1. The convergence of comics, animation, and gaming in Homestuck Vyshali Manivannan Rutgers University School of Communication & Information Illustration, Comics, and Animation Conference 19–21 Apr, 2013 @vymanivannan // visforvyshali@hush.com

12. King’s Quest (1983), Sierra On-Line.

14. McCloud, S. (1993). Understanding comics: The invisible art.

15. Attention Economies Modes of multimedia consumption, particularly the Internet, compel switching between cognitive modes of consumption and cognitive mapping (Hayles, 2007, p. 187-189): Deep attention: lengthy, uninterrupted focus on one artifact Hyper attention: rapid attention- switching between information streams

17. [http://www.mspaintadventures.com/scratch. php?s=6&p=005769]

27. [http://www.mspaintadventures.com/007680/ 007680.html]

28. [http://www.mspaintadventures.com/scratch. php?s=6&p=005980]

29. [S] Descend. [http://www.mspaintadventures.com/?s=6&p= 003840]

30. [S] Dave: Ascend to the highest point in the building. [S] Seer: Ascend. [http://www.mspainta dventures.com/?s=6& p=002565] [http://www.mspainta dventures.com/?s=6& p=005644]

36. [S] Attempt rare and highly dangerous 5x SHOWDOWN COMBO. [http://www.mspaintadventures.com/?s=6&p= 005985]

37. [S] Seer: Descend. [http://www.mspaintadventures.com/?s=6&p= 005595]

38. Alterniabound [http://www.mspaintadventures.com/?s=6&p= 004692]

41. References Aarseth, E. (1997). Cybertext: Perspectives on ergodic literature. Baltimore, MD: Johns Hopkins University Press. Baggett, P. & Ehrenfeucht, A. (1981). Encoding and retaining information in the visuals and verbals of an educational movie: Technical report No.108. Institute of Cognitive Science. Brennan, T. (2004). The transmission of affect. Ithaca, NY: Cornell University Press. Cohn, N., Taylor-Weiner, A., & Grossman, S. (2012). Framing attention in Japanese and American comics: Cross-cultural differences in attentional structure. Frontiers in Psychology, 3: 1-10. Goolkasian, P. (2000). Pictures, words, and sounds: From which format are we best able to reason? The Journal of Psychology, 127(4): 439-459. Hayles, K. (2007). Hyper and deep attention: The generational divide in cognitive modes. Profession: 187-199. Horrocks, D. (2004). The perfect planet: Comics, games and world-building. Retrieved from http://www.hicksville.co.nz/PerfectPlanet.htm Hussie, A. (2013). Homestuck. Retrieved from http://www.mspaintadventures.com/ McCloud, S. (1993). Understanding comics: The invisible art. New York, NY: William Morrow Paperbacks. Moulthrop, S. (2008). Watchmen meets the aristocrats. Postmodern Culture, 19(1). Ngai, S. (2012). Our aesthetic categories: Zany, cute, interesting. Boston: Harvard University Press. Rugnetta, M. (2012). Is Homestuck the Ulysses of the Internet? [video]. Idea Channel. Retrieved from http://www.youtube.com/watch?v=MLK7RI_HW-E Shaw, I. & Warf, B. (2009). Worlds of affect: Virtual geographies of video games. Environment and Planning A. Retrieved from http://www.envplan.com/abstract.cgi?id=a41284 Scott, Jason. (Director). (2010). GET LAMP: The Text Adventure Documentary [Motion picture]. United States: Creative Commons-Attribution-Sharealike-Noncommercial License. Retrieved from http://www.jesperjuul.net/ludologist/get-lamp-the-text-adventure-documentary Tomkins, S. (2008). Affect imagery consciousness. New York, NY: Springer Publishing Company LLC. Underwood, G. & Green, A. (2003). Processing the gist of natural scenes: Sentence verification with intrinsic and extrinsic configurations of objects. Cognitive Processing: International Quarterly of Cognitive Science, 4: 119-136.