#don't ever apologize | Explore Tumblr Posts and Blogs

teddybeartoji · 2 months

Text

it's not often you get to see a sleepy suguru.

it's not like he's not tired – he's fucking exhausted; the dreams just don't seem to like him all that much. but he's usually toughing it out, trying to seem as composed and put-together as possible. the dark skin underneath his eyes betray him, though.

so you don't really know why today is different. is he just more tired? have all of the sleepless hours caught up with him? or is it just you; could it be that your body is the most comfortable place to rest his heavy head? or is it your perfume that's soothing him to sleep?

or is it the fingers in his hair?

he doesn't really let others play with his hair too ofter either. satoru and shoko had been the only exceptions but that was before you came along. satoru uses his hair as a stim, something to play with when he's bored. suguru has taught him manners though – a few slaps against satoru's fingers and chest to remind him to be more careful. and shoko is just more likely to brush a strand from his eyes or help him tie them up in a half-assed bun whenever his own hands are full with whatever.

you like playing with hair, always have and always will. it's relaxing and it's fun and it's calming and you love it. when you first met suguru, his hair was the second thing you noticed about him (his keen purple eyes being the first). an irresistible itch burned in your fingertips everytime you saw him, everytime he wore his hair down. it just looked so pretty and soft.

he takes very good care of his hair, you know that much. specific shampoos and conditioners, masks and all – he's all in. and nobody bats an eye. not that they should but satoru definitely gets made fun of because of his stupidly expensive collection of figurines and shoko gets teased for her silly mug shelf – and yet, neither of them ever comment on the bottles and tubs of fancy products that lay on his bathroom counter.

his hair also smells good. the compliment always hangs on the tip of your tongue but stays hidden in fear of coming off too weird. too creepy. but he doesn smell good. even with closed eyes and ears and you'd find him in a crowd. you wonder whether he knows that.

as you grew closer and closer, the now scorching itch only doubled in need. you never did gather the strenght to outwardly ask him – if you could play with his hair? if you could caress it? comb through it? it was an accident.

a simple gloomy friday afternoon: you're both lazing on your couch, staring at the screen. it's funny – you find yourself muffling your already quiet bursts of laughter, suguru alongside you. he's sitting close by, closer than usual. you don't ask him about it.

he asked to come over; something-something about being sick of his own apartment. you understand that, so you tell him that your home is his home (you'd tell him that even if you didn't understand). you hear the faint smile when he thanks you over the phone.

even when he looks like he hasn't slept in months – he looks good. you can tell he's overexaggerating his smile a bit but don't say anything about it, rewarding him with a grin of your own. his eyes flick to your lips and how they curve and he thinks about how warm it feels to look at you. maybe he's not exaggerating anymore.

your arms open wide, inviting him into you and he obliges, as always. he smells good. as always.

his hands lock behind your back and your behind his neck. your hearts meet and they greet each other with a fastened beat, eager to be in sync – to feel each other again.

he pulls back and the corners of his eyes crinkle when he smiles. he's not doing it anymore and you're happy to relieve him even if it's for mere moments.

he's wearing a sweather and his hair is down. he has lip gloss on; you try to think whether he's more of a mint guy or more of a shea guy. it remains a mystery.

and now you're on the couch with two cups of warm tea waiting for you on the small table. he smells good. he's so close. he snickers at the screen and you can't take your eyes off of him. it's the same small crinkle of the eyes and the faintest pink tint on his cheeks.

you know he knows that you're looking at him. you've been told to have a staring problem and he's just an observant guy. it's a terrible match. or a perfect one.

he doesn't say anything though; instead he leans his head back and little to the side against the headrest (he's even closer now) and you find yourself shifting an inch aswell. perhaps magnets are involved? the iron in your blood pulling you together?

no, that can't be. you'd have to be polar opposites for that to work. warm-blooded and cold-blooded? would that work? you're getting too poetic and he's looking at you now.

it's an accident. it slips out on its own. you smell good. caught off guard by your own comment, you're about to apologize when a hand on your thigh almost makes you suffocate on the words stuck in your throat.

he laughs and it feels so good. he thanks you. he means it, you see it in his tired eyes. he likes the way you blush.

turning his focus back to the tv, you try to collect yourself. a deep breath in and a deep one out and a deep one in and a de—

a weight on your shoulder. he smells so good. he's so close. you peek down, curious as to whether this is a dream or not. but suguru's head is in fact laid on your body, sinking a bit more into you by the second. a deep breath in and a deep one out.

seeking for a more comfortable position, you snuggle closer to him. it's hard to focus but you're making it your sole mission to make him feel safe. your arm curls around his body, his shoulder, and rests right by a flock of his hair.

his cheek is now smushed against the top of your chest and the weight of love doesn't seem as bad as everyone keeps telling you. his hand finds a place around your waist; loosely – as if he's the one who's afraid to scare you off. silly.

his breath against you feels right and the butterflies in your stomach refuse to calm down. so you do what you always do when you get nervous – completely on their own, your fingers caress his hair. just smoothing over it at first but before you know it, they're combing through a strand and twirling the ends between themselves.

you wanna apologize, again, but the soft little grunt that emits from the man keeps you from doing so.

don't stop.

+ this is for @twentyfivemiceinatrenchcoat just bc it feels right

412 notes · View notes

demaparbat-hp · 3 months

Note

the audacity you literally have to make a GENOCIDE SURVIVOR (whose entire culture was decimated by the fire nation) proudly work for the imperial fire nation army in some fuckass au? zutara shippers are never beating the colonial apologism allegations.

Woah, okay, I wasn't expecting this. I'm a firm believer that people should, first and foremost, treat each other on the basis of respect, so I'll do my best to explain this to you, clearly, and with the benefit of the doubt in mind, okay? I'm a nice person like that.

First of all, I'm working under the assumption that you haven't read these posts, and thus don't have all the information I've shared about the AU. I've been as clear about this subject as I can be, especially in my replies but, for the sake of fairness, I'll say it once again again:

I do not condone nor find it moraly correct to justify a victim of war joining the side of the ones responsible for her people's genocide.

I try to view this AU, and war in general, through a mature, realistic lense. Turning Katara into a victim with glorified Stockholm Syndrome isn't really my style. It's honestly insulting and deeply disturbing for me, as a creator, a woman of color born in a country that has a very, very long history of colonialism, and an empathetic human being, that anyone would believe me capable of thinking like that.

That being said, I know I really shouldn't, but would you like me to give you a step by step response?

(...) proudly work for the imperial fire nation army (...)

Okay, like I said before, I'm going to assume you saw only the artwork, didn't read either the tags or the two separate, in depth posts about the characterization and plot in this AU I made literally twenty four hours ago, and drew your own conclusions instead.

First of all: Katara doesn't proudly work for the Fire Nation army. That's her cover, as it is Zuko's. She joined Zuko and his crew, all traitors to the throne and good, honourable people, under the pretense of hunting the Avatar. Truly, they're destroying the Fire Nation military from within. And are, most definitely, not proud soldiers of the Fire Lord.

Katara hates the Fire Nation. But if joining a Fire Nation crew is what she needs to do to end the war, she will do it.

And, honestly, these are not excuses. But context is important, and it's not healthy to draw conclusions from the title instead of actually reading the book, if you know what I mean. It could get you in trouble some day.

And, please, I'm begging you—this has been talked about a lot, and I don't really like drama all that much, so I won't even rise to the accusations of condoning a non consented, colonialist and abuse apologist relationship.

That's just rude.

#dema answers #zutara #hunters au #I apologize if I ever insulted anyone with this AU that I've stitched together painfully and lovingly in long weeks of my time.#I probably came across as rude once or twice in this...#I try to be patient and understanding but sometimes you just have to swallow your moral superiority and go for the kill I guess #I hold no resentment towards Anon. I truly don't.#It's this whole situation that infuriates me #But it's okay #I've got experience dealing with stuff like this irl #So expect an artwork about this very same AU soon #I owe it to myself

246 notes · View notes

little-pup-pip · 3 months

Note

hai ! im requesting gender neutral bee board ! with deco paci and 6-9 age !

( hope it okay to send 2 requests !)

- @wittllle-bee

Here you go!!

223 notes · View notes

swag696942069 · 2 months

Text

Barty, about to enter Evan: Here comes the airplane

Evan, mortified: Don't ever say that to me again

210 notes · View notes

tennessoui · 1 year

Text

au where because palpatine is anakin’s confidante during his teenage years, he gets to hear all about the latest love of his life and how this relationship is The One, This Is It, Senator, Anakin Is Sure He Is In Love, only for the relationship to crash and burn a few weeks/months later, which results in dark! bad mood! anakin who swears to never see or speak to the temptress who played with his heart ever again

which gives sidious Ideas about how to most successfully ruin anakin’s relationship with obi-wan, aka the only thing really firmly keeping anakin in the light, so that he can twist anakin into Falling and becoming his sith apprentice.

after all it turns out that while obi-wan kenobi is damn near unkillable, he isn’t unfuckable (in the eyes of the vast majority of the galaxy.....anakin included)

and so palpatine becomes the number one obikin shipper, the og stan, the fan with a plan. he sets them up on countless dates and fancy dinners, gives them his opera house tickets, pays for them to be serenaded by the Coruscanti orchestra.....all because he thinks that once they get together it’ll be only a matter of time before they break up and then anakin will be so betrayed and distraught that he never talks to obi-wan again

but that....keeps not happening and palpatine just keeps bankrolling their dates at increasingly fancier and fancier places, all the while Anakin is in his In Love and Life Is Wonderful phase, Kenobi shyly thanks Palpatine for his kindness, and Sidious has to keep reminding himself that the happier and higher Skywalker feels the further he’ll Fall.......right? right???

#kit's silly lil aus #obikin #no obi-wan doesnt realize what's going on in this one #hes too distracted by anakin #torn between they never ever break up #vs they're constantly breaking up and making up in the same day #they both have a fight and think that means it's over #but then they're trying to call the other and apologize because they don't want it to be over #i think that would annoy the hell out of palpatine lol #he's trying to turn a crying anakin in his office #vader's theme playing n the background #only for obi-wan to comm him and anakin tto fly out the door for make up sex #guys omg look its actually a silly lil au

923 notes · View notes

loupy-mongoose · 10 months

Note

happy disability pride, randall!

Akoya's lucky she's not disabled, the way my line of thinking seems to be going. My shiny Mews seem to be getting the disability straws. XD

There will be others, though, as well.

@puzzled-zebra

#ask #art #Btw I apologize if I ever happen to offend anyone #Disabilities are something I'm not very knowledgeable in #So if I say something offensive I don't mean it!

364 notes · View notes

marlynnofmany · 1 year

Text

Irrational Attachment

I directed the delivery guy to put the last high-tech crate next to the others in our very full cargo bay, and I breathed a quiet sigh of relief. This was a big order. I noted the final count with a good old-fashioned Earth pencil.

The delivery guy, a fellow human much beefier than I was, smirked at the pencil and clipboard. “Really living in the space age, there,” he said. “Don’t you guys have tablets and scanners?”

“Oh sure,” I replied. “But one has a cracked screen and the other's got a faulty battery. You know how it is.”

His response was eclipsed by the arrival of the sparkly purple conglomeration of limbs that was my coworker Zhee. I was used to bug aliens by now, but I was amused to see the brawny human edge back a step.

Zhee didn’t notice. “What is ‘pack bonding’?” he demanded, clicking to a stop and looking at the two of us expectantly. “They were telling jokes that made little sense.” He waved a pincher arm over his shoulder. “Then it occurred to me that I have a pair of qualified humans here I can ask. Why do people joke about humans caring too much?”

The delivery guy straightened up, all bluster. “Oh, it’s a bunch of radiator wash, really. Lots of species are social. Really, we wouldn’t all have space ships out here if everybody couldn’t cooperate!”

“Well, sure,” I said. “But there’s a difference between cooperating and getting attached. Didn’t you have a teddy bear as a kid?”

“Yeah, as a kid,” he scoffed. “We’re talking about grownups here.”

“Grownups do it too,” I told him, barreling on as he started to object. “We give names and personalities to ships and cars and space probes. We put googly eyes on machinery, and keep pet rocks. We build people out of snow, lending them our own clothes, and we’re sad when they melt away. We have ancient history of granting a bear military rank, and recent history of doing the same to a cleaning droid. We care about things.”

He was still shaking his head and looking stubborn, so I pulled the pencil from my pocket. I held it in front of his face with an intense stare.

“I can tell you that this pencil’s name is Steven,” I said. “Then I can do this—” I snapped it in half. “—And I can watch a little bit of you die inside.”

His expression was that of a person shaken to his core. “What the f— Why would you do that??”

I looked down at the broken pencil. “You can’t tell me humans don’t care.”

Zhee clicked a pincher. “But it’s just a pencil.”

“It was,” I said. “Now it’s Steven.” I pulled a roll of tape from a different pocket. “And now I have to nurse him back to health and apologize.”

~~~

The ongoing backstory of the main character in this book. No pencils were (permanently) harmed in the creation of today's story.

1K notes · View notes

hoofpeet · 10 months

Text

perpetually suffering the tortures lately

#don't ever make a very complex/esoteric story based around a pre-existing fandom .worst mistake of my life #<-(the tortures)#half joking but the autism has been extremely agonizing lately in almost every way imaginable #.mostly just in the typical way of. it being impossible to believe i can actually be welcomed in any sort of fandom/community #and feeling horribly embarrassed about continuously pushing my posts into tags where people are trying to enjoy themselves #so. been spending the last month or so trying to beat my brain out of being hyperfixated on the blorbos to the point of embarrassment #<--putting this here mostly as an apology/explanation ig for not posting much lately .#trying to exile myself from the fandom + in general. it has been hard to do literally anything but lay in bed all day #also as well as just like. summer sensory hell + sadd moments #ough . the tortures

274 notes · View notes

blindmagdalena · 1 month

Note

Heeyy a bit of a self indulgent ask here but I had a phobia/trauma trigger today and it caused me to have a messy sobbing panic attack. Do you have anything on how Homelander would deal with his s/o having a panic attack like that? almost completely inconsolable. I know this is self serving and indulgent and I’m sorry for over sharing homelander is a comfort character for me and you write him exquisitely. If you’re not comfortable with this just ignore

Homelander was sixteen when he had his first panic attack. He'd flown further and faster away than he'd ever had the freedom to and collapsed in a dense woodland, sobbing and rocking his body against the cool forest floor.

He'd pulled his hair so hard it should have come loose, grit his teeth so tightly they should have cracked, and choked so badly on his own constricting throat that it should have caved in.

They didn't. He's invulnerable, after all. As solid as marble.

It was the first attack, but not the last.

That's how he recognizes it so quickly in you.

"Hey," he says, ears attuned to the rabbit-like pound of your heart. "Heyy, hey, it's okay. I'm right here, you see me? Hey." He's only just found you, he doesn't know yet what your trigger was, but he can ascertain that later.

Your staccato breaths and sharp sobs, the sea salt smell of tears streaking your cheeks, are nearly enough to rouse his own panic by proxy. He needs it to stop. He needs you to stop. He cares about you too much for you to scare him like this.

"Hey, you hear me?" He asks, cupping either side of your face. You can't answer through it. Your tongue is gnarled with panic and you're sobbing so hard he fears you'll choke yourself on it. He's not even sure you see him.

He takes you into his arms, one moving smoothly around your waist while the other cups the back of your head. He holds gently at first, grip gradually tightening, compressing your body against his in the hopes that the hammer of your heart will meet and match the steady beat of his own.

"Sssshhhhhhh," he shushes by your ear, lifting you just enough to keep you on your feet, but take from you the weight of your own body.

"I've got you. Whatever it is, it's okay. It's okay. I've got you. M'gonna take care of it, alright? Ssshh," he says, rocking you the same way he used to rock himself in the corner of the bad room, soothing himself with the thump of his own skull against those sterile white walls.

He knows it's working when you slip your arms around him in turn. He continues to hush you, whispering more honeyed assurances in your ear, the core sentiment always the same.

I'm here. You're safe. I love you.

It's everything he can think that he always wanted to hear in these moments of raw, horrifically human weakness.

Eventually, your breaths begin to even out, though your heart continues to thunder in his ears, still convinced that the danger hasn't yet vanished. He tries not to take that personally and scoops you up the rest of the way into his arms.

"That's it, just like that," he coos, pressing a firm kiss to your forehead. "Breathe. Breathe. Good... Light as a feather now, okay? Like you can fly," he tells you, sharing the greatest comfort he's ever known. His only real escape has always been his weightlessness, the ability to shed gravity at will. He uses his strength in an attempt to share even a sliver of that sense of freedom with you.

Maybe it works, maybe it doesn't. All he knows is that your heart starts to slow alongside the flow of your tears. He kisses your wet cheeks, the bridge of your nose, your forehead. He whispers praise and love with each one, voice barely above a whisper.

"I'm sorry," you choke out. He's appalled that would be your first instinct.

"Don't," he says firmly, though his voice is still low. "Don't. I can carry it for you. Carry you. What's the point of super strength otherwise?" He murmurs, a smile playing at the edges of his lips.

You almost smile back, and that's enough for him. He kisses the crease between your brows until it smooths, and the highs of your cheeks until the tears dry up, and your lips until they're ready to speak again.

He'll hold you for as long as it takes your body to realize the threat was only ever in your mind, and that there isn't a thing in this goddamn world he would ever let hurt you.

#i'm so sorry you experienced that today my darling ilu #i hope this helps i tried to get it out asap #he would take such good care because he knows what it's like to be fucked up by your own body #you don't ever have to apologize to me i promise #i'm all for self-indulgence and comfort #you're welcome and safe here!!!#homelander x reader #homelander x you #x reader #darling anon #ask and you shall receive #my writing

114 notes · View notes

cultivating-saplings · 12 days

Text

In honour of 4/13x15 I'm posting (a very slightly edited version of) the paper I wrote on the Unofficial Homestuck Collection for one of my classes last term. The language/tone is a bit more academic than what I would usually put up on here, but it's exam season so...

Don’t Turn Your Back on the Body:

The Resurrection of Homestuck After the Death of Flash

Digital media is, broadly speaking, very difficult to preserve. The rapid pace of technological development means that obsolescence and decay present a consistent threat to the availability of natively digital works. Most computers produced in 2023 no longer have built in CD drives, and I feel fairly confident in asserting that none are being produced with floppy disk readers outside of hobbyist spaces. Issues with the accessibility of physically stored digital media can be mitigated (at least for now) by the use of external readers, but the preservation of fully digital media, born and hosted in its entirety on the Internet, is a different beast entirely.

This is, in part, an issue of pure volume; no one organization could ever hope to archive the vast amounts of stuff that the Internet is constantly producing, let alone organize it into a resource that could be used effectively. Like Borges’ cartographers who created “a Map of the Empire whose size was that of the Empire,” to fully archive the Internet would be to replicate it in its entirety. Thus scope becomes a central question of fully digital archiving.

The Internet Archive, which also operates the Wayback Machine, answers that question with a resounding and all-encompassing ‘yes’ — their stated goal is to “provide Universal Access to All Knowledge,” but even this comes with caveats. The organization freely permits members of the public to upload files to the archive and save pages on the Wayback Machine, but the work carried out by its official volunteers is more curated, and prioritizes webpages which have been identified as particularly important.

The Internet Archive is very effective within its own space, yes, but it has its limits. When the piece of work you are trying to archive is composed of not just static text and images, but longform animations and complex browser-based games, where do you put it? What do you do when the software necessary to access these elements of the work has been taken offline? And what happens if the people who were supposed to safeguard it fail to do so?

These were the issues that the fans of Homestuck faced in 2020 as the impending deactivation of Flash loomed on the horizon.

But first, before I properly explain what the Unofficial Homestuck Collection really is and why it is so effective as a digital archive, let me tell you about Homestuck.

Frustrated with the poorly implemented official preservation of the comic, and with a lot of free time on his hands, one fan began the Unofficial Homestuck Collection as a personal project during lockdown, during the “depths of 2020.” As the project changed hands and more fans became involved over the following years, its true scope came into focus: the Collection would preserve not only Homestuck itself, in its entirety and with its Flash-dependent pages intact, but also as much of its contextual material as possible, thus making it a prime example of the effectiveness of fan-driven digital archiving and preservation. Because the people who created the Collection are long standing fans of Homestuck, they know which pieces of peripheral material will provide the context the comic demands. The Collection preserves Homestuck as a text in a way that would be impossible in an analogue format, creating an archive both of the work and of the experience of reading it in a serialized format.

Andrew Hussie began* Homestuck on April 13th of 2009, and published it serially on mspaintadventures.com, his personal website at the time, until its conclusion on April 13th, 2016. Prior to beginning Homestuck, Hussie had been publishing short webcomics and pieces of fiction for several years on his older website, Team Special Olympics, since 2004, which had gained him a small but very loyal following. This following was centered mostly around the forum attached to the TSO website, which hosted the first of Hussie’s ‘MS Paint Adventures,’ Jailbreak, in September of 2006. Jailbreak was a short comic which Hussie produced as a collaborative writing game on these forums, in the style of early text adventures.

Beginning with the prompt, “You wake up locked in a deserted jail cell, completely alone. There is nothing at all in your cell, useful or otherwise,” Hussie then wrote the rest of the comic according to the first comment posted after every page. This, perhaps predictably, resulted in a barely coherent mess of a story.

Following the conclusion of Jailbreak after a short 134 pages, Hussie would produce two more comics prior to beginning Homestuck: the unfinished Bard Quest (June-July 2007) and Problem Sleuth (March 2008-April 2009), which was his longest work so far at the time of its conclusion. Problem Sleuth in particular represented a substantial increase in production quality and general coherency over Jailbreak, as Hussie gained experience using the MSPA forums as tools for collaborative storytelling, reigning in the meandering narrative by allowing himself to be more selective about which forum responses he followed.

Hussie would continue this more controlled style of forum collaboration throughout the first three Acts of Homestuck, which followed a much more focused story than any of his prior work, thanks to his decision to use reader input only in specific parts of the comic. In the introduction to the print edition of the first Act, Hussie described his own role during the production of these first Acts as “dungeon master, a game engine responding to input, and an improv comic all in one.” During the process of writing Act 4, Hussie stopped taking prompts from readers entirely, and would construct the rest of the comic ostensibly as its sole author.

‘Okay,’ you might now be thinking, ‘you’ve given me the context, but what the hell is Homestuck? And what’s it about?’ Well, to wildly oversimplify a very complex piece of media, Homestuck is a webcomic about four young online friends who play a video game that causes the end of their universe and grants them the power to create a new one as they see fit. It is a story about growing up and realizing you’ve been forever changed by your experiences, a story about leaving behind the life you knew and constructing a new one. It is also a story about time travel and paradoxes, genetics and cloning, a large number of aliens, a possibly larger number of puppets (at least one of which is sentient), and an unfortunate amount of clowns.

This story slowly unfolds over the course of 8126 pages, 817,929 words, and 166 animated panels, 95 of which contained some degree of interactivity and all of which total over four hours in length. Most of the comic’s pages consist of a main image, usually a short looping gif, accompanied by a text description or dialogue, which is almost always written in the format and style of online chat-logs between characters. As mentioned previously, however, these simpler gif-and-description pages are interspersed with longer videos, animated in Flash and soundtracked by one of Hussie’s several collaborators.

The first of these animated panels was uploaded a few weeks into Homestuck’s publication — an animated opening title-card for the comic, scored ominously with sounds of howling wind and windchimes. This first Flash panel was relatively simple, but the next would introduce a bespoke soundtrack (“Harlequin” by Mark Hadley), and the third would include simple interactivity. These soundtracked animations and interactive segments increased in scope and complexity over the course of the comic’s run; the final animated page in the comic, “[S] Collide,” comes in at nearly twenty minutes in length, and some of the larger interactive segments can take upwards of two hours to fully explore.

While some of the later interactive pages were developed in an engine based on HTML5, most of Homestuck would be built using Adobe Flash, and would depend on the program for basic functionality. This would prove disastrous for the comic’s long term preservation. Flash was very popular, and had become ubiquitous by the early 2010s, but it had security issues which were easy to exploit, its range was fairly limited in terms of what kinds of animations it could produce, and, as its most fatal flaw, it couldn’t run on mobile. Thus with the expanding use of smartphones and tablets, Flash became less and less practical as a tool for web developers, and Adobe began slowly preparing to kill it. On December 31st, 2020, Adobe sent Flash off to the farm where it could frolic and play in the digital sunshine, leaving many online communities facing a crisis. How do you preserve a text when its foundations have crumbled?

With Homestuck using Flash in such an integral way, the issue of preservation was an important one. After the finale, Hussie would post some short post-credits stories to Snapchat from October 2016 to August 2017, as well as a longer epilogue in April 2019, before stepping away from any formal involvement with the comic in 2020. In 2018, Hussie had given the distribution rights for Homestuck to VIZ Media, which primarily handled the English-language publication of several manga series, and had left the rights to the IP and the freedom to produce new work to former collaborators. Thus it was VIZ who took on the task of officially preserving Homestuck against the death of Flash.

To say their efforts were unsatisfactory would, I think, be paying them too great a compliment. The complex and highly detailed Flash animations were replaced with embedded YouTube links to low-quality screen-captures of the originals. The hours-long walkaround games were not translated at all, replaced with ‘choose your own adventure’ style pages of text and links. The official version of Homestuck as it currently exists fails to capture a lot of what made the comic work, because it removes a lot of the gamified elements of the comic that are so integral to its storytelling.

There are many snapshots of the website from before the walkaround games were taken down on the Wayback Machine, but the Flash emulator that archive.org uses is very inconsistent, frequently becoming stuck on looping loading screens or failing to process assets correctly. While the dubious preservation of the long Flash animations is a real issue on its own, the lack of any attempt to replicate the format of these longform games represents the loss of something essential to the comic. Homestuck is, throughout the whole of its story, intertwined with the visual and cultural language of video games. The loss of the complex interactivity of these panels fundamentally changes how the reader is permitted to engage with them and, by extension, with Homestuck’s narrative as a whole. The official version of Homestuck that exists online is no longer complete.

This incredibly poor preservation was the impetus behind the creation of the Unofficial Homestuck Collection. In its most basic form, the Collection is simply a preserved and restored version of Homestuck, intact and in high quality, accessible through a downloadable client, rather than online — reducing the Collection down to this basic description does it a disservice. The Unofficial Homestuck Collection includes not just Homestuck, but all of Hussie’s prior work: Jailbreak, Bard Quest, and Problem Sleuth are in there, but so are the full contents of his first website, Team Special Olympics, alongside archived versions of his now-deleted accounts on various social media platforms, and copies of threads from the MSPA forums that he would later reference in the main comic. The Collection also includes material that Hussie released alongside Homestuck, like the in-fiction blog of one of the main characters, various short comics written by guest authors, and a full episode of an in-universe childrens’ cartoon.

These peripheral materials are interesting and provide context for some of the more obscure references throughout Homestuck, but many of them were not produced until well into the comic’s run, and assume an audience that is caught up with the most recent update, making them dangerously full of spoilers for the unaware new reader. This issue is solved by the appropriately named ‘new reader mode.’ One of a variety of useful accessibility tools included in the Collection, the new reader mode tracks which page a user has reached, and implements a universal spoiler cloak over the whole program, hiding all materials that were released after their most recent page’s publication. This tool is what transforms the Unofficial Homestuck Collection from an archive of a text, into an archive of an experience.

De Kosnik argues that fan-driven archiving serves as a way for fans to mediate their own temporal experience of a text, describing websites hosting fanworks as mechanisms which “maintain the possibility of individuals joining fandoms… long after a media text has ceased to air.” While De Kosnik’s focus is on archives of fanworks and their function in ongoing fan spaces, I would argue that this framework, which centers the impact of serialization on the dynamics of fan communities, fits extremely well when applied to the Unofficial Homestuck Collection. Homestuck was published serially over the course of seven years, accompanied by blog posts, side comics, music, and other pieces of peripheral media that were released in tandem with the comic itself.

Updates were highly anticipated events, and fan communities were structured around them — one user on Tumblr found an unlisted part of the MSPA forums where Hussie posted new pages before they were published, and this “MSPA Prophet” became a fixture of the fandom for their ability to predict when the next update would come. The event that was an update (or upd8, after the typing style of a popular character) was a central aspect of the experience of reading Homestuck during its publication, and it is one that is very difficult to recover now that the comic exists as a static, completed work. The Unofficial Homestuck Collection, through its new reader mode, functions as a solution to that absence. It does more than safeguard the reader against unwanted spoilers: it temporarily transforms Homestuck back into an incomplete text.

Homestuck makes use of the assumed preexisting knowledge of the reader, and their “intuitive familiarity” with various types of digital media and culture, especially ones which are inherently participatory. The story’s use of narrative motifs and referential easter-eggs allows Homestuck to function, in Hussie’s own words, as “both a story and a puzzle,” but that “There [are] a range of ways to interface with it[…] Failing to grasp everything shouldn’t preclude basic enjoyment, nor is it a symptom of failure by either the reader or the story.” In the most frequent example of repeated symbology in Homestuck, Hussie peppers the text with references to the number ‘413,’ simplified from April 13th, the day the comic began.

The story follows four friends who are all thirteen years old, many of the songs on the comic’s soundtrack are exactly four minutes and thirteen seconds long, and the timestamps on chat-logs show that characters frequently begin important conversations at precisely 4:13, to name just a few of the number’s appearances. The combination of puzzle and story in Homestuck extends beyond these kinds of motifs, however, and into the way Hussie employs referential humour.

Some of these references are fairly easy to catch; in Act 4, one of the main characters is gifted the Warhammer of Zillyhoo — a brightly coloured weapon which originally appeared in Problem Sleuth. Others, however, are much more obscure. The older brother of another main character runs a business creating bizarre, semi-ironic puppet pornography. Most of the audience read this as an absurdist joke about the internet’s love for offputting porn; the subset of fans who had been following Hussie for several years, or those who looked into Hussie’s early activity on the MSPA forums, however, would find themselves with new understanding of a long-running joke. This element of the experience of reading Homestuck is something that the Unofficial Homestuck Collection not only preserves, but makes readily accessible to the comic’s readers in a way that would not have been possible during the comic’s publication.

On a purely theoretical basis, I would argue that the Unofficial Homestuck Collection is valuable not just in the context of contemporary fan activity, but as a potentially valuable resource for future research. Homestuck is a foundational piece of the current cultural landscape, its influences permeating both digital and analog media in subtle (and sometimes not so subtle) ways.

Undertale, titan of online culture that it is, was created by Toby Fox, who was the composer behind a large amount of the music in Homestuck and was, during the game’s production, living in Andrew Hussie’s basement. Tamsyn Muir, author of the Locked Tomb tetralogy, began her writing career as a prominent figure in the Homestuck fandom on Tumblr and Archive of Our Own. Although the reach of her original work has thoroughly outgrown her fandom roots, Muir includes sly references to Homestuck in several places in her books. Hell, one of the animators working on Bluey, a cartoon aimed at very young children, included references to Homestuck in the backgrounds of episodes they worked on, as easter-eggs for the benefit of parents in the know. All of this is to say that Homestuck has its hooks deep within the culture of the Internet, and its impacts will, I think, be felt for a long time yet.

The Unofficial Homestuck Collection is certainly not immune to digital decay or link rot, but it is resistant to them, since it is hosted on a large and well established website (GitHub), and, once downloaded, can be accessed without an internet connection, and shared freely. For the hypothetical future researcher, the Collection contains resources to mitigate the frustration of trying to hunt down pieces of contextual or peripheral material by packaging them with the text itself — it functions like a sourcebook.

Bibliography

Bamboshu, and GiovanH. The Unofficial Homestuck Collection. 2020. https://bambosh.dev/unofficial-homestuck-collection/

De Kosnik, Abigail. Rogue Archives: Digital Cultural Memory and Media Fandom. Cambridge, Massachusetts: The MIT Press, 2016. https://doi.org/10.7551/mitpress/10248.001.0001.

Glaser, Tim. “Homestuck as a Game: A Webcomic between Playful Participation, Digital Technostalgia, and Irritating Inventory Systems.” In Comics and Videogames. Edited by Andreas Rauscher, Daniel Stein, and Jan-Noel Thon. 96–112. Routledge, 2021. https://doi.org/10.4324/9781003035466-8.

Hussie, Andrew. Homestuck. MS Paint Adventures, 2009-2016. https://homestuck.com.

Nakhaie, FS. “Reproduce and Adapt: Homestuck in Print and Digital (Re)Incarnations.” Convergence, 2022. https://doi.org/10.1177/13548565221141961.

Read MS Paint Adventures. “Statistics.” Last modified April 7, 2018. http://readmspa.org/stats/.

Veale, Kevin. “‘Friendship Isn’t an Emotion Fucknuts’: Manipulating Affective Materiality to Shape the Experience of Homestuck’s Story.” Convergence 25, no. 5-6 (2019): 1027–43. https://doi.org/10.1177/1354856517714954.

#ray speaks #homestuck #413 #the unofficial homestuck collection #andrew hussie #uhhhh #homestuck studies #i fucking guess #if you notice any errors in this don't hesitate to let me know! i always try to keep living versions of all my old essays #so that if something new comes along i can add it for future reference or easier editing if i ever want to get it published #also this is Fucking Long and i will not apologize

63 notes · View notes