#homestuck class analysis

[caligvlasaqvarivm]

Actual Ultimate Classpecting Guide

For real this time.

Buckle up, this is a really long one. For everything that's posited, I can provide textual evidence; that being said, I'm not going to be including the textual evidence within the essay itself, because it's already long enough as-is. As such, please feel free to ask for clarification or sources on any assertion, and I'll do my best to provide.

Before we begin, there's some things to discuss about how we're going to be approaching classpect in the following essay. In numbered list form for our short attention spans:

1. There is a concept Hussie talks about multiple times in his book commentary, "personality alchemy" - the idea that there are these "platonic ideals" of certain characters, which can be mixed and matched with others, in order to create new characters. The examples he gives are of how Eridan was a proto-Caliborn, how Kanaya has shades of Jade, how Nepeta was a proto-Calliope, and how Sollux and Eridan have shades of Dave in them. Classpecting is fundamentally a form of this personality alchemy:

2. Class describes the character's arc and emotional hurdles, while Aspect describes the character's base personality traits by which this arc is experienced.

3. For example, all three Seers struggle with hubris: Rose's need to be the smartest person in the room led to her being manipulated by Doc Scratch, Terezi's obsession with meting justice led to her engineering a situation where the only option was to kill Vriska, and Kankri's desire to be seen as a spiritual leader amongst his friends led to him furthering their divisions and harming them.

Then, when their pride is shattered, they cope by inflicting willful self-blindness: Rose turns to drinking herself stupid (the opposite of Light's sway over knowledge), Terezi gets down with the clown (the opposite of meting out Mind's justice, as it's a Gamzee W), Kankri goes celibate (Blood L) despite his clear romantic feelings for certain teammates.

4. As for Aspect: note how all three Life players share the personality traits of optimism, stubbornness, and obstinacy. All three Breath players share an immaturity and naïvety, and are quite frankly irresistible to people for some reason. All three Light players share a need for the spotlight and a tendency toward long-windedness and persnicketiness. So on and so forth.

What's interesting is, if you start analyzing characters that share Classes and Aspects, these specific types of similarity crop up over and over - all our Knights struggle with insecurities and facades, both our Bards have a crisis of faith. All three Breath players have an aspect of immaturity and childishness to their characters, and all three Light players are deeply concerned with appearing intelligent and feeling important.

5. As a result, this guide is NOT intended for classpecting real life people, because we are complicated, we contain multitudes, and we don't have arcs. This is primarily an analysis of what Class and Aspect mean in Homestuck based on textual evidence, because I genuinely believe that you can basically figure it out if you read carefully.

6. Duality, and the idea of "equal and opposite," are major themes within Homestuck - Prospit and Derse, Skaia (described as a crucible of birth and creativity) and the Furthest Ring (the literal afterlife). Which classes are involved in an Active/Passive split, and opposing Aspects, are the same way. This is the primary method I used to determine the Active/Passive pairings and opposing Aspects. After all, as Callie describes, both Thieves and Rogues are classes "who steal" - so, too, do I try to unify Classes by a common theme, even if they diverge wildly in how that theme is expressed (as Thieves and Rogues do). In the same way as the opposite of "up" is not "apple," but "down", because "up" and "down" are both fundamentally concerned with relative vertical position, so too can be defined concepts like Breath and Blood, Hope and Rage, Light and Void - as well as the reasoning behind Class pairings like Heir and Page, Maid and Knight, and Seer and Mage.

7. Descriptions for both Class and Aspect are left deliberately vague and up to interpretation within the comic itself, and this is by design: the actual manifestations of an Aspect can vary wildly given the Class, and even individual person, that it's tied to. Calliope even makes note of the fact that, under the right circumstances, someone can manifest effects that appear to be the opposite of their aspect. She's also careful to couch her language in "may" and "can" - because these concepts are intentionally somewhat nebulous and malleable. As such, while this guide certainly lays down what can be gleaned and inferred from the text, do note that Homestuck runs on a soft magic system, and as such, nothing stated is firm, 100%, must-always-be-this-way - just an overview of what we've seen.

8. There is often great overlap between Aspects, Classes, and Classpects - which Calliope herself notes. Heart and Blood are one of the most salient, as they both have a fixation on relationships, and Calliope mentions that under the right circumstances, a Classpect may even be able to manifest what appears to be the opposite of their Aspect. Again, Homestuck operates on a soft magic system, so this is a feature, not a bug.

ASPECT

There's a little less to say about Aspect, not because it's less complicated, but because "base personality traits" are much more nebulous compared to Class's sway over character arc. Still, Aspect represents the fundamental way a character is, and thus, color every interaction that character has. There's a reason Ultimate Selfhood is sought through Aspect, not Class - Aspect is the core of the character's being, what makes that person that person.

That all being said, Class has major sway over how an Aspect manifests, and certain classes can even invert the Aspect and even the character's role in the party. As such, these descriptions must be parsed carefully in relation to Class. Moreover, due to the soft magic system, there is at times overlap between unrelated Aspects, which can also be exacerbated by Class - Heart and Blood being the most obvious in this regard. Still, overall, you'll find the Aspects to be fairly distinct from one another.

Please also note that every Aspect can deal with its literal counterpart by default - Light players can wield lasers, Breath players can wield the breeze, et cetera. Because this kind of goes without saying, and because the non-literal stuff is more interesting to discuss, I'm not really going to go into too much detail about the literal qualities.

Finally, something interesting to note is that nearly every Aspect follows its own Hero's Journey cycle - full actualization for each one usually means reaching around to its opposite Aspect, and taking lessons from them - for example, Breath players need to learn maturity and responsibility, while Blood players need to learn relaxation and whimsy. Thus, an Aspect at its worst manifests in two ways - either a toxic overabundance of the Aspect's worst traits, or such a dearth of the aspect that it begins to resemble its opposite. Only by reaching into the opposite, however, can the player be tempered and reach full maturity - can they become more of who they are.

SPACE / TIME

Space and Time are both concerned with physical reality, goals, and the way one approaches them.

Space is associated with "the big picture" - with recycling, reproduction, and the interconnectivity of all things. The aspect also presides over the enjoyment of the journey over the destination - Space players serve as reminders that the present moment is as important as the end goal. Space is often a more passive Aspect, being the stage upon which the story is set. They're the hosts of the party, and the one who marks the ending.

Its players reflect these tendencies, often being feminine, with penchants for life-giving acts such as gardening. Their personalities tend towards frivolity and silliness, finding it difficult to stay on-topic or bring full gravitas to serious situations. Perhaps a better word would be "distractable;" when the aspect is so concerned with all things in connection with each other, it's easy to lose track of details, and it's easy to enjoy things simply as they come. Space players tend to be kind, patient, and forgiving, which is a strength as much as it is a flaw; it's easy for malicious actors to take advantage of this compassion, or for the Space player to find themselves in a poor situation by being overly permissive. They can easily be painted over by stronger personalities, and tend to struggle with romantic relationships, as they attract many with their kind and giving natures, and few are naturally so considerate of the Space player in turn.

"Passive" is a good word to use; at a toxic overabundance of their Aspect, Space players are trampled underfoot. They become enablers, servants to dark forces, or so lost in their own worlds that they neglect the one they live in. With their Aspect "inverted," a Space player becomes a demon of poor prioritization. Distracting not just themselves from their true purpose, but others, too, the Space player will wreak havoc by overemphasizing unimportant topics and ignoring important tasks. This superficially resembles Time, in that the Space player will become fanatically dedicated to their task, but note that the poor prioritization is still Space-esque at its core.

Still, within this nadir is a valuable lesson: the strength of self-assertion, and the determination to see a goal through. These will allow the Space player to weed their garden, separating good from bad, allowing it to flourish like never before.

Time, in contrast, is associated with "the little things" - with details, minutiae, and processes. Time presides over the struggle toward something greater, the endurance of hardship with an eye on the prize - the destination over the journey. Time players are the ones keeping track of the tasklist, marking off each item as it reaches completion; they are the tireless workers keeping the whole engine running.

Time players, thus, are ones whose lives are marked by struggle. They are highly goal-oriented; in contrast to how Space players can easily move from goal to goal, task to task, Time players feel bound to see things through to the end, finding satisfaction only when they've achieved their desired result - and only until they come across the next goal in their journey. A Time player isn't happy without a goal to work towards, a craft to polish, a prize to win - but this driven nature can easily be its own downfall, as it leaves little room for the player to admit to their own shortcomings, or ask for help from others. Moreover, their focus on minutiae can leave them blinded to the bigger picture, and it's easy for a time player to fall to despair, able to do nothing more but spin their wheels. They're prone to directionless anguish, frustration, and resentment towards the seeming futility of their actions, becoming destructive and defiant even when it doesn't serve them to do so.

At a toxic overabundance of their Aspect, Time players become explosively destructive. The ultimate "goal" of all things is death, with which Time is associated, and accordingly, Time players have a penchant for aligning themselves with futility and entropy, struggling so hard that their thrashing leaves a trail of annihilation in their wake. With their Aspect "inverted," Time players detach entirely - they can become so fed up with struggle that they simply opt to lay their weapons down and let the end take them. It's very easy for them to come to the conclusions that either everything matters, or nothing matters. This superficially resembles Space and its big picture thinking, but note that its framework of struggle, and whether or not a goal needs to be pursued, makes it a Time concern.

But the inherent meaninglessness of existence is, in itself, an important realization to make - that whether or not anything "matters" in the grand scheme, things can still be worth doing, worth caring about, and worth investing in. This realization allows the Time player to attack their goals with renewed vigor and greater clarity, which in turn means that the party becomes an efficient, well-oiled machine.

BREATH / BLOOD

Breath and Blood are both concerned with directionality, interpersonal relationships, and autonomy.

Breath is the Aspect governing freedom, liberty, and independence; it is a force that breaks shackles, clears out social norms, and refutes "the rules," whatever those rules may be. Breath players can't be tied down, whether by physical bonds, societal rules, or even the ineffable forces of the narrative itself. They are leaders of example, pioneers, and trailblazers, opening new paths for their teammates to follow.

Breath players are goofy and gullible, often with hearts full of childlike whimsy, naivety, and even immaturity. They are friendly and well-meaning, fond of simpler things, and easily swayed by others. They approach the world with a sincere and innocent good-naturedness, like a baby animal before it learns to be fearful of danger. Something about this sincerity seems to make Breath players irresistible to others, and they often find themselves the subject of romantic attraction. However, in this childishness is also the great pitfall of many Breath players - their natures are naturally conflict-averse, and egotistical the way a child can be, failing to see beyond themselves. They can be incredibly callous when not considering the consequences of their actions, or the viewpoints of others.

At their worst, Breath players are irresponsible and callous. They'll shirk the consequences of their actions, blaming anybody but themselves, or simply choose not to care who they hurt in order to get what they want. They may even choose to stop making choices for themselves, leading to the "inversion" of their Aspect - a voluntary loss of freedom and independence, derived from an Breath-like aversion to responsibility, which superficially resembles the bondage of Blood.

But if they are able to overcome these tendencies, a Breath player will learn what true responsibility looks like - responsibility for themselves, their choices, and the effect they have on others. Armed with this, a Breath player's ability to break bonds can be focused into a clear force for good, clearing away all obstacles and harmful societal standards, leading the charge into something new and beautiful.

Blood, in sharp contrast, is the aspect that governs bondage, contracts, and interdependence. It is a force that binds. Under Blood's sway are not only romantic entanglements, but familial, friendly, and societal ones as well. This aspect sees overlap with Heart, but the division is this: Heart concerns itself with feelings, and Blood concerns itself with compatibility. Blood players are diplomats, forces that remind us all that we are more similar than we are different, and that that similarity should bring us together when we are on the verge of pulling apart.

Blood players, reflective of their Aspect's association with bonds, tend to be neurotic and obsessive. They have a tendency to over-examine and overthink, constantly fretting over the infinite and infinitesimal variables that influence the shape of society and interpersonal relationships. However, this judgmental nature stems from a deep well of idealism and empathy; Blood players can't help but care about others and wish for the best for them. In a way, this makes them one of the most mature members of the team, being concerned with its overall well-being. Unfortunately, their prowess does not extend inwards, and their assessment of themselves is usually direly incorrect - all the worse because Blood players always feel responsible for those around them. Blood, being the Aspect concerned with interdependence, is the weakest one when all alone.

Thus, it's easy for the Blood player to wind up controlling - desperate to make sure everyone is moving according to their vision, they'll become iron-fisted dictators, with a "my way or the highway" approach to social interactions. It's easy for them to wind up pariahs of their own making, becoming so critical of others, or so adamant about enforcing their own will, that they inadvertantly sever their ties - something that superficially resembles Breath's independence, but is truly a result of Blood's neuroticism.

But with that space and separation can come great clarity. Blood players must learn to relax their grip, and allow people room to breathe - including themselves. Once able to grasp that sometimes bonds must be forged with a soft touch, Blood players' natural empathy shines through, allowing them to build something so much kinder and greater than the sum of its parts.

LIGHT / VOID

Light and Void are both concerned with knowledge, ontology, and "narrative relevance".

Light (as well as its counterpart) are perhaps best understood through the lens of "narrative" - this idea that, of all things that do and don't exist, and all events that do and don't happen, only the ones put to page are "relevant". Thus, Light is associated with knowledge and luck - that is to say, it's associated with the knowable, the objective, and the concrete, and the ability to determine "important" events. Light players have read the book they're participating in, and able to serve as luminary guides from one plot point to another, lighting the lampposts for others to follow.

Light players, naturally, are erudite and educated, possessing keen intellects and cunning minds. They are fond of knowledge itself, of markers of status and prestige - whether that's wealth, the adulation of the masses, or a massive library. They harbor a desire to be important, to be seen, to be acknowledged, and are happiest when they are looked up to. Conversely, they deal poorly with being looked down upon. Their confidence transmutes easily into hubris, and they struggle with having that pride challenged. As such, they tend to be volatile and unpredictable, quick to retaliate against those who threaten their egos, or obsequious to those whose acknowledgement they desire.

Their desire for the limelight can quickly spell disaster - they can become incredibly cruel, harsh, and egotistical in their pursuit of narrative significance. They forget, in their obsession, that they, too, are fallible and flawed, and the inevitable reminder can come very harshly. Light players struggle with moderation, and as such, when they feel shame, they'll often take drastic measures to cope with it - deliberately darkening their own influence or intellects, removing themselves from the "story" entirely - something which superficially resembles Void's penchant for the background, but which is firmly rooted in Light's obsessive need for drama.

But in experimenting with narrative insignificance, Light players can reach an epiphany - in their absence, others may shine, and that can be a wonderful thing. Light players, then, can learn to shine not just for their own sakes, but for the sake of others, allowing them to weave a story even more brilliant than any that can be weaved alone.

Void, in contrast, is the blank spaces between the words. That which is secret, subjective, unknowable - these are Void's domain. It's associated with taboos and hidden things, sexuality and pleasure. It's also associated with the empty canvas - the blank space before creation, and the oblivion to which creation is eventually destined for. Thus, it stands for infinite possibility, though the collapse of those possibilities into a reality removes that reality from Void's domain.

Thus are Void players ever cosigned to the background, though this generally suits them fine. Void players are very self-possessed. Where Light players tend to exaggerate and complicate, Void players are honest and simple, preferring straightforward solutions. They don't tend to think very hard, instead letting intuition and emotion guide them to where they want to be - which makes them one of the more stable personalities on a team. However, this simplistic, feelings-driven approach often leads to pleasure-seeking behavior, poor impulse control, and overindulgence in vice, and from there, to irrelevance, with which Void is so closely interlinked.

Void players are especially prone to vice, and at their worst, will become so drunk on pleasurable activities that they pursue them to the active detriment of the party's goals or the Void player's self-improvement - making them the ultimate irrelevant character. They can also very easily drag others into their mélange, with a forcefulness that resembles Light's illuminating guidance, but which is ultimately rooted in Void's pursuit of personal pleasure.

But there's a lesson to be learned in Light's domain: how to bring themselves into relevance and greatness. A Void player, once they learn to pursue not just personal pleasure, but a greater satisfaction for the collective whole, can drag the Void behind them, kicking and screaming, to where it'll be of use.

MIND / HEART

Mind and Heart are concerned with what it means to be a sentient being, with identity, and with why we do what we do.

Mind is the Aspect associated with logic, rationality, karma, ethics, and justice. To a Mind player, they "are" because they "think". They are keenly aware of the consequences of every action, and well-versed in cognition and behavior, such to the point of manipulating others with ease. Deeply concerned with the "effect" of cause-and-effect, Mind players are always cognizant of debts and credits, where justice is owed and where it has been over-meted, and their subtle machinations culminate, like well-placed dominoes, in grand and explosive finales.

Mind players are schemers - it's in their nature. They have a tendency to view the world as a puzzle or game, with themselves and the people around them as pieces on a board, and set as their standard rules the laws of ethics and karma - owed debts and overhanging credit - guilty and innocent. Mind players are wickedly cunning, and have an high success rate with every scheme they commit themselves to, but the grand downfall of all these tendencies is that they tend to lack in a sense of identity, and have a poor grasp on their own emotions or desires. While they may know how to provoke a desired reaction, they don't know how to change someone's mind. They often find themselves grappling very painfully with their own selfhood, with feelings of emptiness, inadequacy, or uncertainty.

Thus, a Mind player at the worst zenith of their Aspect is heartless and cruel. Leaving no space for empathy or even personal feelings in their plans, the Mind player will plot for an ending as heartless as they are. But a Mind player is never truly without emotion, and ignoring their own feelings causes them to manifest in terrible ways - Mind players have a tendency to seek toxic, codependent relationships, hoping to find external validation, subjecting themselves to the wishes of others, which can appear like Heart's fixation on feelings and desire.

But in recognizing their own need for emotional validation, and the importance of their own feelings, a Mind player can realize that there's an entire dimension to the game they've been playing that they've been ignorant of. When a Mind player learns to temper their schemes with empathy, compassion, and kindness, how much more success they'll see - and how much happier that grand finale will be!

Heart, then, is associated with feelings, motivations, intuition, the soul, and the self. To a Heart player, they "are" because they "feel" like they are - and they're keenly aware of the multitudes that are contained within themselves. Deeply concerned with the "cause" of cause-and-effect, they're drawn to desires, those of themselves and of others, especially where strong feelings are concerned. Heart players are gifted with an intuitive understanding of those around them, both their good and bad qualities, and are tasked with the grand task of bringing out the best.

It stands to reason, then, that Heart players have a firm grasp on who they are and what they want. For the same reasons, it's difficult for a Heart player to truly hate or condemn another person, because they are so adept at understanding them. However, this understanding comes with a price - because the Heart player is so aware of themselves, they can't escape their own worst traits - nobody self-loathes as accurately as a Heart player can. Nor can they ever truly be untruthful with another, making them poor manipulators. Capable of presenting a different facet of themselves as the situation calls for it, certainly, but just as it's impossible to lie to a Heart player, who always knows how someone really feels, it's impossible for a Heart player to lie to themselves.

With this sincerity comes vulnerability. Heart players wear theirs on their sleeves, and at their worst, this can make them demanding, needy, and sensitive - so eager to connect with others emotionally that they'll cramp themselves to fit others' desires. But they can't ever keep this up for long; Heart players have a tendency to withdraw from others after being hurt too often, finding it easier to be alone and silent about their feelings than to deal with the pain of rejection. They may even work to manipulate others, preying on their emotions and desires to force them to act in their worst interests. This superficially resembles Mind's cold logic, but unlike Mind's cool rationality, Heart's aloofness is a mask, an attempt to avoid pain by pulling away.

But this isn't purely a negative, because a Heart player can learn a healthier form of detachment, and separate out healthy and helpful desires from harmful and detrimental ones. Given this clarity, the Heart player becomes the team's emotional core, able to raise up each teammate's best qualities, while helping them deal with their worst, enabling everyone to be the best possible version of themselves - which the Heart player knew them to be all along.

LIFE / DOOM

Life and Doom are concerned with outlook, with journeys, and with trials and tribulations.

Life is an aspect concerned with healing, growing, and improving. It is associated with beginnings, optimism, and positive emotions. The very essence of Life lies in its healing abilities, in this idea of overcoming the odds and triumphing over hardship and difficulty. Life is action, movement, and motion, and its players can scarcely hold still. Life will find a way - and Life players harbor the same immutable belief; they are the most stubborn weeds in the garden, the cockroach that survives the apocalypse, and the beating heart that refuses to stop.

Life players tend to be optimistic and confident. They are self-assured individuals, with a stubborn belief that good things are on their way, and any hardship they face is not only temporary, but something that can be overcome. They can find the silver lining in any cloud, and enjoy themselves under any circumstance. They love to nurture, to care for others, though this love has a tendency to be one-sided. Indeed, Life's stubborn nature is its players' greatest pitfall; their persistence easily becomes obstinacy, and their confidence can become condescension. Their self-assured nature easily becomes egotism, and they can have great difficulty grappling with those who don't share their views - even coming to oppose those who bring emotional pain and suffering that can't be easily fixed.

It's very easy for a Life player to decide another person isn't worth their attention, and opt to leave them behind - after all, Life has to move forward, no matter what it tramples in the process. At their worst, they're stubborn to the point of not listening to anyone but themselves, confidence becoming blockheadedness. This focus on forward progress without looking back can even cause Life players to become harmful to others, so focused they are on their own growth that they don't notice that they're choking everyone else out. This may resemble Doom's death in its worst case - arresting everything else, eventually blocking even their own path with unruly, out-of-control fecundity.

Thus, a Life player needs to learn to more gracefully accept Doom's influence - to pause, slow down, and consider viewpoints that are negative, unpleasant, or difficult. A Life player, endowed with moderation, will be able to cultivate a bountiful garden, rather than an unruly jungle - a place for all to flourish and live in plenty, never wanting for anything.

Doom, then, is the aspect concerned with death, with rest, and with endings. Doom is associated with suffering and with negative emotions, with peace, with sleep, and with dreams. Doom players have a natural penchant for prophecy, and are often dual dreamers, able to take advantage of both Skaia's oracular clouds and the Horrorterrors' voices over Derse. All things must eventually come to an end, and not all times will be good; in these troubling times, Doom players shine, as they are the guides who call the murk home, and know best how to navigate rough waters, course-correcting until the storm passes.

Doom players tend to be deeply pessimistic. They experience, to a much more magnified degree than others, negative feelings and impulses, and it's difficult for them to see the world without seeing its flaws, first and foremost. They are not healers, but commiserators, those who understand greatest that sometimes there's no way to deal with tragedy but to simply sit with it and wait for it to pass. The counterpoint to Life's insistence on breathless positivity, Doom is a reminder that pain, grief, sadness, shame, and guilt are not unnecessary things - in fact, excising them can lead to terrible consequences. Doom players are the universe's martyrs, often taking it upon themselves to course-correct, to sacrifice themselves in order to give others a chance to continue on, to avert a terrible fate.

Unfortunately, this tendency also brings with it a tendency for Doom players to wallow in misfortune, or worse, to take themselves out of the picture, giving up entirely on seeing a better ending. As if energized by their own sense of futility, a Doom player at the "inverse" of their aspect may seem to echo a Life player's focus on forward progress and motion, actively spurring their team on towards an untimely demise.

A Doom player must learn to harness this sense of progress for good, rather than harm. A Doom player, once able to grasp the joy of life even in the greatest depths of despair, will be able to fill even the darkest hours with peace, meaning, and hope.

HOPE / RAGE

Hope and Rage are concerned with permission, and are the lens by which we define reality.

Hope is described by Hussie in the book commentary as being "framed as the most powerful aspect" because it is, literally, an aspect that defines reality. Its specific ability is lies in reducing the "fakeness attribute" of something, thus making it "real". Hope is associated with convictions, with idealism, with faith, order, holiness, and, of course, with magic - which Hope turns real. Hope is permission itself - a reality-breaking ability to look at the world and decree that it must be another way, a way in which the Hope player believes it ought to be.

Thus, Hope players tend to be hard-headed zealots, with no self-awareness whatsoever. Their inclination towards powerful beliefs makes them very difficult to dissuade from a path they've set their minds to, and their specific suite of abilities makes them terrifyingly likely to make their vision come true. Hope players are usually not particularly cunning, nor particularly intelligent, nor even particularly empathetic. Given the Aspect's focus on conviction and faith, it's usually very difficult for Hope players to notice anything occurring beyond their own minds and feelings. Thus are Hope players hopeless optimists, hopeless romantics, and hopeless in general - often great sources of embarrassment to their teams, as their naked sincerity is painful to witness. However, their ability to define reality does not leave them when their beliefs are faulty (which they often are, given Hope players are not particularly introspective, either), which is what makes a Hope player so dangerous.

A Hope player can easily be set on the wrong path - as convicted as they are, and as difficult to shake from that conviction as they can be, Hope players can easily march down a path of destruction, if not persuaded with a deft touch and gentle guidance. In the event that their faith is broken, Hope players easily become despondent and lost, floundering and wishy-washy, which superficially resembles Rage's self-consciousness, but is truly just a lack of direction.

But Rage has a powerful lesson to teach Hope players - that of questioning themselves, interrogating their own beliefs. Once their convictions have gone through rigorous scrutiny, revised into the best, brightest versions of themselves they can be, a Hope player is a worker of miracles - speaking into existence a beautiful future on faith alone, proclaiming that how they see the world is how the world shall be.

Rage, then, is the power of denial. If Hope reduces the "fakness" of a thing, then Rage reduces its "realness". Rage, too, is a means of defining reality, in this case taking a torch to the aspects of reality that it rejects. In more passive Classes, this works in subtler ways, stoking others towards destructive fury. Rage is associated with anarchy, chaos, revolution, destruction, anger, and nihilism. A Rage player will not suffer a world that does not satisfy them, breaking it to pieces, such that something new can take its place.

Therefore, Rage players are prone to harboring anger and resentment, discontentment with the status quo, and faith only in that what currently exists must somehow be dismantled. However, unlike Hope players, who can't help but be pathetically sincere, Rage players are incredibly self-conscious, and often try to mask and hide their embitterment and anger. This, ironically, leads to further ostracization, as others can tell they're being inauthentic. This only further compounds their sense of alienation, and drives them further into smoldering resentment. This makes Rage players sound volatile and dangerous, and they are - but the same fury that moves them is the fury that ignites revolts and tears down oppressive regimes, a necessary and vital well of energy and momentum. It takes careful handling to ensure that the team's Rage player can channel this energy towards righteous causes, rather than marking all as a target for their destructive ire.

In the worst-case scenario, the Rage player turns that rage out indiscriminately, deciding that there is nothing worth fighting for - only unpleasant things to be brought to ruin. This is Rage at its toxic overabundance. Conversely, a Rage player can retreat so harshly into their mask that they allow others to dictate their beliefs, taking them to heart - an action motivated by Rage's destruction (this time, turned inwards) that superficially resembles Hope's convictions and faith.

The true path for a Rage player is a healthy balance - to allow themselves some of Hope's sincerity, and by doing so, to become more sincere and true. This will let them release the pressure of their mounting ire, such that it can be converted into productive, rather than destructive, energy - the heralds of a revolution, razing away the faulty, corrupt old systems such that something better and new can take their place.

CLASS

As previously stated, Class governs a character's character arc - the character's starting circumstances, whether their conflict is primarily internal or external, and what major aspect of their Aspect becomes a hurdle for them to overcome.

In the same way an Aspect's sways tie into the character's base personality, the character's Class abilities tie into the kinds of struggles they face, and have great influence on how their Aspects manifest.

That being said, a character - and their Class - are always subject to their Aspect, as their Aspect is tied fundamentally into who they are. Thus, it can be said that a Light player will always have an affinity for knowledge and provide Seer-esque guidance even when not in a Seer role, a Doom player will always have prophetic abilities even with a non-prophetic class (note that Mituna, an Heir, still had prophetic visions, despite those generally being the realm of Mages and Seers), and a Life player will always have a penchant for healing, even paired with a destructive Class like Prince or Thief (the Condesce, after all, could still extend life; a Prince of Life would likely manifest not as one who causes plants to wither and die (this would actually suit a Prince of Doom), but one who destroys in the way of nature overtaking an abandoned shack, or a forest breaking down a body).

This means that when a character's Classpect inverts their Aspect, it doesn't mean that they suddenly become a hero of the opposing Aspect - rather, it means that, at their very worst - at the nadirs of their character arcs - they will lean so much into their Aspect's worst traits that it will superficially appear as the opposite, when all it really is is an absence of themselves. Dave, a Time player, usually so attentive to detail (despite his disaffected facade, he's always paying rapt attention to Karkat's rants, and noticing all the clues pointing to his destiny of defeating LE), at his lowest emotional point (arguing with Grimbark Jade after sobbing about his lost childhood whimsy), states that he doesn't think Lord English is that big a deal, and never even did anything directly bad to him or his friends - when he was literally directly haunted by LE via Cal his entire childhood. Similarly, Rose drinks herself stupid in order to cope with her mother's death.

Note how, superficially, this almost appears to be an invocation of Space's "big picture thinking," its passivity and permissibility, or how Rose's case appears to be Void's tendency to indulge in vices and pleasure - but they're not. Time's worst traits superficially resemble Space, Light's resemble Void, and vice versa - Grimbark Jade is the Condesce's taskmaster, and Porrim at her worst was as much of a nag as Kankri, trying to do a Time player's managerial job. Horuss and Equius at their worst won't shut up and won't stop talking over their partners. So on and so forth.

Finally, Calliope tells us a couple things about Active/Passive pairings. The first is that Calliope introduces the idea of paired classes with the idea that both Rogues and Thieves "steal" (and later, that both Princes and Bards "destroy"). This presents the idea that both classes can be roughly summed up with the idea that every pairing can be summed up with a common theme.

The second is her description of what makes a Class Active versus Passive - that Active Classes move their Aspect to benefit themselves, whereas Passive Classes allow their Aspect to be moved in order for others to benefit. In a way, they're like active and passive voice in grammar (to tie in with the way Classes and Aspects are so tied to ideas of narrative and character arc) - an Active Class performs their Aspect, and a Passive Class allows the Aspect to be performed "by others" (the famous piece of advice regarding telling the two apart being that a sentence written in passive voice can have "by zombies" tacked to the end of it - eg, John is attacked "by zombies", as compared to active voice - John attacks).

Thus, the Class pairings, along with their basic themes, are as follows:

KNIGHT - / MAID +

"One who controls."

Knights and Maids are paired together through two key factors: the first is that they both hold leadership or managerial roles; the second is that both classes carry the connotation of serving a Lord. Fittingly, they are both struggle with the control of malicious forces - Knights with prophecies indicating their role as heroes, Maids with direct usurpation by malicious forces.

PAGE - / HEIR +

"One who inherits."

Pages and Heirs are paired together because they both fundamentally deal with the great inheritances placed before them. Pages can come into incredible, limitless power - but they must struggle and work hard for it; Heirs begin the game in societal comfort and wealth, and must learn to defect from their decadence.

THIEF - / ROGUE +

"One who steals."

Thieves and Rogues are highly adaptable, as Thieves are capable of fantastic on-the-fly adaptation, whereas Rogues have an infinite toolbox at their disposal. They are both provocateurs, shakers of the status quo, though the Thief does so for personal gain, while the Rogue does so to right injustice.

MAGE - / SEER +

"One who guides."

Mages and Seers are tied together by the gift of prophecy and future sight. Seers are privy to the endless branching paths that the future may take, while Mages are gifted with the ability to outright determine a future that will certainly happen, appearing to be prophecy.

WITCH - / SYLPH +

"One who changes."

Witches and Sylphs are individuals blessed with great magic, but poor judgement. Sylphs heal and nurture, but are drawn to those with strong desires, and enable them to cause great harm; Witches, meanwhile, possess strong emotions, which they often use as moral guidance, for better or worse.

PRINCE - / BARD +

"One who destroys."

Princes and Bards are representatives of society - the one who determines its course, and the one who recounts its passing. Princes suffer from a toxic overabundance of Aspect, and are prone to spectacular meltdowns, whereas Bards are always poised for a crisis of faith. Both are responsible for catastrophic failures - but also breathless victories.

INDIVIDUAL CLASSES

KNIGHT

"One who controls [Aspect] or controls using [Aspect]."

Knights are frontline warriors, rallying points behind which the party falls into line. Although they are often leaders, just as often, they are logistical planners, strategists, or simply the team's beating heart. They are almost always thrust into positions of narrative significance, often carrying grand destinies or even outright heroic prophecies on their shoulders. The are the party's rallying force, its center, and a guiding light - the one to lead the charge, behind which the party will follow.

The primary character struggle a Knight will have is with crippling insecurity. Knights are prone to self-loathing and imposter syndrome, and will often adopt a façade in direct opposition to their aspect (ie, their fundamental personality) in order to cope with their feelings of inadequacy. Thus, their relationship with their aspect becomes love/hate - though they're naturally drawn to their aspect, and even naturally skilled at utilizing it, they have a tendency to become their own worst enemy, as their insecurities make them push their façades, and their façades distance them from their aspect.

"Controlling their Aspect" means that the Knight has easy access to their Aspect, wielding it like a tool or weapon - for good or for ill; "controlling using their Aspect" is what grants Knights their leadership abilities, able to dictate how others ought to act in accordance with the Knight's Aspect - whether their understanding of their Aspect is high or low, whether their advice is good or bad.

Therefore, at their worst, a Knight will fall prey to their insecurities, retreating into their facades, rejecting their Aspect, which will allow disharmony or misuse of it to proliferate throughout the team. They may even wind up deliberately twisting their Aspect's presence within the team so that they never have to be confronted by it; these distortions ripple outwards and eventually culminate in major catastrophes, all on account of the Knight's negligence.

But at their best, a Knight is a shining beacon and guiding light; when they come to terms with themselves, and allow themselves to be comfortable in their own skin - when they no longer allow themselves to be ruled by their insecurities and anxieties - they ensure that their aspect is harmonious wherever it appears throughout their party, and can wield it expertly as a weapon, as if it were their own flesh and blood.

MAID

"One who allows control through [Aspect] or allows [Aspect] to be controlled."

Unlike Knights, which take positions of frontline prominence, a Maid is a managerial presence in the backlines, though no less crucial for the smooth functioning of a party. Just as the invisible hands of the hired help keep a household running, the Maid will be called upon to provide vital services to keep the game stable, even if those services are more noticeable by their absence than their presence. Maids are often the party's unsung heroes or even shadow leaders, tugging at invisible strings, fingers on the pulse.

A Maid's primary character struggle will be that of escaping oppression. Maids tend to start the game in positions of subjugation or subservience, especially to malicious forces, and their abilities often end up being exploited to serve their masters' ends. Therefore, one may even have the impression that a Maid is ruled by their aspect, held prisoner and slave - at least until they're able turn the tables.

"Allowing their Aspect to be controlled" means that Maids are capable of directly dispensing their aspect unto others - a Maid of Time can dispense time unto foes, pausing them in their tracks; a Maid of Life can grant so much life that they can revive the dead. Their boons are great and direct, straightforward in a similar manner to Knights. "Allowing control through their Aspect" grants them their uncanny managerial abilities, as their aspect dictates the realm in which nothing occurs without the Maid's knowledge or permission, a realm made available to whomever the Maid's allegiance lies with.

Thus, at their worst, the Maid becomes a saboteur. Exploited by malign forces, their abilities to allow control over others through their aspect, or control of their aspect, makes them perfect vehicles by which their aspect can be hijacked or usurped, and made to turn against the party, and they often find themselves placed into these positions through no fault of their own. It takes the party banding together to shake off the forces that would keep a Maid in bondage.

However, at their best, Maids ensure that the party can never go too far off the rails. There is a place for everything, and everything will be in its place; a Maid is a supply line, a safe haven, and a promise that everything will be neat and tidy when the party returns from war. When the Maid belongs to themselves, their homestead becomes a fortress, and nothing occurs under the Maid's watchful eye without their express permission.

PAGE

"One who works to inherit [Aspect] or inherits [Aspect] for themselves."

Pages are a class defined by promise. As the name suggests, a Page begins weak, but has the great potential to develop into one of the most powerful players in the game. The exact nature of a Page's powers are vague, not because they are insignificant, but because they are so great that it's difficult to encompass them all. At the apex of their arcs, Pages are capable of miraculous feats, overpowering even Lords and Muses - if only they could reach that point and stay there.

A Page begins the game weakest of all, reflective of their long journey of growth. Where most classes only fall into deficit of their Aspect at their lowest emotional points, Pages begin their arcs in deficit - exhibiting character traits opposite to those their Aspect normally encompasses. Moreso than any other class, a Page must learn to grow into their Aspect. Weak-willed, naive, and easily hurt, Pages require careful nurturing if they're to come into their own.

"Working to inherit their Aspect" describes the endless journey of growth the Page must undertake - one with many missteps, backslides, and setbacks along the way. Still, they "inherit their aspect," meaning that their full potential, when realized, is overwhelmingly great - practically becoming their Aspect in humanoid form, capable of utilizing it to its glorious full potential.

However, their nature defeats them, and even if they can attain this state, the Page usually can't stay there for long. At their very worst, the Page's deficit of their Aspect's better qualities can turn the Page into a gravitic well of misfortune - an albatross about the party's neck, the centerpoint, if not inciting incident, of a massive disaster, as their team is sucked in by the Page's natural weakness.

But this is only true as it contrasts to a Page at their best - having grappled and won with the greatest of all weakness, a Page is poised to come into the greatest of all strength. Shown kindness, compassion, and support, a Page at full power reflects a party at their best. A Page at full strength is breathtaking to behold, an unstoppable force of nature, their Aspect made manifest.

HEIR

"One whom [Aspect] grants inheritance or inherits [Aspect] for others."

Heirs, in contrast to Pages, start the game strong. They usually belong to the upper echelons of their respective societies, a position of great wealth, leisure, and comfort, and are set to be inheritors of even greater wealth. Similarly, their Aspect comes to them as if of its own will - it is powerful, but difficult for the Heir to control, reflecting the wealth and status they've enjoyed as birthright.

An Heir's main challenge is that of examining their privilege, and learning where they wish to spread the gift they've been given. Because of their positions of sheltered comfort, Heirs are not particularly world-wise, and often harbor massive blind spots to the suffering of others and the ills of society. As such, they tend to be fairly aimless, given great power but no strong motivations, and have a tendency to simply indulge in their Aspect without contributing great help or hindrance to their team at all.

The Heir's Aspect is practically an independent entity. Being one whom "their Aspect grants them inheritance" refers to how the Heir starts powerful, able to summon their Aspect to perform great, miraculous acts. However, it is highly intuitive and difficult to control. The Heir's challenge lies not in attaining great power, but in attaining control over, and the ability to direct, their existing abilities. Once they do, they can "inherit their Aspect for others" - Heirs become a conduit through which their party can experience their Aspect, making it a usable pool of wealth for them all to draw from. However, because of their comfortable positions, many Heirs end up dallying, finding no pressing need to do so.

But this dallying hides a ticking clock. An Heir's inheritance will come to them, one way or another, and if they aren't ready to receive the great responsibilities that come with such great power, then the power will eventually consume them. An Heir with no clear direction will eventually become lost to their Aspect, entirely removing both from play. Like how wealthy inheritors simply become part of the status quo, so, too, does an Heir disappear into their Aspect, fixing it in place.

Thus, Heirs must learn where they have been blind, where they have been foolish, and what it means to be underprivileged. Then, once they turn their energies towards addressing those injustices - to taking responsibility for building a better future - when their wealth comes to them, they'll be able to distribute it where it's needed most. An Heir, fully-realized, brings their Aspect to heel, and makes it a resource available to their entire team, as if welcoming them all into the family.

THIEF

"One who steals [Aspect] or steals using [Aspect]."

Thieves are, as the name suggests, greedy - much of their arc revolves around a desire to amass wealth, though what's considered "wealth" varies based on the Thief and especially their Aspect. They tend to be callous people by nature, capable of ignoring or trampling over the feelings of others in order to take what they want, in the hopes of filling an emotional void the Thief may not even be fully aware of.

The Thief's playstyle is one of careful resource management. Reflecting a natural tendency to take "wealth" from others, Thieves are unable to use their Aspect without first "stealing" it - a subtractive act which leaves the victim bereft of the Aspect, weakening them in the process. Because of the finicky nature of these abilities, it takes great cunning to be a Thief, and the Class both demands and requires the player to be adaptable, flexible, and quick on their feet, able to effect complicated schemes and engineer the perfect situations for their powers to have the greatest effect. Thieves aren't necessarily strong, but they have a very high victory ratio, because they're experts at turning a situation to their own advantage.

"Stealing their Aspect" refers to the fundamental way in which the Thief class is played, this resource management game; "stealing using their Aspect" reflects how the Thief often becomes a malignant force within the party, viewing their own teammates as caches of wealth to plunder. Thieves are naturally prone to hurting others for their own purposes, craving drama and attention, and being of such callous dispositions that they're able to perform extreme acts of cruelty given the right motivations.

Thieves often become a target of ire within the party, disruptive forces whose quest for personal wealth and fulfillment comes at the cost of those around them. At their worst, they can bring so much heat down upon their own shoulders that the party feels the need to treat them like an enemy, which is disastrous for party harmony. Moreover, it's disastrous for the Thieves themselves, as Thieves seek wealth to compensate for some emotional emptiness, and making enemies of their friends only serves to deepen their ennui.

Thus, a Thief must be taught that true happiness and fulfillment doesn't come from the struggle for wealth, but from the building of something better with those they care about. A Thief, thus turned to heroic purposes, becomes the party's pinch hitter - an adaptable spy, an unpredictable maverick, an element of surprise - and above all, a reliable ally, capable of turning any tide in the party's favor.

ROGUE

"One who steals from [Aspect] or steals [Aspect] for others."

Rogues, on the other hand, call to mind such figures as Robin Hood, stealing from the rich to distribute to the poor. Rogues are at their best when they're agents of a well-planned heist, as they possess an unlimited toolbox - their own Aspect - to play with. Their Aspect is a treasure trove, just waiting for the Rogue to plunder it and share its riches - if only the Rogue can figure out how.

Rogues are forces of revolution. They naturally carry a rebellious spirit, one which bristles at injustice, takes a stand against authority, and questions the status quo. Their ideas are unfocused, however; they know they must rebel, but usually don't start with a clear idea of against who or what. They know that their society is injust, but they don't know how to address that injustice. They know there are villains, and may even know these villains' identity, but they don't know how best to defy them. In a similar way, they're often lost as to how to utilize their Aspect beyond its most basic applications, and usually require external assistance in order to bring out its full potential.

Rogues' true potential lies in "stealing from their Aspect" - an additive act, rather than a subtractive one, as a Thief's stealing is. Rogues are capable of removing their own Aspect's sway over another entity, allowing it to exhibit the characteristics of the opposite Aspect; a Rogue of Void can create things out of nothing, a Rogue of Heart can tease out behaviors and actions. They can also "steal their Aspect for others," allowing them access to their own Aspect's suite of abilities as well. This allows the Rogue incomparable flexibility, their abilities - like their dispositions - rebellious and subversive.

But their rebellious spirit, coupled with their lack of understanding as to who their real enemies are, is dangerous when left unchecked. Rogues often suffer from a failure to start, giving up on trying to understand the deeper implications of their abilities, and of the society they can't seem to find contentment in - but they can also suffer from a worse fate: rebellion without a cause. Rogues' free spirits can lead to them bucking the status quo in ways that actively harm others, performing acts of taboo or poor taste just because that rebellious energy needs to be put to use somewhere. These can have disastrous knock-on consequences, as some things are taboo for good reason.

Thus, Rogues need to be guided - to make connections with others, and come to a greater understanding of the world at large. Once they know their target, and what needs to be done, the Rogue makes sure there are no obstacles along the way - no safe is uncrackable, no prison inescapable, and no problem unsolvable, so long as the Rogue is there to work their magic.

MAGE

"One who guides [Aspect] or guides [Aspect] for themselves."

Mages are prophets, of the "always correct" variety - or so it seems. In actuality, Mages don't "predict" the future, they "choose" it - in a setting where the future is mutable, the Mage's ability is to speak into existence a future they desire, to tip the scales of causality and collapse possibilities into a single definite course. Their Aspect is the lens through which their "prophecy" occurs, a realm in which they command the fabric of reality itself.

As if to karmically balance this incredible power, Mages are afflicted by deep and terrible sadness. They start the game miserable, having been subjected to the greatest injustices their Aspect can offer, tormented by guilt, shame, and self-loathing. Their worldview has been shadowed with a lens of suffering and anguish, and so, too, is their view of the future. Mages usually begin the game having already set several prophecies into motion, and these early prophecies are usually obstacles that the party must overcome.

Mages "guide their Aspect" - this refers to the way their prophecies, that is, their chosen futures, always come true. Their visions may be limited to the sway of their Aspect, but it remains a powerful ability nonetheless. "Guiding their Aspect for themselves," then, outlines the Class's Active nature - the futures the Mage picks must be ones the Mage believes will come to pass.

Unfortunately, Mages have a tendency to pick ugly futures. This isn't out of malice or anger; this is because Mages start the game sad, and without intervention, grow sadder. They're prone to spirals of negativity, self-loathing, and depression, and as their outlook dims, so, too, do their forecasts. Mages suffer, but even suffering can grow familiar - can even appear comfortable or desirable, if the Mage suffers long enough. It's easy for them to grow so accustomed to misery that misery is the only outcome they can see - spelling doom for the rest of the party, one prediction at a time.

But a Mage whose party shows them kindness and forgiveness, compassion and empathy, can pull them out of their misery. How beautiful, then, the future appears! A Mage who believes in a brighter future is a force to be reckoned with. When a Mage can bring themselves to say, "and everyone lived happily ever after," you had better believe they did.

SEER

"One who who is guided by [Aspect] or guides [Aspect] for others."

Seers, meanwhile, are the true future-sighted, able to see the myriad paths the future could take. Like Mages, their Aspect serves as the lens by which their vision is colored; the Seer can sense, with fine accuracy, which paths are closest to the sway of their aspect, and which paths will take them further away. As if gifted with a guide to the game, their intuition is tied directly to the mechanics of SBURB, and they serve as the party's guides, a role indispensable in a game with so many moving parts.

Seers will struggle with blindness, first by hubris and ego, and then by self-harm. Seers begin the game quite full of themselves, proud of their prowess in their Aspect - usually arrogantly so. When this pride is inevitably shattered, Seers have a tendency to deal with their feelings of shame and guilt with willful, self-induced blindness - as if flipping a switch, they become ashamed of the pride they once placed in their Aspect, and seek to place as much distance between it and themselves as possible. There's comfort in ignorance, even if it renders the Seer useless.

Seers are "guided by their Aspect" - able to sense its presence, they gravitate toward it, and towards futures with it in abundance. And, in the same way, they "guide their Aspect for others," lighting the way for others down the path of greatest reward. Seers truly love their Aspect, no matter how much they may misplace their faith in it, and seeking it out is a great joy for them.

This is why a Seer at their worst is so tragic. By inducing intentional blindness within themselves, they are functionally deadening the strongest part of their soul. No matter the temporary relief this brings to the sharp, jagged pain of shame, it invariably deepens the Seer's suffering, as they deny themselves not only their own joy, but their ability to help others - another act which inherently delights them.

Thus, a Seer needs to be made to deal with their shattered ego head-on, to accept their own shortcomings, to become at ease with the idea that they don't have all the answers. Once their vision becomes clear, and their view becomes honest, the party nevermore has to fear becoming lost or straying from the path - the Seer will see to that.

WITCH

"One who changes [Aspect] or changes [Aspect] in others."

Witches are the winds of change, tweaking reality all around them until it suits their desires. A Witch is presence that commands both fear and respect, and their Aspect bows down before them, reduced to a mere minion in the Witch's presence, ready to attend to all their needs. In a way, the Witch's powers are straightforward - they can manipulate their Aspect as they desire, changing its qualities as they see fit. "How they see fit," then, is where the issue lies.

Witches are usually of "outsider" status, never truly being part of the society from which the rest of the party descends. Free from the same rules and common sense that govern the others on their team, Witches instead operate on a value system heavily reliant on their own emotions. What a Witch deems to be correct, to be true, or to be righteous, are often based not in any objective measure, but in subjective, emotional bias - and they're emotional creatures, indeed. Prone to fits of great anger, Witches can be benevolent one second and malicious the next, and their abilities let them imprint, to a greater degree than any other Class, their desires onto the world that comes after them.

Witches "change their Aspect," as in, the crux of their abilities lies in manipulating the qualities of their Aspect in their surroundings - extending, shortening, magnifying, shrinking, growing, removing… so on and so forth. It's a fearsome power. They also "change their Aspect for themselves" - their Aspect is hapless but to obey their desires; Witches change the world to suit themselves, and their feelings of how things "should" be often become how things "are" in short order.

Thus, a Witch who has been swayed toward evil entities and nefarious ends is a truly dangerous opponent - and it is unfortunately easy for this to happen. Witches' social isolation means they tend to trust their emotions, and a force that flatters these emotions can easily win a Witch's trust. By the same token, those that fail to flatter the Witch are often considered enemies, even if they're benevolent forces. A Witch's morality can thus become warped and topsy-turvy, which has grave consequences for the world that the Witch then shapes.

Therefore, a Witch's struggle lies in learning to see beyond their own emotions, to take in the opinions and assistance of others even when it seems superficially unpleasant, to move beyond the childlike rejection of that which is uncomfortable. Once able to see a more nuanced form of right and wrong, once able to tell evil from good, Witches can build even utopia.

SYLPH

"One who allows [Aspect] to change others or changes [Aspect] for others."

Sylphs are nurturers and healers; they bring to mind fey folk whose very footsteps cause plants to grow. Wherever they go, whatever they touch, all becomes suffused with the Sylph's Aspect, which flourishes under their careful cultivation. Sylphs adore their Aspect, and their Aspect adores them; Sylphs generally feel at peace with themselves, surrounding themselves with what they like.

A Sylph's main challenge - or rather, the main challenge that Sylphs wind up posing the rest of the party - is that Sylphs are enablers. They're attracted to those with strong wills and extreme dispositions, amused by the havoc they wreak and pleased by their attention. Sylphs love to pick out favorites and lavish them with care and attention, excusing any wrongdoing on their behalf and shielding them from consequences. At the same time, those who don't strike the Sylph's capricious fancy find themselves discarded in the Sylph's mind, shut out from the boons the Sylph can provide.

A Sylph is "one who allows their Aspect to change others" - this almost always manifests as healing, as it's an additive ability (that is to say, the Sylph can grant more of their Aspect to someone). "Changing their Aspect for others," on the other hand, explains this enabling nature of theirs - the Sylph will intervene to make the world into a playground for their favored individuals, even to the point of turning other, less "interesting" teammates into playthings for the Sylph's beloved.

Thus, while the Sylph themself isn't particularly prone to wild mood swings and acts of malice, their influence can still cause disaster by allowing unscrupulous individuals to flourish - even encouraging their worst tendencies. A Sylph's touch is subtle, but that subtlety only lends it an insidious quality, as the Sylph quietly works against the good of the many for the cruel, selfish pleasures of the few. At their very worst, the Sylph can deem themselves their only favorite, and render everyone else a minor character in their one-man show.

Thus, Sylphs must be challenged. They must be made to reckon with the fact that favorable treatment is not necessarily kindness, and that bias can easily become harm. When a Sylph is able to grasp the difference between bias and doing good, and tune their approach toward that greater good, uncolored by bias and personal preference, then there is no place safer, kinder, and more conducive to growth than the Sylph's embrace.

PRINCE

"One who destroys [Aspect] or destroys using [Aspect]."

Princes are the most anxious, psychologically anguished members of a party. They suffer from a toxic overabundance of their Aspect - its traits are taken to an extreme, and not only the Prince, but those around them, are made to suffer for it. Princes are naturally set on a path of self-destruction, the culmination of their uncontrolled accumulation of their Aspect, and their meltdowns are spectacular, taking their Aspect - and whoever is unlucky enough to be in the same room - with them.

A Prince's challenge, therefore, is as simple to understand as it is difficult to overcome. The Prince needs to learn how to calm down, relax, and find inner peace. Princes are terribly prone to circular thinking and downward spirals. Their natural inclination is to feel anxious and responsible, like they carry the weight of the world, and this causes them to act out in extreme and aggressive ways. Eventually, others pull away, put off by the Prince's intensity. This only deepens the Prince's malaise, and Princes are - pushed by this hovering sense of urgency and catastrophe - willing to employ drastic, desperate measures to enforce compliance with their wills. They wake on their moons early, reflective of their driven natures. They're determined to a frightful degree, and no sacrifice is too great, no work too dirty, if it means achieving what they see as the greater good.

Princes "destroy their Aspect" in this way - by presenting their Aspect at its worst, they make others take distance, ruining it for everyone else. Their hard wills, intense emotions, and unshakeable drive to do what (they feel) needs to be done - at any cost - is their source of power. Thus, Princes "destroy using their Aspect" - their toxic overabundance of Aspect lets them channel it into a pure, annihilatory force; what they lack in the delicate utility of the other classes, they make up for in raw, ruinous power. Princes can easily deal the greatest damage in a combat scenario, their ability to destroy overriding nearly everything that would stand against it.

Thus is the problem with Princes. They're ticking time-bombs of anxiety and frustration; when they finally go off, they carve a path of destruction, before ultimately self-destructing, leaving no trace of their Aspect behind. Not only that, but it's very difficult to defuse the bomb early; Princes have finicky, aggressive, and complicated personalities, and tend to react poorly to straightforward attempts to calm them down and reason with them. They often appear to be their own worst enemies, marching inexorably toward their own destruction.

But Princes not only can be saved, but must be saved. They must be saved because kindness and compassion must exist for their own sake, and a Prince rescued from their own worst tendencies is living proof of the truth of that sentiment. A Prince, given the peace they need to reorient their priorities, will not rest until they see a brighter future realized. They will be the first to rise, and the last man standing, banishing - as if by royal decree - all obstacles, all enemies, all misfortune, and all ills.

BARD

"One who invites destruction through [Aspect] or allows [Aspect] to be destroyed."

Bards are the wild cards of a party, responsible for both improbable victories and catastrophic defeats - sometimes both in a single session. The methods by which a Bard works are a mystery to even the Bard themselves, which make it easy for the party to dismiss their powers - and, by extension, the Bard themselves. After all, who would expect there to be consequences for something so ridiculous as a Bard?

Bards are usually targets of abject ridicule by their teams. They can't help it - they're religious types, or at least types that hold great, lofty, ridiculous beliefs near and dear to their hearts. A Bard's primary struggle invariably winds up being a crisis of faith. Bards begin the game with a positive, "correct" faith in their Aspect; however, something will inevitably occur that shakes the Bard's faith in this viewpoint to its core. In this state, Bards are incredibly fragile, and it's very easy for them to succumb to whispers of cruelty and destruction, for their beliefs to warp, and for the Bard to come to serve the worst aspects of the society they represent.

A Bard "invites destruction through their Aspect" - their powers are subtle, but have catastrophic effects. Bards are instinctively drawn towards causing the first flap of a butterfly's wing, which cascades into a grand, impossible karmic backlash. They "allow their Aspect to be destroyed" by being the conduits for the forces of their faith - whatever faith they hold - to wreak unimaginable consequences across the game.

Thus, a Bard must not be allowed to fall into darkness. The cost is too great. They must be treated with kindness, patience, and sincerity, and given a chance to re-establish their faith in a better, brighter future. If this can be done, then at the party's direst moment - in their darkest hour - they will find that kindness paid back a thousandfold, as an innocuous act by the Bard that no one remembers balloons into a miracle.

[starlit1daydream]

Knights & Pages: Deficiency and Exploitation

Well, then... here we are.

A day in delay, I'm aware; but I'm afraid I can't always be accounting for extraneous real-life factors. My apologies.

The Knight:Page class dichotomy embodies deficiency, exploitation and arguably compensation as well. They imbue their Aspect into their fighting prowess, utilise it both as a weapon and a tool, and often use it to constitute a shield as well. (Literally and metaphorically).

The presence of either (or both) of these classes also functions as a signal; as by their very nature, they exist to compensate for a deficiency in their Aspect within their session proper.

Canonical Knight players are Dave Strider (Knight of Time), Karkat Vantas (Knight of Blood) and Latula Pyrope (Knight of Mind).

Canonical Page players are Jake English (Page of Hope), Tavros Nitram (Page of Breath) and Horuss Zahhak (Page of Void).

So, Point A. The narrative function of the Knight.

Narratively speaking, the Knight is one who defends their Aspect; and uses it as a defense in turn. They are defined by maintaining a rigid facade, born of their Aspect and used to hide a perceived deficiency in it. Their Aspect is their sword and their shield, and this oft manifests as a deep-seated insecurity.

Dave's insecurity is with his masculinity, mortality and conception of 'heroism'. Karkat's insecurity is with the colour of his blood, his fear of ostracisation and social exile. Latula's insecurity is less clear-cut, but the most prevalent theory is that the injury that rendered her anosmic also left her with brain damage.

Thus, we see here that their fear comes from lacking in their Aspect. Dave lacks confidence in his ability to face closure & his projections of masculinity (something he misconstrues with heroism). Dave doesn't want a great destiny; he wants to be a normal guy who lives a normal life and dies a normal death. He's essentially a tutorial NPC thrust into plot bullshit after plot bullshit.

Karkat lacks confidence in his sense of self caused by his mutant blood and his persistent fear of social ostracisation and subsequent death should his status be exposed. One could also argue it is a disillusionment with the Alternian social order that he does not fit into by design, but feels he must follow anyways (hence his ass-kissing dreams of threschecutioner greatness).

(Here's where the conjecture comes in...)

Latula lacks confidence in her capacity for rational thought and ability to use logic for her own (and others') defense. If we're going with the TBI narrative for her, she feels as if she lacks intelligence as a result. Tying into Latula's commentary on the misogyny in online gaming circles and we get a girl who is deeply, deeply terrified of rising above her station and displaying an intellect.

So, Dave pretends to be a self-assured, chauvinistic 'cool kid'.

Karkat pretends to be a bossy, self-righteous 'perfect leader'.

Latula pretends to be an air-headed, radical 'gamer chick'.

All of them deny themselves depth and identity for the explicit purpose of denying people the right to know them on a deeper level.

Let's simplify this - Knights feel they lack their Aspect and compensate for it. End of.

Here's where the dramatic irony comes in; Knights are the only people in their session who are proficient with their Aspect at all. Dave is the only Beta Kid concerned with Time management, Karkat is the only Beta Troll concerned with maintaining social order and collaboration, Latula is the only Alpha Troll concerned with logical thought and logical argument.

Because the Beta Kids lack Time on their side, the Beta Trolls lack Blood to bind them together, and the Alpha Trolls lack Mind to... well, to be totally blunt, to use their fucking brains.

(The Beta Kids' lack of Time being tied moreso to the nature of their Game as opposed to the nature of themselves is absolutely a matter of Lunar Sway, by the way).

That's what they need to learn, and subsequently use their Aspect to defend. Dave defending his co-players from certain death and entropy, Karkat defending his co-players from turning on eachother and descending into conflict, Latula defending Mituna from disbelief and abuse through logical counterargument.

Here, we're dovetailing directly into Point B - practical function.

We're all caught up in flowery metaphors and abstract conceptions, but how does this translate to a literal function within SBURB?

Simple. The Knight imbues, exploits and weaponises their Aspect. They don't generate it or control it in any way - that's the caveat of their function. Knights must exploit an already existing well of their Aspect and use that minimal supply to the best of their abilities.

It's the literal manifestation of their abilities for compensation! They have to merely 'make do' with what's available. After all - if there was an influx of their Aspect to work with, there wouldn't be a deficiency to combat.

This journey ties into their narrative function as learning to use it and defend through it also comes with dropping the mask and putting down your sword every once in a while. We don't ever get to see this fully with Latula, unfortunately, but we see Dave and Karkat (through means of eachother, actually) learn to relax in eachothers' presence and drop some of their unhealthy preconceptions.

Now, let's go on to the Pages!

Point C - narrative function.

Pages function in much the same way as Knights on a base level - existing to cover for an existing deficit in their session by virtue of compensation. The difference, obviously, comes in their passivity - and their different manifestation of their Aspect which more directly feels to be a shield as opposed to a sword.

Pages turn the Knights' overcompensation on its' head. Like Knights, they too believe their lack their Aspect, and thus project an image of possessing an influx of it. The difference is that Pages... actually do have that deficiency.

Jake lacks Hope. He lacks faith in himself, lacks the belief in his own capacity to bring a better future and finds it difficult to hold onto his convictions when the going gets tough.

Tavros lacks Breath. He lacks a direction or an objective to follow, lacks freedom by virtue of his disability and Vriska's control of his life. He prefers to avoid things and run away from problems.

Horuss lacks Void. He lacks the ability to cope with imperfection and the fact he doesn't know things. He can't deal with being absent or bereft of purpose.

And, likewise, their sessions lack their Aspect as well in equal measure!

The Alpha Kids lack Hope in the same manner - they don't have the motivation to keep going and find themselves falling into depression and passivity. Dirk even lampshades this!

The Beta Trolls lack Breath - none of them have freedom to choose their own destinies due to oppressive Alternian society and thus fall into the trappings of the roles laid out before them.

The Alpha Trolls lack Void - the teenage echo chamber of drama and gossip denies anybody the right to secrecy or privacy, and their presence in the dreambubbles forces them into proximity and furthers this absence.

Now, it's a common conception that this absence means a Page is weak by default, or outright useless. I absolutely abhor this notion. A Page is not the 'weakling' class - they merely rely upon guidance.

For Jake, it's his fantasies. His masks. His projections of heroism and adventure - and Brain Ghost Dirk is the literal manifestation.

For Tavros, it's his false confidence. It's his assurance that he can stand up for himself and fly to safety should the going get tough - and Rufio is the literal manifestation.

For Horuss, it's his 'renaissance man' projection. It's his showcase of absolute perfection and ideal highblooded taste - and his alters and therian identity are the literal manifestation. (However poorly executed it was, and oh boy was it poorly executed and oh boy was it ableist.)

For this, they're prone to subsequently use their Aspect as a defense mechanism in a more passive manner than the acerbic Knights who prefer to fight with it.

Jake hides behind his fantasies, Tavros runs away from everything he can't face and Horuss pretends he can't hear the sound of Rufioh breaking up with him.

And, of course, as everyone will tell you - this comes with a vast well of potential. Pages are not uniquely powerful or the 'strongest class' like some people would have you believe, but it is true that upon undergoing development, they become incredibly confident in that Aspect. It just happens to be a long journey that no Page fully completes on-screen.

It is learning to accept their own lack of proficiency with their Aspect, drop the mask and begin forging a more genuine relationship with it. Knights must learn to relax, Pages must learn to stop relaxing. It's almost like a little inversion of their active:passive roles, if you want to see it like that!

Point D. Practical function.

Pages... yeah, this is really fucking obvious. Look at Jake. Look at that thing he does. You know? The gigantic shield of pure Hope energy he generates when his full potential is tapped into.

That's what a Page does. They tap into the well of their Aspect to use it as a great shield, making their defense of themselves through their Aspect literal. And, yeah, that's pretty goddamn powerful!

It's like they're meant to embody the little 'sidekick' role in shonen. Koichi Hirose. Koichi Hirose is a Page.

So, there we have it. The classes of compensation. I'll be putting out individual analyses of all of these class combinations soon-ish once the main seven posts are out, so be looking forward to that! I'll be back with you soon wiht the second part of this: Mages and Seers.

And that should be fun, 'cause I am one.

Take care.

[propheticclown]

CLASSPECTING DELTARUNE CHARACTERS GRAHHHHHHH

WARNING: OBVIOUS SPOILERS FOR DELTARUNE AHEAD!!! Note: This post will only cover the Main Trio and some Lightners. Let me know if you want this to be a multipart series for Darkners as well!

Susie: While it is a BIT controversial to say she's anything but a Rage Player, I don't think that she is. A lot of people Classpect her as a Knight of Rage but forget a fundamental part of Knight as a Class, which is that they act like they don't care about their Aspect. Dave as a Knight of Time seems like a cool, mellow dude who just wants to be chill and pass the time with relaxing, when in reality, he's the most organized, punctual Beta Kid who is constantly worried about how he spends his time. Karkat as a Knight of Blood acts like he doesn't care about his friends and just wants to be a big bad scary leader when in reality, he cries over literally minor inconvenience about his friends. A Knight becomes fully realized once they embrace that side of them that they seem to not care about. Susie is very open about her anger and shame, which is not what a Knight of Rage would do. Y'know what she is hesitant about? Being a hero. Being anything OTHER than a angry teen. Her development in Chapter 4 where she finally starts to embrace the prophecy and the ideals it lays before her are when we see her at her healthiest (before it comes crashing down because of the final piece of the prophecy but we can ignore that). For that reason, I truly believe that she WOULD be a knight. But a KNIGHT OF HOPE! Not a Knight of Rage. Ralsei: I feel like this is pretty obvious. Everyone agrees that he's a Void player of some kind. Prince of Darkness. Makes sense. Obviously he is not a Prince of Void though. In my opinion, I think he's a SYLPH OF VOID, just for basic kinda reasons. Sylph is a healer class that blabs about their aspect, Ralsei is a healer who constantly blabs about the roles Darkners are supposed to play. Void is all about obscuring information and hierarchies, Ralsei constantly obscures information from Kris and Susie while deeming himself to be lower than them because he's a Darkner. Pretty cut and dry for me, although I'd love to hear your thoughts on it. THE PLAYER (NORMAL ROUTE): To me, the player seems like a SEER OF BLOOD simply because they can see all possible options laid before them whilst also actively benefiting the relationships of people Kris is close to. Also being connected to Kris and well, Blood is all about connections. And because everyone on tumblr has played Deltarune and name me ONE person on this website who doesn't do the "holier than thou" shit that Kankri does.

THE PLAYER (WEIRD ROUTE): Now, on the other hand, the player on the weird route is actively destroying all of Kris' relationships for the sake of cultivating their relationship with Noelle in a sick and fucked up way. As such, weird route player is a PRINCE OF BLOOD instead, not to mention that Prince of Blood not only destroys connections but destroys WITH connections and I mean, we did force Noelle to destroy Berdly.

(Not me though because I've never played the Weird Route so haha) Noelle Holiday: Speaking of Noelle, I wanted to talk about her development as a character as her whole character arc revolves around her cowardice and being able to become brave enough to stand up to people, whether that be in the Normal or Weird route, so her classpect doesn't change like the player's. This is gonna sound a bit odd but I think Noelle would be an HEIR OF RAGE. Heir's start off not having their aspect and then gaining it through means of progression of the story. Noelle is a character who is constantly oppressed by the people around her, never being able to speak her own mind. It's only at the end of Chapter 2 that Noelle is finally able to stand up for herself and challenge the ideals of Queen, which is something a Rage Player would do. Not to mention that her during the Weird Route is all about giving up her control, which is what an unrealized Rage Player would do in the first place. On top of that, her and another Rage Player, REALLY love strangling.

Erm... Burghley???: Jokes aside, Berdly is probably the easiest character in Deltarune to Classpect. He's a pompous jackass who uses his intelligence to garner validation and relevance. That man is the most LIGHTEST of LIGHT players. But what class would he be? Hmm? Oh so difficult, I imagine you saying to yourself. Easy. He's a Mage. Mages are described as someone who benefits themselves with knowledge pertaining to their aspect. And oh boy does that bird love to use his knowledge of ...knowledge to benefit himself. Not to mention that Mages also only half have their aspect and aren't able to fully acquire it in the beginning of their arc (Ex. Sollux continually "half-dying" never actually meeting his DOOM, Meulin constantly using escapism and entering a toxic relationship with Horuss to avoid accepting what her HEART actually wants), which would not only explain his lack of friends (aka relevancy and attention) in the normal route, as well as him being cast aside entirely in the weird route. Also it ties into his arc in Chapter 2 about embracing ignorance, which would technically make him go Grimdark within the Homestuck world. So yeah, Berdly is a MAGE OF LIGHT! Kris Dreemurr: Now, I know what you are all expecting me to say. "They're a Prince of Heart, bye bye have a great time". Hot take incoming: I don't think Kris is a Prince of Heart at all. Not because they don't have care about their self expression and identity, not at all. That's a very prominent part of Kris' character, but because... a Prince of Heart's whole thing is destroying Heart or destroying through Heart. Kris' actively helps people gain their motivation to do what they're destined to do, whilst also destroying the motivation of enemies to fight in the first place through non-violent methods. Hmm, so we're looking for a Classpect that harbors an overabundance of shame and isolation from society, internally angry but doesn't express it unless it REALLY annoys them, builds up the motivation of their allies whilst also destroying the motivation of others through ACTing/making them giving up on their motivation through FIGHTing, ON TOP OF KEEPING SECRETS FROM THE WATCHER AND WORKING WITH THE MAIN ANTAGONIST!!!. Man, if only there was a Classpect like that. Oh wait there is- THEY'RE A PRINCE OF RAGE! Kris is a PRINCE OF RAGE! I know. I know. Extremely odd take but look at them! I just stated all things that make a Prince of Rage and Kris fits every box as opposed to Prince of Heart, which I'm only convinced people classpect them as because they dislike us as the player controlling their body and we just so happen to be in the shape of a heart. But even then, severing connections is not a Prince of Heart thing. That's a Prince of Blood thing, and considering that Kris actively is attempting to keep their friends incredibly close to them and is attempting to reunite their entire family to be like how it was in the past, I don't think Prince of Blood fits the bill. But hey, you know what an extremely unhealthy attachment to the people they love, which they cultivate by either doing extremely life threatening things or manipulation of the people they love DOES fit the bill for? That's RIGHT! Prince of Rage! Because that is EXACTLY what Kurloz does with Meulin. IN FACT! A LOT OF PARALLELS EXIST WITH KRIS AND KURLOZ!!! ESPECIALLY WITH THE RELEASES OF CHAPTER 3 AND 4, which makes sense when you consider that Toby Fox helped with the creation of the Alpha Trolls, INCLUDING KURLOZ! This is a hill I am 110% willing to die on and I will be the most pretentious, conceited asshat about it because I KNOW THAT I'M RIGHT! AND BEFORE ANYONE SAYS IT! PRINCES DO NOT LACK THEIR ASPECT! THAT IS BARD! PRINCES SUFFER FROM AN OVERABUNDANCE OF THEIR ASPECT!!!

So anyway, thank you so much for reading. Let me know if you'd like to see another post like this with other characters, as well as asking me about other characters you want me to classpect just in general. I hope you all have an absolutely wonderful day! :o)

[midoocherni]

my personal subjective tl;dr of all the classes and aspects in homestuck, based on common elements shared by their users and some speculation

useful shorthand to help you find your own and understand what others' mean

[nekropsii]

...very fitting that the heir of void is the most overlooked of the beta trolls. truly a master of his classpect

Ever think about the fact that Equius's blood was used as ink to redact parts of Rose's documentation of the story?

Upon Equius's death, the session inherited Void.

Heir sure has a lot of definitions, doesn't it? Interesting how all of the Heirs we see have to deal with Death or Doom in some way, as a major part of their role, just like real heirs. Anyone gonna talk about that?

[adhesiveapoidea]

this post is about @superxstarzz combined classpects, specifically the classes. if you don’t know what i’m talking about, then go check it out!

warning: veeerrry long post. i will be talking a lot and it might not make sense because it’s two in the morning right now.

a pretty long while ago now (probably around october of last year), i had the idea to get super autistic about superxstarzz (aka casey)’s combined classes. since the combined classes are derived from, well, combining the normal classes, the best place i could think to start was by simplifying the function of the canon classes into just a few words. here’s my list below:

maid - mend self

page - grow self, utilize in self

mage - self suffers from; suffers for self

knight - defend others

rogue - distribute to others

sylph - meddle with others

seer - understand/see for others

thief - steal for self

heir - self becomes

bard - invert in self

prince - destroy in others (i know that bards destroy too, but princes destroy more actively than bards)

witch - manipulate others

with this initial task out of the way, figuring out the combinations of the classes became simply figuring out how to combine the functions. this took me only a couple hours of wasted class time, so if you’re a fan of superxstarzz’s combined classpects, feel free to find your favorite class and please enjoy my interpretation of its function!

(note: descriptions will be formatted with the two base classes that combine to make the class, the name of the class, its whole function, and one word to describe its function)

maid/page = CONDUIT - heal self through utilizing. “grow”

maid/mage = REPENTER - heal self through suffering. “recover”

maid/knight = MOTHER - defend others through healing self. “nurture”

maid/rogue = DUCHESS - distribute the healing of self to others. “empower”

maid/sylph = ARTIST - heal self through meddling with others. “interfere”

maid/seer = AUTHOR - heal self through understanding others. “learn”

maid/thief = COLLECTOR - heal self through stealing for self. “gather”

maid/heir = AVATAR - heal self through becoming. “accept”

maid/bard = INVADER - heal self through inverting in self. “subvert”

maid/prince = SOVEREIGN - heal self through destroying in others. “circumvent”

maid/witch = PUPPETEER - heal self through manipulating others. “guide”

page/mage = BEHOLDER - utilize/grow through suffering. “realize”

page/knight = CHANCELLOR - defend others through growing. “master”

page/rogue = ANARCHIST - utilize/grow through distributing to others. “donate”

page/sylph = DOCTOR - utilize/grow through meddling with others. “prescribe”

page/seer = MENTOR - utilize/grow through understanding others. “study”

page/thief = MOONLIGHTER - utilize/grow through stealing for self. “covet”

page/heir = OVERACHIEVER - utilize/grow through becoming. “crescend”

page/bard = KEEPER - utilize/grow through inverting in self. “reflect”

page/prince = OVERLORD - utilize/grow through destroying in others. “devastate”

page/witch = MANIPULATOR - utilize/grow through manipulating. “command”

mage/knight = GRANDMASTER - suffer from defending others. “martyr”

mage/rogue = ARCHIVIST - suffer from distributing to others. “sacrifice”

mage/sylph = NEUROSURGEON - suffer from meddling with others. “collateral”

mage/seer = PROPHET - understand others through suffering; suffer through understanding others. “witness”

mage/thief = VICTOR - steal for self through suffering; suffer from stealing for self. “shield”

mage/heir = VICTIM - suffer through becoming. “transform”

mage/bard = TRAITOR - suffer from inversion in the self. “deteriorate”

mage/prince = SCOURGE - suffer from destruction in others. “languish”

mage/witch = DISPLACER - suffer from manipulating others. “disrepair”

knight/rogue = SCOUT - defend others through distributing to others. “fortify”

knight/sylph = CLERIC - defend others through meddling with others. “adjure”

knight/seer = TOMEKEEPER - defend others’ understanding; defend through understanding others. “conserve”

knight/thief = CONFIDANT - defend others through stealing for self. “redirect”

knight/heir = CONTRIBUTOR - defend others through becoming. “burden”

knight/bard = ANTITHESIS - defend others through inversion in self. “misdirect”

knight/prince = WARDEN - defend others through destruction in others. “prune”

knight/witch = HACKER - defend others through manipulation of others. “coach”

rogue/sylph = NURSE - distribute to others through meddling with others. “inspire”

rogue/seer = SCRIBE - distribute understanding. “teach”

rogue/thief = PILFERER - steal for self through distribution to others. “tax”

rogue/heir = BEACON - become distribution; distribute through becoming. “emanate”

rogue/bard = ARCHER - distribute through inversion of the self. “agitate”

rogue/prince = VANDAL - destroy in others through distribution. “poison”

rogue/witch = IMPROVER - distribute to others through manipulation. “change”

sylph/seer = HERBALIST - understand through meddling with others. “acquaint”

sylph/thief = MISTRESS - steal for self through meddling with others. “intrude”

sylph/heir = WEAVER - become through meddling with others. “mediate”

sylph/bard = POLLUTER - invert in self through meddling with others. “suggest”

sylph/prince = CHEMOTHERAPIST - destroy in others through meddling. “implant”

sylph/witch = REMNANT - manipulate others through meddling. “micromanage”

seer/thief = PLAGIARIZER - steal understanding; understand others through stealing for self. “cheat”

seer/heir = MONK - become through understanding others. “enlighten”

seer/bard = REWRITER - invert in self through understanding others. “question”

seer/prince = GATEKEEPER - destroy in others through understanding; destroy understanding in others. “erase”

seer/witch = JUDGE - manipulate others through understanding. “convince”

thief/heir = FRAUD - become through stealing for self. “usurp”

thief/bard = HOARDER - invert in self through stealing for self. “pickpocket”

thief/prince = PARASITE - destroy others through stealing for self. “drain”

thief/witch = ADAPTER - manipulate others through stealing for self. “preach”

heir/bard = SABOTEUR - become through inverting in self. “revise”

heir/prince = SUPERNOVA - become through destroying in others. “obliterate”

heir/witch = SUITOR - become through manipulation. “advise”

bard/prince = ANNIHILATOR - destroy in others through inverting in self. “uproot”

bard/witch = SORCEROR - manipulate others through inverting in self. “masquerade”

prince/witch = WARLOCK - manipulate through destroying in others. “siege”

and that’s all of them! thanks for sticking around. if you wanna see me do this for the combined aspects as well, let me know :3

sorry for making you wait so long for this, superxstarzz, i completely forgot to make this post at all. hope you enjoyed though qwq

- stickybee

[emperor-of-blood]

I think the hardest part about classpecting this group is going to be that I've read the whole manga but only half the show has come out. I'm going to avoid spoilers to the best of my ability for the aniem-only folks.

I guess I might just have to imply some of the stuff for later lol.

Anyways, let's dive right in starting with Marcille Donato!!

Our elven friend here plays a very interesting role in the little group! With Falin's absence, she's the only mage in the party (I suppose you could count Laios one he starts learning) and she's also quite often the "Straight man" of the group, being the voice of reason amongst a bunch of weirdos. That being said she has her fair share of wackiness! For one thing, she specializes in dark magic! It seems she mainly knows how to make stuff explode, some healing spells, some miscellaneous buff magic, and then a whole bunch of forbidden mumbo jumbo.

She is shown to be both caring and intelligent and is instrumental on the quest to rescue Falin. Probably her most notable moment comes when she finally gets the chance to employ some of that illegal magic and revive Falin.

With that out of the way:

Marcille is...

A Bard Of Doom!!!!

One who destroys [Doom]/one who invites destruction through [Doom]

Now, if you're done laughing, let's dig into this a bit more. Marcille very succinctly fulfills her role as Bard Of Doom, give me a chance to convince you. Take a look at Falin's revival. Marcille brings her back from the dead by employing forbidden magic; but she doesn't just undo her death, she undoes a death that is by and far insurmountable. This resurrection, whether purely her fault or not, results in Falin becoming a chimera and falling under Thistle's control. Shortly thereafter, Falin decimates the combined might of 4 adventuring parties.

As fun as these huge, all inclusive examples are, I also quite enjoy the more minor aspects that allude to her classpect. They're everywhere! For example: Marcille's distaste for eating monsters. Senshi's focus on the dungeon as an ecosystem. Marcille's constant resistance to participating in cycle this showcases how she continually tries to destroy the aspect of Doom in herself. She keeps herself removed from the cycle of life in the dungeon as much as possible.

There are more examples later on and unfortunately, I can't really go over them without spoiling the hell out of people. It really is a shame, but that's just how it is. So if you're anime-only, you'll just have to trust me. And if you've read the manga, then I'm sure you can instantly figure out what I'm talking about.

Alright folks! That'll be it for now, look forward to more soon! I'm planning on going thru the rest of the crew soon as well as answering some of the asks that have built up.

[aortaobservatory]

A Detailed Overview of Classes

-aortaObservatory

The Classes of Homestuck are left up to interpretation; they were designed for the characters who hold their titles, and as such, there is inherent bias within them even within canon. Like many other classpectors, I believe they can stand alone, beyond how canon defines them (and, if I am being honest, beyond the sheer lack of canon material for them). It is simply a matter of straining out what they are defined to be in canon from the characters, and from those strains, foraging in the same direction based on a number of factors (such as the class's pair and inverse pair).

In this post (A Brief Overview of Classes), I gave brief statements of what each class was and what it did.

In this post (A Look Into My Classpecting Process, with a focus on Karkat), I explained how I initially defined the classes as based on my understanding of the aspects, comparing the characters who held the same titles and stripping away all that differed between aspect and character trait until only "class" remained. From this, I defined each class beyond their canon bias and fully fleshed them out.

In this post, I will attempt to go into a bit more depth for each class, defining certain classes as active/passive, and explaining why their pairs are what they are, how they work, as well as what they do. How I classify the classes is in a trio of quadrants (four classes to one group, with three groups for a total of 12 classes). Three groups of four.

This is my overview of the classes. My interpretation.

To define: Class is the intended role of the player; how they interact with or are shaped by their aspect, either actively (directly) or passively (indirectly). Active-Passive class pairs are defined by a primary word that dictates what they do, and the quantity of the hidden secondary word that dictates the difference between the pair.

Primary words: Know, Change, Utilize, Allocate, Enhance, Destroy

Secondary words: Experience, Embody, Skill, Value, Reliance, Control

Know - Do or Do Not have Experience

Change - Do or Do Not Embody

Utilize - Do or Do Not have Skill

Allocate - Do or Do Not Value

Enhance - Do or Do Not have Reliance

Destroy - Do or Do Not Control

Perception Classes - Know and Change

perception: "immediate or intuitive recognition or appreciation, as of moral, psychological, or aesthetic qualities; insight; intuition; discernment."

The "Knowers" are those who do (Mage) or do not (Seer) have experience with their aspect. The Mage directly has too much experience with their aspect, while the Seer indirectly has too little experience with their aspect by being surrounded by their inverse aspect. In other words, a Mage knows, and a Seer does not know.

Mages are flooded with their aspect, uniquely experiencing both the good and the bad of it. As a result, they gain a unique understanding of what their aspect is or does, often resenting it or becoming jaded and frustrated with it, but never rejecting it. Their challenge is to become open to new insight or different perspectives than their own.

Seers study their aspect, craving knowledge of it from their previous lack of it. They seek knowledge of their aspect with a fierce intensity in order to gain more understanding of it, acknowledging the potential consequences of doing so and dealing with them later. Their challenge is to learn how to translate their insight and knowledge into action and decision, as well as learn how to manage their engagement with their aspect so as to not overwhelm themselves or others.

The "Changers" are those who do (Heir) or do not (Witch) embody their aspect. The Heir indirectly embodies too much of their aspect, often unintentionally or by getting stuck on some part of their inverse, while the Witch directly embodies too little of their aspect by picking and choosing what to embody and what not to embody. In other words, a Witch changes, and a Heir does not change.

Witches are self-assured and conclusive individualists. They pick and choose which parts and pieces of their aspect fit into their own already determined desires, making their aspect embody themself and changing it to suit their own wants and needs. Their challenge is to achieve a stable balance in themselves without losing themselves to their aspect or their own changing whims.

Heirs inherit and embody their aspect, allowing their aspect to change themselves or itself. They have huge amounts of aspect related strengths, allowing themselves to be surrounded by their aspect or naturally gravitating towards it. Their challenge is to not get stuck on their aspect, to know when to move on and change themselves to keep themselves balanced.

Inverses:

The Mage and the Heir are inverse classes; for example, a Mage of Doom is also an Heir of Life (inverse), and an Heir of Breath is also a Mage of Blood (inverse). A Mage has too much experience with their aspect, and as a result, fully embodies and gets stuck on their inverse. An Heir fully embodies and gets stuck on their aspect, and as a result, has too much experience with their inverse.

The Seer and the Witch are inverse classes; for example, a Seer of Light is also a Witch of Void (inverse), and a Witch of Space is also a Seer of Time (inverse). A Seer doesn't have much experience with their aspect but is surrounded by their inverse, and as a result, picks and chooses pieces of their inverse to embody to further their study. A Witch chooses pieces of their aspect to embody and ignores what they don't want to embody, and as a result, doesn't have much experience with their inverse and thus gains a desire to study it to fill in their missing pieces.

Alignments:

Those who Know (Mage, Seer, knowers pair)

Those who Change (Witch, Heir, changers pair)

Those who do experience and embody (Mage, Heir, inverse pair)

Those who do not experience and embody (Seer, Witch, inverse pair)

Those who directly Know/Change (Mage, Witch, active pair)

Those who indirectly Know/Change (Seer, Heir, passive pair)

Volition Classes - Utilize and Allocate

volition: "the act of willing, choosing, or resolving; exercise of willing"

The "Utilizers" are those who do (Knight) or do not (Page) have skill with their aspect. The Knight directly has too much skill with their aspect, while the Page indirectly has too little skill with their aspect, often focused on compensating for the lack of their inverse. In other words, a Knight utilizes, and a Page does not utilize.

Knights are extremely adept with their aspect, their driving effort to protect it and others through it. They are loyal to their aspect's cause and naturally gifted with it, using it as a tool to achieve whatever they set themselves to. Their challenge is to learn how to be less harsh on themselves, to accept and learn from failure, and to accept the assistance of others when they need it.

Pages start unskilled in their aspect, learning how it works and how to use it to its full potential over time. In their many attempts to master their aspect, they teach others the value of their aspect, becoming an unintentional source of inspiration. Their challenge is to keep at it, learn from failure, and eventually master their aspect, being able to confidently provide their aspect to others.

The "Allocators" are those who do (Rogue) or do not (Thief) value their aspect. The Rogue indirectly values too much of their aspect, giving it away until there is nothing left within themself, while the Thief directly values too little of their aspect by taking it without caring for it. In other words, a Thief allocates to themself, and a Rogue does not allocate to themself.

Thieves take their aspect, either craving it fiercely from their lack of it in their lives or simply because they like it, stealing and hoarding it all for themselves and their own personal benefit. Despite their outward confidence with their aspect, they often take it at face-value without learning of its true value, being unsatisfied with how much of their aspect they hoard and craving more and more. Their challenge is to focus less on attaining and more on learning about the value their aspect, as well as to let others have their aspect and learning why it is important to others.

Rogues give their aspect away, either because they have a lot of it already, or are able to get it so easily they don't know what to do with so much of it. They often know the true value of their aspect, and are able to see where there is too much or too little of their aspect and redistribute it in a balanced way around themselves. Their challenge is to not let their aspect run dry within themself, and to learn how to healthily balance their aspect in themselves.

Inverses:

The Knight and the Rogue are inverse classes; for example, a Knight of Time is also a Rogue of Space (inverse), and a Rogue of Void is also a Knight of Light (inverse). A Knight has too much skill with using their aspect, and as a result, fully values their inverse and gives it away to others. A Rogue fully values and gives away their aspect to others, and as a result, has too much skill with using their inverse.

The Page and the Thief are inverse classes; for example, a Page of Breath is also a Thief of Blood (inverse), and a Thief of Light is also a Page of Void (inverse). A Page doesn't have much skill with using their aspect, and as a result, seeks their inverse because they think it will come easier to them (an act which ignores the value of the inverse). A Thief desperately craves their aspect for their lack of value towards it (or additionally, a physical lack of it), and as a result, doesn't have much skill with using their inverse.

Alignments:

Those who Utilize (Knight, Page, utilizers pair)

Those who Allocate (Thief, Rogue, allocators pair)

Those who do have skill and value (Knight, Rogue, inverse pair)

Those who do not have skill and value (Page, Thief, inverse pair)

Those who directly Utilize/Allocate (Knight, Thief, active pair)

Those who indirectly Utilize/Allocate (Page, Rogue, passive pair)

Passion Classes - Enhance and Destroy

passion: "any powerful or compelling emotion or feeling, as love or hate"

The "Enhancers" are those who do (Sylph) or do not (Maid) have reliance on their aspect. The Sylph directly has too much reliance on their aspect, while the Maid indirectly has too little reliance on their aspect, often told how to think of it or forced to rely on others instead. In other words, a Sylph enhances, and a Maid does not enhance.

Sylphs start off relying on themselves for their aspect, attempting to heal, restore, and enhance their aspect in others. They are a pure source of their aspect for others, and though this can cause frustration and irritation in themselves and others, they can see ways for their aspect to help and heal the struggling of others. Their challenge is to learn how to listen to the needs of others instead of assuming they know best, and to balance themselves by learning that it's okay to rely on others for their aspect sometimes.

Maids start off pushed around by others' view of their aspect, but eventually allow their aspect to heal, restore, and enhance themselves, making them into an entirely new person and purifying their aspect to themselves. They start out relying on others for their aspect or being told by others how to interact with their aspect. Their challenge is to listen to themselves instead of others, and to not let others opinions dilute their aspect as they restore it for themselves and allow it to make them into a new person.

The "Destroyers" are those who do (Bard) or do not (Prince) have control over their aspect. The Bard indirectly controls too much of their aspect, often avoiding it to the point of deterioration, while the Prince directly controls too little of their aspect, generating frustration and anger with which to destroy. In other words, a Prince destroys intentionally, and a Bard does not destroy intentionally.

Princes destroy their aspect with their aspect or in the name of their aspect, and as a result, often end up appearing as their inverse aspect at first glance. Princes start off with disdain or hate for their aspect, likely because of its overwhelming presence in their lives, and because despite its abundance, they can never seem to grasp or control it for themselves. Their challenge is to be able to recognize their aspect's presence in themselves before they destroy themselves beyond repair, and learn that they do not need to control or bend their aspect to their will.

Bards allow their aspect to be destroyed via simply not reaching out for it, and ignoring its presence in their lives, leading to them appearing as their inverse aspect at first glance. This is typically due to stubbornness and/or a fear of being controlled by their aspect; while they may see benefits to what it could offer them, they can also see all the downsides to it simply because of their fear of what could go wrong. Their challenge is to be able to embrace their aspect and not be ruled by its whims, learning to control the way it impacts themselves without letting it be destroyed.

Inverses:

The Sylph and the Bard are inverse classes; for example, a Sylph of Space is also a Bard of Time (inverse), and a Bard of Rage is also a Sylph of Hope (inverse). A Sylph has too much reliance on their aspect and themself, and as a result, allows their inverse to deteriorate out of stubbornness and/or fear of it. A Bard has too much control over their aspect but allows their aspect to deteriorate from their own stubbornness and/or fear of it, and as a result, has too much reliance on their inverse.

The Maid and the Prince are inverse classes; for example, a Maid of Life is also a Prince of Doom (inverse), and a Prince of Hope is also a Maid of Rage (inverse). A Maid doesn't have much reliance on their aspect or themself because they are surrounded by their inverse, and as a result, destroys their inverse in an attempt to purify themself. A Prince has too little control over their aspect despite being surrounded by it, and in their attempts to make their aspect obey, doesn't have much reliance on their inverse.

Alignments:

Those who Enhance (Sylph, Maid, enhancers pair)

Those who Destroy (Prince, Bard, destroyers pair)

Those who do have reliance and control (Sylph, Bard, inverse pair)

Those who do not have reliance and control (Maid, Prince, inverse pair)

Those who directly Enhance/Destroy (Sylph, Prince, active pair)

Those who indirectly Enhance/Destroy (Maid, Bard, passive pair)

[whamss]

Every now and then I think I'm kind of sleeping on classpect analysis, but also what you have to understand about me is that I'm way less enchanted by the act of defining classes and aspects and way moreso by how individual Characters contextualize their relationship with their aspects and assign meaning to it based on their experiences

Something that I always found striking about late Act 6 Kanaya was the way she recontextualizes her relationship with her aspect as something so specific to her and her own experiences. Something about the juxtaposition between Alt Calliope mapping out hard rules about her classpect, saying "This is what it means to be a Space player" "This is what it means to be X" while Kanaya talks about how her experiences formulated her own relationship with her classpect. It's a fascinating difference between them where I never think that the story tries to say that either of them are Wrong about how they view Space. But there's such an underappreciated depth there where Calliope is demonstrated to be somebody who's obsessed with rules, strict categorization, while Kanaya says "this is what my experiences have told me, this is what Space means to Me." And Alt Calliope saying things like Space players are inseparably tied to loneliness are interesting claims, but also putting these beliefs in context with each other you can just as easily see how Alt Calliope's views of space can be formulated by her lifelong (deathlong) experience with isolation.

I think a big reason that I always found it hard to engage with a lot of classpect analysis is that there's this insistence that classpects must have strict categories that define people, when throughout the comic we consistently see how things like aspects and classes mean different things to different people. The way that Kanaya, Calliope, and Jade all see Space and their relationship to it is so so different, I sort of wonder if they'd have any common ground if they actually discussed it between each other (or wrote their thoughts down and passed it around, as Calliope would undoubtedly dominate that conversation lol). The same goes for Rose and Vriska with Light, the Time players... I don't know, it's striking to me. I can understand why the rumored Hussie Classpect doc is supposedly only a sentence or so per classpect because what do you even say? When the variety of experiences is so broad among them, it's impossible to define Classpects cohesively. Alternatively, aspects are something strictly defined by the meaning that people (characters) assign to them

[classpecting-the-hoyoverse]

Veritas Ratio: The Rogue of Light

Rogue: The passive stealing class

One who steals aspect for others

Alternatively, one who shares or one who redistributes aspect with others

Light

Abstract: Knowledge, Awareness, Attention, Relevance, Fortune, Luck

Literal: Actual Light (Brightness), Vision, Eyes, the Sun, Stars

This is gonna become a series isn't it?

It is. Now let's get going on discussing everyone's favorite interstellar scholar: Dr. Veritas Ratio!!

Let's get the obvious out of the way: His aspect.

Light is more commonly known as the aspect of knowledge. But instead of talking about he’s light-bound personality wise, why don’t we shake things up a bit? We know that he's a smart and knowledgeable man, but what more can his aspect offer for us aside from that?

To fit with Ratio's Greco-Roman theming, I'll briefly discuss the World of Ideas in Plato's allegory of the Cave.

Forgive me to if I do get the allegory wrong and please feel free to correct me!

The gist of this is that ordinary people are like prisoners chained to a cave, only able to perceive reality through shadow puppets and the distorted noises that bounce off the cave walls. These prisoners were born in the cave and had been raised in the cave, not knowing anything else outside of it; ignorance. It's only when they break out of their chains do these prisoners start their path to enlightenment and they achieve it so once they see the bright sun outside of their cave; the World of Ideas.

Ratio seeks to break everyone from the chains of ignorance and guide them towards enlightenment through spreading his knowledge throughout the universe.

Ratio is the man who would forcefully break the prisoners' chains and nudge them towards the light, as much as he could anyways.

And for one specific character, he hopes it is enough.

We'll get back to him later! Next I want to talk about is Ratio and his connection to Christian Gnosticism, which likely had served as inspiration for the concept of the Light aspect in Homestuck. I will be borrowing ideas from one of optimisticDualist's essays so I highly recommend giving it a quick read before continuing onward.

According to Gnostic myth, the world was created through the desires of an aeon named Sophia, an Emanator of light. I should also note that the Greek word for wisdom is Σοφία.

Sophia longed to understand God in His entirety, but in doing so she committed treason and was thus cast out of heaven. Her desire gave birth to Yaldabaoth: a blind, violent, and ignorant god who knew nothing but himself. He created the material world that you and I perceive, shielded from the light of Sophia that birthed him. Because a blind god made the world in his image, the denizens of his earth are also blind to Sophia.

So what do banished gods have to do with the purple guy?

Well, just like Archimedes and screws, things come back around. In order to save yourself from Yaldabaoth’s world, one must be delivered a certain knowledge that is delivered by a “messenger of light” and thus gain the ability to perceive Sophia and her World of Ideas.

In other words, salvation can be sought in what Gnosticism calls a gnosis.

However, one cannot just simply be gifted a gnosis. Those who seek Sophia’s salvation must be driven to reach it, reach beyond the Demiurge’s dark and imprisoning world and into the intangible, bright world above.

Doesn’t that sound familiar?

By Gnostic definition, Ratio should be an Emanator of wisdom, helping curing others of ignorance and helping them on their way towards enlightenment. Hell, you can even say that he's a sylph with all the constant allusions to healing and helping, especially since that Ratio's a Doctor.

However, we all know that this isn't true. Within Ratio's character stories, it can be inferred that his one goal in life is to become an Emanator of the Erudition. His arduous pursuit of knowledge was likely all in hopes in attracting Nous' gaze.

Yet, despite all his efforts, Ratio was never spared a glance

Dr. Ratio is a model Emanator of wisdom by Gnostic standards, yet within his own universe his Aeon of Erudition does not acknowledge him. No matter how hard he tries, he will never reach the status of a member of the Genius society, almost as if he wasn't destined to be a part of it.

Let’s talk about his class: The rogue.

Rogues in Homestuck are the outcasts of their societies. They're loners, isolated, unable to fit in with the groups they want to identify in.

Rogue of Heart Nepeta Leijon lives alone in Alternia's wilderness far from troll society with her lusus as her only companion that is physically close to her.

She's been explicitly described as lonely, creating comics and ships of herself and her friends in order to mitigate her feelings of isolation from other trolls:

Then there's Rogue of Void Roxy Lalonde, who for her first 16 years of life was the only human within her town of carapaces, whom she provides food for. The only other human in her post-apocalyptic world is more than 1700 miles away.

Being a Void-Bound, her isolation is very much apparent, but her loneliness reaches its apex during her bad end in her Pesterquest route. Drinking herself to a stupor as the undeserving consequences of seeing her mother just once consumes her.

And then Rogue of Breath Rufioh Nitram, who was seen as a mutant for his wings and thus was avoided by his fellow trolls, which took a blow on his self-esteem.

Rogues also struggle with a surplus of their aspect and trying to cope up with that extra while it consumes them. Nepeta taking on the personas of other people through roleplaying, as well as her cave walls being covered in shipping grids. Rufioh living a literally directionless grubhood as travels with a nomadic group called the Lost Weaboos, not to mention his wings, a symbol of freedom, being the cause of why he views himself so lowly. And then there's Roxy, who feels so alone in the carapacian bastion that she fills that void with insobriety, befuddling her mind.

So what does this have to say about Dr. Ratio? All three rogues here have exhibited some type of self-worth issues and a desire to connect with others, but due to being so engulfed by their aspect, it hinders them from reaching that goal...

What if tiny Ratio exhibited such intellect at such a young age that throughout his childhood, he was told that he would be a great scholar growing up? Maybe his genius would earn him a spot within the Genius Society. He was even admitted into a university during his adolescent years.

As that is impressive as that sounds, can you imagine how isolating that can be for a child? Ratio, the only kid in class with his classmates years above him, talking about things outside of academia that he's too young to understand. Meanwhile Ratio likely doesn't interact with those his age as they couldn't provide anything to stimulate his brain. It could also be vice-versa too: Ratio trying to talk to them about topics far beyond their comprehension and they just start to distance themselves from him, unable to understand him, making an outcast out of him.

His intelligence and genius isolates him from making any genuine friendships during his formal years of life. At least, any that we know of before 2.1.

This loneliness does seem to follow him well into his adulthood as well: Becoming a celebrity comes with its own flavor of isolation: being surrounded by the limelight yet no one will truly understand you.

And let's not forget about his ambitions to become an Emanator of the Erudition, to become a member of the Genius Society, which he fell short of...

...something that he holds quite close to his chest, a betrayal of his self-perceived character. He became yet, once again, an outcast.

Another thing, I want you guys to got to Ratio's wiki real quick and see how many characters mention him.

How many people do you think were close to Ratio?

Within the team selection menu of Star Rail, Ratio has lines for when he's added to a team with Ruan Mei and Herta, yet the reverse isn't true. Both Genius scholars say nothing when added to a team with Ratio already in it, almost as if they don't acknowledge him.

There is, however, only one character who says something when added to a team with the Mundanite already in it.

Can you guess who it is?

But, as for all classes, their lives aren't meant to be miserable forever. A Rogue must find a way to overcome this loneliness; piecing through the walls of their confines made of their aspect. Instead of just keeping all their aspect for themselves like their Thief counterpart, Rogues find fulfillment through sharing their aspect, often by taking it from one source and distributing it to others. Or in some cases, exchanging something else in order to hand out.

And after all this, I dare say that Ratio joining the Genius Society would be the worst mistake he'd ever make. Stay with me, I have my reasons:

Though we never got to see much of Nepeta in action, we know that she distributes Heart through her shipping chart, arranging couples, distributing aspects of their personalities to see who would go together the best.

The amount of thought that she puts into her ships puts a Sylph of the same aspect like me to shame!

I digress.

In exchange of bringing attention to the Watterbitch that's about to destroy their game, Roxy was able to obscure the progression of her session from prying eyes, covering it in a blanket of blankness in order to keep Batterwitch from knowing what they're up to.

And then for Rufioh, his Alternian counterpart The Summoner lead a rebellion against the Condecse, using his wings to guide his fellow trolls towards freedom.

And even after his defeat, his tale lives on as Pupa Pan. While the tale of his rebellious predecessor the Signless is silenced and therefore lost to obscurity, the Summoner's story lives on, allowing the idea of freedom to flow into the mind of young trolls.

Dr. Ratio's entire character is dedicated to making education accessible for all. Though some of this does end up into his desire to cure people of idiocy, Ratio does truly believe that everyone should get a chance to attain knowledge. I'd even say that his ambition is the reason why he became a professor!

Ratio would dedicate his life towards his goal towards sharing knowledge, even if it meant forsaking Nous' attention in exchange.

His path also affirms this drive. One would expect that someone as knowledgeable as him would be following the path of Erudition, but instead Ratio follows the Hunt.

Ratio's determination to educate, his determination to spread light across the universe manifested into the path he follows. Even if he's never accepted by the Genius Society, he won't let that hinder him or dampen his drive. Ratio just simply strides forward.

The people who make up Nous' faction are described as researchers that rarely interact with each other, and even rarer are the people who are willing to share their research. Ratio would have never found fulfillment in being a member of the Genius Society, I'm almost certain that by joining it he would just be seeking out more and more knowledge, more and more light, becoming more and more isolated.

And one more thing: Rogues are fond of those who manage to get close to them. They appreciate their company and are incredibly dear to them.

For Nepeta, she has Equius.

For Roxy, she has Calliope.

Rufioh had Damara and the Summoner had the Marquise.

So who does Ratio have?

Even outside of a shipping lens, Aventurine is a very important person to Ratio. The 2.1 Penacony story quest demonstrated how much in tandem these two can be together; how much they trusted each other to pull off this huge gamble and draw attention to the death happening in the Planet of Dreams and Festivites. Luck and Knowledge, they both work in perfect harmony.

Aventurine calls him his equal during his episode in “Keeping Up with Star Rail”, claiming that Ratio’s the only one who can understand him.

Ratio and Aventurine must have something closer than just mutual respect however. Before Aventurine goes off into his grandiose self-annihilation, he checks up on him. He risks breaking their façade of disgruntled-coworkers-at-best just to make sure Aventurine can continue on.

Ratio does care for the Stoneheart. So much so that he imparts luck to quite literally the luckiest man alive in hopes that his advice will carry him out of the darkness that he’s in and back into the light. Bringing him out of the blinding Nihility and back into the World of Ideas, back into reality.

And it makes this note all the more important when Aventurine accepts Ratio’s advice, accepting his light when most would brush it off.

Ratio is a bright person, yet most cannot see past his luminosity and at the same time, he can’t shine bright enough to attract those he aspires to be. To remedy this, the Rogue of Light distributes his lights to others who needs it. He wants to cure those inflicted with ignorance and guide them towards enlightenment.

Knowledge for knowledge’s sake is not his Ratio rolls. His altruism may go against what the Genius Society believes in, but he wouldn’t change his ideals for anyone, steadfast in his determination to cure idiocy.

[creative-classpect]

Land of Trees and Chains

A garden world, lush with life, where trees of all shapes and sorts grow wild and strong. The world itself is less a forest and more an orchard, where consorts tend to the great trees in harmony with nature, cultivating everything they need to sustain themselves from the trees and protecting and preserving them in kind. The world is a relative paradise of peace and prosperity.

And yet, as the great trees reach up to the light of Skaia, something dark and chthonic, as unshakeable as death itself, stirs within the depths of the planet, entwined within the roots of the very world. Great chains of permafrost lurk in the deep, encircling around entire swaths of the world and ripping everything down into the darkness.

This is the Land of Trees and Chains. Welcome to LOTAC.

LOTAC is a relatively peaceful world when compared to the struggle and strife common across sessions of Sburb. What underlings lurk here are much like the great chains, mysterious and lurking in the sprawling caverns and root networks beneath the planet’s surface.

Underlings do not behave as they typically do on other lands as roving hordes of danger. Instead, they bloom, acting more as a rot or mold, organized in their aims and moving with alien purpose. The evergreen land of LOTAC has no method of decomposition. In ages past the underlings worked at night, unseen by the consorts, to break down and destroy fallen trees. With the coming of the great chains, this hidden work has progressed into coordinated attacks, raiding and plundering any tree unlucky enough to be bound by chains.

Operating as a strange sort of subterranean mycelial inspired pirates, the underlings have begun to terrorize villages and maim any consort attempting to stop their work. Daring explorer consorts have left their homes in hopes of reclaiming what was lost beneath the forest floor and, consorts not being the smartest, have begun to disappear, never to return.

Trees are felled by the score by the binding chains and the consorts are slowly being corralled into a dangerous, inhospitable part of the great forest. It will only be a matter of time until they are driven to the brink and can no longer survive. Without heroes, they will surely go extinct, crushed by the cruelty of nature.

But there is a hero. The Heir of Life.

The Heir of Life must venture across the grand orchards and forests, descend into the roots of the world, and uncover the source of the all consuming chains and the underling rot that follows their wake. Down into the deepest reaches of earth, long since left to fester. 

But perhaps with a little luck, new life may bloom.

Denizen: Demeter, Greek goddess of agriculture and the harvest, who's grieving brings forward cold and bitter winter.

Features

Arbolis Mundus, the World Tree

The largest tree on LOTAC, Arbolis Mundus is a massive tree whose roots encircle all of LOTAC and whose branches reach so high into the sky it slows and distorts the rotation of the planet. The World Tree is a magnificent mega tree made of thick, rich, dark wood and beautiful leaves that reach to every color in the spectrum like great panes of stained glass.

The elusive fruit of the World Tree is the subject of incredible legend. Ruby encrusted apples the size of a car, literally golden bananas, berries made of pure amethyst, and more. While the legends of their benefits are spurious at best, there is a truth to them. One gift, nestled among the highest boughs of Arbolis Mundus, is said to grant unimaginable power and authority over the planet.

Frost chains

Massive, heavy chains as dark as the void and as cold as the deepest winter. These chains, seemingly made out of some sort of petrified bark, crisscross under the soil of the land, only rising to the service when their snaking paths have wrapped around the deep roots of the trees in the world above.

Denizen lair

Deep towards the core of the planet the world grows increasingly cold, reaching well below freezing. Pockets of the cold earth are home to permafrost biomes, underground arctic climates with almost entirely frozen over life. Blades of grass become literal, becoming razor sharp with ice. Wind sends snow and icicles from trees as a rushing storm of deadly debris.

Hidden within the boreal parks and glades lies a structure made from frozen timbers, plain and sparsely adorned. Whispered in rumors and told about in storied legends, it is known as the Seed Vault. The Seed Vault is the home of the denizen Demeter, the source of the great cold and the chains that have wrapped around the land.

Within the Seed Vault is a host of seeds, seedlings, and saplings for every tree across LOTAC, up to and including, Arbolis Mundus itself. A massive, glowing seed pod, potent with pure potential. If one was to crack it open and peer inside they would find the quest bed of the Heir of Life.

- - -

This post was a commission for @balencia ! Again, really sorry for the delay 0 3 0

I hope you like it!

[plaidos]

I've really wanted to know ur thoughts on the homestuck classpects for awhile, like what you think they mean for the characters and all that, I think I know the basics but it's been a long while since I've read any analysis on them and you're the queen of homestuck knowledge in my eyes so I wanna hear from u

woooooh boy i love this subject but there is so much to unpack! is there anything you specifically don't get/understand the symbolism of? a lot of people struggle with space as fertility & sexuality, for example

[starlit1daydream]

Mages & Seers: Experience and Comprehension

Those who know, everybody. I love Seers - so this should be one hell of an analysis.

The Mage:Seer class dichotomy embodies experience, comprehension and knowledge of their Aspect. Their Quest and their role in the session revolves wholly around their personal comprehension of their Aspect; and the ways in which that may shift or change their (or others!) viewpoint.

I can't definitively say they're one of the Classes that say something about their session, beyond perhaps the concept that a Mage or a Seer will obviously have a well of knowledge on their Aspect present.

Canonical Mage players are Sollux Captor (Mage of Doom) and Meulin Leijon (Mage of Heart).

Canonical Seer players are Rose Lalonde (Seer of Light), Terezi Pyrope (Seer of Mind) and Kankri Vantas (Seer of Blood).

Point A. The narrative function of the Mage.

Mages know about their Aspect. They are that simple to understand. A lot of people will argue that the Mage is one of the more nebulous classes in Homestuck; and I'd argue this is because there really isn't much in the way of complexity with them. They've got a fairly straightforward relationship with their Aspect; having experienced it wholly throughout their life prior to the session.

It's almost, to me, as if their Aspect haunts them in a sense. We see this with Sollux's recurring visions of Doom and misfortune; considering that the Mages & Seers are meant to fill a sort of 'prophet' archetype.

Sollux is consistently depicted as knowledgeable on coding (a manifestation of Doom in the form of rigid order and regulation) and holding a vast well of knowledge and foresight on the topic of suffering. It's important to hold the distinction that Doom does not deal directly with absolute death (Time does), and so Sollux's visions are of the imminently doomed and the suffering, not the already deceased.

Meulin is a little more difficult to pin down, but inference from stray lines of dialogue and particularly her complex moirallegiance with Horuss give me some substance to work with. Toxic positivity? Alluded 'darkness' in her without elaboration? Her disability being inflicted directly as a result of her partner & lover? I think what we're looking at here is depression.

If Meulin has experience with Heart in all facets - this implies to me that she has a share of experience with emotion in all facets. Good and bad. And what better manifestation of poor emotional control than that? I think it's a very conclusive theory.

It becomes clear to me that Mages aren't absolute in their assertions, and so therein comes my theory that their quest involves an expansion of perspective and reconsideration of their knowledge. It is to accept that they may not understand their Aspect as thoroughly as once thought and subsequently grow to accomodate a wider worldview. They're stagnant, having experienced so much that they feel they have no further room to learn.

Point B. The practical function of the Mage.

This is a more difficult one to understand since neither Mage in the comic God Tiers and they aren't seen fighting much over the course of the story. Even when Sollux takes to action, he applies his psiionics rather than utilising Doom in any way.

My theory is that the application of a Mage is to inform. Mages & Seers may very well hold the same occupation broadly speaking, to accomodate for the gaps in co-players' knowledge and bring about newfound understanding. Being active players, the Mages presumably advance this through their own means. This is some of the most active conjecture I'll be writing, since we do not ever see a God-Tiered Mage in canon.

Point C. The narrative function of the Seer!

In case it wasn't obvious, I am very excited to get this segment done; after all, who better to talk on the topic of Seers than... a Seer?

Seers have a little more depth to their function involving their relationship with both their Aspect and its diemetric opposite. Seers begin their sessions holding a poor or deficient comprehension of their Aspect; to the point where they seek their opposite. The notion of their base Aspect comes into play fairly soon - though they may superficially seek their opposite, it is their Aspect they seek in actuality.

They do hold a certain level of foresight, but rather than the Mage's inherent comprehension, Seers tend to rely upon external sources and stimuli to further their understanding; Rose with the Horrorterrors, Terezi with Scratch & Aranea, and we can only guess with Kankri.

They are capable of having visions, though - as Rose & The Signless can both attest to!

Rose seeks Void. She seeks to breach the unknowable, catalogues the Zoologically Dubious and finds comfort in oblivion and the pursuit of ignorance. She resolves to leave the game to Void rather than seek its Light; at first.

Terezi seeks Heart. Her final speech to Vriska talks of her emotional insecurity and pursuit of self-assurance. She wishes most prominently for security in herself and her identity; and yet this manifests in a flawed pursuit of binary, deficient Mind.

Kankri seeks Breath. Having been coddled and patronised all his life, freedom is his ultimate aim. His rebellious spirit and compulsive boot-licking seem to be a direct manifestation of his desire to think for himself and be free in his direction. Kankri's a particularly interesting one given that he fucked up his quest, canonically.

...The Signless didn't, however. The Signless pursued unity through freedom his whole life.

Rose resolves to pursue knowledge through the unknown.

Terezi seeks logic through emotion.

All of them grow, the further they pursue their Session's aims, to understand their base Aspect. It's a reversal of the Mage's quest; the stagnant Mage must embrace diversity wheras the directionless Seer embraces their certain path.

Point D. The practical function of the Seer.

Apologies, this is going to be mostly just about Rose.

Rose's role in her session post-ascension is to understand and inform her session-mates about the most fortuitous path. Her visions allow her to comprehend Light and sift through the endless possibilities and synthesis of her Aspect to find the most precise outcome. They grow to be an indispensible well of knowledge; always learning and finding out their Aspect's truth.

Terezi does the same, albeit without ascending; her greatest moment of heroism is the prelude to the Retcon, which she directly causes. Terezi applies all of her knowledge of consequence, cause & effect to undo the resultant consequences of the actions taken by her sessionmates. She uses her comprehension of Mind to her utmost ability; which is why I find it gut-wrenching that she still believes she was never enough.

Kankri... does jack shit other than be a whiny little bootlicker, but The Signless certainly applies his Aspect for the greater good. The fire of his rebellion and his pursuit of unity and free communication on Alternia ignite the spark of revolution for generations to come; his quest for Blood bringing utmost comprehension and sight of unity.

Overall, this is one Class where the narrative:practical lines tend to blur a little, owing to the general non-combatant status of the Classes in general. Rose shows they're capable of using their Aspect in combat just as all players are; but it seems clear to me that they function the best as advisors.

Next week, I'll be elucidating on the Witches & Heirs; which will be an interesting one since it'll require me to actually understand what a Witch does. That should be fun.

Take care, everybody. I know nothing.

[classpect-crew]

The Heir of Hope: Plurality and Personal Narrative

It took plurality, of all things, to realize that my greatest strength lies in Hope.

Hope is the Aspect of fantasy realized. Those who wield it are like the Magician of the tarot, capable of shaping the world according to their whims. With each thought, as Terezi wisely points out, we are helping to create our own reality; in the Domain of Hope, there is no greater truth. The Hopebound are storytellers and passionate consumers of media. They are the center of their own narrative, at times unable to conceive of anything outside of it. They may even strip other people of their agency—of their Life—in an effort to force them to make sense in their existing worldview. Dissenting allies become obstacles at best, and enemies at worst. And yet, should they yield ground to the autonomy of others, allowing the story to ‘write itself,’ they will find themselves swept up in a much more meaningful adventure than they could have possibly imagined.

Hope is the Aspect of the imagination, brimming with ideas and just waiting for an outlet to fully realize them in the material world. It is the Aspect of magic. It’s the reason I’ve been able to treat the Classpect system as a foundation for performing magic myself, seeing the world in terms of the Aspects, a bit similar to the way the ancient Greeks saw the four elements of fire, water, earth, and air reflected and embodied in all things. I now understand my recent obsession with restarting over and over in Baldur’s Gate 3 as an imbalance between Heart and Mind: in order to avoid addressing my latest identity crisis, I’ve tossed myself into a roleplaying game with a million different possibilities, and I’ve exhausted dozens upon dozens of hours trying to play every possible role, wearing every possible mask, creating every possible character.

I’m a storyteller—it’s in my blood. My father, and his father before him, and every relative of his that I’ve known have all been the same. Our family reunions were filled with wild tales sprinkled with half-truths, like the time my dad came across a particularly randy buck in the middle of the street—he swears he saw the buck stomp his hoof and wink—or the way my great uncle got his glass eye after a hunting trip when his own father mistook him for a turkey. My maternal grandmother is the same way. I named myself Taliesin in honor of that, and also to tap into some part of a greater legacy of storytellers, just like the historical and mythological Taliesin himself, and all those who have taken his name before me.

For as long as I can remember, I’ve had more people in my head than I’ve known what to do with. I have a veritable menagerie of colorful characters, some going back many years, who have taken up residence in my brain folds. It never occurred to me that they could become more than just puppets for me to play around with, reflecting my own dreams, desires, and fears in a way that felt safe. Separate. That was before one such puppet, Vivienne, cut her own strings, looked me dead in the eye, and told me “I want to be real, too.”

She did so not long after taking control of my body when I was in a cannabis-induced haze, speaking to my girlfriend in a voice that definitely wasn’t mine. When I came out of it, she asked “was that an invocation thing, or a headmate?” (I’ve had a few experiences with invocation, when a deity decided I could help one of their followers by passing along a message that, frankly, could have been an email.) I determined fairly quickly that although it wasn’t mine, the voice was coming from my own head. Thus began a long and very weird journey navigating my plural identity that all began when a character I’d had for a dozen years decided she wanted a chance at experiencing sentience.

It was eerily reminiscent of Brain Ghost Dirk, a sort of thoughtform that becomes real for a while because Jake believes in him that much, but also because so much of Dirk’s journey involves splitting himself off into different versions of himself. The more I interact with Viv, the more real she becomes. It feels like the effort is mutual, as if she’s using our conversations—among other, more intimate interactions—to become a fully fleshed-out person, joining me in my head as someone with her own agency, rather than just a sort of ‘hack’ my brain was using to override executive dysfunction.

When I discovered the practice of ‘tulpamancy,’ though controversial in some circles, it occurred to me that I could perform a feat like this willingly, given enough time and effort. Still, while the tips I found were helpful, I never really found them necessary for my own work. Hell, I was already doing it with Vivienne, working intuitively with her in ways that just made sense. It was something that came to me naturally, and still does. It feels like a natural gift—like an inheritance. I inherited the ability to dream up these stories, these characters, and make them real. Anyone who’s spoken with Viv, especially in person, can speak to the fact that she and I are distinct in a way that’s profound and meaningful.

There are many other connections I’ve made with the Heir of Hope: the soul-deep wellspring of faith and optimism that I’ve been able to draw from in the darkest times of my life, or the incredible effects of my religious journey as I’ve explored the vast reaches of conviction and doubt alike. Yet, those feel too obvious, too much like low-hanging fruit to write a whole damn essay about. That’s why I’ve written instead about the legacy my family has left for me, and the ways I’ve turned my storytelling into a source of personal power.

I’m not just the center of my own narrative, but also its author. At the same time, there are millions of characters, just like me, who are entitled to their own agency. They exist within my head and without it, living out their own lives, becoming more and more real with every thought, every word from their lips like cobblestones on a road to self-realization. There are times when I need to put down my pen and just take it all in, without trying to take control of the story or change somebody else by force.

I am a storyteller. I am a captive audience member. I am a character in a narrative as big as the universe itself. I am the Heir of Hope.

[xx-cringe-factory-xx]

ANOTHER COMBINED CLASSPECT ANALISIS!!!!!!

Annihilator of Growth

(prince + bard & breath + life) (classpects by @superxstarzz!)

(yooo my brother would be a bard of life)

A bard destroys their aspect or through their aspect for others.

A prince destroys their aspect or through their aspect for themselves,

the breath aspect is all about independence (in a different way then blood, which is more about groups of ppl than a singular person).

Life is about quite literally life and health, lmao.

Okay, so they are 100% a destruction class, which could make this a little easier for me. They'd probably be very helpful in a fight X3

They either they destroy life through breath, or destroy breath through life.

they'd be very difficult to keep track of, but can be very helpful if you can get them to work with others. They might have a bit of an ego (and self deprecating at the same time), and they would likely have a set moral compass, that might be a bit concerning seeing they destroy life and breath. They might think what they're doing is super helpful and good just because it's them who did it, but internally they will prolly be overly aware when they fuck up. They would prolly be an anarchist of some kind, or at least hate the rich; If they're a troll they might not like others higher on the hemospectrum.

before their team's session starts, the Annihilator of Growth will likely be someone most people agree sucks as a person. They will try to impose their ideas of good and bad onto others, which could be annoying when no one asks. During their session they would distance themselves, and be difficult to pinpoint exactly where they are or what they're doing. Annihilators are prolly a lot more likely to screw over their session than any one else.

they might not intend to destroy life or breath, but the destruction definitely is caused by them, which they are very aware of.

They might literally get rid of someone's ability to breath away, which obviously would kill them, or they could destroy someone's agency and freedom by destroying their life, making them sick or at least very weak, which makes it so others have to pick up the ill one's slack.

They're powers would consist of controlling wind, causing illnesses, floating, and maybe some kind of weird overcomplicated version of mind control(?)

they're strife specibus would consist of medium, to larger weapons that require a lot of precision, like swords, clubs, hammers, axes, and other things like that.

[homestuckreplay]

Homestuck Is A Game, Who Is The Player?

Week 3 Retrospective

'Video games have long been associated with spectatorship as well as play, from their origins in quarter-fueled arcades, where high score displays implied the presence of admiring or competitive spectators, to their migration to home screens and consoles. Live streaming chat emulates these older models, but its interaction with economies of scale on streaming platforms brings a different kind of intimacy and intensity to the experience. Chat lets spectators feel like they are there with the streamer as well as a part of a crowd, even if they are alone in their room.' [Jeremy Antley - emphasis mine]

From Homestuck’s very first page, the comic has made something clear. We are not allowed to immerse ourselves in John Egbert’s world. There is a layer of separation between us, an interface mediating our access to his life and story, a voiceover narration from the person who’s really in control. Who is this person, and what form does their control over John take?

Homestuck is presented like a video game, yet unlike a video game, we don’t control the character’s movements with arrow keys or have the chance to type our own commands directly into the text box. Instead of being able to explore the game on our own terms, we are confined to a specific and predetermined route, even though others seem theoretically possible. Simply put, we are not the ones playing the game.

Essay continued under the cut - about 2.6k words

I think there are two really important questions to consider when analyzing the meta elements of Homestuck and treating it as a game. The first - what kind of game is it? The second - where exactly do we stand in relation to the player(s)?

The most obvious answer to question one is ‘Homestuck is a text based adventure game.’ This guide to text based adventures is a great overview, and we can map the example commands here onto commands we’ve seen in Homestuck. ‘Examine room’ (p.4) is a one-word action, ‘Captchalogue smoke pellets’ (p.9) is an action and direct object, and ‘Nail poster to wall’ (p.19) includes the indirect object. John hasn’t given any orders yet - he’s too nice a guy for that - but ‘Report progress to TG’ (p.39) is definitely communicating with another character. All of these, and most other command lines, feel like reasonable instructions that could be recognized by a game.

However, commands like ‘Fondly regard cremation’ (p.52) and ‘Play haunting piano refrain’ (p.77) honestly feel too characterful to be fully interpreted by a computer, and ‘Squawk like an imbecile and shit on your desk’ (p.16) is… well, I tried typing this into the command prompt for the classic text adventure Zork, and got the following response.

A text adventure is just not set up to interpret wacky, left field ideas, much less respond to them in an entertaining way. And we know there is a real person behind Homestuck doing exactly that.

If my party enters the wizard’s study in Dungeons & Dragons 4th Edition, and I tell the Dungeon Master that I squawk like an imbecile and sit on the wizard’s desk, that statement will be understood. Sure, the DM will probably call me an idiot and put a nasty spike trap on the desk, but what I said will become part of the story in the way that a nonsense command in a text based video game never can. It’s interesting to think of Homestuck as a tabletop roleplaying game, where the narrator is the Game Master, the command prompt is a player, and John is a player character (presumably TT, TG and GG are the rest of his party and they’re just really late to the session).

Homestuck isn’t just text based, though - it has a strong visual element, including interfaces and overlays where the player can click and drag items between John’s inventory and his environment, or around his space. This suggests it could also be a point and click adventure game, a genre that grew out of text based games as graphics improved, and is defined by a strong inventory management component (check), puzzle solving quests (check - we’ve recently solved our first quest of acquiring the Sburb Beta) and dialog trees (????). The sprite based, isometric art style is really good for getting an overview of the space and seeing possible interactable objects, and Homestuck does feature extended dialog sequences - we don’t know if there are other possible inputs from John, but it's interesting to think that there might be.

These three genres - text based adventures, point and click adventures, and tabletop roleplaying games - all developed throughout the 1970s and 80s. It’s reasonable that Andrew Hussie (born 1979) could have grown up with some of these games. But to answer the second question, ‘where do we stand in relation to the player’, we might need to look at media forms still in their infancy - let’s plays, livestreams, and actual play.

[Michael Sawyer, 2004]

In the past few years, ‘Let’s Play [Game]’ has become a relatively popular thread format on the Something Awful forums, as well as personal websites. This began with posters taking screenshots of their playthroughs of a game and adding commentary in the text. The medium has now advanced to video and is typically hosted on YouTube, with commentary overlaid. Either format gives a creator the space to play through as much of the game as they choose, and then edit exactly what content they want to show to the audience, providing commentary after the fact. 

Homestuck, with its per-page illustrations, could be seen as a long thread of forum posts by the player, each including screenshots as they move through the game. The inclusion of short Flash animations shows the edge into video, and makes me wonder if we’ll see longer or more complex videos, perhaps with voiceover narration, as Homestuck expands its focus. The self-referential and aggressive yet helpful commentary in Homestuck is similar in tone to Sawyer's playthrough above, and could easily be the work of a player who knows where the story will go, at least in the short term, and is dropping hints to the audience while purposefully concealing some things.

Livestreaming video games is a similar concept to Let's Plays, but performed in real time. Often hosted on Justin.tv, an open video broadcast website that’s been gaining prominence in the past couple of years, a livestream is an improvised and unedited way to watch someone game. Any commentary from the creator happens without knowledge of how the playthrough will turn out. Homestuck, by Hussie’s own admission, is being written similarly in real life - they don’t know more than the broad strokes of how the story will go, and it’s possible that neither the author nor the narrator knows the long term implications of an action such as John stealing his dad’s PDA. 

Livestreams open the possibility for viewers to influence game events, if the streamer listens to their audience. We know this is true in Homestuck - readers are able to submit commands, and some are chosen for the story. The real time nature of Homestuck, waiting each day for the new update, is equivalent to waiting for a streamer to come online and start playing again so we can find out where their game goes next. This is compounded by us having no access to Homestuck outside of the streamer - we cannot buy and play this game for ourselves, it’s still in some kind of early or limited access, and the streamer controls all our knowledge. 

The livestream is definitely most similar to how Homestuck is made by its author, but it's hard to say whether its narrator is commentating in real time, or after the fact. I can't find any definite clues in our pages so far - I think the narrator wants to seem smart and superior, but I can't say whether they have the knowledge to back it up.

[img source]

Our final media format is known as Actual Play. Almost a year ago, the creators of Penny Arcade (along with Dungeons & Dragons game designer Chris Perkins) began releasing Acquisitions Incorporated, a short-run, officially licensed podcast where the group plays through a D&D adventure to demonstrate gameplay interspersed with jokes. This isn’t the first time a TTRPG publisher has recorded sessions to help people learn the game, but this idea seems to be crossing over into the entertainment genre - and webcomics are part of that movement.

In the first episode, the group have a brief aside. The DM says that ‘some players prefer to refer to their characters in the third person… others prefer to get into the first,’ and one player says they’ve observed the same thing in World of Warcraft. What’s not explicitly said is that the Game Master typically refers to the player characters in second person, describing what happens to ‘you’ and what ‘you’ see - much like streamers talking to their chat. The blocks of narrative text below pictures in Homestuck could easily be a Game Master balancing giving information to an unruly player, and providing entertainment for the audience. John’s lucky or unlucky moments with his sylladex could be the result of particularly good or bad dice rolls from his unseen player.

Actual play is a really great format for deep diving into a small cast of characters, and exploring their emotional state in ways that aren't intrinsic to a lot of video games. As we're already seeing the beginnings of John's emotional arc, we know this will be a focus, but we need two to four more characters with equally large roles in the story to really form a TTRPG party. Actual play also tends to include a lot of combat and its mechanics. We know Homestuck can handle crunchy mechanics due to the sylladex, but I'd expect to see the Strife concept become just as in depth and central to the story if Homestuck ends up fitting into this mold.

All three of these formats can have a mass audience, just like Homestuck does in reality - but Homestuck also feels like a very personal experience. Two people playing the same video game, even a highly linear game such as Portal or one that doesn’t involve much active interaction such as a visual novel, have slightly different gameplay based on the speed they move through the story and their missteps on the way to finding the solution to a puzzle. 

Similarly, my experience of Homestuck is different from yours. I read the new update every day, while I know some people wait for a few days of updates to build up and then read a larger chunk. Maybe I clicked ‘Aggrieve’ and ‘Abjure’ three times each on p.90, alternating the options, while you clicked ‘Aggrieve’ five times in sequence and then ‘Abjure’ only twice. Maybe I didn’t realize p.110 had an interactive element at first, and skipped over it until somebody pointed it out to me (really telling on myself here). These elements of Homestuck that we have direct control over are currently only a small part of the story, but they do exist.

In this way, Homestuck feels a little bit like sitting in the living room as a kid watching your older brother play a game, begging him to let you take over for a minute, occasionally doing so until he gets frustrated with your inability to Strife and takes the controller back. The nostalgia of the simplistic graphics and the 70s and 80s games that are being evoked only adds to this cozy feeling. If Homestuck starts to add more interactive elements, such as branching paths, opportunities for us to take over the cursor, or a chance for us to use John’s sylladex ourselves and choose what he picks up, it might be worth thinking of Homestuck as different iterations of the same game, each of us watching our own, slightly different player, and even co-playing with them.

So, who IS this narrator? In my mind, I’m trying to draw a clear distinction between the author and the narrator. Hussie is the author in the real world, and the narrator, or player, or GM, exists within the work. Their role is best described on page 82:

‘The game presently eluding you is only the latest sleight of hand in the repertoire of an unseen riddler, one to engender a sense not of mirth, but of lack. His coarse schemes are those less of a prankster than a common pickpocket. His riddle is Absence itself.’

The narrator is this unseen riddler (or perhaps unseenRiddler?), providing a secondary layer of control over what happens and what we are able to see. They’re the person clicking and dragging objects around John’s room, and choosing what actions to take next. The narration is their perspective on the game - whether we see this as a GM describing a scene to their players, or a streamer reading aloud information that the game has given them and providing their own commentary. 

So, we're watching the narrator play Homestuck, in whatever form it takes - but there's another layer to this. On page 22, an equivalence is made between the Sburb Beta, which John was supposed to receive on April 10 (and finally acquired on April 13 in-story, p.100), and the Homestuck Beta, which launched to us on April 10, but was quickly canceled and replaced with Homestuck proper on April 13. The Homestuck beta is linked within the comic, and might be canon within it - the narrator making an initial run at the game before restarting their save (perhaps on a different computer or console?) and trying again. Homestuck the game is currently about a kid who lives in the suburbs - and if the name and logo are anything to go by, Sburb could also be a suburbs-themed game. While we watch the riddler play Homestuck, the riddler will be watching John play the game Sburb. How deep does this go? Are there more layers inwards or outwards?

I’ve been puzzling this over for days, and I’m definitely left with more questions than I can answer. Here are the ones I'm focused on:

Is the unseen riddler playing the game as intended? Now that they’ve passed the tutorial, are they keeping the game on the rails and trying their best to follow a linear story, or are they pushing the boundaries, going for some kind of pacifist or resource-stripped run, trying to interfere with John’s intended story? Have they played the game before, and if so, how does this affect their gameplay?

If the unseen riddler is a character within the story, distinct from the external author, are we the true audience? Will there be an audience within the story, or perhaps other players? If so, how big will it be? What kind of reach does Homestuck the game have, and how many people are playing it or tuning in to watch?

How permeable are the boundaries? Is John simply pixels on a screen for the unseen riddler to play with, with no agency of his own outside of the riddler’s interpretation, like if we were playing The Sims? Or is it possible for the riddler to enter the game, or for John to leave it, and the two of them to communicate directly? Or a middle ground - something like ‘character bleed’ in TTRPGs, where a player embodies a character for so long that despite their not being real, they come to influence each other even outside of gameplay?

What the hell is the Midnight Crew? Is this a different game that exists separately to Homestuck? Will our riddler, or a different one, eventually play it? If we have three games - Homestuck, Midnight Crew, and Sburb - what exactly is the relationship between them, and how interrelated are they?

This is a lot of thoughts for what is, at time of writing, is 125 pages of comedy webcomic. But the story is just beginning, and we’ve been told it’s going to be a long day. Anything could be important, and with the frequent in-text nods to the meta elements - ‘examine third and fourth walls of room’ (p.61), ‘you decide it’s time for less meta, and more beta’ (p.113), the title appearing in the clouds on p.82 that John may or may not be able to see, the integration of the physical captchalogue card into the sylladex interface on p.98 - I don’t want to draw any firm boundaries, or make any assumptions about what is and what isn’t part of the story. Instead, I’ve cataloged the meta elements of Homestuck that might be worth paying attention to as we move through the comic, to develop a more concrete theory in time.