#Streaming Advice

[saiscribbles]

i dont know if i asked you this already but i meant to for a while n got nervous. I'm trying to get into streaming the making of my art and i make comics but my rough draft art is super messy so i wasn't sure if I should only film while drawing the lineart and color on top of the sketches or if i should do everything? I know it's ultimately my decision but I really admire your art and want to do well for my followers

I'm gonna be honest, I tend to dislike being watched while I sketch, but I do it on stream anyway. You might find drawing and chatting actually makes you more comfortable and not overthink what you're doing. But in the end its up to you what you want to work on when streaming your screen!

And for a streaming set up, everything I use can be used for free!

First I stream with OBS: https://obsproject.com/

I've created my entire streaming layout all in there.

The header, frame and section headers are all just PNGs modified for my look from a free streaming graphics set. The header and frame slowly slideshow through two images, one with more of a glow than the other, for the slight light pulsing effect. The background is just a looping no attribution video from Vecteezy. The main window is a window capture of my art program. The music player is a window capture of iTune's mini player. You can size and rearrange things like this anywhere you want on the screen.

For my Pngtuber I use Veadotube Mini: https://olmewe.itch.io/veadotube-mini

Which is freeware but I kicked them $20 cause I use it so much. It's very simple to use and supports animated gifs!

For the chat, superchats and that tip scroll up there I use a free service called Stream Elements: https://streamelements.com/

You can set up all sorts of alerts with it and get a ton of animation, sound and TTS options. And then you just include it in OBS as a browser source!

I hope that gives you an idea how to get started!

[moonbtch]

Got an advice for a vtuber wanting to reach affiliate?

I got to affiliate by 1. asking friends to lurk 2. holding myself to a consistent stream schedule and 3. putting effort into posting content outside of twitch

When I was starting out I asked some of my IRL friends to lurk my stream in a tab even if they weren't watching.

I would never recommend pressuring ppl to actively watch a stream as that is a big overstep, but asking some buds to just keep the tab open somewhere as a favor to get over that initial 3 average hurdle is reasonable.

Once I got affiliate I thanked my friends for their support and told them they didn't have to keep my tab open anymore, but some of them ended up enjoying the content enough that they still come to my streams regularly, and a couple even became mods for me!

Aside from that, I relied heavily on building an audience on TikTok and Twitter and converting them to my Twitch to build my stream community. Twitch discoverability is trash, so getting your content out to other platforms is super important and the earlier you start the better.

I started off with a philosophy of spending 3x the amount of time I spent actually streaming on Twitch each week into making content off the site and improving my streams. I set an expectation of myself that every Wednesday was my stream day and that I would treat it as if it were a job, only canceling or moving if absolutely necessary. I streamed once a week, then watched my own stream back to make clips, made 2 edited clips for TikTok, and any time left went to making the stream more interactive, like new channel point redeems, or just general improvements and planning content. Now that I have a bigger audience base I stream more and edit less, but it was crucial to my initial growth.

I also heavily watched my analytics across all platforms to see what content was performing best and leaned heavier into that. Higher CCV during art streams than games? I pivoted to creative content. Art posts flopped on TikTok? Focused on interactive stream clips instead. Twitter audience was made primarily of other vtubers rather than viewers? I put out tutorial content and focused on showcasing my rigging abilities to build my reputation in the vtubing scene.

Content isn't one size fits all across platforms, and by finding your strengths and doubling down on them you can find ways to grow and stand out from the crowd!

[artofthechristianninja]

The Art of Being Interesting: 6 Steps to Build Real Connections

Want to know the secret to being interesting? It’s not talent—it’s a skill you can build! Learn how to connect authentically, share compelling stories, and engage your audience with practical tips. #ContentCreatorTips #GrowYourCommunity #Streaming

Many creators share a common fear: I’m not interesting. This self-doubt can be paralyzing, hindering their ability to connect with their audience and build meaningful online communities. During a recent stream, a simple joke about feeling uninteresting sparked a powerful conversation, revealing how widespread this insecurity is. Many creators expressed similar feelings of inadequacy, questioning…

[hirunwithanunderscore]

I'm still a small streamer (pretty much by design, I love my small 7 person community because I feel very close to everyone, and I'm not good at or enjoy self advertising) but I've been doing this for years and the biggest advice I can give for people with small or no audience is to *DISABLE THE LIVE VIEWER COUNT IN OBS ASAP* so you'll not have a number swinging your mood telling you "how well" you're doing (which is a lie anyway, because viewer count is not the sole metric for good content) and just go do your thing! *have fun!* if chat is quiet then just treat this as a solo podcast!

also on a technical side, having good audio is waaaay more important than good video, so do your research on that and be sure to experiment to see what works for you

Do you have any advice for someone who might want to become a streamer like you?

Start small. Don't make any hardware purchases you don't need. Know your limits. Get used to the routine. Make a big fuss on social media or people won't know about your channel. If you're doing something right, people will take notice, and you'll grow, slowly but surely. It took me five years to reach a regular audience of about 150 people. For the first year, my audience was about a tenth of that. Someone starting with no real social media clout should expect even less.

[elfynshucks]

(i know i say this every few months but i mean it this time okay?)

i'm gonna start streaming again - BUT i'm not going to be using twitch. i cannot justify it, my ethics are more important than using a popular platform. i'm torn between using youtube (again, the ethics are... muddy) and livespace (which seems to be doing a pretty good job on the ethics front, and treat their streamers right)

any opinions?

[poorly-drawn-mdzs]

There's nothing he can't do. Yet.

(Thank you to everyone who participated in the poll!)

[alpaca-clouds]

Why do people struggle so much with understanding pacing?

Okay, let me talk about my pet peeve when it comes to writing in any medium. Pacing.

People, who know me for long, will know that this has been the thing I have been complaining about since I was like 12. And there is a good reason for it.

See, when I learned to write, there was this guy who I greatly admired as an author. And after bugging him for a while (look folks, the internet was a very different place from what it is now) he did give me some recommendations on books on writing. And a lot of them went deeply into his pet peeve, which - you guessed it - was pacing as well.

And thus, I learned early on about story structure, and pacing, and how to pace out a story in a way grips the audience. This material I read went onto different techniques for different mediums, into how different cultures had a different ways of dealing with this, and so on, and so forth.

Some of my main take aways were, that a lot of very long stories struggled massively with pacing, and that a ton of people also very miscalculated their ability to handle characters in terms of pacing - because characters and pacing are two things that are very, very heavily connected.

I also learned something else, though: That a lot of western writing advice did not understand anything about pacing outside of the idea that stories were supposed to have three acts - or maybe five - and ideally from a certain fateful day in the early 2000s on, would follow the "save the cat" formular. (Mind you, I do not hate "Save the Cat", however, this formular has been created for movies. It works at times somewhat well for books, too. But it definitely does not for for pretty much anything serialized, because that is not what it was developed for.)

And I also learned another thing: Most people do not understand pacing either, because pacing is not a thing that is ever taught in normal school (like most things that are about creative writing are not). So, while some people might have a gut feeling that the pacing of something might be off, they rarely can actually say why. And this is only worsened by the fact that today's tiktok addicted society is so used to consuming ultra condensed media, that they will perceive anything less condenses than 1 minute tiktok videos as "too slow and boring".

So, please allow me - the guy who kinda hyperfixated on this specific writing skill - to talk about pacing. And this will be in the following points:

What is pacing actually?

How do characters relate to pacing?

Pacing, Streaming and the supposed "filler episode".

Pacing and Fantasy

Pacing in Action vs anything else

Pacing in books vs visual media

What Is Pacing actually?

Okay, I think one of the main issues when it comes to understanding pacing is, that a lot of people see pacing on a on a spectrum that goes from "I am bored" to "I can't follow the plot anymore". But that actually does not always have to do with the pacing - obviously.

Technically pacing is the speed in which the plot moves. Or, to make it more quantifiable: "How many plot points (beats) are covered per either time (in any timed medium) or per page (in anything you read)". Which makes sense at the first glance - but does actually often not line up with the subjective perception of this. Becau se here is the thing: No, fight scenes are not automatically fast paces. A lot of modern action movies have super slow paced - in terms of story pacing - action scenes. Because yes, during those action sequences a lot of STUFF happens, but nothing of it actually is in any way related to the plot.

Look, I freaking adore the Fast & Furious movies. But you could literally edit those movies down to like 45 minutes each and not lose a single plot beat. But of course, nobody would watch those movies - because yes, me and everyone else who adored those movies, is there to watch them lunch cars into space and see stuff blow up. I don't much care about the characters or the plot.

This is by the way also the kinda point that me and other people talk about, when we are unimpressed by "oh, but sex scenes don't add anything to the plot", while the same people would often not make the same argument about action scenes - even though there is a ton of movies and shows where the action scenes really do not add anything to the plot. A lot of people just do not perceive action sequences as slow pacing, because even if nothing that happens on the screen actually adds anything to the plot or moves it forward, it is undeniable, that STUFF is happening. So basically monkey brain will go: "Hehe, things go boom!"

Don't get me wrong: there absolutely are stories in which the action is moving the plot. Mad Max Fury Road is a great example. The movie is also about 60% action - but the action scenes actually add to the plot.

Meanwhile nothing tells you as much about how unimportant some of the MCU action scenes are, than the fact, that they are often done by a completely different team and will be done apart from the rest of the movie.

But yes, traditionally the idea was, that towards the "finale" of a piece of media, a lot more plot beats would happen over a shorter amount of time. You will see that also in a lot of beat sheets. There are more beats that need to happen in the third act of a story - if we go by three act structure. And often there is actually even more plot developments, as usually in a finale all the "plotlines" will kinda finish up in the end. So even plotlines where not a lot has happened to this point - this shows especially in serialized works both in TV shows and stuff like manga or comics - the important plot points will then often happen close to the finale, because it feels more "right".

In older serialized media - especially TV shows prior to streaming - you also had the same thing hold true towards the finale of a "story arc". In a lot of older shows, you would usually see a structure that looked like this.

The "rise" here technically has less to do with more stuff happening in later arcs or seasons - and more with the threat-level rising, and the convulutedness of a story. lol

But yeah, the take-away from this part should be: No, action does not equal fast pacing. There can be action-heavy shows with super slow narrative pacing - but it will to many not feel this way, because at least action is interesting to watch. Which also might be an explanation to why people are a lot worse in seeing the issue with action-scenes that are not adding anything in visual media, but might actually notice it in written stories. Because in books action scenes do not feel "fast paced" in the same way they feel in movies, where the often faster editing and the amount of motion on screen will create this effect.

Oh, and on the other side: Of course there can be slow paced plots that will leave you having problems following. At times, because they are badly written (aka: the media does not give you all the information you need) - and at times, because a piece of media might expect you to know a certain bit of information that you do not know. I can definitely think of a variety of scifi media, that just expects you to know stuff about computer stuff or space, and will not explain it to you. Which might make you need longer time to take plot developments in, and then leaves you reeling.

Another thing however that is also important is: If the pacing stays actually the same throughout a piece of media - rather than accelarating towards the finale (or finales if there are multiple) - it actually will feel wrong in some way. Often people (even I, who hyperfixates on this specific thing) struggle to point at it at first. But yes, this very much is an issue that also can happen. You want the pacing to accelerate towards certain points in the plot - and then slow down. If you had an important point, you want a few slower scenes/episodes/chapters afterwards, to allow the audience to somewhat absorb all the new things you presented them with.

How do characters relate to pacing?

Alright, now we come to the dicey part - specifically, because a lot of people (which includes narratologists, creative writing professors, and people professionally writing) actually kinda do not fully agree on this. So, fair warning: This is how I think.

A character arc in many cases absolutely is a part of the plot. Most media we consume these days are character driven, so the characters are absolutely centrally connected to the plot and the plot mainly exists to have the character move from point A to point B. Or, to make it more basic: To have a character realize that their WANT is not their NEED.

Sure, those characters will usually also accomplish something plot-related. But them accomplishing them is more often than not heavily connected to them fulfilling their character arc. (Please note: characters having a want but having to realize a need is something that is core of western storytelling. However, given that it makes for interesting character arcs, a lot of Asian media these days also will use this as a central driver for character development.)

In some pieces of media, the character arcs are way more heavily tied into the beats of the main plot, than in other. In adventure, action, and related a lot of fantasy and scifi, there is most of the time a character arc happening parallel to the main plot beats. Meanwhile often enough in more down to earth drama and romance, plot beats and character development beats are heavily interwoven. This is not a hard and fast rule - there absolutely is fantasy where the character arc is the plot arc, just as there is romance where the development does not play as heavily into the main plot - but you can generally observe it.

However, no matter how strongly the character development beats line up with plot beats, you cannot deny one thing: character beats are beats that also add to the pacing - even if they technically do not move the main plot forward. So, for example, if you have an episode in a show or a chapter in a book, where important beats happens in terms of a characters development (for example: they realize something important about themselves), this does not necessarily slow the pacing down - even if no actual plot beats happen.

What the fuck is a plot beat? What is a character beat?

This part of the essay was originally not included, but the people reading over it said I should include this.

If we say, that Pacing is basically the description of "Plot Beats per Time" or rather "Plot Beats and/or Character Beats per Time", then we also need to say, what exactly a Plot Beat is. I will fully admit, that this is one of those things in which I forget that this is not a thing taught in school.

I mentioned "Save the Cat" before. "Save the Cat" is a book about writing movies and specifically about pacing out a movie in a way that it is captivating. It mainly focuses on action, but you can absolutely use it for most other genres. And this comes with a so called "beat sheet", a collection of the main story beats that happen, showing when they are going to happen. It looks like this:

Basically a Beat is a scene, in which the plot (or a character arc) is moved forward by a bit. Basically anything that reveals something to the main characters, anything where the basic assumptions about the plot change, anything like that.

Examples for Plot Beats would be:

Character learns about something going on

Characters find out something important about the plot

Someone (either protagonist or antagonist) gets killed or injured

Characters get a new power or item that is important to the plot

Romance goes forward or a reason for the romance to happen is found

Characters find a hint for something they want to reach

And examples of Character Beats would be:

Character learns something about themselves

Character makes a decision for themselves

Characters realizes feelings about something or someone

Character overcomes trauma

And mind you, because I cannot fit this anywhere else: If you read these you might realize, why Musicals are basically a cheat for very fast pacing. Because you can put an entire character arc into a 4 minute song. This is why musical animated shows like Steven Universe or My Little Pony managed to pull some insanely paced episodes, like the Empire City episodes for SU, and the episode in which the Cutie Mark Crusaders finally got their Cutie Marks. Musicals are insane when it comes to this.

And something that you have to realize: While for movies and books certain Beat Sheets (Save the Cat is not the only one) work rather well, those Beat Sheets usually do not work well for Shows. And currently we are living in a time, where this becomes very noticable - because a lot of modern shows are written and aired as basically 4-8 hour movies, using often just the "Save the Cat" beat sheet (if you have read Save the Cat, you will see it EVERYWHERE, because it is so frequently used in western media), but... obviously, Save the Cat is made for something that has 2 hours, and as such a lot of modern media feels strangely slow and stretched out.

Pacing, Streaming, and the supposed "filler episode"

(Yes, this needed to be the gif for this. Because no filler episode has lodged itself quite as strong into my brain as this one.)

So, let me talk about the issue in modern media. Because oh boy.

As I said: I hyperfixated on this specific writing skill forever - and as such I was annoyed by "filler episodes" in TV shows. To explain for the youngest people (not that I am assuming a lot of those are on this hellsite lol): "Filler" was the name given to material that did not move the plot forward at all. So a "filler episode" was an episode, that was just there to fill the episode slot for the week, while no plot was happening. I am not fully sure whether the term originated with anime - but at least back in the early 2000s, before Shonen-Anime were done as 12-26 seasons that then allowed the manga to get ahead in between, "filler" was also the name used for those story arcs that the anime people made up for shows like Naruto, One Piece or Dragonball, that were not in the manga - and hence obviously also never added to any overarching narrative.

And what can I say: We did not appreciate the filler episode enough. Because this related very much to the last part: While filler episodes did indeed not add to the plot and usually by definition did not the character development, they actually still added something often enough.

They allowed the audience to get to know the characters a bit better and get a better feeling for the character relationships - and those episodes take out a bit of speed, which is actually important.

As said before: The pacing should not be even throughout an entire piece of media. In a TV series after an episode that was especially tense and pushed the plot or characters forward a lot, there should be ideally at least one or two episodes that move forward slower or even not at all. This allows the viewer to sit with the new developments for a bit - and of course the characters to have a moment to breathe and process whatever happened to them.

There is also the fact that those episodes usually give the audience a better understanding for the characters - and if you have an audience who at this point ideally care about some the characters, this will even be more successful.

And as I said. Back in ye olden days, a lot of people - me included - complained so much about Filler. But we were wrong. Fillers are amazing, as long as they do not overtake the whole show.

Pacing and Fantasy

Okay, let's talk about a thing, that is somewhat funny. A lot of fantasy - specifically written fantasy media - often has a pacing problem. And this problem comes from the Worldbuilding. Others forms of fantasy media (other than games - though pacing in games is whole different matter) have this too at times, but it tends to be worst in books.

Basically, when you are a fantasy worldbuilder, you have this whole world. And this leaves you with two problems.

a) You are afraid that people will not be able to follow the plot if you not give them a lot of information about this world and how it differs from ours.

b) Well, you build this entire world. And the people should KNOW.

So, a lot of fantasy media basically regularly will stop to explain to the reader or audience, whatever is happening right now. Some writers manage somewhat naturally put this in. Maybe they have a character that does not know a lot about for example magic or dragons, and they can ask questions and act as an audience stand-in. But even in cases, where the worldbuilding is somewhat brought in naturally (which by far is not all of them - because people usually do not naturally talk about stuff they both know, or think a lot about something they find naturally) those "explanation" pieces will make the plot come to a screeching halt.

So, the more worldbuilding you explain, the slower your pacing is.

And of course, pacing is not a reliable thing to keep people reading, and pacing will not always turn people off. But you know how people complain about how slow Lord of the Rings is? This is because of course, every time that Tolkien describes a piece of landscape over multiple pages, there is no plot happening on those pages. And while I personally think some of those descriptions are darn stunning, it is one of those things many people will not like.

However, this makes it a bit complicated. Because yes, worldbuilding explanations will slow down the pacing to a degree that can be problematic. But if you explain too little worldbuilding, people might struggle to follow the story. Which again is the most common problem if the pacing is "too fast" as well. Basically, people do not properly follow the plot and will struggle to understand what is happening and why.

But the opposite is true as well. I have read way too many fantasy books, where after the first 100 pages, I know a lot about the city the plot is set in, or about the magic system, but sadly have so far not been privy to any information what the plot is about, what the characters try to archive, or even who actually the characters are. And that, yeah... Is probably the most common reason why I put aside a variety of fantasy books in the past.

Pacing in Action-media vs anything else

Okay, let me talk about one other thing. See, the word "pacing" is at times used in some other context: In visual media, pacing will be used for the editing of what we see. Basically the amount of cuts that happen within a scene. Or, in a comic, the distribution of panels is also seen as a pacing element.

And anyone who heard people complain about how at times confusing the editing in action movies is, you know that this at times can get too much.

Still, in visual media action scenes feel usually fast - because the characters are moving around rather fast. In a visual piece of media, action scenes are often thrilling, because the characters are in constant danger of dying, and because a lot of stuff is happening. This often works better in visual media, than in written pieces. While it absolutely is possible to write thrilling action scenes, a lot of writers struggle with this, because they tend to overdescribe and that takes the speed out of the prose. But generally speaking, a couple of punches thrown - something that in a movie takes about 10 seconds - will in book easily end up in 200-500 words, which you will not read quite as fast. A bit more about that later.

And then there is the issue with the action scenes, that even is true for visual medial, is that they often really do not have any important plotbeats. Sure, if the characters have their final battle, that is a plot point. But in a lot of action media - especially TV shows - there are a lot of scenes included that really do not add anything, but just are there because folks love watching action scenes.

This goes so far, that people will think a show or movie with a lot of action scene will just be seen as "good fast pacing", even though if the actual pacing in terms of plot beats being spaced out is rather bad. As a good example I will once more nod at the Fast & Furious and the Mission Impossible movies, that often have horrid pacing and very confusing plots - but they do not feel really like it, because the movies are like 60% action scenes, and hence they do not feel like it when you watch them.

It can work at times. I spoke about my love of the F&F movies. Can I tell you a lot of the characters? Nope, but the action scenes are fun to watch!

But this also tends to mean, that in a badly paced movie or show, that is badly paced because the action scenes not adding any plot beats, everything tends to fall apart when the action scenes do not work. And often enough action scenes will still be prioritized over everything else in many of those pieces of media, making things fall apart easily.

Pacing in books vs visual media

I have hinted at this now multiple times: Written media is generally a bit harder to pace than visual media, because of the things you can and cannot control. While a writer in a book has full control over the scenario, a director of a show or movie had actually influence the timeflow of the things happening on screen. As a writer meanwhile you absolutely have no influence on the speed in which your reader will read.

Sure, you can somewhat influence it. Shorter sentences are easier read. An general lower reading level will allow people to read quicker. So simpler words, shorter words, shorter sentences will make parts appear quicker. You can use this for example in action scenes to have a bit more of this breathless feeling that an action scene on screen might have. Use short sentences. Do not link sentences up. Quick hits. Quick impressions. It can work - but it needs some training. Not to say it is fucking hard.

Generally speaking to my experience when you write a single novel, the "Save the Cat" Beat Sheet actually works rather well, if you are the kind of writer who is fairly good at planning things out. If I actually try, I will usually manage to plan out a story and predict fairly well how many words a chapter will have. So yes, for books I can very much use "Save the Cat" and it will work.

However, some things simply work a lot better when you have visual parts going on - but there are other things you can do better when you do not have the visual stuff. For example: A writer can do much more when it comes to motivation and introspection of characters. Yes, this slows down the pacing - but it is something that writing has basically over any form of media that is not a musical. (In a Musical you can characters do introspection through songs. Musicals are the ultimate way of cheating. I love them!)

Something I feel so many writers struggle with in terms of books is actually putting in a clear goal for the character from the beginning. Again: I have put too many books aside where I reached page 100 and did not yet have any goal for the main character.

That goal you give them does not necessarily need to be their final goal. Again: A lot of western storytelling deals with the incongruent nature of a characters "needs" (aka something that would actually help them) with the character's "wants" (aka what they think they would need). But at the very least the plot needs something that it can head towards from the very beginning - a hook to capture the reader.

There might be readers that are absolutely fine with just reading an exercise in worldbuilding - but you cannot expect them to be.

[homestuckreplay]

How Does Dave See John?

TG: dont talk to john anymore hes an impressionable doofus (p.1657)

Ever since reading Davesprite’s conversation with gallowsCalibrator where he chastises her for getting John killed, I’ve struggled to get it off my mind. There’s a few passing references in early acts, but Act 4 is the first time we’ve seen Dave talk extensively about John, with John not around – and he paints an interesting picture.

GC: SO JOHN 4CTU4LLY D1D WH4T 1 S41D? TG: yeah TG: im telling you TG: huge pushover TG: he will do what you say TG: unless it happens to be for his own good TG: then all a sudden hes a tough nut to crack go figure (p.1657)

In this chatlog, Dave hasn’t spoken to John for four months – before that, they likely spoke every day for years. That’s a big hole in Dave’s life, so of course he’s furious with the person who caused that. It makes sense, as well, that Dave’s opinions of John are overshadowed by that important final interaction, not by their day to day mutual teasing and goofing off.

Here, Davesprite sees John as someone he has to defend, and as someone who’s easily manipulated and not really capable of making his own decisions. Whether or not that’s actually true, it makes sense coming from someone who’s spent four grueling months mastering time travel and personal independence under life or death conditions, and pre-sprite future Dave expresses something similar when talking to Rose.

TG: i go back and tell john not to be an idiot and get trolled like such a gullible stooge (p.1643)

It’d be a fair interpretation to say that Davesprite’s hero complex is about wanting to save the whole timeline, all of his friends and maybe even the future of humanity, and John just happens to be the specific person who needs saving to accomplish that. However, I personally think this is about Dave’s feelings towards John specifically, and I have three different angles I want to briefly discuss this from: Dave’s birthday note, gender, and fan interpretations.

Dave’s Note.

A few pages after GC and Davesprite’s conversation, we see the note Dave included with John’s birthday package – most likely written in early April of 2009, a week or so before the kids play Sburb. Here’s about 2/3 of the note quoted in full.

i would suggest you put it somewhere and display it ironically but i know youre dead serious about this ridiculous shit so youll probably sleep with the damn thing and nibble its ear and stuff but the weird thing is thats whats cool about you. youre this naive guy like pinocchio tumbled ass backwards off the turnip truck and started liking ghostbusters. then the fairy godmother kissed your nose or some shit and you turned out to be not made of wood and also pretty cool to talk to. one day your gooberish ways are gonna land you in a jam and i know im going to have to get you off the hook but its cool i got your back bro. then we'll meet and hug bump and get each others filthy wife beaters that much filthier so yeah (p.1662)

Here’s the key points I’m getting from this.

Dave defines John by the differences between them.

The way Dave sees John is almost infantilizing; he definitely thinks John is more innocent than he is and less capable of taking care of himself.

Dave loves John so, so much, and he can’t help but express that, even when it contradicts his usual persona.

Irony versus sincerity is a big theme in John and Dave’s conversations dating back to Act 1, as is their respective opinions on pieces of media – usually things John likes and Dave doesn’t, with GameBro Magazine as a notable exception (p.26). Another theme is Dave’s ‘expertise’, with him often positioning himself as knowing more than John and flaunting his superior knowledge, like with their conversations about John’s sylladex and strife specibus (p.35).

In truth, Dave probably has more life experience than John. Bro certainly isn’t trying to keep him sheltered from anything, and Dave is constantly in dangerous situations and surrounded by adult content. He lives in a city, gets into fights, has partly raised himself, and probably hangs out in some weird corners of the internet. John’s life is hard in different ways – he’s a lot more sheltered, and he’s been allowed to have a longer childhood. Even their shared gifts reflect this. John gives Dave a gift that hides his face, makes him look older, shields him from a tough world, and was worn by an adult in a movie. Dave gives John a gift that’s typically given to a young child (Casey is around seven in Con Air) and represents vulnerability, softness, and a need for comfort.

Even if he doesn’t admit it, Dave might wish he’d had a childhood more like John’s. He wants John to have what he couldn’t, which might be why he tries to hide the weirdest things Bro does (and his own discomfort with them) from John. And he wants to use the combat skills he’s learning from Bro to protect someone, instead of hurt them. The love between them is defining and specific, and I actually do think that Dave would go further to protect John than he would to protect Rose or Jade, even though he cares about them a lot too. It’s difficult to find hard evidence for this – it’s really more of a feeling - but the closest I’ve got is that he sends Jade a signed Sweet Bro and Hella Jeff poster for her birthday, which isn’t even in the same league as the Con Air bunny.

There are definitely examples of Dave being naive and oblivious to the world, like when he’s telling himself he loves puppets and is totally chill with Cal, and there are examples of John being smart and intuitive, like when he starts to realize WV is controlling him and fights back. Those things are true of them as individuals, and are even visible in a fair few of their conversations (see p.287 for a great example) but when Dave talks about John, he leans really hard into their experienced/naive dichotomy. I think it’d be so interesting if, when they meet in person one day, they’re forced to confront these other sides of each other and put into a situation where John gets to be the one to take care of Dave and demonstrate his own capabilities.

--

Gender.

ok so that was all based on the text, now let’s talk headcanons and wild speculation: I think these kids might be transgender.

John, in Act 1 and 2, is characterized by detachment from his life, discomfort in his relationship with his father, and a strict, by the numbers understanding of certain trappings of ‘normal’ life. Dad leaves a piece of paper taped behind his safe, addressing John as ‘son’ and focusing on John’s strength and manliness (p.546). Dad himself is extremely strong, able to lift anything Jack Noir uses to keep him contained and fight the strongest Derse agents, and these are clearly the qualities he prizes in his son too. John also thinks that a ‘proper gentleman’ needs a monocle (p.27) and that a father needs a pipe (p.74), both of which are pretty weird and outdated ideas about masculinity which definitely come from old movies, not from actual deeply held beliefs.

John is also 100% capable of repressing very obvious parts of himself for a very long time, like with the clown graffiti on his walls (p.1001). So, distancing himself from being a man combined with obliviousness towards parts of his own mind makes it possible that John is a trans woman, and hasn’t figured this out yet. Worth mentioning also that John is the only kid to change his Pesterchum handle within the timeline of the story, and John later changing his name would be a very cool resonance.

Dave is more complex, and in a vacuum I think it’s possible to read his gender a few different ways – but it’s most interesting to me if he’s a trans man who came out and socially transitioned when he was a young child. It explains why he spends so much time online (it’s the place he can guarantee being stealth) and why he works SO hard to consciously construct his ironic persona, and works even harder to make it look effortless. Dave has always struck me as this person who’s constantly working twice as hard to keep up with what comes easily and naturally to others, and still not always getting it right. That applies to coolness, which he fails at because wearing sunglasses indoors isn’t actually cool, it applies to fighting, which he fails at when Bro kicks his ass every time even after years of training, and it applies to masculinity, where he’s constantly fighting against hitting puberty and how others perceive him when other boys around him don’t have to deal with any of that. And because he’s working so hard to pass and be accepted, Dave has definitely internalized some gender roles which aren’t that great, and leans way too hard into the ‘asshole teenage boy’ stereotype – like in his first conversation with adiosToreador (p.1099). It’s shitty for sure, but he also doesn’t have someone like John’s dad to be a better example of masculinity.

So I think Dave actively and intentionally buys into masculinity infinitely more than John does, and part of that is leaning into the ‘protector’ role when it comes to his friends. In this read, I don’t think either John or Dave consciously suspect anything about the other’s gender or trans status – but a real-world phenomenon that I and a lot of my friends have experienced is making queer friends while young and feeling a strong connection to them, despite not knowing each other is queer. Consciously, John and Dave think of each other as ‘best bros’ but there’s also an unconscious understanding that they share something deeper. Dave’s protectiveness of John extends to being ready to support and even physically defend John if and when he starts exploring gender, and John’s clear respect for Dave is partly because beneath the irony, Dave is taking the risk of expressing a very authentic part of himself in ways that John is currently not ready to.

As mentioned above, although they tease each other, a lot of their interactions are roughly built on this perceived dichotomy between John’s earnestness and whimsy versus Dave’s irony and impatience. So I think it’s interesting if the difference between them extends to being different genders, and is subverted by John being the one who’s actually putting up a front and Dave being the one who’s actually being himself. And, of course, their close friendship represents a shared trans solidarity.

--

Fan Interpretations.

I really like my interpretations here, but I’m not the only person reading this comic. On April 10, 2010, which of course is today, lots of people feel very differently. A lot of first-year Homestuck fans were also Problem Sleuth fans (or read it after catching up on Homestuck), and Problem Sleuth, plus a good number of other webcomics, don’t invite much complex character analysis. I’ve seen people shocked by the tone shift following ‘[S] Dave: Accelerate’, because they’ve never seen a webcomic kill two of its main characters, send two others to a dark timeline, and take those ideas seriously.

I have no way of knowing what’s discussed on the MSPA forums, but across multiple other forums, most people one-dimensionally see Dave as ‘cool’ and as someone to emulate, and John as ‘stupid’ and as someone to enjoy reading about but to feel superior to. In this way, they’re specifically leaning into Dave’s perceptions of both himself and John. Dave describes John as ‘gooberish’ in his note – a word that has never appeared in Homestuck before, but has definitely come up in forum discussions.

In sitcoms, it’s pretty common for characters to feel like real people in season one, but by season five, their most extreme and comedic traits are exaggerated while their more nuanced and human traits are suppressed. I think a lot of this comes from how viewers respond to these characters, and what becomes their ‘iconic’ moments in early seasons. That’s the case even with a lot of distance between writers and audience – in Homestuck, Hussie engages so much with fans and reads the MSPA forums in real time, so it’s likely that fan interpretations could influence in-comic characterization. This feels especially true now the cast of characters is expanding so much, which makes it harder to keep track of the complexities of each one.

Overall, I really love John and Dave’s existing dynamic, and how all the beta kids have been characterized so far. In all cases, there’s great groundwork for future character arcs. It’d be a real shame to see any of them become caricatures of themselves. And while I don’t think this is happening in a serious way yet, there are slight shifts in how they’ve been written over time. That could be their changing responses to situations in universe, or could be Hussie’s changing understandings of the characters, and either way I think it’s something to pay attention to. So despite the risk of ending this post on a negative note, I’m going to finish by putting these two interactions side by side.

EB: i do things ironically sometimes. EB: what about what i sent you for your birthday? TG: no those are awesome EB: what? no, they're stupid, which was the joke. the IRONIC joke. get it? EB: wait... EB: you're actually wearing them, aren't you? TG: im wearing them ironically TG: because theyre awesome TG: the fact that theyre ironic makes them awesome TG: and vice versa (p.110)

EB: yeah, of course! EB: there was no way i wasn't trying out this sweet ride. TG: god dammit what do i have to do to make you believe me TG: fist bump my future self til i got bloody knuckles and write you an even sappier bday note in my own blood TG: on a back to the future poster EB: relax, i'm not going through the gate! EB: i am just flying around, and having a good time in the sky. (p.1667)

[wnacn]

*Stairway to Heaven intensifies*

@chacolachao

[crimeronan]

hi all, i'm planning to take a short social media break. i wasn't going to announce it in case i give up within 48 hours (and because announcing a social media break is tacky anyway), but if i DO disappear for two-ish weeks as planned, i don't want people to worry. i'll be sparse but not totally unreachable on discord if you have me added there, but i'll be logged out of tumblr entirely. i need to make my life smaller for a little while, as opposed to absorbing the opinions/anger/fear/pain/etc of hundreds of strangers thru a single scrolling session.

if we are friends or friendly here then rest assured i do not dislike you or want to ignore you forever. we can still chat and chill. however right now life needs to be as small as my polycule, my siblings, and my mom. i don't have room for anything else. i will later.

[its-malarkey]

Parkzer’s actual reaction to finding out that Zorbeez aren’t actually that absorbent (“how are you supposed to dry your dog then?!”)

This is the face of a man in CRISIS

[literaryvein-reblogs]

A Writer on Writing: Jack Kerouac

Scribbled secret notebooks, and wild typewritten pages, for yr own joy

Submissive to everything, open, listening

Try never get drunk outside yr own house

Be in love with yr life

Something that you feel will find its own form

Be crazy dumbsaint of the mind

Blow as deep as you want to blow

Write what you want bottomless from bottom of the mind

The unspeakable visions of the individual

No time for poetry but exactly what is

Visionary tics shivering in the chest

In tranced fixation dreaming upon object before you

Remove literary, grammatical and syntactical inhibition

Like Proust be an old teahead of time

Telling the true story of the world in interior monolog

The jewel center of interest is the eye within the eye

Write in recollection and amazement for yourself

Work from pithy middle eye out, swimming in language sea

Accept loss forever

Believe in the holy contour of life

Struggle to sketch the flow that already exists intact in mind

Dont think of words when you stop but to see picture better

Keep track of every day the date emblazoned in yr morning

No fear or shame in the dignity of yr experience, language & knowledge

Write for the world to read and see yr exact pictures of it

Bookmovie is the movie in words, the visual American form

In praise of Character in the Bleak inhuman Loneliness

Composing wild, undisciplined, pure, coming in from under, crazier the better

You're a Genius all the time

Writer-Director of Earthly movies Sponsored & Angeled in Heaven

From “Belief and Technique for Modern Prose."

[dwtdog]

dream is so excited talking to drdonut about the keybind stuff this is cute

[starrbuggie]

Been thinking about streaming… I might take it up at some point… I mean I already have OBS downloaded… hmm

Anyone have any advice?

[zolo-san]

hey @ people who write long fics/chapter fics: what do you do when you have a fic idea and you've got a lot of good stuff to make up the actual fic, but you don't really have a real ending?

asking for a friend lol

So I don't normally write long fics and I really don't write chapter fics (Like one of my longest posted fics is a little over 14k but most of my stuff averages around 4k) but the Lawlu university AU that has been consuming my brain for the last month or so is an idea that has to be a chapter fic and I have a lot of ideas for it, but I don't have a clear ending point. Most of my fics have always had a very clear and natural end Like I've never really planned the ending out per say, but I just knew when the story I was trying to tell was finished and never had a problem wrapping it up But right now I'm close to finally getting all the ideas I had for this AU down and I don't know that I have a "clear" ending, ya know I know that I don't (at least right now) have much more that I'd like to include in the story, but idk if I can really end it where my ideas/desire to continue the story drops off like idk if it'll feel like a proper end there...........this is also so hard to explain if you're not living in my head and don't know where the planning doc currently ends, so sorry lol

I also have this irrational fear of writing chapter fics Like I get anxious at the implied commitment of it all and dumb things like how long a chapter should be? (I don't believe in filling up stories with filler just for the sake of length, if it's not relevant to the story or character development I generally won't include it - it's the script writer in me >.<) I know there's no real "rules" to how long a chapter "needs" to be and there's no such thing as a chapter being "too short" (this applies for writing in general, but double for fanfic) but it makes me STRESSED that I might not have enough for certain ideas to make a "full" chapter idk why I'm more comfortable with creating a bunch of short fics as part of a series and calling it a day (maybe because there's also no implied "total" amount of chapters even tho ao3 does the 1/? until you mark a chapter fic as complete) I also get anxious because I like the permission series fics feel like they give me to skip large chunks of time and I feel like I can't do that with a chapter fic (again I know there are no "rules" I'm just stressing out for nothing lol) I also just like that with a series I could randomly pick it up and write another piece to go with it on a whim if say, I get another idea out of nowhere after completing the story that I have currently planned (tho I guess there's nothing that stops me from adding a chapter to a fic even after it's marked as complete is there? 🤔) BUT if I were to write it as a series, then I'd have to have a title for every fic and the thought of that makes me want to jump out a window (naming fics is truly the bane of my existence), but with a chapter fic it's one title and I'm done (I also already know what I want the title to be sooooooooo) I can also make a series for the AU and have the chapter fic be a main fic and then have the freedom to write sort of spin-off one-off fics in the same universe for other couples 😈

idk man........I'm having a CRISIS over a fanfiction and something about that is very funny....but still lol Especially because I'm mostly worried about breaking non-existent "rules" idk I think I just have to accept that I'm a little weirdo when it comes to fic writing~

tho I still have the problem of not having a clear ending..........

help i'm going crazy i know none of this matters but still >.>