#also the fact that some of the same people who gave us the superhell clusterfuck is FASCINATING to me

[pandorem]

Obviously going feral over the Orpheus and Eurydice quote but also can’t get over the fact that Orpheus and Eurydice are real people in this universe. Like Orpheus is literally Dream of the Endless’s son. I don’t have anything insightful to say about it, even via stories repeating and reiterating and that being such an important theme in the Sandman universe and how some truths become stories and some stories are more than true etc etc.

Also now just thinking of Hob mentioning that people have given King Lear a happy ending and Dream saying that it won’t last because all the great stories will return to their original forms (Shakespeare was actually the one to change it to a tragedy, and yes Neil knew this when he wrote that line). Still nothing coherent to say, just about how Charles and Edwin beat the odds and just how much of Dead Boy Detectives is like… a rejection of the queer tragedy we’ve grown so used to. Saw some people groan and comparing it to the mess of Supernatural and superhell etc which is wild to me because it feels like a conscious commentary and rejection of it.

Like. Simon and his internalized homophobia landed both him and Edwin in hell and its both made clear that the in universe reason that they were there is not because they were queer but because of the ritual sacrifice/prank, but that the symbolic and writing reason is because of the internal and external homophobia that the world subjects them to, and it is Simon and Edwin recognizing each other and Edwin saying that the way they are does not mean they deserve to be there, that it doesn’t have to be torture, that gives Simon the way out of hell. It isn’t Edwin confessing that sends him back, a demon interrupts him from confessing. Edwin has to confess at the door back to freedom so he can leave all of that internalized poison behind him back in hell where it belongs.

This post got super away from me and maybe I’ll actually write something coherent about all of these themes one day but yeah. Charles and Edwin at the gates of hell defied the trends of two tragedies, one very very old, and one that (while building off of tragic stories that have been around for ages) is far more recent