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unfortunate-stranger-losers · 4 years

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Triple the Losers AU - Concept Notes

i wanted there to be 27 but if i added patties and audras that made 27 but then i’d have to add kay bc i love her which would make 28 so 21 it is

so the basic concept for this is “hey guys remember how i doubled the baudelaires and made the best au with movie! and netflix!bauds well we’re doing that with book, miniseries and film losers club”

So, yeah, in this au, the book, miniseries and film Losers are all in the same universe, related, and ready to kill a clown. There is no Chapter Two because these kids bully that clown to death asap.

A friend group of 21 is pretty wild but definitely makes for a pretty great army.

Full list of Losers:

The Denbrough Boys

Isaac Denbrough - film!Bill

An adopted sibling, though he’s never known any family but the Denbroughs and is never considered anything other than the oldest Denbrough boy

Artist who wants to illustrate for his brothers’ books bc he loves them

Gay but in denial. Giant crush on Daniel Hanlon.

Anselm Denbrough - miniseries!Bill

Likes to write fantasy novels as an escape from reality

Fights with Bill about whether fantasy or horror is better which is lowkey a metaphor for them arguing about how to deal with their trauma

William “Bill” Denbrough - book!Bill

Writes horror stories cause he loves psychological analyzation

He prefers to face his fears rather than “escape” from them, causing tension between he and Anselm with how they deal with Georgie’s death

Georgie Denbrough - there is only one Georgie as he literally only exists for like one chapter

Loves his brothers

Dead as fuck, sorry

Stuttering seems to be a family trait during childhood in the Denbrough family that Anselm and Bill are afflicted with, though Bill much more than his older bother. (Isaac also starts stuttering young, which is suspected to be more psychological.) This trait skipped a generation, and thus the Denbrough parents don’t really know enough about how to deal with their sons’ disability.

They’re a very creative family, usually in terms of creative writing, though they’re also pretty skilled in the art department. Sharon Denbrough is a skilled pianist and taught Isaac until recently. The family was never very close, and Bill always had a rocky relationship with his parents, but the family fell apart after the death of Georgie. Isaac and Bill found themselves practically ignored, while Anselm was pretty much yelled at for trying to fix everything. The brothers only managed to maintain their relationship by trying to avenge Georgie by killing this fucking clown.

The Hanscom Boys

Desmond “Des” Hanscom - film!Ben

Would like to go into Investigative Journalism, though he’s also really into Local Histories

Tends to be afraid of the concept of death more than anything else

Has a lot of social anxiety

Auster Hanscom - miniseries!Ben

Super into all forms of writing but mostly poetry, which he loves and kinda obsesses over

Was most affected by not having a father figure around, as Des and Ben didn’t seem to mind

Assumed he was straight for a while but is probably demi

Benjamin “Ben” Hanscom - book!Ben

The Architect, and his love of blueprints and planning has made him the main strategist of the Losers Club

He really doesn’t have many psychological demons so his worst fear is just the mummy he saw in a movie too late at night

Pure baby

The Hanscoms’ father left the family when Arlene was still pregnant with Ben; while the boys never understood why, they sometimes speculate about secret missions, one or both of their parents cheating, government conspiracies, etc. Des and Ben never really minded, as Des was quite the introvert and Ben was close with their mom, but Auster really wished they could have a paternal figure, especially since the boys tend to be shunned for their genetic overweight appearance and he really wished for some kind of acceptance.

The move to Derry was recent, as Arlene managed to find a higher-paying job that could help her support her boys. Ben managed to get himself in trouble with the Bowers Gang, meaning that his brothers, defensive of him, also became targets. But they manage to find friends in the Losers Club, and with the whole gang together, nobody’s going to be able to hurt them... right?

The Marsh Girls

Karen “Karrie” Marsh - film!Bev

Hates her name, thinks it sounds like a middle-aged mom. Goes by Karrie which she thinks sounds cooler (and serves as another Stephen King reference)

Wants to do movie stunts as an adult, is the most daring and bold of the Losers Club, and also probably the physically strongest

Intensely protective of her sisters, especially due to their home situation

Brooke Marsh - miniseries!Bev

The sweetest little angel you will ever meet. Has never done anything wrong in her life

Wants to be a painter and is very artistic. Karrie has shoplifted her paint supplies before

The only one of her sisters to not smoke, as they refuse to let her near cigarettes

Beverly “Bev” Marsh - book!Bev

Technically the half-sister (stepsister?) of her older sisters, and can tell that her Mom doesn’t seem to care for her sisters much. She loves them, though, and won’t stand for people insulting them

Quite the fashion designer, and even though the family is poor, she’s been making sure they don’t look like shit since she could choose her own clothes

Probably the most manipulative of the Losers, though this has its advantages, such as when they need to get out of trouble.

Giant Lesbian, definitely marries Kay McCall

Karrie and Brooke have lived under the hate of their father for a while, due to the fact that he blames them for their mother’s death; Karrie brought home a virus from daycare that infected their mother, weakening her enough that labor with Brooke killed her. Karrie tends to get the most shit for this, mainly because Brooke gets along more with their stepmother, Elfrida. Elfrida married their father only a few months following their mother’s death, mainly due to the fact that Al got her pregnant. The family is quite poor, and the parents work quite a lot, meaning the sisters have gotten pretty good at fending for themselves.

Recently, the girls have started to get more fears about their father than just physical abuse- he’s been acting weird around Karrie and Bev, and while Brooke seems to avoid his eye for the time being, she has been quite hurt by his violent outbursts. Karrie’s secretly been saving up to take her sisters away before he can do anything to them, though she’s not sure how to tell Brooke and Bev, as they don’t even understand what they’re supposed to be afraid of. But while they’re in Derry, they end up finding themselves among the Losers Club, on a mission to save the children of the town by killing a monster that lives in the sewers. That won’t be much of a problem; they have much worse monsters at home.

The Kaspbrak Boys

Chase Kaspbrak - film!Eddie

Somehow simultaneously the most paranoid and most reckless boy in the world

He’s really into analysis and predicting events

Can and Will fight you, but he will be bitching about it the entire time

Otto Kaspbrak - miniserires!Eddie

11, Eddie’s older twin

Incredibly stubborn and snarky, but also the most loyal Loser and the most sincere

Has an interest in mechanics and repair, and when his mom’s not looking he’ll take things apart to find out how they work

Edward “Eddie” Kaspbrak - book!Eddie

11, Otto’s younger twin

Very adaptable and adventurous, though he has a lot of anxiety at times

Special Interest in cars, wants to be a driver as an adult

Able to find direction no matter where they are, and his gift of coordination has helped the Losers numerous times

There will absolutely be a car chase scene where he has to drive

Chase is the only Kaspbrak who really remembers their father, being seven when he died instead of his brothers’ five. He seems to recall them not being so sick back then, though his Mother claims otherwise, and their father being a good, playful man. But he’s not here now, and their mother, Sonia, is paranoid about everything. Her boys are very weak and sick and can’t do much, and she hates that they have such rough, rude friends that must be corrupting them somehow.

The boys, however, are much more adventurous and capable than Sonia believes- especially Chase, who has actually won more than one fight, mostly on behalf of his brothers. As the eldest, Chase believes he has to protect Otto and Eddie, whether it be from a bunch of school bullies, a killer clown in the sewers, or their own mother. Also, Chase and Eddie are gay as hell and Otto is demi-gay as fuck.

The Hanlon Boys

Daniel “Danny” Hanlon - film!Mike

14, the oldest of the Losers

He’s actually the cousin of Orel and Mike; he recently moved in with his aunt and uncle after the death of his parents in a house fire. He’s pretty traumatized from the incident

Wants more than anything to travel and explore the world, meet new people and see everything there is to see, and being stuck in boring, bigoted Derry is pretty much hell for him

He is very protective of his cousins and friends, though, and is the one who believes the most in their ability to triumph over Pennywise

Orel Hanlon - miniseries!Mike

Incredibly excitable and very optimistic, as well as incredibly bookish. As such, he tends to infodump whether people want to hear him or not

Super into cartography, and collects old, antique maps as well as making his own pretty much wherever they go

Really into gruesome horror stuff and doesn’t understand why it scares and/or grosses out other people.

Michael “Mike” Hanlon - book!Mike

Incredibly watchful and steadfast, and the Loser with perhaps the most emotional stability

He’s a lil Historian whose greatest desire is to work for the library and get to read as many books as he wants

Just. really fucking loves his dog

Orel and Mike don’t go into town much, mainly staying on their farm with their loving parents and spending their time with the farm animals; Mike is closest to their watchdog, but Orel loves being among the sheep. In the last few months, their cousin Danny moved in with them, and their relationship is... a bit awkward. Orel is too blunt and Mike is too curious, and they don’t know how to carefully approach the subject of his parents burning to death in front of him without making him feel worse.

It doesn’t help that Danny hates Derry; it’s bigoted, it’s tiny, it’s in the middle of nowhere, and people are dying left and right. However, once his cousins convince him to come hang out with their friends, he ends up bonding with the other Losers of the town, even though they’re all a bunch of weird white kids. And though the Hanlons don’t deal much with town business, they’re ready to join in the fight to stop Pennywise from killing anyone else.

The Tozier Triplets

Reynard “Reynie” Tozier - film!Richie

12, the firstborn of the triplets

Loudmouthed, rude, impulsive and very crass, mainly to hide his crippling self-doubt and fears of being ostracized

Super good at video games and says he wants to be a professional gamer, though honestly he’s just really interested in stand-up comedy

Gay as all fuck

Roderick “Rod” Tozier - minseries!Richie

12, the middle of the triplets

While he’s just as hyperactive as his triplets, he’s a bit more controlled and actually the least raunchy, meaning Reynie and Richie joke that he’s not using his name correctly

Wants to be a voice actor for cartoons like Looney Tunes, and is actually getting decent at impersonating the RoadRunner.

Richard “Richie” Tozier - book!Richie

12, the youngest of the triplets

Pretty wild and uncontrollable, energized as all hell, and makes off-color jokes to piss people off and get attention, though he does have a true heart for his friends

Wants to have his own radio show in the future. Was the first to befriend the Marsh girls, because he and Bev would share cigarettes during recess

Bi as all fuck

The Tozier triplets are a trio of ADHD disasters and nobody in Derry can or will ever forget it. Reynie and Rod tend to “big brother” Richie, meaning they tend to end up slapping him upside the head for saying something insensitive, though sometimes Reynie says something a bit too impulsively as well. They used to do different voices to entertain each other, meaning it’s a bit of an interest for all of them. While Reynie tends to lean more towards comedy, though, Rod wants to be a voice actor for cartoons like Looney Tunes, and Richie hopes to be some kind of radio personality.

Their parents mean well but are often at work, and even at home they don’t quite understand their boys, so the triplets are pretty used to relying on each other. Reynie kinda has the least parental affection, as Rod and Richie tend to get into even more shit than he does, so he kinda falls to the wayside. His isolation tends to manifest in fears of abandonment and loneliness- and a public outing resulting in such, starting when he started to realize that he maybe didn’t like girls as much as he said he did. Rod and Richie, meanwhile, also have vague fears of outing, though Pennywise represents their bisexuality as werewolfism- always transforming in painful and terrifying ways.

The Uris Boys

Mason Uris - film!Stan

Very cautious, but definitely not the Mom friend; he will inform you how shitty your idea is, but will not stop you, and in fact will grab popcorn to watch

Loves studying art history and different art forms, though he doesn’t want to create them himself, just catalogue them. He likes to entertain Isaac and Brooke by “critiquing” their “fabulous” artwork

The only one of his siblings who doesn’t get along with their parents

Peter Uris - miniseries!Stan

12, almost 13

Incredibly logical and has the most anxiety. Is the last one to believe in the clown just because it doesn’t fit into his worldview

While all the boys love birdwatching, he’s the one who’d like to go into it as a profession; he loves ornithology and wants to study birds for the rest of his life

Stanley “Stan” Uris - book!Stan

Loves to have things in order, and doesn’t really know how to interact with people socially, because people don’t act in predictable ways.

Super good at mathematics and hopes to be an engineer or accountant

Has the weirdest sense of humor, which means he is the best

The Urises are one of the few Jewish families in town, and in a bigoted town like Derry, that means they were pretty much outcasted from the getgo. They are all relatively close with each other, in that they’ll argue nonstop but also would die for each other without question. Peter and Stan probably get along the best, as they’ll sit and talk about birds until they pass out, while Mason likes to sit in his room and read his books on famous artists. Mason also has a bit more of a strained relationship with his parents, while his brothers get along with them much better.

The boys refused to believe in Pennywise for the longest time, as they’re all very logical and orderly and “magic alien clown eating kids by turning into their fears” doesn’t exactly fit into their normal worldview. But they’re going to stick by their friends and do their best to protect themselves and the town... and, well, if the way to kill the clown is by bullying him to death, they have a shitton of insults they’ve been saving for a special occasion.

#it #it 2017 #it 2019 #it chapter one #it chapter two #it book #it 1990 #triple the losers au #mine #losers club au #it au

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flusteredmountainman · 5 years

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Bullet-pointed predictions I have for each of the new 3 routes

For like an in-depth prediction I did of Muriel’s one a couple months back see this old thing

So a huge commonality in the first three’s arcs (as I mention in that linked post) is reconnecting with family (both found and blood) and so I first and foremost think that this will be present in each LI’s route; I’ll go into more detail on what I think this will look like for each of them individually, plus upright/reversed end speculation based on the definitions for their patron arcana.

***Spoilers for Muriel, Portia and Lucio’s routes so far and references to Nadia, Asra and Julian’s routes***

I’ll start with Muriel because I’ve already talked to his route the most and I think it’ll be the easiest place to start!

Muriel:

The role of family in his route:

Obviously as we’ve seen so far, Muriel has a lot of unresolved feelings of abandonment, shame, self-loathing and loneliness associated with his family and the fact that they’ve abandoned him.

He’s already had the very beginnings of opening up to MC in his last book (The Hermit - very fitting), and he will perhaps continue to do so

I think a central theme for his story will be reconnecting with his family and hearing their perspective on what happened for two reasons: firstly because of one of the options for MC’s response to this discusses that he actually doesn’t know his parent’s reasoning and that maybe they Did want him, and the second relates to Nadia’s route and her arc with reconnecting with her sisters

In her route, similarly she vents about how annoying and patronising her sisters were throughout her life and you can either agree or posit that maybe they were just trying to help/showing they cared about her (reversed vs upright choice)

I’m also hoping he generally creates a stronger support network - I think at least Portia, Nadia and Asra (and maaayyyybe even Morga but that might be pushing it) will end up helping him and MC in the confrontation with the devil at the end - just based on who we’ve seen interacting with him the most in positive ways so far

Upright meaning: Look inside yourself for the answers you seek. Take time for introspection in the days ahead.

He’ll recover from his trauma, recognise himself as a person who is deserving of love and support and who has Needs (including like. a bed. lol.)

Honestly I don’t have a lot else to say ‘cept that bc I said it already so kjaefjef check my aforementioned post if you want More for my favourite man

Reversed meaning: Be wary of retreating too far within your own mind. Others still have valuable things to share.

He decides that he needs to handle the confrontation with the devil alone - probably erring more on the side of self-sacrifice than anything else and/or seeing his sacrifice as just (still blaming himself for his trauma, he believes that his only way to “Redemption” is by falling on his own sword, so-to-speak)

Portia:

Oof, Portia’s a tricky one so far.

The role of family in her route:

So, obviously she has a lot of baggage with Julian. Some of this is hinted at just around her arcana’s definitions, but I’ll get to that soon.

She’s a compulsive secret-hoarder and collects information about everyone around her. I think this is probably a hang-up that she has around control - or loss of it. She doesn’t have security or wealth or even anyone to permanently look after her/mentor her (Julian left and Lilinka - her adoptive grandmother - passed away leaving her to fend largely for herself).

I think that information is the one thing she feels that she has control over, because so much of her life has been out of her hands (and also just chasing Julian around trying to clean up his messes)

She’s literally a head servant as her job -so much of her life is being told what to do and also telling others what to do. I think she fears loss of control in her life, but she’s also never been in a position where she’s been able to be an active agent and do things just because she wants to do them.

She craves validation, safety, and support and that’s why she found herself in this employment role with Nadia - and even then in Nadia’s route (and her own), she’s terrified that Nadia will abandon her in a heartbeat - even though she literally nursed her for years and has been nothing but loyal. Girl has some Mad abandonment issues

Edit: Portia ultimately blames herself for the people around her leaving and thinks that people will only stay if she can be useful in some way - hence why she so doggedly pursues Julian's innocence because she thinks the only chance she has of him staying is if she can literally fix his mess

Largely I think her arc with her family will be about her feeling emboldened to be honest about her feelings and letting Julian know in a meaningful way how much his absence impacted her, but also realising that she Actually Can lean on Mazelinka (who she obviously loves but has made Many excuses as to why she’s too busy to see her - probably again a thing of “if I control when and where I see you, then I can’t get hurt in this relationship”), Nadia, and probably also Asra and some of the other servants even?

Upright meaning: Believe in your inner light. You may have endured great hardship, but it only makes you shine brighter.

Idk man lol this is honestly quite vague.

I think this will prolly be a similar thing to Muriel - just specifically confronting that Yes, she’s had a hard time of it but she shouldn’t let that impact her quality of life

Also probably a lot of stuff around her realising she’s worthy of love as a person and that the people who love her won’t abandon her

Reversed meaning: Now is not the time to despair. Keep believing and let your star shine bright. The world needs you

Again.... aefkjfkae...... very vague.....

I think she won’t be able to let go of her fear of abandonment generically - or alternatively will perhaps? Try to bargain with the devil? I could see a similar thing happening with her that happened in Nadia’s reversed end - perhaps she believes she can save the world/MC by offering her servitude to the devil and being beholden to him? This is Fully a reach, I honestly have no idea :P

Lastly, Lucio:

Don’t worry, I’m not dunking on him lol. I don’t like him but that doesn’t mean I don’t have Thoughts about his route.

The role of family in his route:

Well. This one is clearly quite literally maybe the messiest out of these three (I mean that literally, in terms of, the amount of blood lol)

Obviously, he has a lot of baggage with both of his parents. I’ll disclaimer and say that I personally don’t see Morga as abusive - that doesn’t mean people can’t - but I’m making speculations specifically about their relationship just based on the in-game context clues we have and nothing else

As a person, Lucio is ultimately obsessed with power and attaining it. He’s clearly insecure and is desperate for any sort of validation, which is made messier by his natural sense of entitlement. This combination means that he chronically chases power, thinking that leadership means being able to do whatever you want to do with no consequences (e.g. in his route and also in Nadia’s when he briefly discusses killing people as count/countess) - and especially he thinks that if he has the power, the wealth, and the status then he’ll get the validation that he desperately craves.

As count, he throws lavish parties and spends a lot of time with the vagabonds in the south end - trying to win petty devotion and admiration with meaningless shows of wealth meanwhile his people are starving and suffering in the flooded district. He just wants to be popular at the end of the day, he doesn’t care about actual leadership or using his power for good, unselfish reasons. He claims his people love him, but it’s hollow, ornamental love based upon flash, not substance

Morga as a parent is harsh - she’s critical and derisive at times, but it’s also clear that she does love her son (specifically how she says she spoiled him by never letting him get hurt). Lucio as a teenager grew up somewhat spoiled and expected that power would fall to him by virtue of heritage from his mother when he came of age.

I think that Lucio didn’t get what he needed from Morga necessarily as a kid, and as a result he craved that first position of power because he saw it as a source of validation he hadn’t previously had - and when it was denied him, he became resentful and even murderous towards his parents.

Woof, long fucking paragraph. I do think that Morga and Lucio will end up reconciling in his route somehow. I think it’s central to his character and to filling the void inside of him that he learns that you can’t buy people’s love - also just because his whole story and entry into the world was sparked by that essential conflict with his mother. I think it would feel weird narratively if that weren’t at least addressed - whether or not it ends in reconciliation

Upright meaning: Shake off his veil: you are not trapped. There is always a way out of even the darkest places.

I think that this will be a redemption arc for Lucio. I think that in order for him to be redeemed he’ll have to relinquish the devil’s influence over him - which will involve addressing the wrong he’s done and apologising/trying to atone for it (whether or not other LIs accept his apology is another thing - as they all have very valid reasons not to)

I think the “way out of the darkness” for Lucio is in giving up his quest for power. He will learn that it’s ok to just be Lucio as a person, that he can be vulnerable and responsible for himself, and that people will love him as he is and not for the way he throws his money around

Reversed meaning: It is time to clean house: purge the things that harm you from your life. Take back your power.

Now this literally includes the sentence “take back your power” so. whoomp there it is. Lucio can’t let go of his power-hunger and becomes even more selfish and self-righteous.

I think also unfortunately this will mean he will literally probably kill some if not all of the other LIs, and also (especially) his mother. He will see anything that challenges his power as opposition to be removed, and he will rule (alongside the devil? who knows) in chaos and blood.

Ookey!! kajefnkae glad I got that out of my system. If I missed anything/if people have their own ideas/thoughts I’d love to hear them! Have this giant essay lol, we’ll see if anything I predicted comes true in the next several dozen updates eh? B)

#muriel #portia devorak #muriel the arcana #lucio #the arcana #the arcana game #lucio the arcana #long post #meta #jaye writes #the arcana spoilers #nadia #julian #asra #mazelinka #morga

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betweengenesisfrogs · 7 years

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OFF-THE-CUFF HOMESTUCK POSTS #6: THE TRAGEDY (AND SECRET TRIUMPH) OF JADE HARLEY, OR: THE GNOSTIC GARDENER

DISCLAIMER FRAMEWORK

[CHECK THE TAG FOR MORE THOUGHTS]

[Note: Content warning for brief mention of sexual abuse and longer discussion of perceived suicide and associated thoughts.]

Let's talk about Jade Harley.

A common feeling I've seen about the final chapters of Homestuck is that Jade Harley deserved better, that she suffered completely unfairly and arbitrarily in the final timeline.

I actually completely agree. Jade *absolutely* deserved better. Where I disagree is with the argument that Jade's suffering somehow shows Hussie is a bad writer.

I think it's important to recognize that good storytelling isn't always the same thing as happy storytelling. Some stories or parts of stories are *about* suffering. They're tragedy, a form of storytelling I'd define as an examination of a negative set of events: why they took place, why the characters involved couldn't escape them. Done well, this can be as meaningful as any happy ending.

I mean, there's a reason a bunch of Greeks wanted to watch a series of plays about a guy who accidentally marries his mother and then stabs his eyes out.

So when we're talking about good storytelling in Homestuck, i.e.: whether character arcs reach meaningful catharsis, we have to bear in mind that the bad shit that happens to our characters is sometimes the very subject of the story.

In other words, yes, Jade Harley deserved better.

That's the *entire point.*

Now, that said, I actually think Jade does have a happy ending, and a damn cathartic one. But we need to understand the unfair suffering she went through to understand why. What I find fascinating about Jade's arc is that she confronts the tragic, suffering-causing aspects of SBURB and the domain of Lord English more directly than any other character and finds a way to become free of them. It's not that her suffering was in any way merited or right, it's that by rejecting that unfairness, she finds incredible self-affirmation, freedom, and escape in a way that makes her the most direct manifestation of Homestuck's Gnostic themes.

In the causes of her suffering, and in how that suffering is overcome, Jade Harley is the key to the deeper meanings of Homestuck.

The Absent Grandfather

As a person, Jade has suffered unfairly on more than one level. Her later tragedy echoes and recapitulates the tragedies of her childhood, which makes it all the more painful. To understand this suffering, we need to understand her relationship with her guardian, Grandpa Harley.

[A brief digression: at this point, I should probably mention a recent theory by mmmmalo that posits Grandpa Harley as a sexual predator and Jade as a victim of abuse. I feel bad even bringing it up, because mmmmalo seems like a really nice guy, and I really enjoy his work tackling Homestuck from a psychological/psychoanalytical perspective, but I just can't really buy this theory. For one, Grandpa isn't at all characterized as capable of that kind of evil. The closest we come are some dubious feelings about Grandpa from Dave that are clearly him projecting his own issues onto Jade (he's never even met her grandfather), and the odd fact that Grandpa obsessed portraits of beautiful blue women from beauty parlors--discomfiting, but ultimately kind of harmless, unless you really stretch it as a psychological metaphor. To my mind, there really isn't that much to substantiate anything worse here.

Furthermore, the Alpha kids, as ever, offer opportunities to understand the Guardians in more depth, and there's little reason to think Grandpa would be substantially different from Jake English. mmmmalo posits that in DBZ-esque fashion, Jake hitting his head turned him good, but I just don't buy it, especially when Jake's "head injury" isn't actually real--it's one of his excuses for avoiding his own failings. (See the Jane's birthday conversation for how this plays out.) For my money, Jake and Grandpa are pretty similar: nice enough people whose biggest flaw is avoiding responsibility by retreating into the landscape of their own fantasies.

Ultimately, this particular leap is too big a leap for me to take, particularly because I feel like it would need to be addressed on a textual level (like Bro's abuse was with Dirk and Dave) if it was meant to be taken as canonical fact. I feel like mmmmalo's theories are at their strongest when they focus on the psychological experiences of characters, rather than when they try to posit hidden secrets in the canon. The first just feels so much more useful and reliable for me as a method, at least. No shade to mmmmalo, though: I hope he keeps on writing his own brand of fascinating Homestuck analysis for years to come, because he's doing stuff no one else is and it always leads to exciting new approaches.]

Now, none of this is to say that Grandpa Harley never had a negative impact on Jade. Her childhood trauma actually concerns him very deeply. As we see in the scene where she imagines him dictating to her in the foyer, she's both nostalgic about her grandfather and angry with him. She's filled with conflicted feelings about him, positive and negative at once. But the harm comes across in a completely different way, a way that's deeply textually supported and fits with what we know about Jake English.

Jade thinks that her grandfather committed suicide.

At least, she does for the vast majority of her life, until Tavros explains otherwise.

At a whimsical tea party with a plush doll, Grandpa seemingly, from Jade's perspective, took his own life. Here's Jade telling the story: GG: i spent years wondering about it! GG: when i was REALLY young, i was sure the doll sitting across from him did it GG: and for a long time i was terrified of the evil blue girl!!! GG: she sort of haunted my childhood and i had trouble sleeping for a long time GG: but of course i got older and realized that was silly, but then i just speculated that maybe it was suicide GG: which was just a really sad thing to think about!!!

Understatement of the century. This moment shaped Jade's entire psychology. Those who have lost loved ones to suicide often report wrestling with a mixture of grief and anger: anger that they were left to pick up the aftermath. For Jade, this was a moment of abandonment. Her guardian, who should have been there to take care of her, took his life and left her alone on a deserted island with only her (admittedly magic) dog to help her survive. For years, she had to take care of herself, to serve as her own guardian in his absence. Grandpa should have been there, but he wasn't. The culmination of the "increasing stakes" of the Beta kids' guardians is that Jade's guardian is dead and gone.

The scene of Jade squaring off against her stuffed Grandpa in the foyer is thus, like many elements of Hussie's writing, played for both comedy and horror at once, a true Hussnasty grotesque. For some time, Hussie builds up the mystery of Jade's guardian (using, I think, Dave’s remarks and Grandpa’s weirdness to build a sense of unease), only to shock the reader with an ugly revelation that carries echoes of horror-movie jump-scares. The man in the foyer is no man, but a symbol of death, a skeleton, a mummy, a rotting corpse in the place where a protector should be.

Grandpa's fatal flaw is absence itself.

[This is maybe the psychological motif mmmmmalo's picking up on? I feel like you could very easily read Jade’s feelings of horror and disgust as an echo of this suicide, and thus see Lord English as a mythic echo of Grandpa's absence as much as his presence. That’s my take, anyway.]

Hence Jade's anger in the foyer. He has left her alone, forced her to take up the responsibilities he failed to uphold. She pretends he's alive and imagines him chiding her for not being prepared to face the wilds alone--a situation she knows he put her in. Hence her snapping back at the corpse that she's already perfectly prepared, thank you very much. The scene mixes nostalgia, grief and anger in the saddest way.

This fits with the way Grandpa is themed around DEATH. Not only is he a mounted corpse, his collections of knights, mummies, big game, and degraded beauty shop photos evoke history and the dead, echoing his undead presence in Jade's life. (They also suggest he carries memories of Jake's friends: an orange knight, a pink girl from a land of pyramids, and a blue beauty, furthering the connections between Grandpa and Jake.)

But Grandpa, like Jake, is also themed around FANTASY. Or ESCAPISM, perhaps. Grandpa lives the life of a millionaire explorer-physicist, the boy howdy rough-and-tumble existence that never existed out of Boys' Adventure Comics and Teddy Roosevelt. His trophies and relics suggest a life of constant fantasizing, a retreat into his own self-image to avoid facing the world. After all, if you move to a deserted island in the middle of nowhere, you never have to interact with anyone else. This is astoundingly consistent with what we know of Jake's flaws: he constructs narratives to hide from responsibility and his own mistakes, from ignoring Jane's anger to ignoring the unaddressed issues in his relationship with Dirk to ignoring Jane's romantic interest in him the moment he finds a convenient excuse to do what he wanted to do anyway. Grandpa seems to be cast in very much the same mode, and his whimsical relics further the theme.

For Jade, though, Grandpa's ESCAPISM has also been harmful. Because Grandpa left her what must have seemed the ultimate moment of escapism: a tea party with a stuffed blue doll. Think of what Jade must have thought later: that Grandpa went out lost in daydreaming about a beautiful blue girl. That maybe he planned that as a way to end it all. Her anger is fueled in part by the fact that he ran away from the responsibility of raising her, into his fantasy world instead.

Of course, as readers we know that's not true: Tavros was the one who, through Bec, shot the gun. But there's a grain of truth in Jade's perception of the situation: while not suicidal, Grandpa was being irresponsible. Lost in his silly tea party, he missed the fact that his granddaughter was about to shoot herself with a flintlock pistol. She was saved by Tavros's redirection, while he paid the ultimate price for his distraction.

So Grandpa's flaw, like Jake's, is one of absence and escapist irresponsibility, death and fantasy. Grandpa really did harm her by his absence. And in his absence, all he left her with was necessity.

Jade takes care of herself, because what else can she do? She feeds the dog. She does what she needs to do to survive. She goes about her day. She defines herself in opposition to her grandfather: if he was irresponsible, she will be responsible. She will do what's necessary, no matter what it takes.

And she represses the fuck out of her grief.

This is way buried for most of the time we know Jade, but it comes to the surface when we meet Jadesprite. See, in addition to having a reminder of her Grandfather's mortality, Jade has spent her life face to face with her own. Her dreamself, which represents the one place in her life where she let herself go along with fantasy and escapism, is already a stuffed corpse. Consciously or subconsciously, she knows that happy escapist world will also die. When she prototypes that body, though, she's acting out of responsibility and necessity as part of an effort to defeat the threat of Jack Noir. She expects that a version of herself will share that desire.

But Jadesprite presents what is to her the most nightmarish possibility: that she might prefer living in the fantasy to responsibility. She tries to comfort her alt-self at first, but quickly becomes disgusted that a version of herself could feel that way. But it's not surprising: Dream Jade was the only version of herself who could let herself lay down responsibility and necessity and admit to herself the extent of her fear. Unfortunately, this isn't the way Jade would like herself to be. Jadesprite is exactly what she represses. There's a seeming moment of catharsis when Jade and Jadesprite become one, but, as I've noted before, Hussie ultimately suggests that spritefusion isn't enough to fix what Jade struggles with.

None of this is Jade's fault. It's the way she's been shaped by the outside force of her grandfather's death. Her grandfather was flawed, she lives with the consequences, picking up the pieces of the loss, doing things out of necessity.

SBURB recapitulates that tragedy, forcing Jade to reckon with her trauma and her perception of her own relation to it.

The SBURBan Tragedy

Is SBURB evil? I used to see it that way. These days I'm not so sure. Conversations with revolutionaryduelist have shown me that, despite its dangerous side, SBURB is usually presented in a neutral light in canon, more amoral than deliberately cruel. It's a Game that can be put to different purposes. RD argues that SBURB is ultimately little more than an extension of its players' wills, and I find a lot of reasons to agree.

As I've argued before (particularly in my Self Pile Essay, though my feelings have evolved since), I strongly feel that the ending of Homestuck relies on a critique of SBURB, that it depicts the Game as inherently tragic. You wouldn't think this would jive with RD's notion of "do what you will," but I actually think these two perspectives can be easily reconciled. A Game that's an extension of everyone's wills can still have a tragic effect on its players, especially on those who don't realize their own power within the system. I'm sure we can all think of times when the wills of others were an oppressive force in our lives. Our critique of SBURB, then, is really a critique of the uses to which the Game has been put, by overpowering wills like that of Caliborn/Lord English, who makes the alpha timeline bend to him without realizing how much it echoes his own limitations.

Like Grandpa Harley, Lord English (the unseen conductor whose riddle is absence itself) forces others to reckon with the implications of his choices. The complex web of time loops and paradoxes LE leaves in his wake forces our heroes to act out of necessity and to take responsibility for their escape.

So while I might talk about SBURB in negative terms here, understand I'm talking about the mess of all the loops, all the implications of the many harmful wills and choices our kids have to deal with. Jade in some ways most of all.

Initially, Jade experiences SBURB as a positive force in her life. It allows her freedom and happiness; companionship among the people of Prospit while in her most optimistic, worry-free mindset. She participates in its necessities, its enforced time loops, not out of obligation but in connection to her dreaming happiness.

As the kids' game goes on, though, Jade loses Prospit and her dreamself, and loses, too, the easy release from herself that they represent. Like all the kids, she becomes aware of the threat of Jack Noir, and directs her responsible mind towards the necessity of dealing with him--leading of course, to her clash with Jadesprite. Later, this focus shifts to take in the true cause of everything that went wrong in their session: the unseen guiding hand of Lord English.

We all know what happens to Jade because of this. In the original timeline, all our kids' efforts fail, and all of them die in the events of Game Over, Jade first and most surprisingly. John retcons the timeline using his retcon powers, and achieves victory by changing the course of events. However, it's a victory that causes Jade to suffer deeply: in the final timeline, she loses and grieves John and Davesprite, her closest friends on the Battleship voyage, and for a time wonders if she was responsible for their horrifying, baffling death. Later, she learns from a mysterious sentinel (Alt-Calliope) that it was all part of a larger plan. This is a relief to her, but as much as she'd like it to, it doesn't erase her grief.

This is brutally, totally unfair. And that's the point.

I've seen folks point out that the retcon could have gone many other ways: for instance, merging the populations of the meteor and the battleship. That's true, but it misses the point a little, I think. The Retcon is an arbitrary solution to a large problem in Paradox Space, acting out of necessity to bring Caliborn's will to a close. Remember that John didn't choose how his retcon would go: he worked it out with the Game itself through his Denizen. Not only did the Game bring forth the very tools to end Caliborn and close his time loop, finishing what his will started, it also worked out the logistics of the timeline that would get them there. And that's the tragedy.

John had only the vaguest idea how his actions would affect Jade, knowing only that either he would die or people would grieve him. By working with his Denizen, he mastered his powers and managed to create a reality where everyone could escape the will of Lord English. But it created an awful situation for Jade, and indeed, he's horrified when he finds out that was the result.

For me, the victory our kids experience over Lord English and his will as manifest in SBURB isn't presented as an unambiguous one. Rather, it's triumph mixed with shades of tragedy. John's reformulation of reality has consequences. The loss of our kids' coherency of self (see the Self Pile) is one of them--I do think it's meant to be at least a little disconcerting that it's new versions of our beloved characters who get the victory. And it's Jade who represents that tragic element the most, because she suffers the brunt of it. The fact that Jade suffers because of the Retcon tells us that for all the positivity of the final scenes of Homestuck, there's still a dark side to the system of SBURB.

Because there was never any point at which any of this took place outside the system of SBURB. It gave Caliborn what he wanted, and then took it back again, not because it had any intentions towards him, but because his will was self-defeating and self-limited. And through the Denizens, it gave our kids the escape they wanted: but they still had to deal with the necessity of responding to Caliborn's intentions, and perhaps SBURB'S own limitations, too. It could give them an escape, but not without certain consequences.

It's no coincidence that Denizens make a resurgence near the end of Homestuck. They are the Game's way of engaging in dialogue with its players, and they preside over every aspect of everyone's ending. Yaldabaoth gives Caliborn his deal, while Echidna signs off on the birth of the Genesis Frog once she's had a chance to inspect its guardians. Echidna is also the one who guides Alt-Calliope towards ending Caliborn's reign. And Typheus lets John become a retcon master so that he can win his friends their complicated victory.

Thinking about this has helped me make sense of a scene that initially baffled me. Near the end of Collide, the story turns absurdly positive: our kids win victory after victory over every opponent they were facing. And then, suddenly, disconcertingly, the scene begins to fade out and flash with static, while strange cries are heard. Then it freezes, and the mechanical contrivance that Hussie once used to represent Homestuck's Acts and narrative is all we can see, frozen in black and white.

Those strange sounds are the sounds that played in scenes with Denizens. And not just any Denizen: the specific whale-song we hear is the voice of Typheus, the Denizen who helped John negotiate his retcon and who, through blowing up a duplicate John and Davesprite on LOWAS, is the most directly responsible for Jade's suffering.

The message of the end of Collide, then, brought spectacularly home by this juxtaposition of victory poses and sudden distance, is that the victory achieved, while real, was negotiated by the systems of SBURB and Skaia every step of the way. This, too, is the message of the Spirograph that suddenly appears at the end of Act 7: our kids have left the Game for good, but the Game goes on without them, and always will.

Jade's experiences show what the costs of that might be.

The Gnostic Triumph of Jade Harley, Witch of Space

And yet.

Jade also achieves victory. An even more powerful victory, in fact. In a deeply Gnostic moment, she confronts the arbitrary suffering of SBURB in a way none of the other kids ever do. She directly confronts the Game, and the cruel intentions unleashed through it by Lord English, by moving beyond them altogether and claiming her own agency.

It's Davepeta who helps her see it.

Once, Jade thought she was responsible for her friends' deaths. Later she learned from Alt-Calliope it happened as part of SBURB's cosmic plan. She was able to take some comfort in that: but it didn't keep her from her grief. When she meets Alt-Calliope again, Jade continues to try to make sense of her experiences through the lens of necessity, through the lens of a responsibility she has to fulfil.

Let's look closely at the difference between what Calliope says about the Space role, and how Jade interprets it for herself.

CALLIOPE: why the hurry? CALLIOPE: you have already proven your heroism in the moments when it was needed most. CALLIOPE: it is important to know when the greatest good is best served by remaining dormant. CALLIOPE: whether that burden is for close to eternity, or only a few more minutes. CALLIOPE: it is something to learn as a space player. CALLIOPE: space falls back. it yields. hosts the play silently. CALLIOPE: then, it roars to life when its time comes, showing all who is really the master. CALLIOPE: and so too when the time comes, it collapses in on itself, taking all else with it.

Calliope argues that Space is about patience, that patience itself is heroic. But Jade interprets this to mean that loneliness and suffering are a cross she must bear. As she says shortly afterward:

JADE: as a space player... someone who "falls back" as she said JADE: maybe being pushed aside by fate, and like JADE: being deprived of important people and experiences JADE: no matter how painful it is, or how much you feel like you need them JADE: i guess thats just how it goes for us JADE: i think i never appreciated how much of a burden your aspect was to you JADE: but i think im starting to get it now JADE: it just took a long time to figure out what mine really meant

But that's not what Calliope is saying. Alt-Calliope is talking about Space, to be sure, but she's talking about it in terms of her own role. Alt-Calliope is a very different person from Jade, one who is entirely comfortable with placing her identity and agency in the hands of necessity, with sacrificing everything for necessity. But what works for Alt-Calliope won't work for Jade. Jade needs friendships, needs her own life and happiness outside the Game in a way Alt-Calliope does not. (And a Muse of Space is a very different creature than a Witch of Space, a much more active and self-oriented role.)

And Calliope knows this, too. While she teaches Jade about her own understanding of Space, she doesn't ask that Jade follow her into the Green Sun, nor does she ask that Jade construct her life in the same exact terms. Again, it's Jade, not Calliope, who tries to suggest that losing all her friends is her Space-y burden to bear. Calliope, however, reminds Jade that they're very different creatures, and need different things:

CALLIOPE: you are still quite young, and your kind is soft. CALLIOPE: the ability to absolutely dominate is better housed in a being designed for seclusion, singularity of purpose, and remorseless resolve. CALLIOPE: it is too much for one like you.

(And here the domination Calliope's talking about isn't just Lord English's, but her own Muse of Space response to that domination, the reshaping of Paradox Space by falling back and then roaring to life.)

Calliope suggests that Jade might choose to go along with the sleep that keeps her from being a danger in the final fight, but she doesn't require it. Instead, she says:

CALLIOPE: if you must have advice, i will give you some similar to that i gave your other space-playing friend. CALLIOPE: i told her to live, where before she had not. CALLIOPE: so too, you are similarly imprisoned by various inertias. CALLIOPE: these weigh on you. CALLIOPE: you are a child, belonging to a race for which that distinction is understood to correspond with experiences of "enjoyment." CALLIOPE: perhaps you should try to have, CALLIOPE: "fun."

Calliope doesn't need what Jade needs. But she knows Jade is more than a means to an end. Jade needs fun, she needs friendship, and she needs happiness. Even though Calliope sees advantage in Jade remaining asleep, she goes out of her way to tell her about the alternate possibilities that might free her from imprisoning inertias.

This leaves Jade somewhat confused. She wants to make sense of her life in terms of the mandates and loops of SBURB/Lord English, fulfilling every necessity. But Calliope rejects that notion for Jade and emphasizes the difference between their species.

So when Davepeta comes along, Jade is wrestling with the strangeness of the Calliope encounter.

JADE: calliope said i was too strong or something JADE: but she also said i should have "fun" so JADE: i dunno JADE: i guess im just waiting around for the right moment

She's trying to make sense of Calliope's offer while still trying to see herself in terms of necessity. Davepeta, though, rejects that completely. When Jade tells them her statement above, trying to describe herself in terms of someone who "has to" be pushed around by the rules of Space, Davepeta responds extremely skeptically:

DAVEPETASPRITE^2: B33 < so THATS what space means? DAVEPETASPRITE^2: B33 < bein lonely??

Note the incredulous extra question mark. Jade continues to try to describe herself as someone who has to follow the mandates of others and systems outside her control. And yet as she talks about it, she reveals how dissatisfied she is with that notion of herself:

JADE: but i think that can be one of the results of gaining a deeper understanding of it JADE: or becoming connected to it more... JADE: i dunno, this stuff is all pretty mysterious :p JADE: i dont have it all figured out yet obviously JADE: i just feel pretty sad that as i get closer to understanding my abilities and true nature JADE: it apparently means being deprived of some important experiences JADE: like i get closer to my aspect, but further away from everyone i love, and further from... JADE: feeling like a person? JADE: its just a really empty feeling after a while JADE: empty like... JADE: space i guess JADE: heh

I don't think we're to take this as an absolute statement. While there's truth in Calliope's depiction of space as receptive and patient. I think we're to take these lines as Jade wrestling with her own feelings about the way she should be. Davepeta doesn't argue that Jade should accept this description of herself. Instead, Davepeta opens up a startling alternate possibility: that Jade is more than necessity, bigger than her circumstances, larger than her suffering. If Jade's suffering is an echo of the arbitrary unfairness of the way SBURB divides up our protagonists' selves to bring Lord English to an end, then Davepeta suggests that the key to escaping suffering is to see the self beyond those individual identities:

DAVEPETASPRITE^2: B33 < but you werent actually deprived of important experiences DAVEPETASPRITE^2: B33 < stuff like us dating and johns stupid birthday parties and playing shitty ghostbuster mmos DAVEPETASPRITE^2: B33 < that stuff all happened to you, its just you dont have access to the memories DAVEPETASPRITE^2: B33 < they didnt happen to shape this particular version of yourself DAVEPETASPRITE^2: B33 < but they all played a role in helping like "greater jade" grow if that makes sense DAVEPETASPRITE^2: B33 < everything that ever happens to every version of you is an important part of your ultimate self... like a superceding bodyless and timeless persona that crosses the boundaries of paradox space and unlike god tiers or bubble ghosts or whatever, it really IS immortal DAVEPETASPRITE^2: B33 < but in your physical form there are all these partitions in your mind that prevent you from remembering any of that which makes your existence f33l totally linear DAVEPETASPRITE^2: B33 < which is probably for the best! DAVEPETASPRITE^2: B33 < in a regular body s33ing all that would be too overwhelming DAVEPETASPRITE^2: B33 < in an advanced sprite form like mine tho its fine DAVEPETASPRITE^2: B33 < i guess the same spritey magic that makes it possible to suddenly understand so much is also what makes it possible to make it bearable all at once DAVEPETASPRITE^2: B33 < not even just bearable actually sorta liberating and cool DAVEPETASPRITE^2: B33 < and after it sinks in for a while you start coming to this understanding of a greater self

AVEPETASPRITE^2: B33 < im not COMPLETELY sure because im not like some sort of ASPECT MASTER but DAVEPETASPRITE^2: B33 < my avian slash feline intuition tells me that all roads will lead you here eventually DAVEPETASPRITE^2: B33 < gaining the d33pest possible understanding of any aspect will bring you to the same final conclusion about your ultimate self DAVEPETASPRITE^2: B33 < so maybe thats starting to happen for you too DAVEPETASPRITE^2: B33 < the space aspect sounds like a hard and lonely road to travel... i think they probably all are DAVEPETASPRITE^2: B33 < but youre gettin there jade DAVEPETASPRITE^2: B33 < you are doing great and im so proud of you!

Once again, this isn't Davepeta saying that Jade needs to be happy about what's happened to her--they acknowledge that living in SBURB is painful, a hard and lonely road for anyone of any aspect. But seeing oneself as this "ultimate self" allows one to see a bigger picture, to find meaning in one's actions even when buffeted by what seems to be the cruelty of fate. In a Game whose tragedy is that divides people up into different manifestations of themselves, each going to an arbitrary fate, that's the way to find victory, to find happiness beyond each tragedy. That's the balance that Homestuck's ending is deeply concerned with, and Jade Harley represents it all: both the suffering and the remedy.

Davepeta's proud of her for coming this far. I'm proud of her, too.

But does this understanding work for Jade? Does it free her from the way she saw herself as an instrument of fate, a tool of necessity? I think it does. Because after talking with Davepeta, Jade starts to live her life differently.

We see this clearly in Collide and the events leading up to Collide. Jade was ready to accept that she had to stay asleep merely because it was what others expected of her. But Davepeta convinces her that she should wake up if she wants to wake up:

JADE: i guess im just waiting around for the right moment DAVEPETASPRITE^2: B33 < nah thats dumb DAVEPETASPRITE^2: B33 < you should be able to do whatever you want JADE: really? DAVEPETASPRITE^2: B33 < well at least she was right about the having fun part DAVEPETASPRITE^2: B33 < maybe thats what she meant?? DAVEPETASPRITE^2: B33 < maybe she was leaving it up to you in a mysterious way JADE: leaving what up to me? JADE: the decision to wake up?

Davepeta's message to Jade, informed by their deep understanding of life beyond one lifetime, is that Jade can do things for herself, rather than do them as a reaction to necessity. And the secret is that that choice makes all the difference.

Jade does choose to wake up, and after waking up, rejects any idea that she should go back to following necessity, or other people’s commands:

DAVE: jade DAVE: god dammit DAVE: GO BACK TO SLEEP! JADE: NO WAY!!!!! :P

JADE: i am very much awake! JADE: and i intend to stay that way :)

Jade chooses to take Calliope up on her offer: she chooses to go have fun. For the first time, she pursues her goals completely and utterly for her own reasons. She chooses to take on the mission of dealing with the Omnidogs Bec Noir and PM...pretty much because she wants to. And she does it in her own way: she doesn't get in a fight, but plays with her dogs, recreating the fun times in her life with Bec by warping around and dancing around in the sky with them.

While she ends up getting punched out by PM, it's mostly comic: she isn't hurt or upset--she had a fun time, and did what she wanted to do. She's asserting her own agency, not responding to the will of anyone else, be it Lord English, Dave, John, or any of the other players. She takes on SBURB's boss mechanics in her own terms and enjoys herself doing it. And what she's able to achieve by this is *reshaping the rules of the Game.* Because of her, PM beats Bec Noir. For the first time in the known history of SBURB, White beats Black, Prospit beats Derse, entirely thanks to her presence. This change is subtle but huge. It represents what Jade's doing on a cosmic level: she's creating the Game, creating her reality, for herself, not responding to anyone else's intention, but putting forth her own to shape the world.

The Gnostics of ancient times said that the material world we lived in was merely an illusion created by the tyrant Yaldabaoth, and that all we needed to do to escape his tyranny was to look within ourselves. Because we were made of the same stuff as the True God, filled with the same wisdom as Sophia, and if we could truly know ourselves, could know exactly who we were, we could walk back through the gates into the Garden of Eden, knowing that we were God, part of a true divine reality bigger than anything Yaldabaoth could understand.

So, too, does Jade Harley, GardenGnostic, in that moment, know that she is bigger than anything that once defined her. Not her grandfather's death and failings, not her role as a link in the prophecies of Skaia, not Jack Noir, and not the limitations of a single Jade in a tragic timeline. None of those things define her. She is greater still, the JADE beyond Jades, and she has just as much power to make SBURB, to make all of Paradox Space what she wants it to be as any would-be tyrant. She stares Lord English in the eye, and knows she is as great within this contest of wills as he is. They all are.

And that makes Jade a little bit different from her fellow gods: she knows in full what the rest of them are only beginning to understand.

When we next see Jade after Act 7, in the Credits sequence, we see her growing plants again after a long time away from her garden, returning to her own personal Eden, and we see her spending time with John, Dave, and Karkat--all the people that she loves.

Knowing who she is, she has escaped all the inertias that once bound her, and is turning reality into what she wants it to be.

In the world of SBURB, that's the way to find a happy ending.

[Next time: Maybe I’ll do that reception of the ending thing I promised last time? Or maybe not? Maybe I’ll be too busy playing Hiveswap? Maybe life is full of infinite delicious possibilities, and we’re all riding this magic train out to the Pleroma together? Who knows, man. Who knows.]

#jade harley #grandpa harley #homestuck analysis #jake english #homestuck #off-the-cuff homestuck thoughts extravaganza 2017 #gnostic influences #gnostic themes #alt calliope #space aspect #freedom to live #THE ULTIMATE SELF #homestuck ending #understanding homestuck #suicide cw #csa mention

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markoftheasphodel · 7 years

Note

Did echoes come off as sexist to you? More so than other fire emblems?

It came off as weird in that we’ve got the Kaga-era “life is shit for women” kinda dynamic what with all the fair ladies being captured and Mathilda retiring from knighthood as its base and then entirely new and entirely unnecessary bullshit added to that base.

More so? It really depends on how one defines sexism since there are so many facets to it. TL;DR under the cut.

Marth Games: a gameverse in which women are continually imperiled in a gender-specific way and even badass paladins like Midia have to be repeatedly rescued plus Marth’s saga ends with the rousing idea that women just really aren’t capable of ruling anything and should turn the world over to the guys. Caeda’s great but she can’t compensate for the rest of it. Proof games don’t need skeevy armor design to be shitty to women.

Jugdral Games: The patriarchy is more nuanced than in Marth’s world and women enjoy a broader platform of respect as leaders and warriors… when they’re not being kidnapped, forced into marriages, or hit with the amnesia stick. The patriarchy’s still the patriarchy and you can ask Miranda how that turns out. Or Julia, given she’s the most powerful being in the game-verse and is nonetheless characterized like a wet sack of flour, subjected to repeated rounds of mental & physical trauma, and then is ineligible to rule her bloodline’s kingdom because she’s got a big brother. Julia and her mom encapsulate’s Jugdral’s failings on sexism.

FE6!Elibe: more women in gender-specific peril but at least you have an affirmation that women are capable of ruling nations– Echidna, Guinevere, and Lilina represent! Definitely a step forward even if it could develop the good parts more.

FE7!Elibe: Lyn is irrelevant. Everyone’s favorite character is a peppy victim of child abuse from an actual succubus mama. Not that bad overall unless I’m forgetting something?

Magvel: Female characters still subjected to capture and threats of violence in a gender-specific way but for as many subtle (and not-so-subtle) indignities inflicted upon Eirika as a female lead there’s L’Arachel as a rare figure of a princess who a) goes out kicking ass b) has an unquestioned right to her empire and c) doesn’t have to give it up to anyone, apparently not even a royal husband since the potential marriages to Innes and Ephraim sound more like mergers than takeovers. Not perfect but Magvel can be improved through tweaking and not a total damn rewrite.

Tellius: Female rulers who keep their thrones, a female Jagen who keeps trucking through two massive wars, female deities running amok, the hero’s little sister gets to hold the McGuffin, and an arguable pinnacle of female character design. Also what appears to be an undisputed and singular female Lord in FE10– until she isn’t. Boo. Double boo to Boyd taking over the Greil Mercs when Titania’s right there. Also not perfect but Tellius is looking pretty damn good… aside from the catgirls. Christ, I just remembered the catgirls.

FE12: Of course Eremiya has some Tragic Backstory excuse for running the Assassin Orphanage. We can’t have a female antagonist acting on her own damn initiative, can we?

Awakening: And we start getting into skeevy trope territory. Cordelia and her tits. Tharja. Dragon lolis on the marriage market. Shitty costume designs. Counterbalancing that is a game-world that holy shit embraces the right of a female heir to rule even if a younger brother exists??? Progress! And then you look at the dialogue for m!Robin vs f!Robin and it’s grrrr all over again. Also you have the limitations of gender dynamics as dictated by the whole HetFest Baby Factory thing. Also there’s an angry sexy savage rabbit woman. Oh yeah, and spotpass Aversa. I’d better stop before I forget the good parts.

Fates, with the caveat that it turns me off so bad I’ve never played it. But I am perfectly, painfully aware that Peri, and Charlotte, and Nyx all exist (and don’t tell me they are written well. They could’ve been written well and not drawn like they are), plus you have the bullshit with the princes getting holy weapons and the princesses not getting them, plus another round of (90%) HetFest BabyFactory now with extra stupid and the part where your avatar can impregnate girls who NoA aside are quite obviously children (also, Percy). Like, wow. I guess on the plus side f!Corrin doesn’t seem to be an actual characterization downgrade from the male version? Just the impression I have, anyway. Maybe that’s only in Conquest tho, because f!Corrin can’t marry Azura for a perfect Revelation ending and ugh I just remembered all the bs with Azura.

And then we get FE15, which is an old-school Kaga game with the Kaga era stuff like Strong Women being kidnapped and captured all over the damn place… only now we’ve got boob-plates. And we have Masked Paladin existing for no damn good reason. And we have Celica doing that thing that’s spoiled in the game-opener which did not fucking happen in OG Gaiden. We have Rinea. We have the sexxxy new Nuibaba. And we have weird subtle things like the way so many female characters are still defined by het-marriage endings including brand-new het marriage endings like Delthea’s while the guys are allowed to be all over the queerness spectrum. Lukas gets to be a schoolteacher but instead of talking about how Genny wrote the smash-hit novel that defined Valentian culture for the next 1,000 years we’re speculating about which dude she married because that’s all her ending cares about. And Mathilda’s shitty ending stayed shitty. WTF?

Pick your poison, I guess. Echoes pisses me off in places (I mean, the OPENING pissed me off) but Fates is just a complete and total “I am not paying money for this” turn-off in so many ways (many of them NOT related to sexism, mind) that I find it hard to say what’s the worse… and the bare-bones patriarchy of Archanea has precious little to sugar-coat, much less counter the bad.

#fire emblem critical #fire emblem meta #fe15 spoilers/

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xteeninreallife · 5 years

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K-Pop in 2019: The Reckoning

I never imagined that my first post here would be about k-pop. I actually “founded” this tumblog a couple of years ago with the intent of writing personal think pieces that were separate from my very shit-posty original tumblog. Maybe it would be about life, maybe politics, maybe personal beliefs. Probably with the occasional shit post entry thrown in for humour. I really didn’t think k-pop would make a serious appearance here.

I would never have been able to predict the nuclear dumpster fire to detonate in 2019 that the Burning Molka (or Sun) scandal would become. I don’t think anyone would have been able to imagine a world where several major top pop stars in Korea, plus the head of one of the Big 3 entertainment agencies would see their careers implode at the speed of sound.

To be honest, I still just feel a whole lot of disappointment in Seungri. He was the maknae, always the butt of the brotherly jokes, the forgotten, or ~useless one in BIGBANG. *Insert “Tyra: We were all rooting for you” gif here.* That was Seungri. JJY sounds like a creep based on his earlier related scandal. People have speculated about Yang Hyun-Suk’s shady dealings for ages. As for Choi Jong-Hoon, Yong Jun-Hyung, Lee Jong-Hyun, Roy Kim, and Eddy Kim, I didn’t really pay attention to them as individuals to form any opinion on them beyond the music they released.

But this post is about Lee Minwoo. Because as much as I love BIGBANG, Shinwha has been one of my favourite groups for almost two decades.

I count Shinhwa as one of my top artists/groups EVER, not just within the context of K-pop. Minwoo was my first bias, even if I had no idea about the concept within the world of k-pop fandom. As I grew out of my youthful fangirl phase and into adulthood, I recognized that he served as a mentor to many junior artists in the entertainment industry. To me, he was a pioneering example of how someone could evolve from the rigid confines of the first generation k-pop robotic idol, into an artist who was in control of their own career and business dealings. Shinhwa was the first k-pop group to fight for the right to own their name, and they beat one of the Big 3 (the Granddaddy: SM Entertainment!) companies to do so. They can serve as examples for groups like Highlight (formerly BEAST, and coincidently Yong Jun-Hyung’s former group), and T-ARA who leave their original labels but go to court for the right to continue as a unit. Shinhwa is today the longest-running k-pop group with zero changes to their line-up (and no disbandments). First and second gen groups like H.O.T., TVXQ!, Girls’ Generation, Super Junior, and Sechskies cannot say the same.

So, reading the breaking news story in early July that Minwoo had been accused of sexual harassment at a club was hard to take. I normally take zero issue with writing off celebrities who have been accused of, or convicted of sexual violence. Before #MeToo became a movement, my personal trauma of being raped in my mid-twenties had made me a staunch ally and advocate of the protection and rights of victims and survivors of sexual violence. For example, I grew up absolutely loving “The Cosby Show.” I still think it is one of the greatest shows of all time. But I cannot, and know I will not ever be able to watch another episode since Bill Cosby’s alleged crimes came to light in the flood of accusations a few years ago. At that point, what I had tried to dismiss as rumour became unavoidable and impossible to ignore.

I have honestly struggled with the news of Minwoo’s scandal. I hoped it was a stupid, one-off, drunken act. He would take time off to reflect, maybe seek help for alcohol abuse, maybe come back afterward as an humbled and apologetic person. I hoped it actually was just a misunderstanding. But as the days went by, I had to self-reflect and wonder why I took issue with standing with the women who made the original complaint.

No one likes to think of someone whom they admire to be with fault, and certainly not with a criminal fault. Junjin received backlash for saying that he was standing with Minwoo and that everything would be resolved soon if we all just believed in him. Like Minwoo was the Chanjo Tinkerbell. But I can understand where his comments are coming from. To him, Minwoo is not simply a bandmate or a co-worker; he is a brother. As a fan, I get it.

But this is a particularly precarious time for k-pop stars who have gone on for years in the comfort of knowing that their bad deeds were being covered up and taken care of; perhaps by agencies, perhaps by more powerful figures in the greater society. I am not saying that Minwoo must be a serial offender. Only time will bring any other truths to light, if they exist. I am saying that like the men previously mentioned, I do not believe that he will be able to come back from this.

Shinhwa will serve as an interesting case study, to say the least. Where FT Island’s Lee Hong Ki seemingly had no issue in immediately distancing himself from Choi Jong-hoon (see his epic “I eat well, I sleep well, I even poop well” comment to a fan), I can see that the other five members of Shinhwa will not be able to do so as easily. Shinhwa’s brotherhood of over twenty years has become as much, if not more of their brand as their music. I can see them choosing a passive Super Junior-esque route of quietly putting Minwoo on an unspoken but permanent hiatus until his “contract ends” and he decides to “retire” and relinquish his control as co-CEO of Shinhwa Company (see Kangin’s and Sungmin’s eternal hiatuses due to their own scandals. And I use that term very loosely regarding Sungmin because I think it’s ridiculous).

As of the date of this post, Minwoo and Eric Mun are listed as Shinhwa Company’s CEOs, but their official Twitter (which is in Korean) does not appear to make any mention of the accusations and investigation against Minwoo, and he did not receive the annual birthday salutation post on their Facebook, Twitter, or Instagram accounts. Clearly, the members have chosen to be cautious, perhaps recognizing that this is a damaged ship with only two outcomes: bail out in a lifeboat for five, or sink as united captains.

Any of the members of Shinhwa could easily go their separate ways. Junjin and Hyesung have had successful solo releases in recent years, Dongwan has found recent success as an actor in dramas and musicals, Andy has been making a comeback in variety show appearances this year after his own gambling scandal, and Eric is one of the most popular commercial spokespersons, and drama actors in the industry. None would have to make an outspoken break with Minwoo in order to maintain the success of their solo ventures.

There is no doubt that Minwoo’s absence in Shinhwa would be noticed. He is a main vocalist, the choreographer, and one of the most recognizable faces of the group. Which leads me to ask myself, am I really just having trouble accepting the end of my teenaged idol fantasy? I am a grown woman, I like to think that I can take a hard stand, but I find myself stalling on this matter. Perhaps because Shinhwa has made so much of their brotherhood and senior status as their brand; they are the forever six. Shinhwa is not just a music group, it is each member. It is equally Eric, equally Hyesung, equally Dongwan, equally Andy, equally Junjin, and yes, equally Minwoo. I think that I am not ready to mourn the end of this group. I don’t think if they were to release another album that included Minwoo’s participation, that I would be able to support it.

Honestly, I hate that. I do feel let down. I feel disappointed. I feel lied to. And I feel silly for feeling these things because I’m not an 18 year old girl bumping her “weird” Korean music in her little car as she zips around her suburban Texas neighbourhood on a Friday night. I am an adult who just doesn’t want to let that girl go. I want to protect her from the bad things ahead. I want to protect myself.

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