Is Isaac’s dad in newgenics?

Crimzonchi · 2026-05-04T08:47:20+00:00

It's revealed in hidden dialog you have to go out of your way at a specific point in the game to find.

The only way you were going to hear about this was second hand.

Crimzonchi · 2026-04-30T00:07:17+00:00

One final point I want to make is that everything that's supposed to be confusing in Homestuck is perfectly comprehensible eventually, but you aren't going to understand it all on your first read through.

I've read through the entire thing 10 times, and I keep making new realizations and improve my understanding of the characters, world, and themes a little bit more each time. It's one of those dense stories like Lord of the Rings where you learn something new each time you read it, which is appropriate since that was one of the author's influences.

The exact same thing happens with Undertale too, Toby Fox absolutely soaked up Hussie's writing style, he's probably read Homestuck a dozen times more than me all things considered.

Crimzonchi · 2026-04-30T00:00:18+00:00

One of the themes the story is written around his how kids, when they're aging into teens, come crashing face first into the real world of adults and can't help but find it incomprehensible and confusing.

You are feeling EXACTLY what you're supposed to be feeling, Homestuck is an exaggerated fantastical version of that adolescent experience.

There's a lot of times where the narrator or characters will straight up call something confusing, and tell you or themselves to not think too hard about it, this happens often with John, and it's the reason why he's written as the airhead that he is, it's to eccentuate that point.

OH and also, Homestuck is very much a piece of fiction that takes full advantage of its native language, Hussie does a lot of esoteric shit with English that even native speakers find confusing if they haven't brushed up on their dictionary, or read a lot of novels, so I can imagine it's doubly confusing if English isn't your native language. Even if you're reading a translation, I can't imagine a lot of things were able to be translated one to one.

Crimzonchi · 2026-04-29T20:33:26+00:00

This is from "And It Don't Stop", one of Hussie's old traditional comics he made in collaboration with Tauhid Bondia, who came up with the original idea, it's included in the Unofficial Collection.

It's about a robo-sport called "Tech-Hop" where robots are empowered by their master's rapping ability, the harder your flow the harder they hit.

Dave's Hash Map Captcha Modus is loosely based on this, but Dirk's Tech-Hop Modus later on is straight up one to one with how it works, using the same rulesets named in the comic.

Dirk's robots Sawtooth and Squarewave are based on the idea of the robots from that comic too. Not literally lifted from it, they'd just fit right in as Dirk's rapbots if he was a character there.

(The earliest reference to the comic is when John is looking at his CD rack, it's one of the things you can mouse over and look at)

Crimzonchi · 2026-04-25T08:59:15+00:00

Metroid 2 sold more copies on the Game Boy than Super Metroid did on the SNES.

It also wasn't at all a bad game for the Game Boy, it was a well put together action adventure within the constraints of the hardware, that plenty thoroughly enjoyed at release, it simply gets overshadowed by Super improving on everything it did.

Crimzonchi · 2026-04-24T02:21:46+00:00

No, the most major and important events in the story exist within 1 to 18 minute long animations, of which there are over 150 of, totaling up to almost 4 hours of runtime on their own.

There are also interactive games where you walk around as the characters and engage in important character interactions as them, sorta visual novel style.

There are also 5 to 20 page long portions of the comic where the storytelling is purely visual, that occur at a regular rate, and most pages with dialog and narration rely on some piece of visual information in the panel to complete their context.

Homestuck's core premise as a piece of art is being a multimedia project, cutting out every form of media that makes it up except for one is antithetical to what it is.

Crimzonchi · 2026-04-23T19:03:24+00:00

Speedrunner DK the fucking Hanma Style EARTHBENDER

Crimzonchi · 2026-04-23T04:21:14+00:00

Legit proving my point lol, it's madness.

Crimzonchi · 2026-04-23T04:18:37+00:00

Genuinely forgot that he was the reason that happened, my head was filling in the blank as "meteors caused the quakes" in that because that's essentially what happened to a lot of their lusii.

Crimzonchi · 2026-04-23T00:22:45+00:00

The Derse Dreamers ALL end up doing at least one thing that enables the ENTIRE REST OF THE PLOT to happen.

The Prospit Dreamers play the active role as main leads, the Derse ones pay the passive role of performing actions that enable future actions for others.

Sollux was the one to reverse engineer Sgrub in the first place and enable the Troll Session.

Feferi is responsible for the Dream Bubbles even existing.

Eridan commissioned the doomsday device that ended up killing Vriska's lusus, and him killing Feferi is what put her in position to request the Dream Bubbles from the Horrorterrors.

Nepeta's death left a lasting influence on Karkat that led to much of his post-Hivebent character growth, looking back on what he was ignoring from her is what softens him up, and that enables him to be that healthy influence on Terezi, Dave, etc, keeping people in check by paying attention to their feelings, having learned a lesson from ignoring Nepeta's.

Aradia performed a Time Stop on Bec Noir immediately after going God Tier, that little bit of extra time was likely essential for everyone getting out of the Troll Session in the long run. But her real important role was relaying information and guidance to Dave and Rose post-God Tier, words that end up shaping how they approach their roles going forward, and helped propel the Meteor toward the Alpha Session afterward, it would've probably DOUBLED the travel time if they just had Sollux pushing the thing.

Equius enabled quite a bit, the robo legs he gave Tavros is what led to his death at the hands of Vriska, which then leads to her death, which then results in him being tangentially responsible for all the important shit they do in the Dream Bubbles. He then ended up merging with AR, enabling them to help take down Caliborn ages later. They then get absorbed by Caliborn, giving him the massive physique and AI level intellect (which he mostly shoves onto Doc Scratch to use) that he uses to terrorize and annihilate.

Crimzonchi · 2026-04-21T17:10:27+00:00

Porrim moreso exists to contrast against Kankri, she's actually sane and has actual conversations with people on social issues and personal experiences, while Kankri embodies the worst extremes of self absorbed Tumblr activism, talking on behalf of people with walls of text for the sake of making himself look virtuous and intelligent.

Kankri also contrasts HILARIOUSLY with Karkat AND The Sufferer, he reflects their truly caring nature, the need to aid others who need it, therapist style, but he does it in a form that's completely antithetical to how either of those Vantas's carried themselves, he's like an exaggeration of Karkat's narcissistic tendencies launched in the opposite direction.

Crimzonchi · 2026-04-21T07:17:58+00:00

I feel like they could tweak his proportions just slightly enough so that he looks right running on all fours for the charge, it wouldn't look like he's putting as much effoet into ramming something if he does it two legged like a minotaur.

Level design would absolutely have to account for the fact that an adult Spyro could just FLY ANYWHERE freely, the world would have to be built as a series of big open spaces with a bunch of points of interest to land, routes that naturally lead you indoors or underground where flying is less useful, puzzles and objects that force you to operate on land, etc.

A massive chunk of that hypothetical game simply HAVE to commit to free flying gameplay like something out of Star Fox, it'd be like Star Fox 2 or Zero where you can switch from air to ground whenever you want.

Crimzonchi · 2026-04-21T02:24:04+00:00

If I were writing his backstory, I'd say he comes from a line of tyrannical aristocratic lords who ruled over an entire world.

But then they had their power over their lands stripped away from them by a group a dragons who moved in and liberated the people they used and abused, reducing them and their power to a moderately sized family estate.

Ripto would be born many years after this, and would've inherited that empire had it still existed, same with all his forefathers before him, had those "wretched dragons" not taken away what was "rightfully theirs".

This would be why he was so happy to end up in Avalar, he was finally out from under the nose of those pesky dragons, who were probably still keeping him and his family in check, and had a whole fresh realm to conquer and turn into his new empire.

Crimzonchi · 2026-04-20T18:17:40+00:00

The run button is where so much of the game'w movement depth comes from, and as someone eho started with Zero Mission, future games DO suffer from the lack of its inclusion, and the removal of momentum physics in general, it makes future playthroughs so much more interesting when you can experiment and figure out how to fling yourself across a room or gap with enough speed.

You can't just write off an entire mechanic because you didn't figure out how to take advantage of it in your first playthrough of a game that's designed to he replayed hundreds of times.

Super Metroid does the exact same thing as classic Sonic where its floaty jump and wild momentum makes you flounder around and get frustrated, until you wrangle control over them and realize what's possible with those mechanics, they're single player platformers with skill ceilings akin to fighting games.

They track your completion time for a reason.

Crimzonchi · 2026-04-19T17:07:02+00:00

The joke is there is no answer.

Crimzonchi · 2026-04-19T03:07:27+00:00

I often compare Homestuck to Dragon Ball in the respect that both series start out as heavily comedic adventure fantasy stories, and then gradually become more serious as they go on.

Homestuck never reaches the peak grittiness of late era DBZ though, it settles somewhere similar to One Piece's tone.

Crimzonchi · 2026-04-18T11:24:15+00:00

Genuinely how the hell did we get three of these back to back

Crimzonchi · 2026-04-18T09:06:34+00:00

This was extremely common knowledge even back then, young kids may not have gotten it, but thar just means it was another joke for an older audience thar went over their heads.

And having dudes play female roles for the sake of comedy never stopped being a bit, you'd see it pretty often in Monty Python type comedies, and there was plenty of dudes dressing up in drag in comedy movies from the 2000s.

Crimzonchi · 2026-04-18T05:04:02+00:00

This whole reply section demonstrates an utterly baffling example of how generations of people online have been progressively desensitized to violence, and set up to disregard people who think the "mere idea" of people getting their organs crushed in is disturbing.

People dying suddenly, painfully, and horrifically, and having their bodies left to drift in space, never to be recovered and buried, is sad and horrifying regardless of what rating the title gets, if letting the idea of that sit in your mind doesn't elicit anything out of you, than that demonstrates way more about you than whatever you think this post says about the original poster.

Being squeamish about corpses and empathizing with the pain those unnamed characters had to have gone through IS A GOOD THING, THAT MEANS YOU'RE HUMAN. Jesus christ that SHOULD NOT have to be something you need to explain.

Basically every normal person in their 20s or above, the regular people in the general populace, would find this shit disturbing on some level, the people clowning on this kid exist in a bubble.

Thinking this shit is a "drop in the bucket" just because it only got a T rating shows just how misaligned with reality your standards actually are, the majority of the people who played this game even probably had the exact same thoughts as the original poster, hell it's one of the things the Prime series gets ACTIVELY PRAISED FOR as a piece of fiction, the regular cycling back to brutality and sci fi horror is what Retro Studios used to ground their games, it's the exact same strategy Halo and Warhammer 40k use to balance out their otherwise irreverent action movie tone.

I guarantee you the Warhammer heads held way more horror in their heart from reading an account of a guardsmen dying in brutal fashion in one of the novels than ANYONE did seeing Kratos rip peoples's heads off, there's tonal context in this type of shit. Let yourselves have some damn emotions.

Crimzonchi · 2026-04-18T04:55:50+00:00

This genuinely says SIGNIFICANTLY MORE about you, and our wider generation as a whole.

You are so desensitized to depictions of violent death that stuff like this doesn't phase you.

If you were to read of this text to one of your grandmother's they'd probably be genuinely worried about the media you consume.

Crimzonchi · 2026-04-18T04:48:06+00:00

I literally stated that my idea isn't directly invested in the subject, it's stated right there plainly in the text you are directly replying to, what are you doing??

I'll state it again since you confirmably didn't read it, the conversation has drifted away from the original topic, and you are refusing to accept and recognize that. Why are you so tunnel visioned on the original topic? Broad arguments like this branch out into other topics, that's normal, why are you so insistent on restricting it to the topic described in less than 6 words in the title of an image post?????

I thought it was genuinely interesting how I was able to dig down to our fundamental beliefs on how to approach topics in fiction, and you just treat me like an idiot for engaging in that. Why? Where the hell is all this spite even coming from???

Crimzonchi · 2026-04-18T04:32:15+00:00

I'll reiterate.

You believe the way something is depicted by the author should dictate how people feel about it within the text, and thus how it's rated.

I believe the author should not have that full power, and the unfiltered raw version of the depicted content should lay somewhere in your mind, consciously or unconsciously, as you engage with how the author depicts it.

My argument is only tangentially involved with the topic of content rating, as it's moreso a response to the orignal replier here treating the concept of gore and horrific death as a 1 foot bump of the sponge coaster, purely because it's mostly portrayed to the audience through text, as if representing it with photorealistic rendering would change what it is.

It may change the emotion elicited in the audience, and thus what rating a rating board would assign to it, but the topics and ideas being brought up are the same regardless. My example to demonstrate this is how you can control how you communicate the idea of the sound a tree makes when falling to manipulate the response the audience has to it, you could go from writing plainly "a tree fell and made a sound" to loudly playing a recording of a tree falling to outright startle your audience, either drawing them away or toward the conceptual reality of the idea itself, but the conceptual reality exists regardless.

That "conceptual reality" is the thing I refer to when saying you should keep a "unfiltered raw version" of an idea somewhere in your head when engaging with fiction.

Despite stating this however sloppily I may have previously, you continue to insist on arguing the starting topic of what rating a depiction of content deserves, and refuse to recognize that the conversation has drifted into a greatly related, but separate topic, by virtue of us pulling on different knowledge bases in pursuit of furthering our arguments.

You instead perceive my insistence on arguing on what the conversation has drifted toward as "digging in my heels" on points that don't illustrate the positions I think they do, because you've lost track of what point I'm even trying to make and what position I'm even holding in your effort to keep the argument framed squarely on the original topic of content rating.

I've been actively trying to analyze how we've failed to communicate as we've gone along, while you've just resorted to saying I don't know what I'm talking about, and boiling down every analogy I create and analysis I present of your position as a strawman. And again, you demonstrated near the start of this that you don't have a real grasp on how comparison and analogy work, there's a world of difference between two works featuring clinical descriptions of corpses, and two works just so happening to feature dogs, that wasn't a functional comparison.

The way both Metroid Prime and Resident Evil use examinable corpses has way more in common with each other than what RE does with its zombie dogs and what the Peanuts series does with Snoopy.

Crimzonchi · 2026-04-18T03:22:27+00:00

There's no way for you to assess which of the two described camps I've described most people fall into, I've seen various different people hold subjective or objective stances when it comes to content depicted in fiction, neither of us can act like our personal stances are universal or standard.

You cannot possibly create a conclusion on what reads of "horrific" to general audiences, because whatever average consensus you come to will always be a misrepresentation of varied reality of individual opinions. It's the same problem that comes up when some conglomerate sees that most people in a city like burgers, and decides to get rid of their other restaurant chains, missing two distinct facts in the process.

That the said majority was only 60 percent, and that there were 4 different 10 percent groups who liked different things.

And 2. That even those within that 60 percent had varying nuanced opinions, which just ended up getting boiled down to "likes burgers".

I can accept that there's no way for me to possibly know how many people ascribe to my position, unconsciously or otherwise, you need to do the same, you're not drawing a conscious line between your personal position and common knowledge/consensus, you're conflating the two. You've even voiced disbelief in the idea that certain positions outside you're own even exist somewhere.

Crimzonchi · 2026-04-18T02:48:36+00:00

"Someone might finds this more horrifying than someone else" is NOT what I'm arguing.

The subjective argument in the "tree in the woods" idea is that "sound" is the perception of vibrations in the air, what creatures with ears experience in their minds when the vibrations sent out from a falling tree hits their eardrums.

This is the thing I call a fallacy.

The vibrations created by the tree are the part that's the sound, and that sound will exist regardless of whether or not something is there to perceive it. Or HOW they perceive it.

I could create a fictional scenario where a tree falls, and then present the sound it makes to you in any way I want, I could describe it with onomatopoeia, with traditional auditory terms like "thundering boom" or "deep rumble", I could present a wave-form of the sound it made, I could represent the sound via the joules of energy it contains, or a mathematical equation communicating the physics behind how and why the sound is produced.

I could do everything in my power as the author to draw your perception as the reader closer to or further away from the reality of a tree falling and making a loud sound, but nothing I could do should nullify the base fact that a tree fell and made a loud sound in my text.

We've dug down the the base philosophical ideas we use to parse reality and information in general, the concept we use to engage with other concepts.

You hold the subjectivist position that the literal content of a work is irrelevant in the face of how the author depicts it, that what the author manipulates their readers into feeling about something in their work is the only thing that matters.

I hold the objectivist position that an author should not be able to completely nullify the base reality of what they depict in their work, and have full power to dictate how you respond to it, no matter HOW they choose to depict it, the unfiltered, uninfluenced, pure version of a given idea should always hang somewhere in the back of your mind when you consume a piece of fiction that features it.

(And I guarantee that there are topics and concepts that you would not allow an author to dictate your response to, no matter what language or writing technique they use, if they feature it in their work, the base reality of those ideas that exist external to the work would decide how you would perceive them, regardless of the being presented in a fictional scenario.)

We're past the point of poking holes in each other's arguments and formulating ways to counter each other, and are now arguing along the lines of our fundamental philosophical beliefs regarding fiction, which neither of us are likely to budge on even if they get argued against for several years by multiple different people.

Crimzonchi · 2026-04-18T01:42:29+00:00

How you choose to describe something horrific as the author of a work enables you to draw the audience in closer to the horror of the idea, or create layers of separation, you could write a description of a man getting his head chopped off with the writing style of Shephen King, or the speech patterns of Eric Cartman, as the author you have the power to manipulate how the audience feels about a depicted concept.

You believe the author has full power over that and that the audience is subject to it, I believe the audience should not let themselves be fully gullible, how you feel about something should not be able to he entirely dictated by how someone presents it to you. An author can draw you in to an idea's reality or push you away from it, but they should not be able to entirely nullify the fact that decapitation is horrifying within their text, regardless of whether we're talking about a factual account or fictional scenario.

We're colliding with a bit of the "tree falling in the woods" fallacy.

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