#19thperson

17776 again, since that was the last one I read (well, the latest)

"Well that was nice, at least it wasn't too difficult"

"The author was a real douche. … I would not be surprised if that guy had actually written a novel. I don't trust him."

If you'd like some more good news, here's some good news for you!

So I've been thinking about what I did to deserve you, and, I don't know, I guess I have a few theories, but basically I think there is no evidence I have ever done anything to deserve you.

That is, maybe you deserve me. But I don't know if you deserve me. (Do I? Don't I? How can anyone answer these kinds of questions for themselves, in a way that is even relevant to their own life and happiness?) It's just kind of something I have to keep wrestling with.

And, actually, I don't think I deserve much of anything other than the love I've gotten from you.

This idea has been floating around in my head, but I want to put down in writing some of the background info for this story before it ever gets made.

So, in the world this story takes place in, "the Matrix" is actually a very advanced scientific system, which you can enter a few minutes after getting out of bed. It is a vast network of machines and computer programs that exists to simulate a very advanced world where, among other things, humans can enter the Matrix as easily as it is a normal physical world. As humans don't "see" this world, it is referred to as "The Real" or "The World".

The world in the Matrix is also very advanced, including having human minds simulated inside of computers. The real people and animals in this world act exactly like the simulated people and animals, including their behavior and even some of their physical traits (e.g. some of their neurons are simulated, so the brain of a living person who enters the Matrix does not have any neurons dedicated to, say, smell).

Some of the simulated humans and animals are in positions of considerable authority over the humans and animals in the real world, which results in various social and political issues. One of the most significant, and what I will call "the Real World Murder Mystery," is a murder of the Real World President of the United States, whose body has been discovered in the basement of a museum inside the Matrix.

So, in a few minutes after getting out of bed, humans can enter the Matrix, and enter "real world" bodies. They are told they will soon die, but their brains will keep running while their bodies stop working. (They can also take a look at their simulated body in a computer terminal outside the Matrix.) After a few minutes, their simulated body "dies," and they have to work out how they want to get to the computer terminal to see their "body" that is currently being run by their mind. If they haven't been in a physical location associated with their real-world identity, they also have to have an identity generated for them.

Some people want to look at their "real-world body" (that is being run by their simulated brain), while others only want to view their simulated body. These two things aren't in conflict, because the simulated body is in a place the real body wasn't found – you can take the Matrix entrance in any direction, and you will end up in a different part of the museum. The real world body's death (which was faked by the killer) will be mentioned sometimes as a plot point, but most of it will be ignored, because the whole point of the story is that our protagonists don't pay attention to the whole Real World murder plot, and so won't have to worry about it.

Since the museum is in the Matrix (there is a real-world entrance, but we never find it) the bodies and the murder plot don't have to have anything to do with each other. However, since the murder plot is the basis of most of the other plot developments, we will still pay close attention to it. The murder plot involves the killing of President Bush and the use of the Real World body (i.e. the "official story") of the US President.

The people who enter the Matrix are all in "the Real World" (I.e. a world with lots of government and lots of history, including the murder of President Bush. A lot of other interesting things are going on there). One group of people entered at the same time as the killers. They enter the museum the same time as a second group of people who want to view their simulated body. This group also contains people who are only looking for their simulated body (not very useful to have a body in the first place, but I'm thinking of them as the "scoundrels" who want "things from the Real World").

At the end of this story, it is implied that the only way to get back to your "real world" body (i.e. the real world body, which no longer exists) is to have a body made, which will be your "real world" identity when you enter the Real World, and your "real world" body when you return to the Real World.

I honestly have no idea

I don't know how I would even define what "being a Homestuck fan in 2014″ means anymore. The original was this whole world where Homestuck happened all the time, in and of itself a real world. There were people and stories that would not exist without Homestuck existing, just as people's lives would be poorer without reading it and talking about it and thinking about it and worrying about it and enjoying it and worrying about it and loving it

I don't think that world is really even left anymore. The fact that Homestuck exists has become the very reason for it's existence, a kind of lollapalooza-style "superbowl sucks cuz now every other post about it is a fanpost" issue. At this point, Homestuck has become itself.

That's scary, because Homestuck was kind of magical, and I liked that magic. But, well, there are still things to look forward to, I guess?

In some ways, it has gotten even better -- a lot of new story elements and new "worlds" have been revealed, and the way that these things are revealed tends to be funny, charming, or both, and even the parts that aren't usually worth much in and of themselves tend to be more worth something because of how much they connect to each other

Even in a post-Act 6 world, where the characters all seem to have given up and the plot has run its course, there's this wonderful sense of the story's scope -- even in a way that is not visible from the inside -- which keeps it from feeling like just "some story someone made that happens to be about a bunch of people who play a video game"

Even in a world with a mostly-closed plot, even if you know the ending, it's fascinating to look back on the larger arcs as they were unfolding, and get glimpses of how much the pieces interrelate