- Joined
- Sep 18, 2017
He looks like Tim & Eric in their ironic skits about being young 20-somethings Jim & Derrick chugging energy drinks and skateboarding.
WhatPumpkin, LLC / Homestuck, Inc. : Chuck Tingle, Andrew Hussie and Friends - feat. Rachel Rocklin, Shelby Cragg, and Cohen Edenfield
- Thread starter D. Sweatshirt
- Start date
- Joined
- Mar 10, 2013
It’s the epilogue, I don’t know if it’s woke co-writers or Andrew is now like this or he’s just going along with it but:
You might look at that and think at least some of it is for ironic laughs but it’s not, including taking trigger warnings very seriously.
I couldn't manage to get through it all but it’s got all the social justice tropes you can think of, including an overarching plot about a xenophobic business orientated fascist president (What could they be referencing?) where at one point Obama, who is very wise in the woke ways turns up to talk about gender and sexualities.
Last edited:
- Joined
- Feb 28, 2017
I don't know, man, those are pretty damn funny.
- Joined
- May 10, 2015
Those photos of Hussie are somehow worse than that time he wore full Minions-themed garb. That man is not okay.
- Joined
- Jan 5, 2019
Looks like the official Homestuck accounts are teasing Homestuck FriendSim as a sequel to Hiveswap FriendSim.
www.instagram.com
archive.fo
twitter.com
What Pumpkin on Instagram: “You have a feeling it’s going to be a long fall. #homestuck #mspareader #friendsim #whatpumpkingames”
3,784 Likes, 323 Comments - What Pumpkin (@_homestuckofficial_) on Instagram: “You have a feeling it’s going to be a long fall. #homestuck #mspareader #friendsim #whatpumpkingames”
www.instagram.com
What Pumpkin on Instagram: “You have a feeling it’s going to be a lon…
archived 16 Aug 2019 23:20:55 UTC
archive.fo
Homestuck on Twitter
“You have a feeling it’s going to be a long fall. https://t.co/GW2IKpAxcP”
twitter.com
- Joined
- Jan 5, 2019
Double-posting due to a large info dump just occurred, and given no one's talked in this thread thus far, I might as well post it. If any mods want to merge the two replies, feel free to do so.
As it turns out, the new thing the Homestuck social media accounts were hyping up was a new game called Pesterquest.
https://store.steampowered.com/app/1144030/Pesterquest/
Basically it's just Hiveswap FriendSim 2: Electric Boogaloo, with MSPA Reader gaining the power to travel through canon like John has, and as a result, wants to make friends and talk to the actual characters of the comic, and possibly changing the trajectory of the story...? Meaning these games might actually be canon now, and not just an extended Easter Egg like the original was intended to be.
And no, just like last time: most of it is going to be made by guest artists, writers, and musicians, rather than by Andrew Hussie himself because that would make too much sense. Also like last time: the game will have new $0.99 volumes every two weeks until all 14 volumes have been released.
Aside from that, The Homestuck Epilogues are also getting a physical release.
https://twitter.com/VIZMedia/status/1163498250277543942
As it turns out, the new thing the Homestuck social media accounts were hyping up was a new game called Pesterquest.
https://store.steampowered.com/app/1144030/Pesterquest/
Who are you again? And what the hell are you doing here? Wait… is this Earth, and who exactly is that kid over there? He looks nice!
Embark on a quest of epic importance in Pesterquest, a grimsical episodic visual novel set in the darkly funny Homestuck/Hiveswap universe created by American author and artist Andrew Hussie.
Find all the answers you're looking for across 14 volumes of idiosyncratic adventure packed with visual mastery and shrewdly written narrative. As you zap between Earth and Alternia, you’ll discover and reconnect with up to 20 friends both extra and terrestrial.
With 14 volumes in total, you'll reconnect with familiar friends in a series of short visual novels as a new volume is released every 2 weeks. The first 2 volumes will release together at launch.
Embark on a quest of epic importance in Pesterquest, a grimsical episodic visual novel set in the darkly funny Homestuck/Hiveswap universe created by American author and artist Andrew Hussie.
Find all the answers you're looking for across 14 volumes of idiosyncratic adventure packed with visual mastery and shrewdly written narrative. As you zap between Earth and Alternia, you’ll discover and reconnect with up to 20 friends both extra and terrestrial.
With 14 volumes in total, you'll reconnect with familiar friends in a series of short visual novels as a new volume is released every 2 weeks. The first 2 volumes will release together at launch.
- Timelines collide in the next chapter of the Friendsim story! Pesterquest is the latest visual novel in the Homestuck universe; discover all-new stories about Homestuck’s classic cast of characters.
- Continue the friend-finding escapades of MSPA Reader from Hiveswap Friendsim, meeting and developing a relationship with a new character in each volume.
- Dive deeper into Homestuck lore in this rich visual novel with a darkly comedic tone and an unapologetically irreverent story.
- 14 volumes will unfold with regular releases—make EVERY friend in one affordable bundle!
- Returning artists, writers and musicians from Hiveswap Friendsim have collaborated with new talent to bring you these zapping adventures.
And no, just like last time: most of it is going to be made by guest artists, writers, and musicians, rather than by Andrew Hussie himself because that would make too much sense. Also like last time: the game will have new $0.99 volumes every two weeks until all 14 volumes have been released.
Aside from that, The Homestuck Epilogues are also getting a physical release.
https://twitter.com/VIZMedia/status/1163498250277543942
- Joined
- Jul 21, 2017
This is going to be Paradox Space 2 and it will fail just as spectacularly
Also, I don't know what to find funnier: the unironic CWCisms like "zapping adventures" or the "unapologetically irreverent", when the past few years the only communications from Hussie and his orbiters to the fans were apologies forwriting something that's actually funny and has personality leaking a story where there was a joke about the holocaust.
Also, I don't know what to find funnier: the unironic CWCisms like "zapping adventures" or the "unapologetically irreverent", when the past few years the only communications from Hussie and his orbiters to the fans were apologies for
- Joined
- Jan 5, 2019
After the past few bits of news, Hussie has finally released a long, LONG-ASS message, regarding why the Epilogue was written, why Homestuck went the way it went, what he plans to do in the future post-Hiveswap, what he'll be doing creatively in the meantime, and why he chose the formats that he chose. He also confirms that while Homestuck 2 isn't going to be a thing right now and he has no plans to continue it for now, he may want to return in a good 5 years time and see where everything within the fandom is before he continues; culminating in a choice as to whether or not he and WhatPumpkin should continue the story proper, or move on to brand-new creative endeavors.
www.reddit.com
archive.fo
All of this, all of it, was sent as a Reddit message to Perfectly Generic Podcast, but Makin- on the subreddit decided to repost it on r/Homestuck for posterity.
r/homestuck - "The Homestuck Epilogues: Bridges And Off-Ramps": New Hussie commentary about the epilogues
643 votes and 248 comments so far on Reddit
www.reddit.com
"The Homestuck Epilogues: Bridges And Off-Ramps": New Hussie commenta…
archived 24 Aug 2019 23:40:25 UTC
archive.fo
The history of printed version of The Homestuck Epilogues is also the history of The Homestuck Epilogues themselves, because I originally envisioned releasing them only as a book like this, to even further emphasize their conceptual separation from the main narrative. If you know anything about the epilogues, you probably already understand that conceptually distinguishing themselves from the story by their presentation as "fanfiction" is an important part of their nature and what they are trying to say. In the form of a book (which you can read from one side, or flip upside down and read from the other) it somewhat carries the feeling of a cursed tome. Something which maddeningly beckons, due to whatever insanity it surely contains, but also something which causes feelings of trepidation. There's an ominous aura surrounding such a work, probably for a few reasons. The sheer size of it means the nature of the content probably isn't going to be that trivial. The stark presentation of the black and white covers, its dual-narrative format, the foreboding prologue combined with an alarming list of "content warnings", and even the fact that an "epilogue" is delivered with a "prologue" first, all adds up to a piece of media that appears designed to make the reader nervous about what to expect from it. Such is the nature of a cursed tome retrieved from a place which may have best been left undisturbed. It is also the nature of any creative inclination to reopen a story which had already been laid to rest - a reader's desire to agitate and then collapse the bubble which contained the imagined projection of "happily ever after", simply by observing it. There exists inherent danger in a reader's eagerness to collapse that bubble, or to crack that tome. There is also danger in a creator's willingness to accommodate that desire. It's a risk for all involved. It should be.
Obviously, it wasn't released as a book, until now (the plans for printing it had already been made, but were just delayed until well after its release on site). We decided to just release it all on the site so everyone could read it right away if they wanted. There was a long tradition of making all content freely accessible on the site, and we just produced one utterly enormous update which we were perfectly aware would cause a massive amount of discussion and agitation in the fandom. Overall it was probably better to just get it out there, let people read it relatively quickly, form their opinions on it, and then begin discussing it critically. In other words, people were going to feel something from all this, so it seemed better to just let it out there, allow the maximum number of people feel whatever it would cause them to feel, give people time to process those feelings, and then move on to whatever comes next.
But what comes next? That's a good question. I feel like the work does a lot to suggest it's not merely following up on the lives of all the characters after a few years, but also reorganizing all narrative circumstances in a way that points forward, to a new continuity with a totally different set of stakes. In this sense, I think it's heavily implied to be a piece of bridge-media, which is clearly detached from the previous narrative, and conceptually "optional" by its presentation, which allows it to also function as an off-ramp for those inclined to believe the first seven acts of Homestuck were perfectly sufficient. But for those who continue to feel investment in these characters and this world, ironically the very elements which could be regarded as disturbing or depressing are also the main reasons to have hope that there is still more to see. Because, as certain characters go to some length to elaborate on, you can't tell new stories without reestablishing significant dramatic stakes: new problems to overcome, new injustices to correct, new questions to answer. There can be no sense of emotional gratification later without first experiencing certain periods of emotional recession. And by peeking into the imagined realm of "happily ever after" to satisfy our curiosity, we discover that our attention isn't so harmless, because the complexities and sorrows of adult life can't be ignored. Nor can the challenges of creating a civilization from scratch, when several teenagers are handed god-status. It turns out the gaze we cast from the sky of Earth C to revisit everyone isn't exactly friendly, like warm sunlight. It's more like a ravaging beam, destructive and unsettling to all that could have been safely imagined. Our continued attention is the very property which incites new problems, and the troublemakers appear to be keenly aware of this. So they spring into action, and begin repositioning all the stage props for a new implied narrative. But "implied" is all it was. There was no immediate announcement for followup content, and I'm not announcing anything here yet either. More time was always going to be necessary to figure out what to do next, including what form it takes, the timing, and all those questions. For now I think it was alright to just let things simmer for a while, and give people an extended period of time to meditate on the meaning of the epilogues and why they involved the choices they did. But regardless of anyone's conclusions about it, I can at least confirm that it WAS designed to feel like a bridge piece since its conception.
Is it this way because an epilogue SHOULD be this way? No. It is this way because I thought that was the most suitable role for an epilogue to play in the context of the weird piece of media Homestuck has always been. The story experiments a lot with the way stories are told, and in particular messes with the ways certain stretches of content get partitioned and labeled. Playing with the labeling I think has ways of bringing attention to those labels, what they actually mean, and how they affect our perception of the events covered under certain labels. It can even get us to wonder why certain labels exist at all, and can expose "flaws" in the construction of stories which include them. For instance, "intermission" is such a label. But perhaps another way of saying intermission is, "whoops, the story is getting too long, here's a break from the real story with a bunch of dumb shit that doesn't matter". It's seemingly a tacit admission to a problem. And by continuing to toy with that label as the story rolls along, you start to unpack the nature of that problem by implicitly asking questions about it. If you have one intermission because the story got long... can you have two if it gets longer? Can you have even more than that? Once you have a multitude of intermissions, don't you have two dueling threads of content, one supposedly "irrelevant", and the other important? And if that's true, then is it possible for the "irrelevant" thread to accrue more importance, throwing its entire identity as "optional content" into question retroactively? And if that can happen, is it possible the two threads can flip roles, with the intermissions becoming more important than the main acts? Then once the story goes through the motions of answering "yes" to all of this, isn't it also fair to ask, why bother with this examination at all? Was it pure horseplay and trickery? Actually, yes, sort of. There is a trick involved. The gradual realization that intermission content is nontrivial forces the reader to reevaluate their perception of the material, which was originally influenced by a label presiding over that material, and what they believed that label meant. It relies on the reader's presumption about the label's meaning to disguise certain properties of the content (like relevance), and therefore disarms the reader initially, leading to the potential for subverting expectations about the content later in surprising ways. In other words, you can use whatever it is the reader already presumes they know about stories in order to control the perception of what they are reading, just by gradually shifting the boundaries of whatever it is they've been well trained to expect from certain elements.
So now the label "epilogue" has been toyed with in a similar way, and also in a manner which exposes an apparent flaw with the label. Or actually, just by using the label "epilogue" at all, it seems the story is admitting to an apparent flaw. If another way of saying intermission is "whoops, story's too long, here's a break", then an alternate way of saying epilogue is "whoops, I forgot some shit, here's some more". And we know right away this label will be subject to the same kind of trickery, since there are two story paths of eight epilogues each, prefaced by a shared prologue. It's already an unhinged implementation of the label before you even read it, which means it's probably time to get nervous about whether it satisfies your expectations about what the content existing under such a label should provide. Before you read it, it's already an invitation to start questioning what an epilogue even is, and whether it's kind of a silly idea even if applied conventionally. Take a 50 chapter novel with an epilogue, for example. Why isn't the epilogue just called chapter 51? Why was the choice made to label that content differently? Should we consider it an important part of the story, or should we not? If it's not important, why are we reading it? And if it is important, why is it given a label which is almost synonymous with "afterthought"? Is it a simple parting gift to the reader, to provide minor forms of satisfaction which the core narrative wasn't built to provide? Is it actually important to deliver those minor satisfactions? If it really is important, why didn't that content appear in chapter 51? And if it isn't, why bother at all? What are we even doing here?
By going down this path of questioning, it sounds like we're assembling a case against writing epilogues altogether. But actually, there's really nothing wrong with them. It's a perfectly reasonable thing to include in any story. It's just that the more you ask questions like these, the more you are forced to think about the true nature of these storytelling constructs, the actual purposes they're meant to serve. And with something like Homestuck, where issues like this are heavily foregrounded, like what should be considered "canon" vs. "not canon", or even more esoteric concepts like "outside of canon" or "beyond canon", then the issues you uncover when you ask such questions about an epilogue can't really be ignored. My feeling is, there's almost no choice but to turn the conventional ideas associated with epilogues completely inside-out, because of the inherent contradictions involved with crossing the post-canon threshold and revealing that which was not meant to be known. Stories end where they do for certain reasons, answering the questions which were thematically important to answer, and leaving some questions unanswered for similar reasons, and the reader is left with the task of deciphering the meaning of these decisions. Under the "whoops, I forgot some shit, here's more" interpretation of an epilogue as a flawed construct, by reopening an already closed-circuit narrative, what you're really doing is introducing destabilizing forces into something which had already reached a certain equilibrium, due to all the considerations that went into which questions to answer, and which to leave ambiguous. And these destabilizing forces became the entire basis for the construction of an entirely new post-canon narrative, for better or worse.
These are the types of things the epilogues let you to think about, along with a few other ideas. Like the fact that all narratives have perspectives and biases, depending on who is telling the story, even in the case where it's unclear if the narrator has any specific identity. The suggestion that all narratives are driven by agendas, sometimes thinly disguised, other times heavily. There's also stuff to think about just due to its presentation as fanfiction, and that it's the first installment of Homestuck which included other authors (contrary to some speculation I've seen, every word of all seven acts were written by me alone). By deploying it as mock-fanfiction, and including other authors, I'm making an overt gesture that is beginning to diminish my relevance as the sole authority on the direction this story takes, what should be regarded as canon, and even introducing some ambiguity into your understanding of what canon means as the torch is being passed into a realm governed by fan desires. If the epilogues really prove to be the bridge media they were designed to feel like, then I expect this trend to continue. The fanfiction format is effectively a call to action, for another generation of creators to imagine different outcomes, to submit their own work within the universe, to extend what happens beyond the epilogues, or to pave over them with their own ideas. And I believe the direness in tone and some of the subject matter suitably contributes to the urgency of this call to action.
I also think many of the negative feelings the story creates isn't just an urgent prompt for the reader to imagine different ideas, or ways to resolve the new narrative dilemmas. It's also an opportunity for people to discuss any of the difficult content critically, and for fandom in general to continue developing the tools for processing the negative emotions art can generate. Sorting that out has to be a communal experience, and it's an important part of the cycle between creating and criticizing art. I think not only can creators develop their skills to create better things by practicing and taking certain risks, fandom is something which can develop better skills as well. Skills like critical discussion, dealing constructively with negative feelings resulting from the media they consume, interacting with each other in more meaningful ways, and trying to understand different points of view outside of the factions within fandom that can become very hardened over time. Fandoms everywhere tend to get bad reputations for various reasons, maybe justifiably. But I don't see why it can't be an objective to try to improve fandom, just as creators can improve their work. And I think this can only happen if now and then fandoms are seriously challenged, by being encouraged to think about complex ideas, and made to feel difficult emotions. I believe when art creates certain kinds of negative feelings in people, it can lead to some of the most transformative experiences art has to offer. But it helps to be receptive to this idea for these experiences to have a positive net effect on your life, and your relationship with art.
So now I'm looking to all of you on the matter of where to go next. Wherever the most conscientious and invested members of fandom want to drive this universe, as well as the standards by which we engage with media in general, that will be the direction I follow.
Obviously, it wasn't released as a book, until now (the plans for printing it had already been made, but were just delayed until well after its release on site). We decided to just release it all on the site so everyone could read it right away if they wanted. There was a long tradition of making all content freely accessible on the site, and we just produced one utterly enormous update which we were perfectly aware would cause a massive amount of discussion and agitation in the fandom. Overall it was probably better to just get it out there, let people read it relatively quickly, form their opinions on it, and then begin discussing it critically. In other words, people were going to feel something from all this, so it seemed better to just let it out there, allow the maximum number of people feel whatever it would cause them to feel, give people time to process those feelings, and then move on to whatever comes next.
But what comes next? That's a good question. I feel like the work does a lot to suggest it's not merely following up on the lives of all the characters after a few years, but also reorganizing all narrative circumstances in a way that points forward, to a new continuity with a totally different set of stakes. In this sense, I think it's heavily implied to be a piece of bridge-media, which is clearly detached from the previous narrative, and conceptually "optional" by its presentation, which allows it to also function as an off-ramp for those inclined to believe the first seven acts of Homestuck were perfectly sufficient. But for those who continue to feel investment in these characters and this world, ironically the very elements which could be regarded as disturbing or depressing are also the main reasons to have hope that there is still more to see. Because, as certain characters go to some length to elaborate on, you can't tell new stories without reestablishing significant dramatic stakes: new problems to overcome, new injustices to correct, new questions to answer. There can be no sense of emotional gratification later without first experiencing certain periods of emotional recession. And by peeking into the imagined realm of "happily ever after" to satisfy our curiosity, we discover that our attention isn't so harmless, because the complexities and sorrows of adult life can't be ignored. Nor can the challenges of creating a civilization from scratch, when several teenagers are handed god-status. It turns out the gaze we cast from the sky of Earth C to revisit everyone isn't exactly friendly, like warm sunlight. It's more like a ravaging beam, destructive and unsettling to all that could have been safely imagined. Our continued attention is the very property which incites new problems, and the troublemakers appear to be keenly aware of this. So they spring into action, and begin repositioning all the stage props for a new implied narrative. But "implied" is all it was. There was no immediate announcement for followup content, and I'm not announcing anything here yet either. More time was always going to be necessary to figure out what to do next, including what form it takes, the timing, and all those questions. For now I think it was alright to just let things simmer for a while, and give people an extended period of time to meditate on the meaning of the epilogues and why they involved the choices they did. But regardless of anyone's conclusions about it, I can at least confirm that it WAS designed to feel like a bridge piece since its conception.
Is it this way because an epilogue SHOULD be this way? No. It is this way because I thought that was the most suitable role for an epilogue to play in the context of the weird piece of media Homestuck has always been. The story experiments a lot with the way stories are told, and in particular messes with the ways certain stretches of content get partitioned and labeled. Playing with the labeling I think has ways of bringing attention to those labels, what they actually mean, and how they affect our perception of the events covered under certain labels. It can even get us to wonder why certain labels exist at all, and can expose "flaws" in the construction of stories which include them. For instance, "intermission" is such a label. But perhaps another way of saying intermission is, "whoops, the story is getting too long, here's a break from the real story with a bunch of dumb shit that doesn't matter". It's seemingly a tacit admission to a problem. And by continuing to toy with that label as the story rolls along, you start to unpack the nature of that problem by implicitly asking questions about it. If you have one intermission because the story got long... can you have two if it gets longer? Can you have even more than that? Once you have a multitude of intermissions, don't you have two dueling threads of content, one supposedly "irrelevant", and the other important? And if that's true, then is it possible for the "irrelevant" thread to accrue more importance, throwing its entire identity as "optional content" into question retroactively? And if that can happen, is it possible the two threads can flip roles, with the intermissions becoming more important than the main acts? Then once the story goes through the motions of answering "yes" to all of this, isn't it also fair to ask, why bother with this examination at all? Was it pure horseplay and trickery? Actually, yes, sort of. There is a trick involved. The gradual realization that intermission content is nontrivial forces the reader to reevaluate their perception of the material, which was originally influenced by a label presiding over that material, and what they believed that label meant. It relies on the reader's presumption about the label's meaning to disguise certain properties of the content (like relevance), and therefore disarms the reader initially, leading to the potential for subverting expectations about the content later in surprising ways. In other words, you can use whatever it is the reader already presumes they know about stories in order to control the perception of what they are reading, just by gradually shifting the boundaries of whatever it is they've been well trained to expect from certain elements.
So now the label "epilogue" has been toyed with in a similar way, and also in a manner which exposes an apparent flaw with the label. Or actually, just by using the label "epilogue" at all, it seems the story is admitting to an apparent flaw. If another way of saying intermission is "whoops, story's too long, here's a break", then an alternate way of saying epilogue is "whoops, I forgot some shit, here's some more". And we know right away this label will be subject to the same kind of trickery, since there are two story paths of eight epilogues each, prefaced by a shared prologue. It's already an unhinged implementation of the label before you even read it, which means it's probably time to get nervous about whether it satisfies your expectations about what the content existing under such a label should provide. Before you read it, it's already an invitation to start questioning what an epilogue even is, and whether it's kind of a silly idea even if applied conventionally. Take a 50 chapter novel with an epilogue, for example. Why isn't the epilogue just called chapter 51? Why was the choice made to label that content differently? Should we consider it an important part of the story, or should we not? If it's not important, why are we reading it? And if it is important, why is it given a label which is almost synonymous with "afterthought"? Is it a simple parting gift to the reader, to provide minor forms of satisfaction which the core narrative wasn't built to provide? Is it actually important to deliver those minor satisfactions? If it really is important, why didn't that content appear in chapter 51? And if it isn't, why bother at all? What are we even doing here?
By going down this path of questioning, it sounds like we're assembling a case against writing epilogues altogether. But actually, there's really nothing wrong with them. It's a perfectly reasonable thing to include in any story. It's just that the more you ask questions like these, the more you are forced to think about the true nature of these storytelling constructs, the actual purposes they're meant to serve. And with something like Homestuck, where issues like this are heavily foregrounded, like what should be considered "canon" vs. "not canon", or even more esoteric concepts like "outside of canon" or "beyond canon", then the issues you uncover when you ask such questions about an epilogue can't really be ignored. My feeling is, there's almost no choice but to turn the conventional ideas associated with epilogues completely inside-out, because of the inherent contradictions involved with crossing the post-canon threshold and revealing that which was not meant to be known. Stories end where they do for certain reasons, answering the questions which were thematically important to answer, and leaving some questions unanswered for similar reasons, and the reader is left with the task of deciphering the meaning of these decisions. Under the "whoops, I forgot some shit, here's more" interpretation of an epilogue as a flawed construct, by reopening an already closed-circuit narrative, what you're really doing is introducing destabilizing forces into something which had already reached a certain equilibrium, due to all the considerations that went into which questions to answer, and which to leave ambiguous. And these destabilizing forces became the entire basis for the construction of an entirely new post-canon narrative, for better or worse.
These are the types of things the epilogues let you to think about, along with a few other ideas. Like the fact that all narratives have perspectives and biases, depending on who is telling the story, even in the case where it's unclear if the narrator has any specific identity. The suggestion that all narratives are driven by agendas, sometimes thinly disguised, other times heavily. There's also stuff to think about just due to its presentation as fanfiction, and that it's the first installment of Homestuck which included other authors (contrary to some speculation I've seen, every word of all seven acts were written by me alone). By deploying it as mock-fanfiction, and including other authors, I'm making an overt gesture that is beginning to diminish my relevance as the sole authority on the direction this story takes, what should be regarded as canon, and even introducing some ambiguity into your understanding of what canon means as the torch is being passed into a realm governed by fan desires. If the epilogues really prove to be the bridge media they were designed to feel like, then I expect this trend to continue. The fanfiction format is effectively a call to action, for another generation of creators to imagine different outcomes, to submit their own work within the universe, to extend what happens beyond the epilogues, or to pave over them with their own ideas. And I believe the direness in tone and some of the subject matter suitably contributes to the urgency of this call to action.
I also think many of the negative feelings the story creates isn't just an urgent prompt for the reader to imagine different ideas, or ways to resolve the new narrative dilemmas. It's also an opportunity for people to discuss any of the difficult content critically, and for fandom in general to continue developing the tools for processing the negative emotions art can generate. Sorting that out has to be a communal experience, and it's an important part of the cycle between creating and criticizing art. I think not only can creators develop their skills to create better things by practicing and taking certain risks, fandom is something which can develop better skills as well. Skills like critical discussion, dealing constructively with negative feelings resulting from the media they consume, interacting with each other in more meaningful ways, and trying to understand different points of view outside of the factions within fandom that can become very hardened over time. Fandoms everywhere tend to get bad reputations for various reasons, maybe justifiably. But I don't see why it can't be an objective to try to improve fandom, just as creators can improve their work. And I think this can only happen if now and then fandoms are seriously challenged, by being encouraged to think about complex ideas, and made to feel difficult emotions. I believe when art creates certain kinds of negative feelings in people, it can lead to some of the most transformative experiences art has to offer. But it helps to be receptive to this idea for these experiences to have a positive net effect on your life, and your relationship with art.
So now I'm looking to all of you on the matter of where to go next. Wherever the most conscientious and invested members of fandom want to drive this universe, as well as the standards by which we engage with media in general, that will be the direction I follow.
- Joined
- Jul 21, 2017
It reads kinda like a post-modern apology to the fans that got triggered by the fact that the epilogues were upsetting instead of wholesome. In retrospect, it was bold of him to introduce new conflicts and distressing situations in a story read mostly by an audience used to invincible Mary Sues and easy victories in the name of representation. Although, it could just be a case of "not knowing who your audience is" (given the recent survey)
There seems to be no news regarding what he'll write next; I wonder if he even wants to start a new story or if he's afraid that he'll never be able to top his "magnum opus" and is just procrastinating. It would a fair assumption, I doubt he'll ever be as popular as he was in 2011.
He seems too full of himself to completely give up on writing, but who knows?
There seems to be no news regarding what he'll write next; I wonder if he even wants to start a new story or if he's afraid that he'll never be able to top his "magnum opus" and is just procrastinating. It would a fair assumption, I doubt he'll ever be as popular as he was in 2011.
He seems too full of himself to completely give up on writing, but who knows?
- Joined
- Jan 2, 2019
Hussie himself also insists he wrote every word of Homestuck and had no other writers, which honestly at this point I'm willing to concede. And quite frankly, I think it's pretty impressive to make content that is specifically intended to challenge the readers and have the fandom talk through it together. But considering how many people were willing to reject the epilogue and would rather go back to their fluffy alien yaoi/yuri paradises, I don't think it'll work out. Though I wish it would.
I think it's no question that Pesterquest and Hiveswap's future acts (lol) will probably also have challenging themes, though the idea of "putting it in the hands of the fans" with Homestuck's current state (and people from WhatPumpkin watching that Perfectly Generic Podcast poll closely) seems not only like a long-decided affair, but living proof that Hussie and his company might be oh-so slightly out of touch. Most people have already tired of Homestuck, and most people remaining probably know what they want from it, at least that's how it appears to me.
I think it's no question that Pesterquest and Hiveswap's future acts (lol) will probably also have challenging themes, though the idea of "putting it in the hands of the fans" with Homestuck's current state (and people from WhatPumpkin watching that Perfectly Generic Podcast poll closely) seems not only like a long-decided affair, but living proof that Hussie and his company might be oh-so slightly out of touch. Most people have already tired of Homestuck, and most people remaining probably know what they want from it, at least that's how it appears to me.
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- Joined
- Mar 30, 2017
- Joined
- Jan 2, 2019
Hussie did some kind of ARG involving hiding signed Toblerones I guess (irony dude lmao)
www.instagram.com
Some lovely gal found one, and requested Hussie to make June Egbert canon, which he agreed to. If you don't know who June Egbert is, it's a fanon interpretation of John Egbert becoming a trans girl!
Also, please enjoy this brainlet who still got triggered even after being given trigger warnings. (EDIT FOR CONTEXT:
Dirk kills himself in the Candy side of the Epilogues, which allows him to control the entire narrative and essentially mind control/mentally influence characters in the Meat side. This person is upset that, despite being told that the Epilogues contain suicide by the AO3 parody tag page, someone killed themselves on-screen.)
All this outrage and shock at a "despite the fact that Dirk killing himself by decapitation/encouraging others to decapitate him is not only a crucial plot point, but a running gag that he himself ends up referencing during the epilogue to the point where other characters outright say that he's played it out after using it so much. Hell, it was a fucking fandom meme at some point!
...oh, apparently those two don't count since he wasn't going to stay dead. So he did read the comic, he's just fucking dumb.
Yeah, Hussie, that whole "making the fandom work through it and challenge themselves" thing seems like it's gonna work out reallllllll well.
Andrew Hussie on Instagram: “#eboy #hussie #toblerone #cave”
9,623 Likes, 514 Comments - Andrew Hussie (@eboyhussie) on Instagram: “#eboy #hussie #toblerone #cave”
www.instagram.com
Some lovely gal found one, and requested Hussie to make June Egbert canon, which he agreed to. If you don't know who June Egbert is, it's a fanon interpretation of John Egbert becoming a trans girl!
Also, please enjoy this brainlet who still got triggered even after being given trigger warnings. (EDIT FOR CONTEXT:
Dirk kills himself in the Candy side of the Epilogues, which allows him to control the entire narrative and essentially mind control/mentally influence characters in the Meat side. This person is upset that, despite being told that the Epilogues contain suicide by the AO3 parody tag page, someone killed themselves on-screen.)
All this outrage and shock at a "despite the fact that Dirk killing himself by decapitation/encouraging others to decapitate him is not only a crucial plot point, but a running gag that he himself ends up referencing during the epilogue to the point where other characters outright say that he's played it out after using it so much. Hell, it was a fucking fandom meme at some point!
...oh, apparently those two don't count since he wasn't going to stay dead. So he did read the comic, he's just fucking dumb.
Yeah, Hussie, that whole "making the fandom work through it and challenge themselves" thing seems like it's gonna work out reallllllll well.
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- Joined
- Mar 30, 2017
Wait, Dirk is kill again. What is happeningHussie did some kind of ARG involving hiding signed Toblerones I guess (irony dude lmao)
Andrew Hussie on Instagram: “#eboy #hussie #toblerone #cave”
9,623 Likes, 514 Comments - Andrew Hussie (@eboyhussie) on Instagram: “#eboy #hussie #toblerone #cave”
Some lovely gal found one, and requested Hussie to make June Egbert canon, which he agreed to. If you don't know who June Egbert is, it's a fanon interpretation of John Egbert becoming a trans girl!
View attachment 907866
Also, please enjoy this brainlet who still got triggered even after being given trigger warnings.
All this outrage and shock at a "despite the fact that Dirk killing himself by decapitation/encouraging others to decapitate him is not only a crucial plot point, but a running gag that he himself ends up referencing during the epilogue to the point where other characters outright say that he's played it out after using it so much. Hell, it was a fucking fandom meme at some point!
...oh, apparently those two don't count since he wasn't going to stay dead. So he did read the comic, he's just fucking dumb.
View attachment 907932
Yeah, Hussie, that whole "making the fandom work through it and challenge themselves" thing seems like it's gonna work out reallllllll well.
- Joined
- Jan 2, 2019
Dirk kills himself in the Candy side of the Epilogues, which allows him to control the entire narrative and essentially mind control/mentally influence characters in the Meat side. This person is upset that, despite being told that the Epilogues contain suicide by the AO3 parody tag page, someone killed themselves.
- Joined
- Mar 30, 2017
What the fuck does any of this mean
cr0wnd
kiwifarms.net
- Joined
- Aug 1, 2018
I'm so glad I cut myself off from all this shit. The Homestuck fandom used to be my favourite one, sure it was stupid but I was a teenager and all those people were teenagers and we just had fun. Now it's just a bunch of whining babies whose only subject on mind is LGBT shit. It should have died a long time ago.
- Joined
- Jul 21, 2017
"The ending was shit, I don't care about anything that's not making friends"
Well, I guess the surveyors have spoken: less story, more
- Joined
- Jun 17, 2018
It DID die a long time ago, that’s why it’s pretty much just crazy SJW’s left. Casual fans left during the big pause, and pretty much everyone else left after Act 7, because at that point there was zero indication that the epilogue promised would ever arrive. Of course that just leaves people who are more attached to identity than actual story or character.
Homestuck was good while it lasted, but I’ve moved on and could honestly not care less what social justice weirdos do to its corpse.
- Joined
- Oct 2, 2017
How many fucking dating sims are they gonna make? The reboot of the doomed fandom in Hivestuck was actually interesting. I replayed it several times and was ready for the second part. That was what, 2-3 years ago? The dating sim they released afterwards even have trolls that were never introduced in the game.
Oh yeah, I think I lost interest once they started "revealing" trolls who had shit like "horny on main" in their bio. Because we all know short-lived memes dont age a game tenfold when they're no longer relevant.
It's sad how a bunch of generic sjw drama can kill even that longlived a fandom.
Oh yeah, I think I lost interest once they started "revealing" trolls who had shit like "horny on main" in their bio. Because we all know short-lived memes dont age a game tenfold when they're no longer relevant.
It's sad how a bunch of generic sjw drama can kill even that longlived a fandom.
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Elpizo
kiwifarms.net
- Joined
- Dec 30, 2018
Yeah... unless if it reaches the "Radical Steve Buscemi from 30 Rock tier" of cringe... considering that this is a point and click game that took place in the 90's... in 1994.