pendejo

The first thing we have to establish is what counts as "canon" for the purpose of this essay. I am only counting the original comic up to Game Over, after which there's a general consensus that Hussie kind of gave up on his original planned ending, and slapped together something that most people hate. So I am immediately disqualifying Pesterquest, supplementary material, fanworks deemed canon, the epilogues, and Homestuck^2.

Moreover, we are taking Hussie's commentaries with a grain of salt, for two reasons. The first reason is that I firmly believe - and will be arguing - that the original plan was to bring Eridan (and the other dead trolls) back; therefore, Hussie (who has a track record of playing coy with future plot twists) can't speak too fondly of him, lest he give it away. The second reason for de-emphasizing Hussie's words is that, post-retcon, Hussie isn't very well going to say that he had plans for a better ending, and then didn't execute on them; to save face, he has to act as though his trashing of several prior plot threads, including but not limited to Eridan, was the plan all along.

Therefore, this essay will not be putting too much emphasis on Word of God, and will instead be relying on textual evidence from the comic itself, of which there is plenty. So without further ado:

Eridan is a Consummate Murderer.

The reason I'm starting with this point is that, far more than any other, this truth lies at the core of his being. Eridan is formally introduced to us with a murder, and he's haunted by an overpowering genocide complex. He outright describes to Rose at one point that "killin is all i evver done practically," and uses "murder" as an expletive (ie "swweet stinkin murder"). With a conservative estimate of 5 kills per week for 4 sweeps (Vriska looks VERY young when she has to start killing, and Eridan was likely a similar age when he began), both Eridan and Vriska easily have bodycounts above 2000 - the real number is probably even higher.

At this point, many raise an objection that Eridan is only killing lusii, but I believe we need to count his kills as troll murders, for three reasons: first, a dead lusus results in the orphaned troll being culled; second, one has to assume he has had cases of trolls trying to defend their lusii, or coming after him for vengeance; and third - and most importantly - Eridan HIMSELF is thinking about the orphaned trolls.

Compare Feferi: Go Home:

That should keep her happy for a while. At least until she dies.

To Eridan: Go Home:

That should keep her happy for a while. And make a freshly orphaned troll somewhere very sad.

So Eridan, to a much greater extent than even Feferi, is thinking about the orphaned trolls he's leaving behind, and considers his own actions to be murder.

Now that we've established the facts regarding his murders - a rough bodycount, and the fact that, by his own admission, he barely had any hobbies outside of it - we can move on to the effect that it's had on him. It's not very good!

Vriska's manipul8tions and murders had to be done for her own sake - if she ever stopped, she died. Therefore, much of Vriska's personality revolves around justifying her own actions so she doesn't have to reckon with her softer feelings, like guilt or kindness - which she expresses would be viewed as scandalous by others of her caste.

But if Eridan ever stops feeding Gl'bgolyb, everybody dies. The stakes he has riding on his shoulders are, at all times, the fate of all trolls, including all his friends. Given Dualscar's title was "Orphaner," it's implied that killing lusii for Gl'bgolyb has always been a violet blood's duty, and is seen as such by the others, which is why nobody expresses gratitude for his hard work even a single time.

Which brings us to our next point:

Eridan is Crushed by Anxiety.

If Eridan stops killing lusii, everybody - especially his friends, but everybody else, too - dies.

If Eridan ever shows guilt or kindness, he'll be considered "weak" by the standards of highbloods - he shares this with Vriska.

Eridan is expected, by aristocratic tradition, to take on the mantle of his ancestor Dualscar and finish his work. Dualscar met a comedically cringefail end, so this is a massive undertaking.

Before finding out that god tiering is an option - so, for nearly his entire life - Eridan has had to live with the expectation that he will outlive all of his friends. The lowbloods from culling or dying on the battlefield, the highbloods from old age, and Feferi from being killed by the Empress when she gets old enough.

(This is reflected in who he talks to the most - Feferi, who's the only one with a natural lifespan longer than his, Vriska, who's a highblood, Kanaya, who's practically guaranteed to survive into adulthood, and Karkat, whose anonblood allows Eridan to give him the benefit of the doubt.)

Also if he can't land his concupiscent quadrants he'll die from that too, but that seems pretty secondary to the rest of his concerns.

He can't even make friends with the other highbloods, because sea dwellers are expected to hate and antagonize them.

He had a free ticket into adulthood, but would almost certainly be expected to join the army and serve as a commander. That is to say, his fate of performing the role of a vicious, murderous sea dweller seems dreadfully inevitable to him.

NO WONDER he can't stop having emotional breakdowns. NO WONDER his chatlogs swing wildly from relentless self-aggrandizement to traumadumping. NO WONDER he's obsessed with murder and death and genocide.

Doc Scratch calls him a "vengeful boy on the path of nihilism," and it's not hard to see why: Eridan's entire life has been about living up to the role imposed on him by society, sacrificing his own time and sanity for everyone else, which he "nevver got any appreciation for anywway." And all he had to look forward to was more of the same, all his friends dropping dead one by one before him. For Eridan, there has never been any hope.

SGRUB could have been a way out for him, but a combination of his own terrible choices, spurred on by his anxieties, and his teammates' unwillingness to knock some sense into him, meant that he only wound up mired even deeper in his hopelessness.

We all know about how Eridan wouldn't stop killing the angels on his planet, provoking their aggression and turning it into a ball of death. How he was definitely not supposed to be doing this, and how his stubborn insistence on it led to his further ostracization from the rest of the group. The thing is, when we look at his angel-murders from the point of view that Eridan's entire life has been about murdering things or else Something Bad™ happens, it actually starts to become... kind of sad.

KARKAT: BETWEEN A TRIGGERHAPPY PRINCE WITH A GOD WEAPON BLASTING ANYTHING THAT TWITCHED AND A MILLION CRAZED ANGELS HE DELIBERATELY ENRAGED, IT WASN'T WHAT I'D CALL AN IDEAL SOCIAL HUB. KARKAT: IF YOU WERE LONELY WHY DIDN'T YOU VENTURE OUT MORE OFTEN? ERIDAN: wwell i wwoulda but nobody else wwas vvolunteerin to pick up the slack on angel killin duties

Killing the angels is something he feels like his has to do, because his entire life has been about killing things he doesn't want to kill. He's unable to break out of that mindset on his own, and his unpleasant personality has scared off anyone who might want to help. No one on the team tries to understand his thought process on a deeper level, not even Karkat, who just tells him it was an idiotic thing to do without addressing his underlying anxieties at all. Indeed, "nobody understands."

And this is really the root of why I think so many people get the wrong read on Eridan - Eridan is constantly contradicting himself, constantly denying his own feelings, constantly pushing an image that he doesn't actually believe in, and constantly insisting that he's fine with all the horrible shit in his life - that he likes it, even. After all, he can't admit to his guilt for his murders, or how much he doesn't want to watch his friends die, or how scared he is about the future - that'd be weakness!

CC: I can't look after you anymore. CA: I DIDNT EVER NEED ANYONE TO LOOK AFTER ME CA: i was totally fuckin fine my ambitions were noble

You see his contradictory nature with his stated love of history, which he only ever offhandedly mentions - because he's not actually that interested in history, it's just something that's expected of someone of his station. And you see it with his wavy accent, which he himself calls "weird" and drops when he's trying to be emotionally sincere. And you see it with his dumbass outfit, which is very clearly an imitation of Dualscar (with the only exception being the wizard-ass scarf, because wizards are his actual interest. I don't believe he likes fashion. I genuinely believe - and Eridan himself says so - that he basically has no hobbies outside of murder).

Even being proud to be a sea dweller is pretty much an outright lie:

CC: You can't )(ave t)(e sort of affinity for "our kind" t)(at you profess if you've only spent, w)(at... CC: A few days underwater, maybe? IN YOUR W)(OL-E LIF-E!

One that he tells because he's SCARED OF THE OCEAN. Because he knows what lives in the ocean, because he's been feeding it his entire life. I see a lot of people who give Eridan an interest in marine life, and I'm telling you, that's just got no basis in canon. He's fucking TERRIFIED of the sea.

And for that matter, land dweller genocide. Eridan doesn't want to do it. Both Feferi AND his internal narration call him out for not actually wanting to do it. He outright states he wouldn't kill his friends.

CA: wwell CA: im not goin to vvery wwell kill you am i that wwould be fuckin unconscionable CA: wwhat kind of friend wwould i be

But he feels like he HAS to want it, HAS to believe in it, HAS to be talking about it constantly, because that's what's expected from him as a sea dweller, and a sea dweller is ALL that he will get to be. The mutation that puts a violet streak in his hair is damning. It's a fate he feels like he can't escape. Which brings us to:

Eridan is Not Actually Casteist, Well He Is But Not Like That, It's Complicated

Secondary title: Those Are His Emotional Support Slurs, Okay

In the exact same vein (haha) as secretly not wanting all the land dwellers dead, Eridan also genuinely doesn't feel like he's better than lower blood castes. Vriska and Equius obviously put quite a bit of stock into being nobility, and both have acted superior to Karkat for it. Feferi actually revels in her high status, and while she is genuinely well-meaning, she's not as interested in abolishing casteism as she is in changing the meaning of "culling" specifically (the hemocaste, aristocracy, and casteism still very much exist in a Beforus under her rule). Gamzee MIGHT be the only highblood less casteist than Eridan, but then again, as soon as he snaps, he does say a lot of casteist stuff to Equius, although it's unclear how serious he is, and he also proceeds to get really into his weird highblood clown cult.

Meanwhile, Eridan - despite all his slurs and talk of genocide - does not actually try to "pull rank" on a lowblood for being a lower caste than him with a single exception. That exception is Sollux... after he's already shown having entirely caste-neutral opinions on Sollux:

CC: But Sollux finally came t)(roug)(, and now I believe t)(e full c)(ain is complete! CA: man that guy CA: hes a fuckin drama machine it is fuckin pathetic CC: YOUR STUPID FIS)(Y FAC-E IS T)(-E DRAMA MAC)(IN-E T)(AT DO-ES NOT)(ING BUT W)(IN-E AND GLUB. CC: 38P CA: fuck SORRY CC: Anyway you s)(ouldn't say t)(at about )(im, )(e is a )(ero and )(e saved my life. CA: yeah sorry

CA: my feelins seem petty and meaninless noww CA: she had better things to wworry about than my ovverwwrought bullshit CA: like the dead guy wwho savved her CA: so forget it thanks anywway

It's only AFTER he's mad at Sollux for dating Feferi that he starts going in on Sollux with casteist rhetoric... which is treated as unrequited flirting and not serious casteism:

ERIDAN: hey finless this doesnt concern those wwith mustard sludge slippin through their vveins ERIDAN: its a matter for royalty only ERIDAN: so keep your mouth closed or ill slit you open ovver my next meal SOLLUX: w/e bro, not iintere2ted. FEFERI: -Eridan, please! I don't want to see any more dueling. FEFERI: Don't try to provoke )(im. It's not like I don't know w)(at you're doing! You keep trying to spark a rivalry wit)( )(im to get me to auspisticize between you two, and pull us out of our quadrant! FEFERI: It is t)(e oldest and lamest trick in t)(e book. It didn't work t)(en and it won't work now!

THEY don't even think he's being casteist.

In fact, directly contradicting this earlier argument he has with Feferi:

CC: T)(is is t)(e last time I will say t)(is. CC: W-E AR-E NOT B-ETT-ER T)(AN ANYBODY!!!!! CC: GLUB. >38( CA: pshh CA: hemospectrum begs to differ

He OUTRIGHT states his real feelings here:

CA: im the biggest fuckin idiot who ever lived CA: i cant BELIEVE i just opened up to you like a chump when i knew what was comin CA: i am one sad fuckin brinesucker CA: overemotional sappy trash youre right im not better than anybody CA: im worse than anybody CA: EVERYBODY CA: all the bodies

So the question of "is Eridan casteist" has an answer of "kind of, but also no." Eridan DOES espouse the rhetoric; he's constantly saying stuff that a casteist sea dweller "should" be saying. However, if you look at his ACTIONS, and the way he actually treats people, he doesn't actually care about blood color. He'll hit on anybody, and he's rude as fuck to everybody. The real problem with him is that he's terrible to talk to, not that he's discriminatory.

That's the thing about Eridan. Understanding him means looking past the way he presents himself, the lies he tells to himself, and even, at times, the way the narration presents him. His "overblown emotional theatrics" seem a lot less overblown when his problems ARE so real, deep-seated, and constantly causing him an unimaginable amount of anguish.

The problem is, the main people he has to bounce those problems against are Feferi, Vriska, and Kanaya, three of the people most comfortable with their privileged positions, for whom Eridan's genuine emotional distress seems like needless melodrama. Feferi loves being a princess, Vriska enjoys her noble privileges, Kanaya doesn't need to worry about culling. But for Eridan, his noble status, and the duties and expectations placed on him for it, have caused him nothing but pain - of course he would feel like nobody understands. Most of his closest friends genuinely don't, nor do they try to.

Because that's what he is at his core - a traumatized fucking child, who doesn't see any way out. Eridan is not a casteist genocidal sea dweller... he just wishes he was one, and tries to be one, because if he actually was one, he wouldn't feel so awful and scared and sad all the time. He'd be normal, like his friends.

The reason he constantly spouts anti-land dweller rhetoric and uses casteist language is to assuage this cognitive dissonance. That's why he has to come off so strong, present himself in such an aggrandized way, act like such a douchebag. They're his emotional support slurs. He doesn't actually believe what he says, which means he's a Bad Sea Dweller, which means he's Failing, which means Something Bad Will Happen, so he'd better get his ass in line and say something casteist!

And it's all made worse because:

Eridan is Dumb of Ass (and True of Word)

Oh my god you guys he's so stupid that it hurts.

Okay, that's not entirely fair. Eridan is clearly well-educated and book smart; he has some of the most elegant prose out of the trolls, and he's prone to going off on insane rants with it. (Actually, his language gets more flowery and showy when he's trying to impress a stranger, and gets progressively more laid back, chill, and even kind of "bro"-y when he starts talking to people he doesn't feel like he needs to impress.)

CA: at this point i find all her adorable black pixie dabblins to be prime kiddie playtime shit CA: all of her FRAUDULENT MAGICS cannot come close to posin threat to my mastery ovver the TRUEST SCIENCES CA: an wwith my empiricists wwand i servve as the righteous hope that wwill incinerate delusion and the deluded alike CA: my holy fire is the wwhite fury bled from the wwrath-wweary eyes of fifty thousand nonfictional angels CA: and wwhen theyre finished wweepin they wwill boww before their prince GG: wow what are you talking about

What I mean is this: his brain is so full of anxiety and cognitive dissonance and murder and death that he struggles to care about other people, which has devastating effects on his social skills. I go really in-depth on how his though process informs his behavior here. The question may have popped up in your mind already: if his casteism stuff isn't actually real, then what is Eridan actually like? The answer is, overwhelmingly, and discomfortingly, SINCERE.

This boy is gunning at 100% emotional earnestness 100% of the time, and it's deeply uncomfortable for others to deal with. He'll swing wildly from insults and derogatory language, to stating a desire to kill all land dwellers, to awe and amazement at his friends' prowess, to demanding that they do things for him, to traumadumping and venting, without missing a beat. Often in the same conversation.

CA: kan its hard GA: What CA: being a kid and growwing up CA: its hard and nobody understands

He's also specifically terrible at parsing hostility. Functionally, he interprets all hostility aimed AT him as either pitch/ashen flirting or "ironic repartee," and similarly views his own hostile words as verbal jousting, pitch/ashen advances, or even just factual descriptions of the world around him (ie calling Nepeta a "kittycat shipper cavve girl"). Hostility and aggression are just kind of his baseline, default state of being, and he basically has no ability to differentiate between good and bad attention. I talk more in-depth about his emotionally bereft upbringing (and shitty lusus) here, but suffice to say that our boy isn't getting any emotional support at home, and as a result, craves attention, no matter what kind.

This also means he's insanely gullible. For example, Rose calls him an idiot to his face, and then blows up his computer, sarcastically calling it "your first lesson in showmanship." Eridan proceeds to literally considers it that, blowing up Jade's computer after he's done talking to her. Furthermore, Kanaya sees him as a burden, insults him to his face, and pretty much just bullies him along with Rose for fun.

So she trains Eridan to become a powerful white wizard of hope to challenge her, as a joke.

And yet, in spite of all that, Eridan still has nothing but gratitude and praise for Kanaya:

ERIDAN: kan i been meanin to thank you KANAYA: For What ERIDAN: for all that trainin you did ERIDAN: i wwouldnt be the incredible holy wwizard i am noww wwithout your help KANAYA: But I Didnt Even Really Train You I Just Made You A Wand ERIDAN: yeah wwell thats all i needed i guess ERIDAN: i just needed for someone to showw a little faith in me so im sayin thanks i owwe ya KANAYA: Okay Then Youre Welcome KANAYA: I Hope You Use Your Magnificent Powers Of Light And Hope For Goodness And Purity And Lets Not Forget Science ERIDAN: dont wworry im all ovver that shit you dont evven knoww KANAYA: Uh Oh I Hope That Didnt Come Off As Too Sarcastic ERIDAN: wwhat KANAYA: The Thing I Just Said KANAYA: I Didnt Even Realize How Sarcastic I Was Being Its Starting To Become A Problem I Think KANAYA: Please Dont Take Too Much Offense ERIDAN: haha damn kan if thats your idea of offense bein made then i honestly gotta fuckin wworry for you ERIDAN: tell you wwhat ill givve you some lessons in dealin out the dark umbrage to repay you for your tutelage in the wwhite science

Like, he's in the middle of genuinely thanking her for believing in him, she makes fun of him to his face, and his response is to laugh it off and offer to teach her how to properly insult someone. It's honestly... kind of sad. Not that he doesn't deserve the ridicule, but what we're seeing here is a traumatized, emotionally neglected boy trying to communicate the best that he can that he loves and appreciates his friends, and receiving nothing but mockery in return.

It's really not a surprise, then, that he goes off the deep end. His entire life prior to the game has been shit; he got broken up with as soon as he entered the game (by someone who didn't even care enough not to use fish puns while doing it); he's ostracized and avoided for the game's duration; and then he spends the rest of his time on the meteor being bullied. He feels deeply hopeless and anxious about their situation because he literally doesn't know how else to exist, and his concerns are dismissed and mocked at every turn. When Feferi turns on him with intent to kill, that's his breaking point.

I see a lot of people say he goes grimdark, or succumbs to external influence somehow, but I don't think that needs to be true (nor is it) - he's just a deeply traumatized kid with almost no support network who's finally been pushed to the edge, despite displaying every possible warning sign and making multiple cries for help. Yes, ultimately, he's guilty for his own actions, but his killing spree - alongside Gamzee's and Vriska's - represents a cohesive failure as a team to address very clear problems in their midst.

So Feferi and Kanaya are sick of his ass. Sollux hates him platonically, Equius doesn't like him, and Nepeta thinks of him as a creep. Vriska is his awkward ex, and Terezi agrees with him when he calls himself pathetic. He never interacts with Tavros, Aradia, or sober!Gamzee. Is there anyone that treats him nicely?

Uh, okay, so I swear this isn't shipping goggles -

Pale EriKar Is Canon And I Can Prove It

So, I'm going to start this with a disclaimer: you can ship what you want to ship. I don't mind. I don't care. Headcanons are valid, death of the author, etc. What you do in your free time is up to you.

What I am attempting to argue in this section is that an Eridan/Karkat moirallegiance was heavily foreshadowed, one of the most heavily foreshadowed things in the entire comic, and - assuming that the original ending of Homestuck included all the dead trolls being brought back and redeemed - was going to be endgame. There's a torrential amount of evidence pointing to this, and very little of it is acknowledged even by the EriKar shippers, which is a shame.

At the very least, I'll be happy if I can convince some Karkat RPers to be extra nice to Eridans, because they are actually just friends who care deeply about each other. Canonically.

The first thing to note is that Eridan and Karkat, at least prior to SGRUB, talk all the time, to the point where Feferi feels the need to comment on it:

CC: You know, I'm not sure w)(y we never talk about our romantic aspirations. CC: We s)(ould more often. It is kind of -EXCITING! CA: shrug CC: Probably because you fill your gossip quota wit)( your nubby )(orned bro. CC: You leave not)(ing left to talk about wit)( your dear sweet moirail! CC: We are supposed to )(elp eac)( ot)(er wit)( t)(at stuff too, remember. CA: maybe CA: seems kinda CA: odd though

("Can you please stop having an emotional affair with Karkat" "Eh, I'll think about it")

The second thing to note is what the contents of those conversations entail. Sure, they "gossip," but it goes deeper than that, because they gossip about things that Karkat would NEVER gossip about with anybody else, because Karkat usually respects his "VERY GOOD FRIEND"s. For example, here Eridan mentions that Karkat has speculated on Kanaya's love life with him:

CA: you dont wwant to be our auspistice cause you dont wwant to get locked into that sort of relation wwith her i can respect that GA: No Thats Not It CA: yeah it is your real feelins run pretty awwful RUDDY methinks evverybody knowws it CA: especially that assblood karkat he and me havve you so pegged about that its upright silly

And it's not even a one-off thing, because here Karkat is again, mentioning Nepeta's crush on him:

KARKAT: OK, BUT TO BE FAIR, I'M PRETTY SURE SHE'S STILL OBSESSED WITH ME. KARKAT: IT'S A VERY UNFORTUNATE, VERY RED AND VERY UNREQUITED SITUATION I'VE BEEN TRYING TO TIPTOE AROUND FOR A LONG TIME, OK? KARKAT: HER DISINTEREST IN YOUR ADVANCE WASN'T A REFLECTION ON YOU AT ALL. KARKAT: COME ON, WE TALKED ABOUT THIS.

It's a situation he's been trying to "tiptoe around for a long time," and he tells ERIDAN, of all people? MULTIPLE TIMES? (AND HE ALSO TELLS ERIDAN THAT THE REJECTION WASN'T HIS FAULT???? WHAT??????)

So we've established that they talk frequently and about some pretty seriously sensitive topics. But did you know that they also talk about... their feelings?

See, the thing is, Karkat has always been weirdly nice to Eridan. Here he is in a memo near the very beginning of their game, when Karkat is at his most "rah rah, I'm the big bad leader":

FCA: i got a problem FCA: wwith feferi FCA: and im really kinda sittin here in bad shape about it emotionally speakin CCG: OK, WELL CCG: I GET THAT, I HEAR YOU BRO CCG: BUT THIS IS STILL NOT THE RIGHT PLACE FOR THIS SO I'VE GOT TO BAN YOU. CCG banned FCA from responding to memo. CCG: BUT SERIOUSLY JUST GET IN TOUCH WITH ME IN PRIVATE ABOUT IT, OK MAN? CCG: WE'LL GET YOUR SHIT STRAIGHTENED OUT.

Compare that to Tavros asking for advice later down in the same memo:

PAT: sINCE i DON'T KNOW WHERE YOU ARE NOW, bUT MAYBE HELP ME, PAT: aBOUT A THING THAT HAS TO DO WITH A GIRL, PAT: lIKE, PAT: a ROMANCE THING, yOU MIGHT KNOW ABOUT, CCG: YOU PEOPLE ARE IMBECILES. CCG: ALL OF YOU. CCG: I AM NOT POSTING THESE MEMOS TO COUNSEL YOU ON YOUR PAST AND FUTURE DATING PROBLEMS!!!!!!!!!!!!!!!!! CCG: WHY ARE YOU ALL SUCH BASKET CASES. I DON'T EVEN KNOW WHAT TO SAY ANYMORE. PAT: sORRY, CCG: SHOULD I BAN YOU? WHAT'S EVEN THE POINT ANYMORE! ONE OF YOU STOOGES WILL BE RIGHT ON THE LAST ONES HEELS WITH ANOTHER SOB STORY. CCG: JUST CCG: HURRY UP AND TELL ME WHAT YOUR PROBLEM IS BRO.

He then proceeds to dispense no actual love advice; he just points out that Vriska can totally read this memo too, and then mocks them both when she shows up - thus making it clear that he is giving Eridan special treatment.

You see it again in his discussion with Eridan in [S] Kanaya: Return to the Core, where Eridan invokes a "pact" between them, and Karkat immediately plays nice with him, despite himself being extremely high-strung and stressed out:

KARKAT: RIGHT, IT'S POWERED BY SCIENCE, I FORGOT. KARKAT: OR HOPE. WHATEVER THE FUCK THAT MEANS. ERIDAN: i dont fuckin need this from you i take enough shit as it is from the rest a you dirtscrapers i thought you and me had a kinda pact or wwhatevver KARKAT: OK FINE, SHUT UP, I APOLOGIZE. I KNOW IT'S TOUGH BEING YOU.

That's definitely pity, which Karkat states to be the basis of all relationships besides pitch. But, sure, okay, Karkat is sometimes nice to his friends. He is, after all, the Friendship Troll, so that's not necessarily out of the ordinary. But how about the fact that it goes both ways?

That's right, Eridan "100% aggro 100% of the time" Ampora is actually really considerate toward Karkat's feelings, and basically nobody else's. Upon hearing that Karkat is distressed that Sollux has died, Eridan actively puts his own meltdown about his breakup with Feferi on pause:

TC: BeCaUsE OuR GoOd bRo sOlLuX JuSt kIcKeD ThE WiCkEd mOtHeRfUcKiN ShIt CA: wwhat the fuck do you mean by that CA: are you sayin hes dead TC: YeAh :o( CA: oh fuck CA: oh god fuck noww i feel like an asshole

He then goes on to chastise Gamzee for his shitty advice, demanding to be given the chance to comfort Karkat himself instead:

TC: BuT I ToLd hIm tO Be cHiLl TC: BeCaUsE ThErE Is a mIrAcLe cOmInG, i cAn fEeL It CA: that is the wworst fuckin advvice CA: wwhat an awwful thing a you to say CA: MAGIC ISNT REAL STUPID STOP BELIEVVIN IN IT TC: i'Ve gOt tO BeLiEvE At wHaT My hEaRt tElLs iN Me, EvEn iF It's a fAkE ThInG TC: HoNk CA: this is a lot a pointless fuckin rubbish and isnt no emotional help to him or me either for that matter CA: put kar on

Before finally giving up when Gamzee insists he's "too scared of Jack" to help, drinking some Faygo, and trying to ask past Karkat for help, because past Karkat isn't sad yet about Sollux dying. So, to recap,

Eridan's first instinct when in emotional duress is to go to Karkat.

Eridan feels like he knows Karkat well enough to know that Gamzee's advice would be useless (and is proven right by the fact that Gamzee and Karkat's moirallegiance fails for similar reasons).

Eridan is willing to shelve his own emotional meltdown for Karkat's sake.

Eridan demands to be the one to provide Karkat with emotional support.

And this is, again, not a one-off thing. In the memo Karkat opens right after Eridan and Gamzee have both turned murderous, after he's spent several minutes making death threats toward Eridan and insulting him directly, he goes:

CCG: I'M SO UPSET, I'M JUST COMPLETELY FREAKING OUT IN EVERY WAY POSSIBLE. PCA: yeah i knoww wwhat its like you wwanna talk about it

Eridan spends this entire memo under the belief that it's a completely run-of-the-mill conversation they're having:

PCA: i mean yeah obvviously i kneww you wwerent serious PCA: i guess i appreciate the effort youre puttin into cheerin me up PCA: i can alwways count on you for some good ironic repartee kar nobody else really gets our sense a humor CCG: UGH, NO PCA: are you busy PCA: you said youd try to make it to lowwaa soon wwell howw about it

Which implies that offering to listen to Karkat's feelings is also a completely regular thing for them.

But something magical is ALSO happening within this last memo, and to really explain it, I'll first have to be a little mean to the GamKar shippers (sorry).

So, canonically, GamKar doesn't work out for them, despite also being somewhat foreshadowed. In fact, they feature on Nepeta's shipping wall, which is actually, in my opinion, foreshadowing that it WOULDN'T work out. (Nepeta's ships being wrong, and shipping being something she needs to learn to outgrow, is a whole essay on its own, that I'm not getting into here.)

But the thing is, the seeds for them not working out were also planted in the first - and only - real post-moirallegiance interaction that they have with each other, where Gamzee tries to calm Karkat down... and FAILS:

GAMZEE: naw brother, i was just about to all say for you to try and get your settle down on, maybe. GAMZEE: :o( ... KARKAT: OK KARKAT: OK YEAH KARKAT: I GUESS YOU'RE RIGHT. KARKAT: NO, YOU'RE RIGHT, I SHOULD RELAX. KARKAT: AND BREATHE. KARKAT: I MEAN, WHAT ARE MOIRAILS FOR, RIGHT? KARKAT: THIS IS HOW IT WORKS, I STOP YOU FROM KILLING EVERYBODY, THEN YOU RETURN THE FAVOR AND CALM ME DOWN AND I JUST KARKAT: BREATHE KARKAT: LIKE KARKAT: THIS... KARKAT: SNIIIIIIIIIIIIFFFFFFFFFFFFFUCK, THAT SUN IS BRIGHT. KARKAT: CALL ME CRAZY, BUT IT'S KIND OF HARD TO RELAX WITHIN A STONE'S THROW FROM, OH, I GUESS ONLY THE BIGGEST FUCKING STAR ANY MORTAL HAS EVER LAID EYES ON. ... KARKAT: BUT I MEAN, CAN THIS BE HEALTHY? KARKAT: AREN'T WE GOING TO GET BURNED OR HAVE OUR RETINAS SCORCHED BY LOOKING AT IT? KARKAT: OH GOD I THINK I'M HAVING A PANIC ATTACK.

But let's go back to that memo where Karkat is freaking out in every way possible. This is how he starts that memo - so upset about the deaths of his friends and terrified by Gamzee that he can barely string together a coherent thought:

CCG: WE ARE SO SCREWED. CCG: OH FUCK OH FUCK OH FUCK. CCG: GUYS, I AM TERRIFIED, I DON'T KNOW WHAT TO DO. CCG: I'M IN A ROOM FULL OF BODIES, AND I THINK I'M NOT SUPPOSED TO TURN MY BACK ON THEM? CCG: OH MY GOD, I JUST HEARD A HONK. ... CCG: FEFERI, I'M SORRY. CCG: IT WAS MY FAULT, I DIDN'T KNOW WHAT TO DO. PCC: Sorry for w)(at?? CCG: FOR CCG: I CCG: I CAN'T DO THIS CCG: IT'S TOO MUCH FOR ME, I'M SORRY.

In fact, he's so distressed that he bans Past!Feferi and Past!Gamzee almost immediately after they come in. But then Eridan comes in, and... I mean, first of all, just compare how long it takes for him to ban Eridan:

But more interesting are the contents of their conversation. Over the course of talking to Eridan... Karkat completely calms the fuck down. Like he's entirely forgotten that he's shitting his pants with fear. In fact, he even starts critiquing Eridan for his dumbassery:

PCA: evven if i wwasnt compelled to think you wwere still bein flippant and ironic wwith me you cant exactly outright reject me can you CCG: WHY NOT PCA: cause youre future you PCA: doesnt count unless its present you til then its all fair game CCG: IS THIS REAL, ARE YOU BEING IRONIC OR SOMETHING, I CAN'T EVEN TELL ANYMORE CCG: THE PROBLEM IS, I CAN'T PUT THIS SORT OF BEHAVIOR PAST YOU AT ALL, SO I DON'T KNOW. ... CCG: YOU'RE KILLING ANGELS NOW, AREN'T YOU PCA: no CCG: YOU ARE KILLING FUCKING ANGELS, RIGHT NOW, IN THE PAST, WITH YOUR SHITTY GUN. I JUST KNOW IT. PCA: wwell uh PCA: therere just so damn many kar and theyre not gettin any less bloody pissed is the thing CCG: THIS IS WHY IT WOULD NEVER WORK BETWEEN US, MAN.

It's extremely funny. Over the course of talking to Eridan, he goes from:

CCG: OH GOD OH GOD OH MAN OH GOD CCG: NO NO NO NO NO NO NO NO NO

To:

CCG banned PCA from responding to memo. CCG: ANYWAY CCG: THAT'S IT I GUESS.

Eridan isn't even trying to calm Karkat down. He still succeeds in doing so. This is because they are soul mates. And I mean that in the sense that the comic literally calls being moirails soul mates, which it doesn't do for the other quadrants:

A reasonable human translation would be the concept of a soul mate, but in a more platonic sense, and with a more specific social purpose.

That "social purpose" being that an even-tempered troll calms down a more hot-tempered one, and vice versa.

It also goes on to note:

But some pale pairings, as the one above [referring to a picture of Nepeta and Equius], will be strikingly obvious to all who know them.

But what's really interesting is the next page.

And yet others will seem to have been hatched for each other.

Did you catch that? Let me zoom in.

(Also, the blue and red cuttlefish to represent Sollux - Feferi and Sollux spend the whole game together, and even wind up talking about their feelings constantly in a pile - more on piles in a sec.)

In fact... in Eridan's first visual appearance...

The crab has always been there for him.

It's also important to talk about the bottle of Faygo that's been photoshopped to be candy red, Karkat's blood color. The path that it takes actually directly mirrors Karkat's relationships with Gamzee and Eridan - it's initially something that Gamzee has, but winds up being ejected out of his life, and washes up on Eridan's shore. In fact:

TC: SnAtCh aN IcEcOlD, dOg TC: MoThErFuCkIn cHuG ThAt sHiT LiKe yOu aNd tHe bOtTlE WaS ReUnItEd lOvErS CA: are you recommendin a bevverage to me or somethin CA: is that wwhat this is TC: YeAh mAn SlAm A FaYgO CA: i dont havve a fuckin faygo you stupid fuck wwhy wwould i keep that disgusting shit on hand TC: ArE YoU MoThErFuCkIn sUrE AbOuT ThAt? CA: oh CA: oh god youre right i do CA: i totally forgot about it TC: YoU SeE MaN TC: MoThEr TC: FuCkIn TC: MiRaClEs TC: :o)

When Gamzee and Eridan discuss this exact bottle, Gamzee even likens it to "reunited lovers"; it's something that Eridan has had this whole time (after all, he was cheating on Feferi with the guy), but never realized.

There are a few miscellaneous things that don't really mean anything on their own, but put next to all this other stuff, is worth considering, so I'll list those now.

First, they both do the bonk:

Second:

CG: ARE WE NOT FRIENDS ANYMORE BECAUSE OF STUFF I SAID. TA: eheheheh you LIITERALLY a2k me that every tiime are you jokiing. TA: ii cant even tell anymore. CG: IT'S A JOKE MORON. CG: HONESTLY I'M JUST GLAD NOBODY ELSE IS PRIVVY TO OUR CONVERSATIONS.

Third, Karkat muses to his future self about how he misses his friends, especially the assholes, two pages before staring at a dead Eridan's ass (joking, he's definitely looking at WV, but it's still significant that this thought is being associated with Eridan):

CCG: I MEAN, DON'T GET ME WRONG. CCG: I MISS ALL OF MY DEAD FRIENDS A LOT. CCG: EVEN THE ASSHOLES! I MISS THEM TOO. MAYBE EVEN ESPECIALLY THEM, IN SOME PERVERSE WAY. CCG: AND I SHOULD BE RELIEVED THAT THEY ALL SEEM TO BE HAPPY IN SOME WAY, EVEN IF IT'S BY FLOATING NEBULOUSLY THROUGH DREAM PROJECTIONS WITH THEIR FREAKY BLANK EYES. CCG: AND I GUESS I AM RELIEVED ABOUT THAT. CCG: BUT AT THE SAME TIME IT'S LEFT ME UNSETTLED.

Fourth, in the same conversation, he bemoans his failed relationship with Terezi, before Future!Karkat chastises Past!Karkat for his instability and mixed signals. Going back to the page on moirallegiances, an explicit function of a proper pale relationship is stabilizing a troll's other relationships:

The two partners in a strong pale relationship will serve to balance and complement each other's emotional profiles, and thus allow their other relationships to be more successful.

Of course, I don't need to tell you how messy and unstable Eridan's relationships have been.

And finally, Piles of Stuff™ are associated with moirails, and directly stated in-comic to cause an outpouring of emotion:

Standing near this pile stirs powerful emotions. The closer you stand to piles of stuff, the more freely the feelings flow. It is a law of reality.

So here's a seven-word tragedy for you: For Sale, Shitty Wand Pile, Never Used:

ERIDAN: at least i got the upright basic decency to hide my shitty wand pile somewwhere in the lab you wwont find it dont evven bother lookin KARKAT: WHY DO YOU ASSHOLES HAVE PILES OF THINGS, JUST STOP.

(Which he specifically tells Karkat about.)

So, yeah, what I'm saying is, there's just, like, a weirdly large amount to read into here. That Karkat and Eridan are probably soulmates or whatever. And that this is important because...

Eridan Is Plot Relevant (Well All The Dead Trolls Are But This Is An Essay About Eridan)

So. Now we are going to talk about themes. Yes, like we are in schoolfeeding again. I'm going to keep it simple, because "The Themes of Homestuck" is a whole essay on its own, and this one about just the shitty fish boy is already way too long.

I think it's fairly non-controversial to posit that the main theme of Homestuck is, "children should mature, care about each other, and throw off the shackles of their old society, because they will be responsible for a new world one day."

Up until Game Over/the Retcon, this is so prevalent and well-established that SBURB/SGRUB's coming-of-age themes will outright be commented upon by the characters, and the main villain is a child who deliberately stunted his own growth so he could go around kicking over other peoples' toys forevermore.

So, the thing is, with that being the theme of Homestuck, if ALL of the Alternian trolls don't survive to the end, the ending is thematically unsatisfying, because the message suddenly gains an addendum of "well, some kids just need to die," which totally sucks. Like, sure, Eridan was a violent, crazed murderer even at the best of times, but his permanent death within the canon ending kind of means that the comic is saying that people in his position don't deserve kindness or second chances. That position being a traumatized, emotionally neglected child, who was being bullied by people he considered his friends. It's a pretty terrible message.

It's even worse when you consider what other trolls don't make it to the end - Nepeta, the most outspoken troll against the hemospectrum (and Davepeta does NOT count, don't try to tell me the final culmination of Nepeta's character arc is being combined with some guy she barely knows and a bird). Feferi, who genuinely wanted the best for others, even if she was kind of a privileged princess. Aradia and Sollux also stay behind in the bubbles, even though their lives have pretty much been endless parades of suffering and being used by other people. Even Equius doesn't deserve it - he was kind of a casteist freak, but not irredeemably so, and the fact that he became kinder to Karkat over the course of SGRUB proved that he had the capacity to change. And Tavros, allergic to himself and being insulted by Vriska, is a terrible way to end his arc.

It's also really clear that, since half his friends are dead, Karkat just doesn't really have anything to do. His title is the Knight of Blood, and Blood is about bonds - romance, friendship. And yet, he ends the comic having never figured out what Blood was about, with no confirmed filled quadrants (sorry DaveKat likers, but within the comic itself, DaveKat is never confirmed), and most of his bonds nothing more than ghosts in the bubbles. It's a terribly unsatisfying ending for the most narratively important troll.

I think, then, that even if you don't agree that Homestuck should have ended with full revivals and redemption arcs for all the trolls, the essay is going to proceed on like you do, so, sorry, I guess.

The thing with Eridan, specifically, is that he's actually tied deeply into the plot and themes, and his return means more than just Karkat finally getting a date (although that's important, too). Eridan is directly intertwined with a prophecy to kill Lord English; he's set up to mirror Caliborn and Calliope; and thematically, his redemption would be the most clear instance of the "interrogating society" part of the theme of Homestuck, because Eridan is kind of the Society Troll. And also, he was definitely supposed to be Roxy's wizard boyfriend.

Just gonna get that last one out of the way real quick because it's a fast one, Roxy fucking loves wizards and is a hipster. Eridan is a wizard and is also a hipster. Roxy has a crush on a prince. Eridan is also a prince. Roxy wears a purple striped scarf. Eridan wears a blue striped scarf. Roxy uses rifles. Eridan uses rifles. Momlonde's introduction includes a passive-aggressive fridge battle that features a cameo of Eridan's quirk.

Using the colorful MAGNET LETTERS, you recently left a succinct message, which may or may not have been directed toward anyone in particular. But you couldn't find the letter W, so you just stuck two V's together. Your mother then purchased a fresh pack of W's and left them there for your convenience.

Yeah. So. Uh. Not only did Eridan need to be brought back to date Karkat pale, but he also needed to be brought back to date Roxy flushed. Can you imagine how funny it would be. They'd get together within 5 minutes of meeting for the first time and Rose would lose her shit. Anyway.

Him being a parallel to Calliope and Caliborn is also a quick one - Caliborn uses Riflekind/Sceptrekind, and Calliope uses Pistolkind/Wandkind. Eridan's two weapons are rifles and wands. Lord English is described as an evil wizard and at one point is shown using Calliope's wand. Eridan is also an evil wizard who uses a wand.

Look, I'm not saying that Eridan is necessarily directly related to these two, nor am I even necessarily saying that he and Roxy HAVE to date, but I am saying that he's got Weird Plot Connections that make him bizarrely relevant to characters that only come into play well after his death - almost like the comic was setting up that he would be coming back. His reaction to Cronus supports this, which I go into detail about here.

There's other strange "Eridan's plot important" things, too - like the fact that he's completely unimpressed by Faygo, considering it to be "just soda," and seems to be the only non-cultist who's okay with it. Or the fact that he's actually been awake on Derse since before the game (but unable to hear the horrorterrors, maybe foreshadowing some psychic resistance?) which he casually reveals to Kanaya and which Terezi is aware of, hence he's included in the people she names are "in" on the existence of the game. Or the fact that the genetic code for Alternia's first guardian was written within the pages of four FLARP books, with the addition of a fifth code Gamzee wrote in Karkat's ~ATH book... but Eridan was the fifth FLARP player in the team, implying that Doc Scratch/LE influencing Gamzee caused him to usurp Eridan's part of the first guardian code, giving LE his way into the trolls' universe.

Individually, it's all kind of nothing, but it just paints a bigger picture of Eridan being weirdly relevant, especially when we get to the juicy stuff:

The Prophecy

ARANEA: The 8ard of Hope may seem a little jaded these days, 8ut he once had a deeply a8iding faith in magic, and dedicated himself to 8ecoming a great wizard. He 8ecame convinced he was hatched to defeat an extraordinarily evil magician, one he swore the angels foretold of. ... [T]his magician once somehow from afar tried to strike him down at a young age, so he would never have to face him. 8ut the evil spell was deflected, sealing the magician's spirit away in a series of unassuming vessels until he could find some other cunning way to enter our universe. ... ARANEA: 8ut at some point he 8ecame disillusioned with magic. If there ever was any truth to his far fetched vision, the legacy of defeating the evil magician would have to 8e passed on to his descendant, or if his descendant proved to 8e as much of a failure as he did, then perhaps on to some other Hero of Hope.

ERIDAN: i slaughtered enough angels to knoww my limits and wwhere i stand against the lord of all angels they prophecized

GG: im pretty sure hes from the future! CA: wwhy GG: because he said hes my grandson CA: wwhat the fuck is a grandson CA: is that some kind of pervverse human familial thing GG: umm yes ... CA: that gun i just gavve you is somethin of a hatchright to the kid CA: happy i could play a role in your dirty stinkin lineage GG: like an heirloom? i guess it could be ... CA: i kinda think thats wwhy i found the gun in the first place CA: but noww im forsakin it because fuck i just found a better destiny than my old crappy one wwhich i nevver got any appreciation for anywway

Jake is supposed to have been the one to defeat Lord English. (No, Jake defeating pre-LE Caliborn right before he gets sealed into Cal doesn't count! He doesn't even get the final blow in that fight, DIRK does.)

But Eridan at one point had that destiny on his shoulders. Aranea turbohealing Jake, and the resultant hope field, summons a bunch of angels, which are heavily associated with Eridan - yet another random connection that Eridan has with future plot events.

Jake was another character, alongside Karkat, who was kind of reduced to a joke by the end, despite the fact that he had literally, directly, been passed the destiny of defeating Lord English. It's hard not to see this as a consequence, at least in part, of removing Eridan from the story. By cutting him out of the fabric of the ending, several plot threads - including this prophecy - are left dangling in irrelevance. And so Jake, like Karkat, now has nothing to do.

Homestuck is generally a series where every prophecy does come true, which makes it kind of startling when several prophecies fail to - Feferi's to "unite the two races," Jake's to defeat Lord English, and Karkat's to bring "compassion, forgiveness, and equality among all bloodlines" in the Signless's place.

That last one is actually relevant to:

The Thematic Importance of EriKar As Soul Mates

Eridan represents the worst aspects of Alternian society. He's a sea dweller at the top of the caste structure, with free reign to murder whoever he wants, soaked in the blood of thousands of innocent trolls. He espouses the casteist rhetoric that their society is built on, calling for the deaths of all land dwellers and the oppression of the lower castes. And while he should be benefitting from his position of privilege, it has also done nothing but hurt him.

Karkat, meanwhile, is a pariah. A mutant who would've been culled on sight, who spent his entire life living in hiding, and most of the game in fear that he would be ostracized or worse by the rest of his friends if they found out about his blood color. He's also the second coming of Troll Jesus, and thus, more despised by the Alternian ruling class than a mutant normally would be. For most of his life, he dreamed of nothing more than finding belonging within the society that had deemed him unfit.

Their friendship is something that "should not be." The highblood and the mutant. The royal-v and the off-spectrum. The empress's sea dweller and the second coming of the signless. Eridan "should" see Karkat as a miscreant to cull on sight. Karkat "should" be terrified of Eridan's very existence.

But in reality, Eridan doesn't give a shit about blood color, and Karkat just wants to be accepted. Eridan just wants someone to care about him, and Karkat loves his friends. Aside from Feferi, Eridan is the only highblood who never comments about Karkat's mutant blood, and they were best buddies even before Eridan knew.

Eridan and Karkat getting together isn't JUST the two most undateable trolls on the team finally landing a stable quadrant. These two, moreso than any other pairing, represent the themes of Homestuck. Children growing up, caring about each other, and throwing off the shackles of their old society.

In the pre-retcon timeline, their team failed to do so. This led to Gamzee falling into his highblood clown cult, Equius letting himself and Nepeta die by submitting to his place in the hemospectrum, Vriska killing Tavros because she couldn't allow herself to show weakness, and Eridan completing his caste's dream of genocide. Karkat spent the entire meteor trip and beyond beating himself up about it, since he considered it all to be his fault.

But with the introduction of John's retcon powers, they have the chance to, one by one, redeem themselves. I believe that's how the original ending would have gone: Terezi would ask John to bring Vriska back, because she only feels comfortable fixing her own mistakes. Vriska would then have asked John to bring back Tavros, whom she regretted killing. Tavros would be there for Gamzee, rendering him an ally. Gamzee would ask John to bring back Equius and Nepeta. Equius would ask John to help him not make the same mistakes with Aradia, and Aradiabot would catch John by the wrist and demand he bring her back in time to before she died, allowing her to circumvent her own death and Sollux's guilt. Sollux would ask John to keep him from provoking Eridan, saving Feferi. And Feferi would be pretty ok with the way things were... but KARKAT would then pull John aside, and drop an entire book of mistakes he made on John's lap, and this would result in a finalized timeline where all his friends are alive and god-tiered.

Because all the trolls SHOULD have survived.

Vriska should've survived because people should be allowed to have second chances.

Tavros should've survived because caring about each other, and being willing to show kindness and mercy, are good things.

Gamzee should have survived because people mired in religious fundamentalism and cults deserve to be offered a helping hand.

Equius should've survived because people should be allowed to grow and change their beliefs.

Nepeta should've survived because she was the anti-casteism troll. Casteism is bad, folks! Not only that, but I'm convinced that she was originally going to give the Ultimate Self exposition, and Davepetasprite^2 had to be contrived in the canon ending in order to shortcut Nepeta's character development, ruining it in the process.

Aradia should've been allowed to stay with the rest of the team and live a life free of the control of evil uncles and shitty ancestors.

Sollux should've been allowed to stay with the rest of the team because we all deserve to heal and be happy.

Feferi should've survived so she could be in a kismesistude with Nepeta, and realize that casteism itself is bad, not just the definition of culling, and then used her Witch of Life powers to even out the lifespans between the next generation of trolls, which needs to happen or else casteism will just happen again as long-lived highbloods inevitably amass power. And, also, it would complete the prophecy Gl'bgolyb gave her that she was intended to unite the two races (dream bubbles don't count, because by that metric, Sollux did more than she did by establishing a connection between the trolls and humans).

And Eridan should've survived, because the harm society has done to us can be undone. We don't have to submit to the roles it imposes, to the laws it wrote, to the abuse it inflicted. We can be free.

I've seen a lot of people who believe that such-and-such character did SUCH awful things that they don't deserve a happy ending. Oftentimes, it's Eridan, but nearly all of the dead trolls have gotten this treatment. So, let me just ask all of you who have gotten this far and still hold that opinion one thing. Do you think that's what Troll Jesus would have wanted?

This is why pale EriKar is so important: for it to happen, Eridan has to make a choice between upholding the beliefs of his shitty society, or pursuing a happier, kinder future, one where he outright rejects the caste system. For it to happen, Karkat has to shake all his insecurities about not being good enough by Alternian standards, and take on the duty of creating something better than what he came from. If pale EriKar happens, it means Eridan and Karkat choose love, not fear. Compassion, forgiveness, and equality.

This choice - this pairing - is the ultimate representation of giving Alternian society one big middle finger. Saying, we don't need you anymore, fuck off! Saying, we reject you at your core; we will choose something better! Saying, we will create a new world, and it will be kinder than the one we came from!

Pale EriKar means LOVE WINS.

Thank you for reading.

The game is not good.

Yes, it's "designed to promote their growth". To this end, it kills their family and wipes their planet of intelligent life. To this end, it employs doomed timelines that Time players have to sacrifice themselves and everyone in them to escape.

The game is doing this all for the greater good. But it's not unreasonable for the players to view it as an antagonistic force.

Remember how epic Rose's anger was? Her walkthrough, and the way it guided the trolls? Opposition to the game's rules, the drive to break them, is an integral part of the plot.

You say that Dave thanking LE for their existence is thanking your abuser for abusing you, BUT THE SAME APPLIES TO THE GAME. Dave's quest planet was directly designed to trigger his PTSD non-stop. The game kills off everyone outside of their group so they only have each other to rely on.

My friend said, and I agree, that Hussie's failure was not in discarding intended arcs, but in failing to convince the audience that discarding the arcs was intended and the better outcome. These kids are not shown to be fighting to grow up "right", these kids are fighting to SURVIVE THE GAME. To make it to the other side, to make it out of predestination and time loops and personally designed quests. They needed to BEAT THE GAME, and they did it through a series of zany antics and wacky hijinx instead of by Finishing All Their Quests. Not that finishing their quests is the wrong move - when a speedrunner speedruns a game, they are going to incorporate some of the intended beats into it where they're the fastest way to get things done.

That's why there's so much antagonism towards the audience in the mix: because the game is not a harmonious benevolent construct that ultimately makes this work out for the best. It's got blood on the gears, and it grinds and it grinds.

Caliborn is an intellectually disabled kid that gets actively goaded and mocked by the narrator for things he hasn't actually done yet. His big misdeeds as a kid was killing his sister... which is something he needed to do to survive by the biological rules of his species... and making a shitty fanfic. That's what John beats him up for!!! For writing a shitty fanfic!!! His actual Big Crimes That Everyone Wants To Kill Him For (Callie's friends aside) are not even as himself - they're as a mixture of himself, Gamzee, Equius and Dirk. Caliborn is a victim of predestination same as the rest of the kids, and just because he happily embraced it and looked forward to the weird destruction of self that would happen to him, doesn't mean he is the real driving antagonistic force.

The plot of the comic is not PvP, it's PvE. Loops closing, things happening, gears grinding. Would Rose have been better off after finishing her quest? Maybe. But she just wanted to get out of the game that killed her mom and literally everyone else on the planet Earth. She's a human being, and if the game is trying to forcefully push her through a "character arc" it's her eldritch-gods-given right to resist.

(Was that part written compellingly or in a way that at least made a lick of sense? No. No, it was not)

Given that I like to quote things and cite my sources, I would really appreciate if you could extend the same amount of effort when discussing this with me. It also helps to ensure we're all on the same page, so incidents like stating broadly that "Hussie does not employ themes" when you meant that "he didn't employ them in a more specific instance" don't happen again. I also find that I tend to have a more solid and grounded argument when I know for certain what I'm referencing, rather than relying on memory and emotion. So with that request out of the way:

Hussie has spoken extensively about the comic having always been about two things at its core: the first, a coming-of-age story regarding a bunch of internet friends, and the second, a creation myth.

I always saw HS as an exploration of young people developing relationships over the internet [...] There's a lot more to HS than just that obviously, but if there's anything which it's been about through and through, it's modern kids relating to each other from afar, developing as people and growing up.

HS was always going to be a story about an extremely elaborate creation myth. As elaborate as I could conceive. In the HS reality, Sburb/Sgrub is the means by which universes procreate. Planets and civilizations are the seeds from which one or many new universes will blossom if the players succeed, at the expense of the life on that planet.

Homestuck also regularly invokes mythology, religious themes, and folklore, in order to put the reader into that mindspace. Naming the denizens after proper mythological figures, having the kids' entry artifacts all be references to mythological or folkloric "departures," naming angels and cherubs "angels" and "cherubs" - this isn't done merely for the cool value. SBURB itself draws so much from mythology, because within the universe of this story, mythology itself is derived from SBURB.

This was actually my line of thinking in writing Rose's wizardfic. If you sift through that dense excerpt, you find it's about 12 evil kids who played a role in influencing every dark event in history. My intent was that this was her subconsciously echoing the creation story of her own universe.

Squiddles I guess are a sort of candy coated representation of the outer gods. Not literally. They are a brand in a fictional universe. A cartoon show. They were not necessarily conjured into existence by the gods, via dark conspiracy either. It's more likely that humans created them as an echo of their subconscious awareness that these gods exist, and present them through this cute, approachable facade.

Hussie also outright discusses how much religious stories influence the themes and setting of the work when discussing the dancestors:

We learn more about the troll race, as a once peaceful species and such before kid-ancestors as players scratched their session, though the short term relevance of this is mainly as a preamble to Scratch's religious story. Establishing an Eden-like paradise from which there is some departure through sin is sort of the boilerplate basis for religious lore. Scratch is a devil figure about as blatant as the Sufferer is a Christ figure. The failed players from peaceful Alternia made a classic "deal with the devil" move by causing the scratch after being given a choice by the mother of all monsters. (Echidna. Hey, she's a big snake!) By doing so they brought Scratch into their universe, and therefore all the things you'd expect that comes with summoning the devil. This resulted not only turning Alternia into a planet full of violent murderers, but it only technically granted them what they wanted with a huge caveat, as is the case with such ill-advised bargains. The players were strong enough to win, but made a terminal universe, were barred from entry, hunted by a demon, and then started killing each other.

Something I generally notice when discussing media online is that many people are "trained" to interpret media off of more popular, accessible, long-running fiction, such as children's cartoons, SuperWhoLock, Star Wars, MCU, etc. In these works, theme often takes a backseat to character drama and hijinks - it's still there, especially in the stuff considered "better," but it's usually not the major focus of the work, save as a barebones framework upon which the rest of the story is draped.

Homestuck - and many pieces of classical literature, especially older epics (which Homestuck draws many cues from) - is constructed in the opposite way: its themes are its most important aspect, and everything else in the story is working in conjunction to prop the themes up. The interpretation you have of the story is RADICALLY different if you consider Homestuck from the POV of its literal events, and if you consider Homestuck from the POV of Homestuck-as-allegory - and the second one is more consistent with the ways characters act and react, as well as the way Hussie describes the work.

If you read Homestuck as if it's an allegory for growing up, then SBURB naturally slots in as a metaphor for the emotional state that children find themselves in as they begin their paths to adulthood.

SBURB AS A METAPHOR FOR ADOLESCENCE.

There comes a point in childhood where the child stops being a child - the safe, familiar, comfortable world that they knew stops existing, and they can never get it back. They are thrust into a world that is alien and massive, and forced to grapple with the weight of their future duties. They deal with losing their guardians and finding direction in their absence. They must decide how they want to grow up, and then are responsible for shaping the society that comes after them.

Each of the kids' entry artifacts has an element of a new beginning, but also of loss of innocence:

John bites an apple, the act of original sin from the Bible.

Rose breaks a bottle, the way ships are christened; however, alcohol is something very associated with "adulthood" in Rose's character arc.

Dave must wait for an egg to hatch, an act of birth and parenthood.

Jade must shoot a pinata effigy of her dog - pinatas are associated with birthdays, and therefore, birth, but the shooting of her dog is a direct reference to putting down Old Yeller.

The symbolism of killing her dangerous dog to enter (i.e. a step toward growing up) borrows notes from the Old Yeller story, but in this case, it's a dog that can't die (though nevertheless would assume a death-like state through prototyping). Also included in her challenge was taking a shot in the dark (much like Rose's leap of faith) and relying on her friend who redirected the bullet through his own head, the very friend she was attempting to slay in effigy.

(Emphasis mine.)

Therefore, we are not meant to read SBURB's destruction of the old world as fully literal; we are intended to read it as metaphorical. Entry into SBURB is the loss of innocence, a child suddenly thrust into adolescence, into a world where their peers become more important than their guardians. A world where light and dark, kindness and cruelty, creation and destruction, are locked in eternal battle, and the children must navigate it, and determine where in it they stand.

Through this lens, the guardians (sprites, parents, lusii, etc.) dying is not a malicious act from an omniscient sadist, but another part of this coming-of-age metaphor. Even if a child's parents don't literally die, there is usually a point in adolescence where they undergo a metaphorical death in the eyes of the child - where the child realizes that their parents are fallible, mortal humans, and not permanent fixtures of paragon morality. That's why it's literally baked into the game that sprites will feel compelled to go to the Battlefield when they don't know what else to do, where they will presumably die. (And why all the lususprites are dead, despite the trolls being so good at the game that all their dreamselves except Sollux's spare are still alive even post-BK fight.)

DAVESPRITE: the battlefield will probably be wiped out soon JADESPRITE: can we do something to stop it? DAVESPRITE: would there be a point JADESPRITE: i dont know..... JADESPRITE: i like it here though JADESPRITE: i felt like i was drawn to come here when i wasnt sure where to go DAVESPRITE: yeah me too

The end goal, then, is to grow up and mature into gods - god-tiering once more being a metaphor for adulthood, as it's a semi-permanent state at the end of a character's questing through SBURB/journey through adolescence. Not only that, but as gods (adults), to repopulate that world (become parents or guardians for a new generation), and to determine its nature. This latter aspect is as true for the real world as it is for the characters - the children of today become the voters, rebels, police, and politicians of tomorrow.

In fact, I agree with you that the characters are justified in resenting SBURB - because human people often resent adolescence. This doesn't make SBURB an antagonistic force, nor does it make it a villain to defeat. When characters grapple with it, what they're really grappling with is growing up, and what that entails.

The Outer Gods are actually a part of the game - they and the Furthest Ring fit in with the duality that pervades SBURB. Dark and light. Derse and Prospit. Light/Void, Breath/Blood, Mind/Heart, Hope/Rage, Life/Doom, Space/Time. Active/Passive. Skaia and the Furthest Ring. Half the players start out on Derse for a reason, and Horrorterrors are still seen as guides and still wind up playing a crucial role in the propagation of a new universe, despite calling for destruction. This is because navigating these dualities, uncertainties, and ambiguities is a massive part of growing up. Rose rebelling against the path SBURB has set out for her by acting as an agent of the Horrorterrors is, itself, an action that has been sanctioned by SBURB. It turns out that listening to dark influences, and maybe even succumbing to them, is a common part of growing up, and not every impulse to destroy is evil - in fact, it's sometimes necessary.

I never said the game was good, but viewing the game as evil is also a misread. The game is a neutral, omniscient entity that serves, in-universe, as a means of propogating universes, whose goals are ultimately aligned with the players, as raising mature, kind players coincides with creating a stable, fertile universe; out-of-universe, the game is a metaphor for the struggles of adolescence, magnified and heightened. Neither of these are villainous or antagonistic.

But a story isn't really fun or engaging if it's just blandly telling you its message - you know, like I'm doing now, in yet another long, boring essay from Tumblr user caligvlasaqvarivm. Therefore, what Homestuck does is engage the reader with a fun, magical story about kids going on an adventure, full of twists and turns. Moreover, exaggerating the stakes to such a massive extent aids in the delivery of the themes, moreso than just saying the themes outright - makes them more emotionally impactful and spiritually profound.

FREE WILL > PREDESTINATION.

Moreover, I think you've fundamentally misunderstood how time and predestination in Homestuck work. Homestuck falls firmly on the side of free will, and always has - the retcon is the most blatant example of this, but it is always, always character actions that shape the past and future, with SBURB and its constructions desperately running around to catch up.

The exiles/carapacians in general are explicitly stated to be running around in the backlines making sure things work out for the players:

GC: TH31R ROL3 1S TO H3LP YOU ON YOUR QU3ST 1N SOM3 W4YS GC: TH3 OBV1OUS W4Y 1S BY D1R3CTLY GU1DING YOUR 4CT1ONS GC: BUT M4YB3 TH3 MOR3 1MPORT4NT W4YS 4R3 TH3S3 L1TTL3 TH1NGS TH3Y DO PROB4BLY W1THOUT 3V3N R34L1Z1NG 1T GC: 4CT1ONS TH4T COMPL3T3 LOOPS 1N TH3 T1M3L1NE GC: COGS 1N P4R4DOX SP4C3

Things in Homestuck seem predetermined because perspective is a very malleable thing - thus, even if it's character actions and intentions that cause things to happen, because we're gazing at the story non-linearily, things seem as though they're predestined, especially from the point of view of the characters.

Aranea gives us one of the most solid explanations of how time works:

AG: Think of it like circulatory system, where the veins and capillaries that do not help the overall flow of 8lood through the system are likely to wither and die. Those are doomed offshoots. AG: Reality itself is using you and many others to propagate its own existence. Strictly speaking, there is only one path to its successful propagation. 8ut it still permits you to make choices. Not all that are conceiva8le, 8ut some nevertheless, as dictated 8y who you are and the challenges you face. And you are free to make key decisions however you like, as long as you understand that some of these paths unfairly or not will lead to o8livion. 8ecause those choices do not contri8ute constructively to the perpetuation of all existence, including your own. AG: Such is the 8urden assumed 8y anyone who plays this game.

If it were the case that predestination is predestination, and the story is about the illusory nature of free will, then certainly, Hussie would make note of how much that factors into the story in all their thousands and thousands of words, right?

But they don't. I searched up the words "fate" and "destin" too, and there's very little discussion of that. If you look at the Hussie excerpt on the dancestors above, I think it's very telling for just how much free will weighs on the story rather than fate - the Dancestors are stated by Doc Scratch to have suffered a glitch that rendered their game unwinnable from the start - however, it's also heavily implied that said glitch was a result of Damara's "timeline sabotage" (more on this later), and would not have existed in their session if the Dancestors had been less shitty to each other. In fact, given the way Echidna's Choice for the dancestors was worded, it's entirely possible that, had they chosen not to scratch, LE would simply not exist:

The heroes, understanding their defeat was absolute, sought advice from the mother of all monsters. She offered them a choice. The heroes could either accept their defeat along with the extinction of their race, and put no others at risk. Or, she could show them a path to a second chance, to a reality in which the chosen heroes of their race would be strong enough to succeed with ease, and claim the reward.

SBURB modifies the timeline to account for player choices, not the other way around. Choices and free will preside over predestination. Skaia is stated to be extremely passive, and when requested by the Scratch to perform an active action, it ONLY has control over where and when its defense portals exit to. As Terezi says:

GC: 4ND 1 FORC3D MY OWN H4ND. 1 COULD 31TH3R L3T 3V3RYON3 D13 1N ON3 R34L1TY, OR K1LL 4 FR13ND 1N 4NOTH3R GC: 4ND 1 T3LL MYS3LF THOS3 W3R3 TH3 ONLY TWO VORT1C3S 1 S4W... GC: BUT TH3N, 1 W4S TH3 ON3 WHO M4D3 TH3 S3R13S OF D3C1S1ONS WH1CH L3D UP TO TH4T CHO1C3, 4ND COMPL3T3LY P41NT3D TH3 OPT1ONS 1NTO TH4T CORN3R

So any read of the text that places emphasis on the tragedy of predestination is missing the point - predestination, fate, and prophecy ARE factors in play within this story, but only insofar as they become the inevitable results of the choices players make (and aren't even that inevitable, as time travel is another massive variable in play). And, again, we must discount the words Dave says about the point of time travel being not using time travel, because firstly, time travel DOES END UP SAVING THE DAY (he uses it in the final boss fight, not to mention the Retcon), and secondly, he's at his lowest point when he talks about it, and most of what he says is representative of the emotional hangups he must overcome.

CALIBORN, THE DANCESTORS, AND LORD ENGLISH AS EXTENSIONS OF THE COMING OF AGE METAPHOR.

So Homestuck is a story about being a kid and growing up. The game wants them to become mature, empathetic, kind people, because doing so - forging friendships and caring about each other and getting over their personal hangups - are literally baked into the game as win conditions. Personal quests are directly tied into personal growth, and failure to achieve a healthy Bilious Slick are directly tied to characters failing to overcome their emotional issues. Even if you want to read this literally, and not as a metaphor, it is still very much in SBURB's best interest to raise kind, mature players who succeed - because SBURB's goal is to propogate a new, healthy, fertile universe.

Therefore, the antagonists in this story represent the opposite: they are people who remain immature, don't care about their friends, and are cruel to each other. I'll start with the dancestors and work my way up.

The Dancestors are awful to each other in very creative, interesting, and horrible ways. I'll really quickly go over their baggage one-by-one, but I'm mostly going to recommend my Dancestor essay again, so you can get a closer look.

Rufioh cheated on Damara long-term with Horuss, would never have told her if the rest of their team hadn't found out, and calls her crazy and jealous, while simultaneously asking her for advice on his relationship with Horuss.

The other Dancestors are implied to be keeping Mituna brain-damaged on purpose, despite multiple means and multiple years in which they could've found some way to heal him, because his constant prophecies of doom (and implied attempts to make the Dancestors stop being so shitty) were really annoying.

Kankri is completely full of shit. At one point he tells Mituna to stop being brain damaged in a way that makes other brain damaged people look bad.

Meulin is fucking over her team's romances because she's repressing all her awful feelings and self-loathing, which we know because it's advice she gives to Horuss, and mages are prophets (but since free will > predestination, it's more like mages can call the future than that they're reading the future).

Porrim was a bra-burning radfem throughout the game and is basically the only dancestor that got better after she died; she was so busy fighting the patriarchy that she ended up shirking frog breeding entirely.

Latula is so insecure that she's literally dating Mituna because "he will always need me." Yikes.

Aranea... well, we see a lot of it, but she's also relentlessly bitchy and mean to her teammates when she's expositing on them. If you re-read her segments, she basically can't help herself from shitting on them, to the point where even Meenah's like "yo, uncalled for" sometimes.

Horuss is so incredibly, genuinely casteist that he apologizes to Meenah for dating Meulin and Rufioh, seeing them both as incredibly beneath his station. If he isn't outright ignoring Rufioh's attempt to break up, then he's obliviously refusing to listen because he legitimately doesn't care what a lowblood has to say.

Kurloz either is outright evil and wants all people ever to fail, or turned that way after the constant mistreatment the dancestors showed each other (and maybe especially that they showed Mituna). Can't blame him. He's also a creep using mind control on his matesprit.

Cronus... well, Cronus. But also, his friends literally bullied the hope out of him, because they're all fucking awful to each other.

Meenah is Vriska at her worse times ten, and doesn't even have the sad backstory and extenuating circumstances to justify any of it. She relentessly bullied Damara, while everyone else was complicit; when she discovered Rufioh's affair, she used it AGAINST DAMARA (and still everyone else remained complicit), and maintains the stance that shirking responsibility is actually cool and great. She never stops thinking the Condesce is awesome, nor does she ever apologize to Damara.

Damara was treated abhorrently by the rest of her team - even those not involved in actively making her life worse were still fully complicit in it - and was treated as less of a person because of her low caste, shy disposition, and inability to speak English. Her finally snapping as a result of her maltreatment is implied to be how the glitch in their session came about in the first place, which is how LE gained his entry into the Trolls' universe.

Many people reduce them to acts of hostility against the audience, and they really aren't. The original trolls were already commentaries on internet archetypes, specifically forum culture (that's why they're called trolls - they're internet trolls), and the Beforus trolls do the exact same thing, just with Tumblr culture. If people took these archetypes as personal attacks, perhaps they have some self-examination to do. For example, Kankri is not a bad person because Hussie thinks social justice is stupid (in fact, Hussie praises Porrim for not being a "boring asshole" about it and acknowledges her post-death feminism as valid). Kankri's a bad person because he uses social justice as a cudgel to wield power over others with and as a cloak to hide behind - like many jackasses do in real life. So on and so forth.

This isn't necessarily aimed at you, but it's wild to me how many people I've run into who hold the opinion that the Dancestors were middle fingers aimed at them, personally. No - the Dancestors played a vital function in the story's greater mythology and history. And yes, they do suck, but they suck because they're antagonists, or at least aligned with the antagonists - in blatant ways, like granting LE entry into the story or being in cahoots with Gamzee, but in metaphorical ways, too.

You see, in the greater context of Homestuck's coming-of-age themes, the Dancestors represent something very specific: an older generation that failed their children. Abusive, neglectful, cruel, and short-sighted, they've passed on their messes for later generations to clean up. This is why they reached physical adulthood within the Medium before they died, why it's important that they did so - it's because, in a coming-of-age, that's the "finish line." That's the point at which the story stops. The Dancestors are adults that failed to grow up. And because they chose to Scratch, that means that it's their descendents' problem to fix.

SBURB is about propagation, both of universes and of the races playing them. Even so, the game gave them an option, after such a comprehensive failure to mature, to simply end the line there, and "put no others at risk." It's important that that's how the Choice was phrased - and I find it interesting that Aranea actually leaves that part out when talking to Terezi about it.

AG: I sought advice from Echidna, and she told me how to scratch the session to give us another chance. AG: 8ut the choice to do so came with accepting the annihilation of our existing forms. In the new instance, we would lead completely different lives with no memory of what happened.

Interactions with the Dancestors nearly always wind up with the cast worse-off. Aranea's involvement leaves Vriska in a position of inadequacy, enough that she wants to call it quits and leaves with the LE-killing treasure (which is encouraged and enabled by Meenah); Meenah is weirdly obsessed with Karkat, who's way too young for her (thank god Meulin didn't set them up), and he nearly jumps off the meteor to go on a suicide quest to kill LE with her. Eridan goes on a date with Cronus (ew), and Terezi feels so inadequate upon meeting Latula that she accepts Aranea's offer to heal her eyesight, which fuels her slow meltdown. Not to mention Game Over. The fact that they see romantic viability in children so many sweeps younger than they are speaks to how immature they are.

They're awful to each other, and pass on their problems to their kids, including literally making a deal with a serpent to invite the devil into their universe, while taking responsibility for none of it. So let's talk about that devil.

I think you're giving Caliborn far, far too much credit. First of all, Aranea tells us outright that if one cherub identity is destined for kindness, then one is destined for malice.

The two halves are endowed with polar opposite predispositions as well. One predisposed toward malevolence, another toward 8enevolence. Good or evil, if you prefer to deal in simplistic terms, or at least those which are convenient for the sake of this story!

According to her, possibly due to this absolute dichotomy between their natures, cherubs are generally never meant to play SBURB (which Hussie later backs up) - especially as she also exposits that they usually serve as viruses/immune systems for the universes they inhabit. From the get-go, they're creatures of myth and legend, symbols of absolute good or absolute evil, who aren't judged by the same standards as the other characters in the story.

He was allowed to 8ecome the solo player of a game which his kind was never meant to play.

But if you don't want to believe her for whatever reason (Aranea sucks, but she's usually reliable as an exposition fairy), and believe that Caliborn was fully capable of kindness and compassion, then I can roll with that. You say that he needed to kill his sister "anyways," and this is only partially true. In fact, it's outright stated that he killed her too early, and this has left him emotionally stunted. (This is backed up by Aranea, who notes that cherubs that mature properly will have wings as adults - which LE lacks).

You may be destined for bigger things, but you're still an atrocious, stupid child. And you may have won the "game" with your sister, but that doesn't mean it was the best thing for your development as a person. You had her dream self killed, which is not an opportunity your species typically gets. So she died prematurely, instead of allowing the conflict within you to settle itself naturally. In short, you forced your predomination to happen a little too early, and now you're stuck. STUCK? Yes. Your personality is stuck in some sort of cantankerous prepubescent limbo. You are going to be a stunted, miserable tool forever.

(And just as a sidebar, given that the two had wholly separate dreamselves sleeping on separate moons, this implies that they could've god tiered into separate bodies - if only they didn't make the choices they did.)

If we read this as literal things happening to literal humans (and NOT aliens that have wholly different biologies and neurologies to us), then yes, this is a fairly tragic instance of a developmentally disabled child being ragged on for that. But that's not what this is. Homestuck is themes first, characters second. And thematically, this is a perfect antithesis to what the story deems to be "good."

Driven by the selfish desire to reap the rewards of the game himself, and only by himself, and driven by impatience, cruelty, and malice, he MAKES THE CHOICE to kill his sister prematurely, locking himself into emotional immaturity. There is no point where he ever expresses regret for his actions, and when he hears about what he'll get up to as LE, he's all for it. I think it's incorrect to divest Caliborn from Lord English, when Caliborn himself so strongly believes LE to be an extension of himself.

uu: AS A LORD OF TIME. I THINK I'M GOING TO MASTER TIME. NOT WITH MY BRAIN. WHICH WOULD BE TOO HARD. BUT WITH MY INSTINCTS. uu: LIKE IN A WAY THAT WORKS WITH MY NATURAL IMPULSES. SUCH AS MY AMBITION. MY WILL TO COMMIT MAYHEM. MY DESIRE TO PUNISH THOSE I DESPISE. uu: SO IF I WANT YOU TO BECOME STRONG. SO YOU CAN CHALLENGE ME LATER. AND I SEE EVIDENCE. THAT YOU PROBABLY BECOME SUCCESSFUL. uu: I THINK TO MYSELF. WHY SHOULDN'T I BE THE ONE TO MAKE THAT HAPPEN? IF IT'S GOING TO ANYWAY. uu: I THINK PART OF MY PERSONAL QUEST. IS TO BECOME AT EASE WITH THE FORCES OF INEVITABILITY. uu: INEVITABILITY THAT ALL THINGS SHOULD AND WILL FALL IN MY FAVOR. THAT ALL CAUSALITY ANSWERS TO ME. AND THAT ALL OUTCOMES NOT ONLY SERVE ME. BUT CONSIST OF MY BEING. uu: SO I FEEL THAT. THE MORE I GROW IN POWER. uu: THE MORE STUFF IT SHOULD TURN OUT I AM RESPONSIBLE FOR. uu: UP TO AND INCLUDING. EVERYTHING THAT EVER HAPPENS. uu: EVEN IF IT HAS TO BE. uu: RETROACTIVELY.

But, yes, there are other souls in there. And Caliborn is super down for that, too.

IT IS VERY MUCH CROWDED IN THERE, CHOCK FULL OF SOULS, BELONGING TO HARDCORE BRAWLING BRUTES. ... THE PUPPET'S ESSENCE WILL FLOP AND FLUTTER THROUGH THE SHADOWS FOR ETERNITY. SURFACING IN THE NIGHTMARES OF THE UNSUSPECTING. WEASELING ITS WAY INTO THE HEARTS OF YUCKY SHITTY CHILDREN. AND WHEN ITS INFILTRATION IN THAT UNIVERSE HAS TAKEN HOLD, THE SEED WILL HAVE BEEN PLANTED. AND IT WILL PAVE THE WAY FOR MY EMERGENCE, TO WREAK MY BADNESS. FROM UNIVERSE. TO UNIVERSE. TO UNIVERSE. EACH ONE WILL FALL. AND EACH TIME I WILL GET STRONGER. AND OLDER. AND BIGGER. AND BUFFER! OHHHHHHHHHHH YES.

And here's what Hussie has to say about the other souls in there (from the book, an excerpt exists on the wiki):

I think when the time comes to show the douchebag cocktail stuck inside Cal, there's a brief temptation to regard it as an odd, semi-random melange of characters. But there are several layers of logic to the guys who all combine to form his personality. Much of the logic orbits around these negative traits associated with men, or more specifically, the "toxically masculine" aspects often linked to certain male personalities. Dirk has a lot of these traits, which are central to Dave's feelings of tension and abuse concerning his bro. The intellectual aggression, the power of assertion, the knowitall-ism, the mansplaining. That's a lot of Dirk stuff when he's at his worst. Equius shares a lot of those traits too, with some different points of emphasis. Both of them have this creepy-guy streak running through them, with strange or offputting interests, and seem to get a quiet kick out of making others uncomfortable through demonstrations of these fascinations. They are actually pretty similar characters in this way. ... But then, this still doesn't really close the book on the topic, because [Doc Scratch] also plays the role of the sinister, devil-like alt-author figure, making these character choices seem more meaningful in relation to the idea that all these guys are different spins on dramatized, negative, author-insert figures. Both Dirk and Equius inside Cal are splinters of those characters, offshoot variations of the originals. But I've also talked about splinters in a different context, which is that any collection of characters in a story could be viewed as compartmentalized, somewhat exaggerated splinters of the author's total personality. ... Which is why me saying characters like Dirk, Equius, Doc, and a few others exist as dark authorial surrogates shouldn't be taken as overly self-critical lacerations.

In other words, LE is literally a combination of a child who deliberately emotionally stunted himself so that he could have everything all to himself and three other creepy guys at their absolute worst, literally likened to "toxic masculinity," and thus, the patriarchy. LE encapsulates not only the personal qualities that the themes say are adversarial - cruelty, selfishness, ambition, vengeance, misogyny, classism, etc. etc. - but the societal ones as well. In his various forms, LE is a casteist, a creepy uncle, an abusive father, a toxic lover, the literal devil, and a generally shitty man that forces women into subservience for his own amusement. Caliborn knows that this is how he will turn out and he thinks it's fucking awesome. He isn't a tragic villain, he's an antithetical villain. He stands for everything that the main cast learns to oppose.

ARANEA: The player is somehow also im8ued with a limitless supply of power. Enough to destroy anything he wanted, for as long as he wanted. ARANEA: And knowing the villain of our story, anything he wanted would be everything. And as long as he wanted would be forever.

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.