When I wrote the Hiveswap article, I left a note asking for people to contact me if there were any facts I got wrong or major events I missed. A number of people took me up on that, which I am thankful for.
However, there was one big report I got that was too significant to just edit into the article. Because these allegations were new, and from a credible source, I thought they warranted their own article and research.
For the rest of the story about Hiveswap, see The Hiveswap Fiasco, to which this is a kind of sequel.
By the request of the source (because Andrew is known to be aggressively litigious), I have edited our conversation into a synthetic document. This is a summary of the claims from the source to preserve their anonymity and ensure clarity. I am not yet asserting anything, just stating what the source said; I’ll hold my personal comments until after the whole thing.
Here is that report:
The biggest reason there’s an NDA in place about The Odd Gentlemen’s involvement is that Andrew wanted to cover up the fact that much of the blame is on Andrew’s failure to deliver a workable plan to the studio in the agreed-upon schedule.
While parts of the ipgd post are true, the post distorts what happened into a story designed to make Andrew look like he did no wrong. What actually happened is this:
Twitter is an ephemeral medium.
You scroll through tweets just fast enough for them to register in your head, and then they’re gone forever.
If you want to find something again, you can go to somebody’s profile and scroll through, one tweet at a time, until you find what you wanted.
This is a lousy way of capturing history. That’s not great, because Twitter does such a good job of capturing important moments, as they happen.
If you want to save that moment, though, what can you do? What do you do if you think a day’s tweets are important? Print them out?
Well, I did. Here is what I tweeted and retweeted, on a page. Tactile. To be read.
Nintendo is trending on twitter today for yet another abuse of the legal system. Today, though, it’s not about a fan game, or intellectual property, or anything else Nintendo has something approaching a reasonable claim too — it’s all a sham.
One of the reasons Homestuck was so popular is how contemporary it was to internet culture.
You tell anyone that Homestuck is heavily influenced by internet culture and they’ll nod and agree and you’ll both be very intelligent media critics.
But somehow, even from that same group, you’ll see people who notice how the writing style of Homestuck changes over its nine year run and forget about contemporary culture entirely, which is a mistake.
Andrew Hussie has always spoken (or tried to speak) in an aggressively contemporary voice.
What he wrote in 2008 sounds like it was written for the internet in 2008, with all the charm and all the baggage.
Homestuck began in 2009. Remember internet culture from 2009?
“R*tard” was still an acceptable insult back then (among the dominant cultural groups that made up internet forums, at least).
Going back as an archive reader in 202X, though, reading “the r slur” in casual conversation is jarring.
Why is that there? That shouldn’t be there.
Rather than stay fixed in 2009, MSPA — and Homestuck in particular — continued to mirror contemporary (read: pop) culture as it went on, which caused natural shifts in the material.
What were previously wacky domestic antics played up for laughs became serious issues of domestic abuse, in retrospect.
As readers revisited the earlier material, they re-evaluated it through a more mature cultural lens.
Because of the serial nature of the comic, this worked out very naturally: as Andrew and the fandom grew, Andrew wrote in-characters realizing that abusive behaviour was concerning, just as actual abuse victims do.
It felt like a natural progression of the story and characterization, because it was natural; it was the same dynamic that really was playing out irl.
This effect had a noticeable impact on the tone of the comic.
13 year boys who insultingly called each other “gay” as playful insults — or prefaced their interactions with “no homo” clauses — would become very different characters in 2015.
Sexuality isn’t a insult now, it’s a character arc.
Disabled characters, too, were originally played for laughs, but later got real character arcs about their disabilities as they related to their identities in a way that treated the issue (semi)seriously.
All this change — what Sarah Zedig calls its “maturation away from its at times uncomfortable edginess” — can sometimes rub old homestuck fans who liked everything about the atmosphere of the 2000s the wrong way.
It can feel like the second half of Homestuck is “subverting” the story they knew and loved, because, well, it’s different.
In back corners of the internet you’ll hear that Homestuck was somehow “taken over by sjws” or even conspiracy theories that later parts of homestuck were ghostwritten by another author entirely.
On the other side of the room, you’ll have people who read Homestuck, see how it develops well-written gay, trans, and non-binary1 main characters in its later half, and treat the full body of Homestuck as thoughtful queer fiction.
Neither of these is quite right. Both forget how long Homestuck was a serial work, and how much the contemporary culture it mirrored changed over its run.
Homestuck re-framed earlier events as its fans themselves re-contextualized them in a changing world.
Likewise, Homestuck engaged with queer topics only as and because they became a topic of conversation online. Andrew’s writing reflected the culture of the internet as it happened, and reading it as an archive work invokes all those difficulties with it.
When people describe Homestuck now, they might mention that the first part is “dated”, due to contemporary references, slurs, insensitivity, and the like. But that forgets that Homestuck intentionally, extremely, unavoidably a product of its time, and the internet culture that gives it its charm is the same thing that can leave a bad taste in peoples’ mouths.
Replying to hmsnofun:
i want to say this stuff should be left as an apocryphal entry on a wiki, but at the same time i've long maintained that homestuck's maturation away from its at times uncomfortable edginess is part of what makes it such an essential work of fiction. so idk i guess
It's 2020 stop trying to make Hussie retroactively woke You're allowed to like things by people who weren't and aren't a beacon of progressive shit Pretending that it has zero problems or all the queer shit we have now was always intentional does more harm than good
I still guarantee you all with 98% confidence that representation in Homestuck is incidental at best, and Hussie by no means intended to have grandiose, intricate and well-written trans narratives at the start, and J//ne should not be treated as such.
This is a writeup of a project I did in April but never released. Well, I’ve definitely released it now, if you want to give it a try!
Instead of a real introduction, here’s a video demo, with camcorder LP technology from 2005:
I am not going to buy a capture card
Ever since Wild World, Animal Crossing has had a pattern system, where players can design their own textures and use them as clothes or decoration. New Horizons has one, but since it doesn’t have a stylus you have to either use the directional pad to mark individual pixels or draw with your fingertip.
I thought it would be fun to find a way to automate that. Now, granted, it takes a while, but it’s still much faster than trying to copy pixels over by hand.
The real story of Hiveswap isn’t about the game or the universe. Rather, the conversation “about Hiveswap” is dominated by stories about the development and history of the game as a project — starting as a Kickstarter success story but then bouncing from scandal to scandal for years. The story of how Andrew Hussie burned through a $2.5 million dollar investment over eight years to produce almost nothing is fascinating, convoluted, and poorly understood even among Homestuck fans.
Right now, this meta-story mostly exists in the form of oral history. This is probably due to the fact that a lot of the key sources are ephemeral — and most of them have been deleted — but it’s also because it feels premature to write up a “postmortem” on a game’s development before it’s even an eighth of the way finished.
I’m documenting the story so far so that the Hiveswap Story isn’t lost to time, and so there’s a decent summary of events so far, and maybe even so new Hiveswap fans can catch up.
I dug through every page, announcement, interview, blog post, FAQ, and tweet I could find, and the culmination is this the most comprehensive — as far as I can tell — explanation of Hiveswap to date.
I have a memory from when I was very young of my dad doing the finances. He would sit in his office with a computer on one side and an old-fashioned adding machine on the desk. While he worked on the spreadsheet on the computer, he would use the adding machine for quick calculations.
A year or two ago I had a very similar experience. I walked upstairs to the office and there he was, at the same desk, spreadsheet on one side and calculator on the other. Except it was 2020, and he had long ago replaced the adding machine with an iPad. There was really one noticeable difference between the iPad and the old adding machine: the iPad was awful at the job. My dad was using some random calculator app that was an awkwardly scaled iPhone app with an ugly flashing banner add at the bottom.
“Tabs or spaces” is one of these age-old computer science preference issues (like whether you use Vim or Emacs1) that gives people a binary preference they get to pick and then get very attached to, due more to sunk costs and personal identity than anything else.
(Good thing that only happens with unimportant stuff.)
I was thinking about this the other day, and I realized that I have an opinion about this, but it’s actually the opposite of what I do. And it’s not because of filesize, or encoding, or anything like that.