work of English language storytelling (Brown 0:03). However, it is not an invalid comparison, as is an extremely dense and expansive work requiring dedicated Homestuck effort to successfully navigate, similar to is the largest digital Ulysses. Homestuck narrative to emerge from the internet to date. combines traditional narrative Homestuck with images, animation, and short interactive games. Meant to be viewed from an internet browser, it has its own unique digitally crafted method of story progression, visual presentation, and audience engagement. The processes behind Homestuck’s production, its combined comic and video game genres, and its intrinsic digital themes reveal deeper questions regarding what it means to experience a world increasingly defined and shaped by our relationship with digital media technology. exists as an experiment in Homestuck long form, digital multimedia storytelling, evolving over time. It is a self-referential narrative; Hussie brings in audience involvement while simultaneously responding and catering his story for his audience, often breaking the fourth wall and making audiences aware that he is explicitly attempting to explore new narrative territory. As a fusion of digital and physical literature, it comments positively on the postmodern shift our identities and bodies undergo when confronted with our presence within an ever expanding and complex digital world into our existence. “breaching” Analyzing must be done in stages, as it is an expansive work covering Homestuck a wide cast of characters, a myriad of themes, and a plethora of content for a single story. By analyzing the structure initially, I plan to frame as a narrative work that Homestuck inhabits a unique cross-section of digital and analog media forms the comic book – developed online. My first chapter will dive into the deeper history and structure behind and the methods of its author, referencing webcomic histories and traditions. Homestuck
work of English language storytelling (Brown 0:03). However, it is not an invalid comparison, as Homestuck is an extremely dense and expansive work requiring dedicated effort to successfully navigate, similar to Ulysses. Homestuck is the largest digital narrative to emerge from the internet to date. Homestuck combines traditional narrative with images, animation, and short interactive games. Meant to be viewed from an internet browser, it has its own unique digitally crafted method of story progression, visual presentation, and audience engagement. The processes behind Homestuck’s production, its combined comic and video game genres, and its intrinsic digital themes reveal deeper questions regarding what it means to experience a world increasingly defined and shaped by our relationship with digital media technology. Homestuck exists as an experiment in long form, digital multimedia storytelling, evolving over time. It is a self-referential narrative; Hussie brings in audience involvement while simultaneously responding and catering his story for his audience, often breaking the fourth wall and making audiences aware that he is explicitly attempting to explore new narrative territory. As a fusion of digital and physical literature, it comments positively on the postmodern shift our identities and bodies undergo when confronted with our presence within an ever expanding and complex digital world “breaching” into our existence. Analyzing Homestuck must be done in stages, as it is an expansive work covering a wide cast of characters, a myriad of themes, and a plethora of content for a single story. By analyzing the structure initially, I plan to frame Homestuck as a narrative work that inhabits a unique cross-section of digital and analog media forms – the comic book developed online. My first chapter will dive into the deeper history and structure behind Homestuck and the methods of its author, referencing webcomic histories and traditions.