Oh no!

The Homestuck Independent Creative Union was announced in October 2023, claiming itself to be a “union” of creators working on Homestuck associated projects. The main selling point of this organization is that it was fully independent of Homestuck, Inc., Andrew Hussie, or any of the other existing management structures that had damaged their reputations. This was untrue from day one. The HICU was never a union and it was never independent of Andrew. In fact Andrew doesn’t just have theoretical authority, they’re actively wielding power over projects in secret.

I want to give a very important disclaimer for this “anti-HICU” looking article because I really, really don’t want to see blame misplaced because of this. I think when most people familiar with it think of the HICU, the reaction is “oh, they’re doing better” or even “yeah, I’m on their side.” I don’t fault you for this! Based on what they said about themselves many people — including me personally — gave the HICU a huge amount of good credit upfront, and they’ve done very little publicly to hurt that image. So if you’re an HICU person — if you’re with FRAF, or DCRC, or even Beyond Canon — I am not attacking you with this! I am not against your “side.” The problem here is not the creatives, it’s strictly management. Whether you’re a fan or someone trying to work with the union, you are the one at risk here and I want to help you most of all.

Around October 2023 Andrew Hussie “restructured” Homestuck’s publishing agreement with Viz Media in order to reestablish their “control over the brand.” Homestuck then announced the relaunch of Homestuck^2: Beyond Canon, run by the also newly-announced Homestuck Independent Creative Union.

Bottom line up front

Since November 2023 The Unofficial Homestuck Collection has been entangled in legal discussions with Homestuck and Andrew Hussie.¹ This has gone disastrously bad, from almost the very beginning.

Since Andrew has now sent us a DMCA takedown demand and persistently threatened us with spurious lawsuits, I am taking down The Unofficial Homestuck Collection’s web presence at Homestuck’s demand. The current set of legal demands does not affect the GitHub repository itself, so releases of the reader are still available. An outdated copy of the reader and some assets are currently also available from a copy Homestuck made of the collection against our wishes (homestuck.github.io) — more on this later. However, the original team behind the collection (Bambosh and Gio) has been forced to stop supporting our work.

This was not driven by copyright concern, community relations, or any healthy professionalism, but an unprofessional spite and demand for control on the part of Andrew Hussie.

Narrative spoilers

But this is not a Deltarune thing. For any narrative media, the experience depends on the work presenting the narrative flow it intends to. This includes reveals, this includes pacing, this includes characterization.

Getting information out of turn spoils the game. It does this so aggressively that breaking narrative flow has become one of the definitions for the word “spoil”, as in “ruin”. I have a much longer piece I want to write some day about information filtering in general, which is maybe the hardest problem ever?

For games like Deltarune, it’s taken for granted that people have at most a week of courtesy before the Internet is flooded with information. And of course there are some people out there who are eager to get that information as soon as possible; it is not universally true that people want to experience narrative as intended.

Except sometimes we care a lot

But is this a little silly? Is narrative purity so reverential that information should not flow through the normal channels by which ideas are pushed to us, like social media?

Here’s what piqued my interest about this today: gaming does have a reverence for not letting experiences be spoiled. It’s just very selective right now. We see this absolute demand that knowledge not be leaked, that games be allowed to communicate information to the player on their own terms. But beyond extremely new releases, we see this almost exclusively with regard to knowledge-based games or metroidbrainias, where knowledge is the gameplay mechanic.

Indie Animation

First, the obviously relevant context is that Murder Drones is made by Glitch, which is a small independent animation studio. And independent animation necessarily comes with constraints. It’s incredibly exciting that we have the technology for small teams to make work with this quality and scale, and I don’t at all want to take that for granted. But I think a lot of the friction I have to talk about comes from fundamental trade-offs that come from that setup.

Since their resources are very limited and good animation is expensive work, there’s a pressure for everything to be compressed. Short episodes with short shots in an eight-episode miniseries mean the project is feasible, but it’s hard to get all your fun ideas in while still sufficiently paving the way for them to land properly.

Structurally, a small indie team also carries the risk of skill gaps. I don’t mean to make any criticisms of anyone in particular on the project here, but this kind of team might not necessarily have experienced television writers or producers. And, with a small independent team, there might not be enough of a test audience to catch things that could be improved, or not enough budget to re-iterate for minor improvements. So those are all categories of things that can easily run into trouble.

Independent serialized animation like this is a relatively new phenomenon, but these are going to be the same sorts of challenges projects like RWBY and Helluva Boss have. (Although I think Murder Drones is significantly better than both of those.) So while there are common environmental factors that can make this kind of project a little extra rough, the way that roughness actually manifests is interesting.

It’s not glaringly bad

The reason I’m interested in talking about this at all is that I noticed the friction as part of my own experience, but it wasn’t linked to any obvious problems. In fact, the whole reason I’m writing this is Murder Drones felt like it should be great, and I was surprised there were things that still weren’t quite clicking. In re-watching the series to write this, slowing down and zooming in to catch every piece made the effect much harder to see. It’s hard to put my finger on exactly what caused the effect. Which is why I want to! The dynamics you can barely see are always the most interesting to understand.

Why Thanos doesn’t work

First, a super-quick summary of what I’m reacting to.

Angels and Heavens

First, here’s a list of all the references to “Angels” or “Heaven” in the text of Undertale and Deltarune, which I’ll go through one by one:

• The human in Undertale is called an “angel” for coming down from the human world (this is a red herring) (this could also refer to Asriel but it doesn’t matter)
• The Angel’s Heaven from Ralsei’s prophecy
• The Heaven Spamton is pursuing
• The Angel worshiped by the Hometown church
  • The Angel doll Noelle and Dess made in church youth group

Susie is immune to player input

There’s a lot in Deltarune Chapter 1 that implies that, unlike undertale, player choice doesn’t matter. The character you make in the first sequence is discarded, There’s even word of god that there’s only one ending to the game.

But, if you look at it, most of that involves Susie. You can’t control Susie at all for the first half of Chapter 1, only eventually getting her explicit buy-in after she decides she wants to be nice to lancer. And, of course, at the beginning of the game, she tells you directly

Your choices matter with everyone else, though. There’s a massive branching tree of options during your battle tutorial with Ralsei, you design a thrash machine that carries over to chapter 2, and you can tell Noelle about Susie eating chalk to get an extra item in Chapter 2, just to name a few examples. Hell, your choices matter with Onionsan and Starwalker.

Authorial teams

Probably the defining aspect of the “post-canon” Homestuck era has been the deliberate movement away from Andrew’s auteurship and to the form of these nebulous authorial teams. It’s almost impossible to overstate how key Andrew and his personal identity was to Homestuck and its interactions with fandom, and this period represented a deliberate and forced shift away from that.