So Candy Roxy has gotten a lot of shit--rightfully so--for taking a consistently centrist and peacekeeping role in the Candy timeline. Generally averse to the spotlight and of the opinion that the Gods, with their outsize importance and cultural weight, should stay out of the governing affairs of regular people, Roxy has largely been reduced to a passerby watching as her friends plummet the world into chaos as they try to tear each other's throats out.
But there's another way to read her fundamental centrism, one where her focus and perspective simply aren't political, but rather interpersonal. As one redditor (I lost the comment and don't know who, sorry!) put it, they read Roxy in this latest update as a character striving to "keep everyone together", to pull the fracturing group back into unity.
Pulling things together. That sounds familiar.
It sounds, in fact, like Gravity. "In physics, gravity (from Latin gravitas 'weight'[1]) is a fundamental interaction primarily observed as a mutual attraction between all things that have mass." In other words, Gravity is a word we use to describe the fact that everything that physically exists, that has substance and matter, is inexorably pulled towards each other.
Rose describes gravitation as "the intrinsic nature of nothingness", that is to say, the nature of Void itself. And while the force of Gravity gets weaker the further things are spread apart, this weak and subtle force is what draws together cosmic gases that compact and condense into each other with such intensity that they give birth to the Stars themselves.
In this way, Void is a force which creates and becomes Light.
And in the same way Gravity acts as a force pulling stellar objects together, laying the foundation for organized solar systems and ultimately Life itself--could Roxy be trying to act as a force pulling her friends into harmony reflect her relationship to the Void, right at the time the Black Hole threatens to grind them all into oblivion and they most need someone to rally them to a unified cause?
Let's see how deep we can dive into the dark.
--@lime-bloods's Void/Home Collage.
To start with, there's some required reading to understand where I'm trying to go. The image above is from Homestuck blogger @lime-bloods, who has done some absolutely brilliant work unpacking the symbolic importance of Black Holes.
I suggest reading the images above to grasp the full context of the idea, but in essence, it suggests that Black Holes are synonymous with the concept of the Home in the bounds of Paradox Space.
As Lime-bloods states, The local Black Hole of a Cherub's birthplace is identified as that Cherub's home, and Cherubs always return to this same black hole in order to reproduce. John's speech about the note that desolation plays makes reference to "the Voids keeping neighbors apart", in other words, the houses separating communities into families.
--@lime-bloods's Void/Home Collage.
The Sprites, too, are bound to the gravity of their player's Home during Sburb, unable to leave the house until the player reaches unlocks the ability to summon and eventually release them. This carries over into Homestuck: Beyond Canon, where almost every sprite manifests inside the Black Hole created by The Point.
The only exception to this is Jasprose, who A) As a Light player may have some natural resistance to the call of the Void and B) was the only Sprite explicitly released from her duty by her Player--Davepeta "released themselves" as Davesprite, but we don't know if that represents true freedom from their Sprite nature or merely a more nuanced rebellion against it. That's a tangent though, lets get to
The Point.
--@lime-bloods's Void/Home Collage.
The Plot Point is a massive machine created by Roxy and Calliope for the purpose of stabilizing a Black Hole, a supermassive source of literal and narrative Gravity, and for all intents and purposes, it represents a Space/Void fraymotif, or feat of combined Aspect magic.
And what it does once Vriska dives into it is pull her into an cocoon forcing to re-experience of her old childhood Home, her very experience of being Homestuck, to force her to confront and grow past it. In this simulacra of her Home she has to contend with the toxic family dynamics she grew up with--Mindfang and Spidermom as her mothers, Doc Scratch as her groomer and symbolic father.
Diving into the Black Hole makes her once again Homestuck.
"...Understanding that Rose's lapse into alcoholism is her own way of succumbing to 'gravity' - a pull towards toxic familial cycles which not only evokes Vriska's own "addiction" to breaking 8-balls but also literally surrounds the drinker in a dark pocket - her allusions to the Void and gravity here are also tinged by her own experience and outlook as a Seer of Light (who heavily relied on a magic cue ball as her source; a fountain of information which is symbolically opposed to the information-consuming black hole)..."
@lime-bloods reader response to my ask.
Lime-Bloods also draws the insight that Rose's relationship with alcoholism--brought out by her grief over the loss/absence/non-existence of Mom in the first place--is itself her succumbing to the call of Void, of Gravity, the narrative and force that pulls her toward Roxy, Mom, and her own childhood. It is in the midst of her alcoholism, after all, that she has the very revelation that leads her to tie Gravity and Nothingness/Void together in the first place.
There's another name for that force. Another form Gravity can take, that is experienced not narratively, but emotionally.
"My instinct is that Rose has reached the same conclusion I have: that 'gravity', as a metonym for the influence of a black hole, is just the inevitable pull towards oblivion. I think she's using "nothingness" as a euphemism for "space", over which gravity has dominion, but through this we can start to appreciate how the concepts of Space and Void weave into each other ("nothingness", "space" and "void" all being functional synonyms)..."
@lime-bloods reader response to my ask.
At the same time that lime-bloods identifies Gravity with characters being pulled towards their homes--and so, emotionally, toward their histories with each other, in the context of Child/Guardian pairs-they also identify Gravity with the pull towards oblivion, towards nothingness.
Towards death, like how it was in death itself that Rose's mother gained the gravity to pull her daughter's heart closer to her, bringing all of Rose's love flooding to the surface. Death is itself a kind of nothingness after all, and while Space is the neighbor holding Void's left hand on the wheel, Void spins through the cosmos holding Doom's hand on its right.
And there's something interesting there when it comes to Roxy.
A recurring pattern in her emotional responses to death and brushes with mortality. When Jaspers died and she held an elaborate funeral for him in an attempt to connect with Rose, like when Rose died and she held a private funeral for her and reached out to embrace Jaspers, when Dirk committed suicide in Candy and Roxy reacted by proposing to John at his funeral--
when faced with her mortality, Roxy reaches out for love.
She actually lays out this logic explicitly in the midst of her proposal. Death reminds her that time is finite, and that reminds her that what she wants to prioritize in her life is her love and connections to the people that matter to her.
John's inner thoughts in response to her proposal describe love in a rather interesting way, too--describing it as a feeling that goes "unexamined", unobserved, not directly paid attention to, as if out of the spotlight of the concious mind, until it becomes overwhelming and crashes over you.
As if a mass of cosmic nebulae gaining enough Gravity to compact gases together intensely enough to birth Stars--or Light. This association between realized Love and Light isn't new--as the aspect of Truth and Importance, the original comic associates Light with almost every major pairing, including Dirkjake, Vrisrezi, Rosemary and Roxycallie.
But the process of being drawn closer together and developing love, of strangers becoming acquaintances becoming friends becoming family or life partners, gaining importance in each other's eyes through the mutual attraction of Gravity--that process tends to take place mostly in the Void in original Homestuck, askance and askew from the viewer's perspective, hidden and private.
Though perhaps I shouldn't limit the force of Gravity entirely to the word "Love" (perhaps Passion is a better one, Heart's echo to Void's Gravity as a horizontally mirrored pair on the wheel) after all, Terezi tells John that the purpose of kissmesitude is ultimately to force both partners to "Shine a Light" on parts of themselves that would otherwise go ignored in other to improve both parties, meaning Hate can serve much the same purpose.
Dirk, for example, shines a light on massive problems with himself and with his effects on other people interpersonally through his relationships with Jake (Love) and Hal (Hate). Both force him to contend with himself and grow, enabling his eventual rooftop conversation with Dave.
Coming back to the Candy timeline in this latest update, we find Roxy trying to pull everyone in a centrist position on the matter of Jane, again reaching out to the friends she knows and loves for support when faced with the imminent mortality of someone she cares about. She finds nothing.
The thing is, the call towards love, towards Home, isn't inherently either good or bad. What I'd call it instead is essential, as in that in the same way gravity pulls astral bodies together and keeps us bound to Earth, it is in the essence of people to be pulled towards one another.
This contextualizes the Home as a Void symbol somewhat. Above all else, what a Home literally is is a House, and what a House really is is Empty. A house means nothing by itself, its purpose to be a hollow shell encasing people away from the elements.
It is the shared life, the mutual draw of love or the conflict and hate between the people sharing that Home that defines it, that gives it distinct meaning, whether for the better or for the worse. Without that inner Light, a House is indeed a perfectly generic object--an oversized Box, forgettable, infinitely replaceable. A microcosm of the Void itself.
So as Lime-Bloods says, Gravity/Love pulls Rose towards reliving toxic family dynamics, and in this case it pulls Roxy towards saving the life of a fascist who will inevitably make the world more toxic and cruel for everyone, simply on the strength of feeling provided by Jane having been a core part of Roxy's Home herself.
That said, what is toxic in one context can be productive in another, and right now the Candy adults are desperately in need of a leader who can get them all to agree on a direction to take towards solving the very real, very imminent problem of the Black Hole obliterating the Candy Timeline to nothingness.
While Vriska suggests that it may be possible for them to save Earth C from its fate, it is really only Roxy that is stepping up to the plate of advocating for it, continuously emphasizing the metaphysical threat and her unwillingness to abandon her Home, and by association, the very Black Hole that entraps her.
She says it best herself: She feels it in her gut that they can still save this place, and who better than a Hero of Void to make that kind of determination? A Black Hole is after all as much a symbol of Void as it is one of Space.
So I suspect she's going to rise to the occasion of meeting this particular challenge, and if she does, she's going to do so on the merit of the Gravity/Love that keeps her bound to Earth C, in all its wretched beauty.
The two easiest ways I can think of to solve the Candy Earth situation are for either John to dive into the Point and become June, for all the Gods to work together on some sort of large-scale abstract fraymotif or combined God magic the likes of which we've never seen before, or some combination of both.
In any of those scenarios, it feels like Roxy will likely be coordinating and keeping the group on task, simply because everyone else is too distant and divided from each other. And all of this makes me think about someone else.
The other Roxy, traveling to confront Dirk in Meat.
When I first read this update, Meat Roxy came off unusually cold to me, surprisingly callous about the idea of killing Dirk. He even came off as willing to do the deed himself if need be, and like he was simply asking Dave if he was up to the challenge.
Now I find myself wondering. It feels to me at the moment like Meat Roxy is playing it cool, so to speak, keeping his own cards close to his chest and deliberately providing the space for Dave to express his own feelings and opinion. Neither Roxy nor we get to hear Dave's answer, but considering Roxy even said he hopes things end hunky dory, he really asked the question as neutrally as possible, providing space for Dave to go either way without feeling judged.
But considering the lengths Jane was able to go and still have Candy Roxy's love keep her attached to her, at least as far as wanting to offer mercy, it seems likely to me that Meat Roxy would feel similarly merciful about Dirk. I'm sure Dirk will do everything in his power to make Roxy and Dave feel they have no choice but to try to end his life, but I think he and we may end up surprised at how far he'd have to go to really convince Roxy of that.
I suppose time will tell. This somehow feels incomplete--perhaps fittingly, even now it feels like nuances of both Void and Roxy escape me, and I find myself simply waiting for what the future will bring. But I think the association between Gravity and Love treads new ground on the subject of Void, and I hope you enjoyed reading about it.
I was helped in putting together something pretty huge this week, Aspect-ways. Sometimes lately, I've been chatting with Taz (aka optimisticDuelist, @utopianparadoxist) and we discuss or debate over character and Aspect interpretations, or they link me some interesting thoughts they've posted blogways or from a third party. This time we were discussing a post they made on Void's potential connection to Gravity and all its potential conflated meanings, such as Love pulling things together, which they based on analysis stemming from @lime-bloods's Void/Home association theoryposts -- I was skeptical of this Gravity interpretation, for reasons I'll go into later below the cut, but one of those reasons was I felt as if paired terms between Light and Void are important when solidifying the domains of each Aspect, and I couldn't think of one for Void's "Gravity" that had a Light equivalent. For example, recently I had the belated inspiration in terminology, for instance, that Light is "Location" where Void is "Dislocation", a perfect tie between Light's links to Maps and Landmarks contrasting it with Pumpkin-like "disconnectedness from spacetime" and ability to appear anywhere, which I quickly added to the Aspect Duality post in late February (I should add the edit date in on that).
And while we were tossing the idea around, we stumbled on another set of even MORE important paired Light/Void terms that made me do an acrobatic pirouette off the fucking handle. I got permission to paste the conversation:
BOOTS: otherwise there might be other aspects that better fit what's going on
((does Light "Push" where Void "Pulls"? could that be it? no, that sounds more like Breath and Blood…))
((actually that might be really important to Breath and Blood, shit! wind pushes forward/outward, chains pull in))
TAZ: I think its pretty fair to say that its a nebulous and abstract reading where a lot of the evidence is hard to parse, like I said at the end of the post I definitely still feel like I'm missing stuff about Void
And I also agree that other aspects have a lot of room to play in this space and overtake Void in readings, primarily Heart and Blood in this context
BOOTS: ((and the "inescapability" of black holes carried Blood associations with other inescapable things))
TAZ: Indeed
TAZ: But isn't that part of the nature of Void? To be a subtle force that falls into the backdrop and lets other things more visibly take over?
BOOTS: you could call that descending into the Ocean, into the abyss over a cliff, into irrelevance; it's Descent, but not necessarily Gravi---
AAAAAAA
AAAAAAAAAA
AAAAAAAAAAAAAAAAAAA
TAZ: Well this is exciting
BOOTS: LIGHT IS ASCENT, VOID IS DESCENT
TAZ: Yeah, I can see that
BOOTS: there are so many fucking associations across the comic and I'm remembering so many of them oh my god
And that Gravity is wrapped up in this association as everything is naturally PULLED DOWN. The rest of the conversation is under the Read More cut where we started listing out more than a dozen freakin' examples to each other that show how UTTERLY PERVASIVE a theme this has been throughout the entire goddamn comic, from the start right up to and including the very latest update of Beyond Canon. (Contains HS^2/Beyond Canon spoilers if you're coming here from elsewhere, stop reading here if you're not caught up to the 2025-03-26 update!)
EDIT: (Just a brief note I'm adding to this above the cut, but a Discord friend just gave me ANOTHER association to add to Light and Void: Outward vs Inward, Light's outward projection the pair to Void's inward gravity!!! Shining Stars versus Black Holes! Void's Inwardness finally brings together its metaphysical ties with Heart and how the latter often sits isolated in the Ocean of Void like Dirk's house, the natural inward-looking nature of Heart-- compared to the outward-facing nature of Mind and its façades, tying Light and Mind together like Vriska and Terezi!)
TAZ: It might almost apply as a broad division to the upper and lower halves of the wheel in general, actually?
BOOTS: even in this LAST update they go UP to enter Canon
a black hole is always Down
TAZ: But I like it as Light and Void specifically right now, lets examine that
Yeah yeah
BOOTS: Looking at Light almost always entails looking Up, looking down is usually staring into the Void, with the exception of Derse players staring out into the Ring
mainly abysses and oceans with looking down
TAZ: Dirk's consumption by Ultself is described as him being subsumed into the Ocean/descending into its watery depths, while Rose outright says about hers "I am ascending, and it is terrible"
BOOTS: Rose begins her grimdark path by destroying her first (UPWARD) Gate and rocketing off elsewhere
and of course she's the prime example shown off by the comic of the Descend-before-you-Ascend of role inversion
TAZ: And Heart is on the lower half of the wheel with Blood and across from Void. So maybe there's something there
mmmhmm, mmhmm
BOOTS: it's been said even in like, Andrew's commentary outside the comic, that "Skaia is always Up"
it's never shown setting
TAZ: And of course they shoot the meteor Up towards the Green Sun
BOOTS: and the trolls see the creation-splosion of the green sun Up to direct them in Cascade--
yeah, exactly [what you said]
TAZ: Terezi's looking slightly Upwards as she remem8er's Vriska in [S] Remem8er
(Vriska) and (Terezi) staring Up into the Light of paradox space breaking
it really is all over the place, huh
for that matter, (Vriska) and Meenah looking Up into the fireworks as (Vriska) comes to the true realizations she does about how miserable it is to live the way Vriska and Lord English live
BOOTS: going against your hero role, Descending, is so often denying your true self agency and straying away from philosophical Truth-- after which comes the Ascent where you find and accept yourself
oh and by going into what's been constantly called HELL inside the Plot Point and then emerging out stronger, Vriska "descended" ala Dante's Inferno and then Ascended out of it
TAZ: indeed! indeed
Oh! Dirk and Hal's conversation on the rooftop!
Dirk sits on the side of his home and is literally staring down at both a long plummet/implied s*****e and literally into his Shades/his own Self
BOOTS: hell, if you wanted to make a pun of any love association, instead of gravity you could call it falling in love!
There's just SO MUCH MORE to this, so many examples of Light and importance and enlightenment and Skaia's philosophical truth being UP or involving ascent, where anything that drops or falls DOWN into the water or off cliffs becomes dislocated and its relevance unknown until it might eventually perhaps resurface unpredictably elsewhere. Tavros being driven down off a cliff by the Thief of Light to break his legs and stunt the playful drive he needed to become a fully realized Page of Breath, Aranea's snapped-neck body being dropped into the flames to fade into such irrelevance that she never surfaced post-Retcon, Vriska stealing all the luck/Light from the enemy creature in the first Meteor walkaround and it falling into a collapsing dark pit, so many people always going UP to reach concrete destinations, Roxy and others crashing DOWN through fenestrated windows and falling to reach the Furthest Ring, and of course there's always the Jung psychology stuff that was woven into Sburb (as I've reiterated in the past) and an essential metaphor for Descending into your shadow and Ascending from it to merge your shadow self with your conscious self for true self-acceptance and balance, like Vriska just did in the Plot Point, like the normal Quest Bed method of attaining God-Tier merging the Real and Dream selves and everyone looking Upward to see John RISE UP and achieve ascension: (From an older edit of the Wikipedia page for the Jungian Shadow--)
Nevertheless, Jung remained of the opinion that while “no one should deny the danger of the descent […] every descent is followed by an ascent”, and assimilation of—rather than possession by—the shadow becomes a possibility.
“We begin to travel [up] through the healing spirals…straight up.”
As I've said before, the game IS the psychotheraputic journey from start to finish, complete with the same monumental challenges, pitfalls, rejection and acceptance (of help and of oneself!) that all sorts of different people must confront in order to simultaneously fully appreciate and become themselves, and also become the people they truly want to be. Skaia's Light and the path it guides players on thus represents a journey to one's philosophical enlightenment about oneself, their ASCENT, and the challenges and misleading dejection that causes them to reject this journey and fight against their natures is DESCENT, so often involving the Horrorterrors who embody the essence of Void in nature and motive.
Gosh when you think of all the times "UP" or "DOWN" has been the focus of major or even offhand scenes or panels, there's just SO MUCH that fits them into Light and Void respectively. I couldn't possibly begin to list all the examples, you're probably noticing more in your mind as you read this post.
--
I'm going to integrate this Ascent/Descent meaning into the Aspect Duality post's sections on Light and Void, and link this post there, but before we finish I wanna delve into the potential Gravitation meaning of Void that optimisticDuelist brought up and reasons I might agree or be skeptical of the ties drawn in their post... especially stemming from this Rose quote they included:
That seems to tie Void pretty inarguably to Gravitation, or perhaps the vacuum pull of nothingness, but because I didn't have a clear counter-meaning in Light I wanted to look up the full context of this quote when I made this post... (readmspa.org is a very useful tool while Homestuck.com is down and mimics the old manual search function)--
ROSE: Or what about, the tale of Isaac Newdon under the tree?? He was BONKED on the head by an apple.
ROSE: Not reallyan apple though… an atomic idea. An emlemental unit of inspripation itself, id clocked him right on then noggin.
ROSE: And this indivisible notion colliding with hish awareness, much like.. . a high speed partical fired to create a nuculear chain reacation, jarred from the void a more profund unnerstand, HIC, ing of the intrinsic nature of nothiness. Thatis,. Gravivitation.
ROSE: Of course thess stories are acutually bullshit. They didn't happen in realaity. But thef act that they'rare bullshit makes them more inshresting.
ROSE: Men have crefted many stories that are bullshit out of symbols risen from the abyss of coinsciousness withou necesharily knowing whath e fuck they were doing or saying, as they flounered around for some truth.
ROSE: Bust in spite of themseleves they would for howefer briefly cross through a ray of light regarless. Becuss of the sbymbols. Dave.. The symbols hol dall the power.
Taz also mentioned that a commenter in their server pointed out that this Gravitation quote and the reference to a high-speed particle collider could also be an intentional reference by Andrew to the Graviton, the theoretical elementary particle responsible for mass and its gravitational force that has so far not been detected/discovered yet, remaining obscured (Void) compared to the particles tied to the other elemental forces.
Black Holes ALWAYS had strong ties to Void, the ultimate sinks for the destruction of information, ultimate darkness, (ultimate Down/descent), the compression of all meaning and separation into a melange forever irrelevant to the rest of Reality beyond one's Event Horizon (thanks @sagaciouscejai for the reminder). And in the Epilogues forward, "Non-Canon" belongs to the great Black Hole and everything that falls nigh-inescapably into it-- as opposed to Canon's comparative association with Light and story importance. But, hm... if Void is "down" and "descent" and the "abyss of [Jung's collective] consciousness", to what extent is it important as "Gravity" specifically, as well? Or is that just tied to the fundamental concept of "down" in the comic's metaphysical framework? Taz mentioned Dirk linked to gravitation to tidal forces too, hence the Ocean which is Void-linked. Does Gravity have a balancing opposite in Light that I can put into keywords besides "Up/Down" or "Ascent/Descent"? And if it DOESN'T have a balancing concept in Light... could Gravitation be part of Void's tie to Space that explains them as neighbors, a shared domain that Space and Void might possess?
In the end I think I'm positive toward Rose's speech and the fact of Black Holes (as well as "DOWN/DESCENT") establishing a definite tie between Gravity and Void, but where I'd disagree with Taz is how over the rest of their original post they pointed to "succumbing" to toxic influences and generational trauma as a sort of Gravity, which I'd disagree with and say has more to do with Void's existing and known "submission and divestment of agency" associations, as well as Centrality coming from it (which I'd have to reconcile with Light's "Location" meaning) not quite adding up for me, and Love as stemming from Gravity which I really don't think has enough in-comic evidence tying the two together. If we eventually deduce that Love has some Void associations-- and the Void characters we've met have certainly been more than a little Love-obsessed at times-- I expect that any association would have to stem from Void's other established meanings such as the submission of agency required by a relationship as opposed to making all the decisions yourself (Light's agency) and hogging the spotlight, like the contrast between Vriska and (Vriska) toward the end of Homestuck proper. There's more to lime-bloods's post that I haven't given enough thinking time to, like Voids always being the central seeding-place for new creation like a Womb, which would ALSO explain its proximity to Space on the official wheel... but, yeah. Those are all my in-progress thoughts on that for the moment, anyway. ((EDIT: "Outward vs Inward" like I mentioned above the cut finally completes the Gravity association!))
I'm still blown away by how clearly Light and Void can mean "UP and "DOWN", can mean "ASCENT" and "DESCENT", that's... just such a blindingly stunning revelation for us to have come to so late, IMO. I bet there's half a dozen theorists out there who put it together AGES sooner and I just never saw their posts. Wow. :D
