rue is, i think, in love with the idea of love.
they set a wager. the lords of the wing will find true love in this romantic, ephemeral bloom, if they only seek it. they can win it, as though it’s a game.
they long to abolish the courts. their own court has never held any love for them - why would any other court be different? a court stifles, a court smothers, a court suffocates love. the courts must be abolished, so that love can bloom. true love, love that is unfettered by politics, or station, or duty.
they are the architect of the bloom. the hunt, the heart. the dance. the potions. they will pour love into a cup and the guests will drink their fill. fae from across the realms will fall in beautiful, perfect love at rue’s hand.
they have become the arbiter of love. when an engagement between a cruel prince and a wild goblin is set, what else can they do but judge it unfit? it was not love, it was not true.
they share a moment in a forest with a venerated captain. he is tall, as they are. he is clawed, as they are. he is a beast, as they are, and so beautiful for it. they fall fast, and hard, and heavy. and perhaps it is only the nature of queerness, of a life lived behind a mask, yearning for the faintest spark, that causes them to love so fast.
or perhaps they did not truly fall in love with hob at all. for they did not see him.
they fell in love with a reflection of themself.
except, of course, that hob is not a reflection of rue. hob is his own person, and like any real person, he cannot live up to an idea. and while rue is on a wonderful journey of revelation and self acceptance, it is baffling to them that someone else’s love does not always mirror their own.
rue, in an act of bravery and vulnerability and hope, removed their mask. and they long so very much to remove hob’s - but he has never worn a mask. he has always been exactly as he is - a soldier, devoted and dutiful. an outsider, used and abused by his court. rue’s true form was hidden by their court, while hob’s otherness has always been mercilessly exposed.
rue loves hob for the idea of who he could be, if he could simply unmask as they did. but hob needs, just as rue does, to be loved for who he is.
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"Talia can never be redeemed and her romance with Bruce can never come back because *falls for Grant Morrison's/DC's extreme racism towards asian and arab characters in the 2000s/2010s"
Yeah, sorry, but shut the hell up. It never fails to astound me when DC actually tries to fix the mistakes they made with Talia/the al Ghuls in general these last two decades and the fans manage to be even worse than DC by clinging to the blatant racist/sexist writing of the past instead of embracing the turn for the better.
"But she did this and that!"
She's a fictional character in a fictional universe that is aware that it goes through continuity changes/retcons. What Grant Morrison did to her character was a a complete retcon of her 30 year history and characterization with zero respect for her. Why am I supposed to take Morrison's bullshit as gospel and reject any attempts to fix her from writers who know better?
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I keep thinking about Hell's words: "This is the only way it should have ended."
Should. Not could. *Should*.
Like V1 should have been mass produced, obliterated all the Earth Movers, and then the next machine should have come along to counter it in turn and continue the war. Like all that fighting and the cycle of violence should have been perpetuated.
Like Mankind should never have finally gotten their act together, and tried to continue on even in the absence of divinity and in the face of total climate collapse.
There's a notable difference between 'could' and 'should', and the fact that those words are spoken by the only one who would've been *extremely disappointed* by this outcome has me raising eyebrows.
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since apparently in 2024 I’m just saying stuff
I do not want fictional characters to go to therapy.
therapy is a great way to begin to see yourself more clearly, to pinpoint the ways you’re self-sabotaging and make changes which will allow you to strengthen and deepen your relationships. and obviously, we here at redemption.com want to see our favorite characters do that. after a while a character with no self-awareness starts to grate; we usually want them to figure out what they’re doing wrong and have some positive forward motion.
however. therapy is not the only way to have these epiphanies about yourself, or the only way to learn a new way of living, trusting, being a friend. sometimes a series of coincidences will put you in the one situation which will throw a mirror up in front of you and allow you to see and recognize yourself. sometimes you meet just the right person at just the right time who will love you in such a specific way that you’ll realize how wrong your old understanding of love was. it’s less purposeful and less sustained a method of growing than therapy is, it’s more of a winding road with occasional lightning strikes.
and I don’t know how to explain why I only ever want to see characters growing in this way, except to say that when they aren’t, then precisely what you’ve failed to create is a cohesive story. at best you have a story going on while the character privately sorts out their issues at the same time, with themes and climactic moments occurring in neat parallel. (I think Ted Lasso does something like this in season 2.) at worst, you don’t have any story at all, you have a character study in the form of a soliloquy, which happens to be delivered to a therapist. (a lot of fanfiction is like this.) it might be a very good character study! but it’s not a story.
it seems to me that fiction should be a window into the way we can learn from our experiences in the world and from our relationships with others, by being open to seeing ourselves anew and being open to change. and I’m not saying I want all the supporting characters to therapize the protagonist. I’m saying I want my protagonist to listen to the supporting characters and glean the truth of what they say as if they were a very good therapist—even if what they say is delivered in an incomplete way or in the middle of an argument. I don’t want an oracle to appear and point-blank tell the protagonist their fatal flaw. I want the fatal flaw to become exquisitely, inevitably clear in a moment of terrible dramatic irony, when the knowledge seems to come too late. and personally, I want this to happen always in the most dramatic way. I do not want my friends to reach rock bottom in order to start learning and changing. I do, sometimes, want to see fictional characters reach rock bottom. why? well. because there’s a story there.
I don’t just want to see characters changing. I want to see a story about characters changing.
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Has anyone made a proper execution of the concept of a teenage “boy” (egg) who gets chosen to be a magical girl and that’s how she comes to terms with her gender. It just feels like such an obvious and good concept what with the gender affirming transformation sequences and all other typical gender shenanigans. And what better reason for a magical girl to need to hide her identity than her non-magical form being a closeted trans girl.
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It's mostly the fault of @loveliesblood, because of course it is, but we had this discussion yesterday about the thought of Vegas being drunk out of his mind, and instead of being depressed or more self-destructive than usual, he just gets incredibly sappy.
Like, imagine him being wasted and cuddling Pete, pinching his cheeks as he frowns in his attempts at seeing his face more clearly because the image is too blurry, all while Pete is trying to move him to the bathroom or to their bedroom. Vegas calls him boyfie or something similar in English, and Pete is so flustered and soooo confused and he has no idea how to handle a Theerapanyakul who won't punish him for being left to drink this much. And of course, there's also Macau behind them, whining and gagging and asking his hia to stop being so cringe, all while helping Pete take care of him.
(He honestly wants to cry by how happy he feels seeing his brother like this, but he'd rather die than admit it).
AND, obviously Vegas wants to kiss Pete, and keep kissing Pete, but Pete has to stop him because "your breath smells, Vegas," which makes Vegas get upset because "I'm sorry, I kissed you when you hadn't brushed your teeth in days, do you not love me?"
Pete can't answer the question, so he just lets Vegas do what he wants. He'll have forgotten about this in the morning anyway.
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