking long enough so i'll get to the point already: the whole path of destruction and quest to purify the world that the batter goes through in off feels very reminiscent of some of dirk's actions in the post-canon content, and that seems significant when considering who dirk is likely being puppetted by, LE (homestuck has a reader, but no player, so who is controlling who is marginally less obvious).

that's probably not too big of a surprise, especially considering that long ass list i wrote out a couple sections ago, but i think it could be notable in trying to contextualize dirk's actions throughout the story. in particular, it stands out to me that dirk's first big action within the meat timeline before going totally batshit is helping jane with her political campaign against karkat, which as we can see in the candy timeline is a terrible fucking idea considering she seems to be going right down the same path of fascism & troll eugenics in meat.

dirk isn't stupid, but here especially it's weird that he would be so down for jane getting political power, considering 1. he knows jane very well (very well, if we consider his heart aspect & ability to read people due to that), and 2. he knows the condesce very well. dirk is a fucking historian combing through documentation of the end of humanity, he's aware of what a global dictatorship looks like. he's smart, but as i said in my plato intelligence post, he's not necessarily on the same level as other omniscient narrators. it's the same problem as before, dirk is pretending to be the puppeteer but really has very little control over the actual situation. the idea that his "ascent to power" in the epilogues is actually just him becoming everyone's brain ghost has a lot of merit to me because of this.

in a similar vein, i've been thinking about this post a lot in terms of how ultimate dirk has taken on a lot of the traits of dave's bro (who also could fit in w/ the "who's the puppet/really in control" theme w/ how he is potentially being puppetted by a literal puppet. god there's too many fucking puppets). that leads me to a pretty major & interesting question to consider too: does ultimate dirk even have a soul? lots of implications depending on how you answer that. i made a joke not long ago about ult. dirk being just another dirk splinter that he created while attempting to deal with all the dirk splinters, but that idea might have more weight to it along these lines.

counterpoint though, i have to question if ult. dirk's goals really fall along the same lines of "purification" as the batter. his goal of creating a new sburb session (? iirc)/world creation is pretty much the direct opposite of the batter's world destruction, but i think we all know the prince's relationship with destruction by now. conclusion: the baby is 2 was the correct timeline all along. babies are the true ultimate creation, let's make this shit text already. (sorry, i've been watching a lot of evangelion lately.)

anyways. this post has been a WIP for a couple days and i'm starting to seriously lose the thread of the original thought, so i guess i'll just cut this off here with a couple minor sidenotes. this all came to kind of a simple, somewhat obvious point, but i think the exploration itself was decently interesting so. yeah!

sidenote1: sugar & lollipops

what is it with sweets being the most fucked up drugs imaginable in these stories. actually no, i get it, sugar is the closest you can get to the idea of drugs as a child, that kinda works. homestuck does have a surprising lack of cannibalism though, like even the trolls-eating-grubs thing is pretty weak. sad.

sidenote2: jake & religion

just thought it was interesting that the batter's purification quest has so many religious undertones (the add-ons having the roles of "father, son, & holy spirit," the names of other characters, etc.), though i don't have much of a connection here other than that jake (& karkat, really) also have a lot of the same thematic associations. not that big of a deal considering, but kinda interesting to note nonetheless (maybe w/ some interesting implications for ult. jake???)

sidenote3: davesprite & namco high

absolutely could not find a place to shove this in but the davesprite route in namco high is so fucking meta, has anyone still in this fandom even played that thing? the justification there is that davesprite gained meta awareness as a sprite & game guide, which i guess carries over to namco high too. feels very reminiscent of a lot of ideas to show up more prominently later, at the very least. hm.