![]() they exist in fantasy, while the sona, even as an alien or moster or wizard, it’s you at it’s core. For an oc you create everything about it, from design to backstory to relationships with other ocs. it think that’s what diferenciates a sona from an OC. my trollsona can jump through diferent scenarios and situations but in the end she is me if i was in those scenarions. The character Meraki is like an avatar, so i can insert myself in the internet, roleplays and in comics. When people say Meraki, they are talking about me, it’s my internet name by now. Whit Meraki,l she represents me as a troll, she is to me like what “orange skin homestuck hussie” is to actual andrew hussie. the same happened to some friend’s first sonas, they evolved into characters because we builded this whole world around them and detached from us. at some point it was no longer me and I grew out of it. It’s funny you mention it, the first trollsona i made ended up evolving into an oc, because it became more and more of a character of it’s own, with a backstory, oc friends, etc. After all, heroes need tools, but they also need the ability to choose for themselves what those tools will be and how they will use them.I thinks it resembles me a lot in personality, tho not that much in appearance anymore since my hair has grown longer since i made her. Like most things in Homestuck, kind abstrata are both a necessary component of a game and a powerful representation of the comic’s roots in myth and storytelling. A strife specibus represents a training wheel for the combative player a way to fight, a path to take, that is cast aside once the player is sufficiently heroic. This is a deliberate removal of abstraction, allowing players to interact more organically with the environment. In short, you just pick up a weapon and can use it. One of the many benefits to an ascension to the god tiers is a badge that allows you to use any weapon you please without allocating said weapon to a matching strife specibus (previously, you can have multiple specibi, but could not use weapons you didn’t have specibi for). To ensure a full heroic experience, SBURB allows the player to experience and use their growth without looking at numerical proof thereof. The game places as few abstractions as possible between the player and the world, when possible (and those that exist decrease as the player grows more on this later). The difference, of course, between growth in SBURB and in traditional games is that in SBURB, the stat is invisible. SBURB does this as well, as demonstrated by John’s progression from needing the supernatural aid of his server player to lift a sledgehammer to making a good attempt to break Jack Noir’s face open with the Warhammer of Zillyhoo. In many games, such as the Fire Emblem series, characters become more skilled in the use of a weapon by using it. The characters of Homestuck have similar relationships with their weapons: John, who never fought prior to the game, chooses a weapon at random Rose chooses a seemingly harmless “weapon” with which she is already familiar, Jade uses rifles she was taught to use by her game-hunting grandfather, Dave was trained (read: abused) from birth to use swords, and so on. A choice of weapon is never meaningless Batman’s trauma from the violent shooting of his parents results in him using any gadget under the sun, but never a gun. The relationships between characters and their weapons have always been intimate, from Arthur’s Excalibur to Batman’s utility belt. That’s why today, we’re going to talk about kind abstrata. Characters and their traits are templatized specifically so that readers can imagine themselves in the world of SBURB, and there’s no trait closer to a hero than the weapon they instinctively reach for. That said, the richness of that setting is what draws so many fans into Homestuck. With the chaotic maelstrom we fondly refer to as a plot raging ever onward, it’s often easy to forget that SBURB is supposed to be a video game increasingly, the story has become more about its characters than setting.
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