for being up

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#Impressed with your manipulative bf.

paledreamcomputer  asked:

K. I agree with everything you said thought I feel like you think that I say it about TLCstuck which I'm not. In fact TLCstuck is even better than the actual homestuck because the characters feel more profound and defined (seriously if I had to define "canon" Jake I would say: "John from Act 1-4 but more nerdy and uses archaic words) but here he feels like his own thing. The point is that I the part that most bothers me is the time-reallity powers that John gets because(I run out of characters)

a(Continuation) they are basically a Deus Ex Machina that serve to return everything to a status quo, making the flash itself and everything after that meaningless. That is just bad writing and a Hussie’s whim. 

First, with regards to the character writing in TLC: 

Thank u very much I work hard for my dear sunflower child Jake

Concerning John, to a certain extent? I would agree with you. On the one hand, John gaining the power of the juju is taking the implications of his God Tier title to their logical extreme: One who becomes Breath. One who becomes freedom, communication, the wind, change, and whatever else the Breath aspect is tied to. How much further can you take a character who can already turn into the breeze? You have them unchained from causality itself, free to do with the narrative whatever it is they so please.

Buuuuuut. 

In giving John the power to undo already-made decisions in the narrative, Hussie was walking a very fine line. On the one hand, this could be the characters’ ultimate “fuck you” to the authority railroading them to their fate. This is beyond Rose blowing up her second gate or Jade finding an exploit to become the most powerful person in the session and escape the Scratch, this is the ability to defy narrative itself. Once John gains this power, he is literally invisible to the narrative prompt. We cannot be John Egbert. We cannot find him.

 However, that ability is ultimately a lie. To buy into this, the reader has to suspend their disbelief and buy into the idea that these characters exist independent of the person writing them. Because John Egbert does not exist. He is a fictional character who can’t do anything under his own power because he isn’t real. So Andrew Hussie is now tasked with a character who can defy the narrative, but at the same time? Hussie has to maintain the rules that make a narrative work. Making John undo the wrong thing will cause all the dramatic weight of the narrative to evaporate, or make the reader ask themselves if this is all just for the author’s benefit. He was balancing on a tight rope made of razor wire. 

And then he slipped. And cut his legs off. 

Mother’s Basement is one of the YouTube channels that taught me a lot about film language (because I followed Lindsey Ellis’ advice, lol), and Geoff Thew has this wonderful video about how Sword Art Online did something similar. I think it’s hilarious that chunks of his main point, about a story breaking its own rules and taking all tension with it, can apply to this decision in Homestuck. And I have been dying for an opportunity to use this quote this way: 

“…when a show acts like death means something, and then does something that very transparently reveals that the writers aren’t willing to sacrifice potential plotlines, it’s like watching Mickey Mouse take his head off at Disneyland. It ruins the magic. There are rules against this kind of shit. If a character dies and is brought back, then you might as well write ‘and then they got on a bus for a couple of weeks!’ for all the fucking difference it makes.”

Obviously this isn’t a 1-to-1 comparison between Homestuck and SAO. These two narratives use death very differently - or rather, Homestuck has been very transparently revealing that Hussie was unwilling to sacrifice potential plotlines since the dreambubbles came along (or hell, maybe even since the notion of time travel itself came along), but the story adapted and evolved new dimensions because of those things. Death became more of a change of state that still had consequences. But if you substitute “death” for “decision resulting in drastic change in a character’s trajectory” the result is the same. Suddenly the consequences of the Game Over characters actions don’t mean anything. Suddenly the consequences of Vriska’s death don’t mean anything. In that one moment, Andrew Hussie revealed that he was willing to go back on ANYTHING in this story if it meant serving his ultimate end, and that no matter how big or pivotal the decision? He would find a way to undo it if it was convenient. And there’s rules against that kinda shit. Now nothing matters because it can be undone and there will be no consequences for it. And to add insult to injury, the suffering and sacrifices of the Game Over kids aren’t addressed in a way that justifies putting them or the audience through all of that. Geoff Thew again:

“Death in media isn’t interesting because ‘oh they’re dead, that’s sad, I’m sad!’ It’s interesting because it inherently changes the dynamics of a story. A character who was once a force in the narrative now isn’t. Any arc they might’ve been going through is cut abruptly short. And from this point forward, the writers can’t rely on their presence to move the story forward or prop up other characters.” 

Emphasis mine because does that sound familiar? Sound like any8ody we might know? 

There’s a section in B3 TH3 4C3 4TTORN3Y that I could have cut for time while building the flash, but chose not to do so because I think it speaks volumes:

TEREZI: D34THS W1TH NO PURPOS3 4R3 4 W4ST3 OF T1M3
TEREZI: TH3Y 4R3 FOR STR3NGTH OR TRUST OR JUST1C3
TEREZI: SP1LL1NG BLOOD DO3SNT M34N 4NYTH1NG 1MPORT4NT ON 1TS OWN
TEREZI: ONLY WH4T L13S B3YOND 1T

There’s no purpose to putting the Game Over kids through that if you’re just going to sweep them away or never address what that plotline brought up. The Game Over kids are not killed so that they can start the level over and learn from their mistakes. The retcon characters have no memory of making those mistakes, so how can they learn? So retroactively, Game Over kind of does turn into a bunch of bullshit meant to shock the audience. And I don’t agree with taking the “Metanarrative Reading” wherein the reader themselves is compiling the characters’ “ultimate selves” because again, the narrative does not pivot to that theme with much grace. As a result, it sounds an awful lot like the story throwing its hands up in the air at the last minute and saying that it’s up to the reader to write conclusions for these characters. Unless that character is Dave.

So yeah. The point of that ramble is that ultimately, I agree with you! While I like how John’s retcon powers and Game Over fit into Homestuck as a whole and what they could’ve been, it ultimately does wind up being a snatch at pathos followed by a Deus Ex Machina. 

4

Mostly just ink. Don’t know why there’d be much blood ‘round here, but then again, I can’t exactly say that I haven’t seen any…


((Bonus:))

canceritis  asked:

hey!! i was just wondering what made you ship kylux? like any moments, or headcanons? because im interested in the ship. thank you!!

hi lovely!!! 💕

I started shipping kylux on my second viewing of tfa and it was Hux’s ‘careful, Ren’ that first got me thinking of their dynamic

After that, with every one of their interactions, I couldn’t help but look closer at them and see MORE to their behaviours with each other, as though there’s a history we don’t know and it’s so fun to imagine how they met and how they came about to be with the First Order

I love the idea of them being bitter exes by the time TFA happens, as though Kylo and Hux have had this relationship that’s held them together and helped them cope with the stresses of trying to rule the galaxy, hence why things are a bit messy when TFA happens, because working with each other is hard–Kylo can’t even look at Hux when he’s maskless in Snoke’s audience chamber, can’t bring his gaze up to meet the face of the man who’s kept him centred and strong over the past 5 years that Ben has been let go and Kylo has become stronger

But Hux still cares, quietly, just to satisfy his own need to know that Kylo is safe, hence the tracker in Kylo’s belt

And SHHH THIS IS A SECRET but I made a stormpilot sideblog when I saw TFA because I absolutely fell in love with Finn & Poe. I wrote 2 fics for the fandom but hated how forceful the fandom was about other people shipping it, so I deleted my blog, saw TFA again and Kylux stole my heart 💕

I hope this answer is good enough for you, darling!

After seeing the new King of Prism trailer like six times today AGAINST MY WILL (since they were showing it in the theater) I have SO MANY THOUGHTS BUT really must not let things get carried away too early huaaaagh.