#ruby metas

[dandelionjack]

that and COVID denialism, obviously, which i somehow managed to miss despite *this* plot point below

UNIT aren’t always cops. they’re a nebulous enough fictional organisation that they can be whatever the show wants them to represent. in Lucky Day, they’re the NHS, the WHO, and they’re climatologists.

[aletterinthenameofsanity]

in addition to subjects that other people have already covered thoroughly and much better than i ever could (the handling of race, the antiblackness of rtd's writing, the misogyny, the weirdly bioessentialist handling of gender, etc.) i just want to step in and say that rtd's treatment of adoption is also fucking vile. what do you mean that ruby spends an entire season searching for her "real" mom as if adopted parents aren't real parents. what do you mean that carla abandons ruby in three separate timelines. (i can't even make the "if i had a nickel" joke because it's happened three separate times.) why did rtd elevate the mythic biological white mother at the expense of a black woman and decades of her love and choices and agency. the timeless child arc was literally described by chibnall as him grappling with his own feelings of being adopted (which, as someone who is adopted myself, are complicated and messy, i'm aware). why did you take the found family show about the doctor's extended "fam" and adoption and choosing a family and then babytrap a woman who didn't want kids and then constantly denigrate the woman who decided to adopt a child, one of the most powerful choices that someone can make. what the actual fuck rusty

[mwagneto]

like seriously belinda being forced to lose sight of all her goals and become a mother is a horror movie right???!! literally the entirety of ep7 revolved around the horror of 1950s forced heterosexual suburbia and then ep8 is like yeah belinda has ceased to exist as a person and her only interest now is this random baby that she wants to mother more than anything. the programming of conrad's world fully clinging to her the entire time and then when 15 "resets" the timeline it's extremely uncanny how she rewrites her entire story so it was always about the baby and her motherhood. not to mention whatever 15 did almost definitely full on erased ruby from existence. extremely unsettling episode please please can we please get belinda out i'm shaking

[miraculousagentsofkrypton]

I've been thinking about semblances and what they show us about the characters. Many of them are straightforward: Blake had a tendency to run, Yang uses beatdowns in her life to motivate her to be stronger and doesn't show that she feels every inch of the pain, etc.

And then there's Ruby. The way the show approaches her semblance is unique and so fascinating. Ruby has the ability to break herself down into tiny pieces, which allows her to bear a lot of weight and make it through and past things she otherwise couldn't. Gee, I wonder what that might represent. Ruby, the queen of giving up pieces of herself in order to bear the weight others struggle to hold: having a semblance where she molecularly breaks herself down and it allows her to carry her entire team at once. Then there's the fact that she turns into Rose petals, when all she's wanted all her life was to be like her Mother, Summer Rose. And in trying to do that, she also breaks herself apart and tries to rearrange the pieces to fit.

All of that makes sense, but what I adore about the writing in this show is the fact that Ruby didn't know this was her semblance until Volume 8. Up until Ruby's breaking point, every single person thought Ruby had a speed semblance. She was enthusiastic and energetic, why wouldn't she?

Surely there's no need to look any further. Ruby doesn't get weighed down despite all the struggles. She's such a good leader. She's totally fine. She just has a speed semblance, and nothing more to it. There's nothing wrong with how she has been handling everything that is happening.

Just like how no one truly saw past her mask throughout all the series, no one thought to look deeper into her semblance either. Not even Ruby understood her semblance or all that she was doing to herself.

The only one who did? Who saw Ruby as she was? Who also figured out what she does? Penny.

Anyway, astounded by the depth to this show. Despite its flaws, it is a work of passion, and it shows.

[matt0044]

Frankly, RWBY is my go-to example of men who write female characters with little to none of the usual pitfalls. Even when they may, there's one element that keeps its head well over water:

The female cast being so extensive as it is.

DireGentleman put it well here but a too common element of certain stories has been that they'll have a few or one female character amongst their sausage fest of a cast. Few of these cases are active intent on the author's part but it does speak to a "male as default" pitfall that is very much rendered invisible by a sphere of normality.

As such, you'll get female commanders in armies where the troops are all shown as male (@swan2swan made a few posts on the "female Stormtrooper" problem) for one and, for a classic example, one female character amongst an ensemble of boys.

Sometimes she's one of them and other times she's an April O'Neil to their Ninja Turtles, a normie to their extraordinary lives. Either way, there won't be much in the way of gender diversity. Especially if it's based on a toy line that subscribes to the "boys or bust" mentality that would rather kill off a profit that pivot.

But that's been dissected better in other posts...

Thankfully, RWBY was created first and foremost as an animated story project before the thought of merchendising was considered since RT wasn't super-duper confident it'd stick. Now it has firmly supplanted Red Vs. Blue as Rooster Teeth's flagship animation (the latter gearing up for its final season even).

This frees it from the shackles of heavily corporatized media that would prefer a toyetic show have a male prescense in the story or one where the female prescense is... palatable.

No character has to be the token girl who's either super bubbly and awkward or super stand-offish before the right guy comes along or rather reserve until the right guy comes along or one of the boys until the right- okay, I've made my point.

And it goes beyond the main cast as there's a smattering of girls and boys among the ensemble so it never feels like they were tacked on when the writers realizes, "Oh sh*t, forgot the estrogen," by Season Four or something.

If anything, Jaune is the token girl but genderflipped. He has healing powers. He has an arc but it all ultimately comes back to the main girls for the bigger plotlines. He's often the normal one that balks at the eccentricities of the girls and their shenanegins.

I mean... HE GREW UP WITH MANY SISTERS AND NO BROTHERS. Does that cliche not ring a bell.

Basically... Jaune is what I feel is the Sakura Haruno of RWBY if I may be so bold.

[humanstein]

Be careful where you step.

It has to mean something.

[tardis-technician]

I’m probably the last person to notice this but I loved it so much I had to write it down. One of the original issues I had with 73 Yards is that, in the beginning, we see Ruby very quickly give up on waiting for the doctor. We’ve established they’ve known each other for at least six months, unless we’ve jumped backwards, so it felt very strange to me.

Then I realized it kicks off the theme of the whole episode.

Ruby’s been traveling with someone for six months who clearly loves her, but is ready to accept at the drop of a hat that he’s just up and left her, and she’s not even mad at him for it. Any other companion would’ve assumed something bad happened to the doctor and/or would be pissed at them for disappearing. The fact that Ruby walks away so quickly and without complaint says a lot about her character and her struggles with abandonment and self-worth. The more I think about 73 Yards the more I really like it.

[theanxiousbookdevourer]

Disco Elysium spoilers ahead.

One of the best things about Disco Elysium is the way in which it talks about having community, love, and support—or, perhaps more importantly, about not having it.

But you don't have to be alone. Not forever. Even we learn this, somewhere along the way. Take this interaction with The Pigs.

And then? What do we, a sad, lonely man, say to that?

I find myself thinking of our interaction with Tommy Le Homme…

… or even Idiot Doom Spiral.

What if you don’t have anyone, though? What if, rather than finding your way through your troubles, or making a family out of the people you have, you instead decide to turn away from the world?

That’s what happens with René.

It’s what happens with The Deserter too.

We see how that loneliness affected them. How it killed them, day by day. And how it doesn't have to be that way. How you can change.

This is a game about lonely people. Maybe one for lonely people too. And because of it, because of its community, we don't have to feel alone anymore.

[sophthebof]

Something I love so much about team RWBY, aside from the fact that they are all best friends and basically literal soulmates, is that they’ve all seen each other at their absolute worst. Ruby when she finally snapped and broke down in volume 9. Weiss throughout volume 1 when she was still being kind of a bitch and hadn’t gotten past her learned prejudices about the Faunus. Blake for a long time when she was closed off and kept running away and was unwilling to just talk to her team (for understandable reasons, from her perspective). Yang when she was angry and impulsive and kept acting without thinking, especially after she lost her arm. They’ve all seen each other throughout all this and never loved any of the others any less. That’s what makes them so special to me

[chaikachi]

"Look, whatever you're thinking... do me a favour. Don't let me go."

rosegarden transistor au because them being separated in canon isn't enough. i need to make them yearn in alternate universes too, apparently.

[puddingbrainscientist]

the “show within a show” theory continues!

y’all remember how in space babies, the ship created the bogeyman because there’s supposed to be a monster?

rogue fits an archetype just a little too well. he’s smart and witty and full of bravado and clicks with the doctor instantly.

a lot of us had the theory that rogue was secretly jack harkness. and the thing is, he still basically is. he’s the archetype laid out by jack. doing some sketchy work, flirty and angsty, changes his heart and sacrifices himself at the end. and how many american accents do we hear on doctor who anyway?

so maybe space babies was designed mimic to the end of the world. and rogue was designed to mimic the empty child/the doctor dances (also! the doctor danced!)

maybe ruby is supposed to be the prototypical companion, be quite a bit like rose and clara. maybe rogue is supposed to be like jack.

maybe this new “season one” is supposed to be like 2005 season one.

it’s not little references meant to make you think of the past, this is an act. this is cosplay.

[dandelionjack]

We Invest Things With Significance, or: Why Sutekh Isn’t Sutekh, But Death Itself. alternative title: Fear Is the Mind Killer.

the Doctor Who Series 14/1 thesis statement

i don’t think that sutekh has literally been attached to the TARDIS since Pyramids of Mars. i think that the salt at the edge of the universe — the grievous mistake that caused all myths to become a reality — was what made him appear. and he’s not the same character as sutekh the osiran, a powerful alien that delusionally believed himself to be a god. he *is* a god. nuwho-Sutekh is Death Incarnate.

ergo, this version of Sutekh is the literal psychic manifestation of the Doctor’s deep-seated, guilt-motivated fear of the idea that his arrival brings death wherever he treads. this death-anxiety was turned into a physical presence, haunting the TARDIS all through the Doctor’s timestream, because of the salt. that’s the reason why the Doctor didn’t spot any Susan Twists before Wild Blue Yonder…

there are two timelines in Doctor Who — relative time and universal time. universal time is the history of the universe. relative time is how the Doctor experiences it. in universal time, Sutekh has supposedly been hitchhiking through the vortex for millenia. in relative time, he has only been doing so since Fourteen accidentally invited myths back into the world.

the Doctor was insecure and afraid and believed the above quote (from the very first episode!! spoken by the very first named character in nuwho to die on screen, no less!) to be true. but until WBY it had only been true on a symbolic, metaphorical level. myths, legends, concepts and stories becoming real after the salt caused the Doctor’s anxiety about being a death-bringer to take the shape of a black dog — a universally recognised symbol of death — wearing the name and voice of his most formidable enemy, Sutekh.

in a way, this plotline mirrors The Woman from 73 Yards similarly being a manifestation of Ruby’s worst fear — that of being abandoned by everyone she loves for something intrinsic and incorrigible inside her that she cannot change. Ruby fears being left completely alone, so “The Woman” causes everyone in her life to leave her. the Doctor fears that his coming always heralds mass destruction (“maybe i’m the bad luck”), so “Sutekh” makes sure that the TARDIS literally becomes an altar of death.

ever since Wild Blue Yonder, stories in doctor who have become sources of immense power. the worst, most potent stories we tell ourselves are the lies that our sick brains whisper to us — secret anxieties that we’re not good enough, that all our loved ones will inevitably leave, that we carry nothing but bad luck in our wake. what better clay to mould a monster from than the protagonists’ own neuroses?

and if anybody’s still in doubt, here’s the plain text, all laid out below:

we invest things with significance. that’s what the salt at the edge of the universe really meant. that’s what almost every episode this series has been about, thematically — the imaginary kastarions, the cosplaying chuldur, the bogeyman written into life because kids need a scary story. myths become real to us because we believe in them, love and death and monsters too.

[one-real-wrimonkey]

Taiyang Xiao Long is a bad parent.

Tai is a pretty bad dad. Not Jacques Schnee, but there’s some real issues to be considered. Some of his reasons for this are understandable, not necessarily his fault and it doesn’t make him a bad person, but it does make him a bad parent. And yes he loves his daughters and they love him, but that doesn’t mean he wasn’t not a bad parent.

For one: the parentification of Yang.

When Summer dies he is paralysed by grief. It’s said he just shuts down, and this does happen. Grief does that and hits different people differently. None the less, Yang was younger than ten and looking after herself, Ruby and probably him as well. Not to mention she sneaks off with Ruby to find Raven and they would have died if Qrow hadn’t saved them. Yang was left picking up the pieces after Summer died.

Yang still has trauma from this, and from (as is implied) continuing to be a key figure and parent in Ruby’s life. Ruby mentions several times that Yang raised her (as well as them both referring to Qrow as a role model and mentor more than Taiyang). Yang did a lot of raising herself and raising her sister when she was a child herself. Its very heavily implied that even once he was past his grief, he had stepped back as a parent and was very busy with his teaching.

Again, and I cannot emphasise this enough, it’s not necessary his fault and it doesn’t make him evil, but it still had impacts on his kids that lasted to adulthood. It was still bad parenting.

For two: staying in Patch.

This one annoys me more.

When Ruby left to go to Haven and he didn’t go after her, that made sense, Yang still needed help and Qrow was able to go after her. Fine.

But then Yang left. Yang went after Ruby and Qrow, and he stayed behind. Knowing about Salem, knowing what was at Haven, knowing what was at risk, he didn’t go after his kids or help, he stayed behind. Despite having been a part of Ozpin’s inner circle, despite knowing what these kids, his kids, are heading towards, he stayed at home.

And before anyone says ‘he’s retired’ or ‘he’s a teacher’ it’s mentioned he was a teacher and it makes sense that Summer died he chose to stay home and be with the kids. However, once the kids are both at Beacon he starts taking missions again. And this is fate of the world stuff. He could have gone with them, but he stayed in Patch with his gardening and his sunflowers. Yet again, it seems he’s happy to leave his kids to manage themselves, this is a reoccurring pattern.

In conclusion:

He loves his daughters, and they love him. He tries to do what’s best for them, however, his actions had a lasting negative impact on his daughters. He neglects them in his grief and leaves his eldest to raise his youngest and it’s suggested several times that even when he recovers from his grief, this pattern of behaviour continues. He is a good person, a huntsman, and loves his kids, but he’s still a bad parent.

And it makes him a very interesting character. I think this is better than a two dimensional ‘good parent’. It drives and influences Ruby and Yang as people, somewhat influences Qrow, shapes all their relationships. It’s a very real, messy family dynamic.

TLDR- he loves his kids but his actions negatively impact them in ways that last into adulthood. They’re a messy family, they do love each other, but even considering outside factors, the end result is that he was a bad parent to Yang and Ruby.

[mwagneto]

why i think 15 shifting the timeline erased Ruby:

there's nothing explicit but Ruby's absence already felt Extremely pointed for the entire ending (notice how Belinda says she was at unit and then the doctor randomly disappeared so she went home, no mention of Ruby), and then when they're outside 15 starts walking away and Belinda calls after him and the music distorts slightly as she asks "why does it feel like there's something I've forgotten..?" and 15 agrees. it's pretty vague but combined with how there's no mention of Ruby anywhere, I'd say the timeline shift had the consequence of erasing Ruby (who's also been shown to be the only person capable of remembering the other timelines)

[miraculousagentsofkrypton]

We all know the Jinxy Peddler's requests weren't arbitrary and were deeply individual. But what that actually means is that the auction scene is just an insanely good character moment.

We know of three requests to humans: Alyx's best and worst memories, Ruby's hope, and Yang's ability to know what it is to feel loved.

Given Ruby's, we know it doesn't necessarily have to be something they currently possess. I'm fairly certain its the thing they treasure and desire the most. And it's a thing they know what it means and feels like to possess. The absence of giving it away wouldn't be theoretical because they *have* possessed it at some point.

So what do Ruby and Yang's tell us then.

Ruby's greatest desire was Hope. This isn't a circumstantial type greatest desire; this has been the thing Ruby has Desperately Clung to the entire series. She's clung to it for herself, but also to be a source of it for others. She's Always been Intimately aware of the fact that Hope is the Single Most Important Thing a Hero and a Huntress Team Must Possess.

For all that Volume 1 Ruby was inexperienced, she wasn't naive or dumb. And her life hadn't been free of hardship. Her perspective was a choice.

And more than anything, Volume 9 Ruby needed her Hope back. And we all know Penny has always been a metaphorical representation of Hope for Ruby

Yang, more than anything in the entire world, covets the idea of being Loved. Love in this case isn't necessarily romantic, just the need to know someone cares about her just as much as she does them. The thing is, one doesn't deeply desire that feeling to that extent unless they feel it's absence. And Boy, has Yang felt its absence.

Every Single Person in Yang's Life has left her at some point, only some of them returning to her. Raven abandoned her, Tai emotionally abandoned her, Summer died, Qrow certainly wasn't a constant, Ruby left, Blake left, even Weiss technically. Where Yang has been a constant for everyone she loves, they haven't for her. (The semantics of Ruby and Yang's semi-mutual separation aren't relevant for this. This is Yang's emotions, Exact Logic has no place here.)

People keep doing this over and over despite Yang's best efforts, and lovingly devoted ways. And I wonder if Yang had truly felt that knowledge that she is Loved, since Summer died. Remember, it wasn't being loved, it was knowing what it is to feel loved.

Yang is so so loved, by many. But she so desperately wanted to feel loved, and to feel secure in it.

[misstrashchan]

The Little Prince and the Ever After

So it was confirmed a while ago that Oscar's allusion is the Little Prince, which many Oscar fans and Rosegarden shippers in particular where theorising back in V6, with Oscar's crush on Ruby Rose being proof that she was the Rose that the Little Prince loved and cared for. Both @conehatcryptid and @chaikachi have written wonderful posts about Oscar's allusion to the Little Prince here and here.

However, after V9 I'm inclined to think both Ruby and Oscar interchangeably play the roles of the Little Prince and the Rose, in much a similar way that Blake and Yang both interchangeably are the Beauty and the Beast (Blake's surname means beautiful woman, and she likes to read like Belle, but she is also the Beast who wishes to redeem themselves, and is a literal Beast as a faunus "black the beast descends from shadows". Yang is introduced as the "yellow beauty burns gold" and wishes for a life of adventure like Belle, but she is also the Beast, being left by their Beauty and having a fiery temper).

This is in part theorising/speculation, as V9 obvious main allusion is Alice in Wonderland, and the similarities I see maybe coincidental, since both stories deal with similiar themes. Both stories have a child that travels to strange lands to meet characters that represent the misgivings and absurdity of adult society and the pressure to conform to these as you grow up, and the confusion as to who you are and should be that follows.

Alice's journey to adulthood is a path that takes her from a confused child changing size and unaware of her true identity to an assertive girl scolding the immaturity of the Mad Hatter and ends with Alice being brave and confident enough to confront the Queen of Hearts.

The Little Prince's story is about the importance of reconnecting with your inner child as an adult/someone growing up.

"No! I will grow up, but I'll never forget about being a child!"

In V9, Ruby must grow into an adult like Alice does, but also reconnect with her inner child as she does so like in the Little Prince.

RWBY is known for its multilayered literary allusions, and Oscar, the Little Prince, does introduce us to the story The Girl Who Fell Through the World in V8, which is Remnant's version of Alice in Wonderland. Not to mention Ruby and Oscar's arcs are intentionally foiled, so maybe it's not coincidence. It's entirely possible with how V9 also appears to be following the story of the Little Prince too. While Ruby is in the Ever After she travels through the different acres like the planets the Little Prince visits, meeting similar characters.

She is confronted with the question "what are you" on an existential level:

Little: What's wrong?

Ruby: Have you seen other people- humans- like me?

Little: Exactly like you?

Ruby: No, not exactly like me. We're similar, but different.

The Little Prince:

"Good morning" he said courteously.

"Good morning--Good morning--Good morning," answered the echo.

"Who are you?" said the little prince.

"Who are you-- Who are you-- Who are you?" answered the echo.

"Be my friends. I am all alone."

"I am all alone-- all alone--- all alone" answered the echo.

She meets Little (as in "Little Prince" as well as "Little Red Riding Hood" and "Alice Liddell") who is meant to symbolize Ruby's inner child, as the Little Prince reminds us of the inner child we have forgotten as we grow up. Both Ruby and Little "die" in a sense as the Little Prince does, but ascend and come back.

In fact the whole way ascension is described in the Ever After is on par with how the Little Prince and the Snake describe how they will leave their body as an empty shell behind to go back home, being "called back" home to the Tree.

"It'll look as if I'm dead and that won't be true, this body is simply an empty shell, I can't take it with me"

Purple Paper Pleaser: Then, the wisest of our village suggested breaking from our physical forms, so that the winds may carry us back to the Tree.

...Which leads me to how the Curious Cat and Neo are both the Snake who convince Ruby/the Little Prince to "die".

We get Cats and Snakes being linked together early on in the first episode of v9:

Mouse Leader: You have our sincerest apologies! Please understand that our kind is a bit skeptical of cats… and snakes… and cats.

This stuck out to me considering this is foreshadowing of the Curious Cat being the main antagonist of the volume, but we don't ever see any snakes in the Ever After.

The Curious Cat's first appearance is akin to the one of the snake in the Little Prince movie (2015) of two eyes peering out at the Prince

The Snake is a character who speaks in constant riddles and is confident they have all the answers to life's mysteries, similar to how the CC knows so much but is incredibly cryptic in how they speak. The snake is also meant to represent the inevitability of death, and part of the CC purpose is to help the inhabitants of Ever After to ascend, which is a process of death and rebirth.

Curious Cat: Mmmm, when we break or wear out or simply finish what we were made to do, we’re called back. But Herb… his heart was too weak to listen, so I gave him a little bit of mine.

Blake: Is he… dead?

Curious Cat: (chuckles) No, no! Well, maybe a little bit, but not at all.

When it comes to Neo being the Snake, she manifests her illusions of the Jabberwalker to terrorise RWBYJ after killing it, the one being capable of dealing permanent death to Ever Afterans.

She's also the one who offers their "poison" to the Little Prince, (the tea made from the leaves of the Tree) which they accept.

Additionally the way the Curious Cat enters Neo is like that of a snake slithering inside her. Once the snake bites someone, they are described as becoming an "empty shell", and the CC is looking for an empty human vessel to possess, while Neo wants to destroy Ruby and make her feel empty.

Curious Cat: You’ve lost something most important, haven’t you? And now you have nothing left. How delightful! An empty host, perfect for me to fill.

Neo-Torchwick: You don't deserve to die Red! You deserve to be broken down... torn apart... wiped from existence.

And when the Little Prince believes their Rose has perished (Penny) or will perish (Oscar), because of them, they give themselves over to the Snake completely.

But, Neo and the CC also play into the Fox allusion as well. The Curious Cat's ability to give his heart and understand others is similar to the Fox's sentiment in the book, who tells the Little Prince the importance of taming, and of looking with the heart:

"Now here is my secret. It is very simple. It is only with one's heart that one can see rightly. What is essential, is invisible to the eye."

"Men have forgotten this basic truth. But you must not forget it. For what you have tamed, you become responsible forever. You are responsible for your rose..."

Curious Cat: I know, Your Majesty, it truly isn’t fair. You must play your game and win at any cost. It must hurt your heart. Let me help.

Curious Cat: But Herb... his heart was too weak to listen, so I gave him a little bit of mine.

He "tames" the Red Prince in managing to calm him down from executing RWBY to just exiling them.

He helps Herb to "see with the heart" when he becomes blind to how he has stagnated and forgotten his purpose in being overwhelmed by his work.

The Fox is meant to show us the importance of the patience and compassion that is needed to understand and connect with others, to reach out to them. This is part of the CC purpose in the Ever After in fixing those who are broken, but becomes the negative declination of this in becoming manipulative over time. (like him "taming" the Hawker to make him do his bidding)

Neo is like the Fox in that she dislikes hunters (huntsman and huntresses) and she has lost the person who has tamed her, who was "unique to her in all the world" with Torchwick. Part of what escalates Ruby's conflict with her is that she does not take the time to understand and empathize with her:

Ruby: Is that seriously what this is all about? You still blame me for what happened to Torchwick?!

Neo-Roman growls

Ruby: If you’re looking for an apology, you’ve wasted your time!

and much like the Fox points out here:

"One only understands the things that one tames... Men have no more time to understand anything"

And that it is only when Ruby takes the time to understand Neo towards the end that shows how she has started to grow, to understand the importance of looking with the heart, the very first step of "taming".

"You must be very patient. First you will sit down at a distance from me-like that- in the grass. I shall look at you out of the corner of my eye and say nothing. Words are the source of misunderstanding"

(...I believe this will continue on in Remnant with Mercury and later Cinder)

The idea of intertwined allusions of the Fox and Snake with the CC and Neo in V9 interests me. Because it makes me wonder if my theory/prediction on Emerald/Mercury both being the Fox to Oscar's Little Prince may not be entirely right, but that they will both be the Snake also. If they are it will likely be an inversion, with the Prince (Oscar, and maybe Ruby) helping the Fox (Emerald) realise the importance of "taming" (taming Mercury, specifically) while the Snake may play a more positive role in saving instead of killing.

After all, the baobab tree roots in the book are meant to consume and threaten to kill the rose if she is neglected too long, and while Ruby is consumed by the Tree in the Ever After that very much resembles the baobab, and she does "die" in a sense, the tree is a positive force that helps her to be reborn and grow into her true self. So, Emerald/Mercury could have a similar duality in alluding to the Fox and the Snake, capable of killing and saving the Little Prince.

@aspoonofsugar I think has mentioned Emerald's design resembling a snake puts me in mind of this, plus Mercury's main allusion being, well, the god Mercury, whose symbol is this:

A staff with wings and two snakes entwined around it. His emblem also features wings, and like a snake he technically has no legs (in a symbolic sense too, his lack of semblance and agency, the freedom to be his own person) Alchemically I believe the mercurial character is meant to shift between life and death also? So there is something there in how the Snake simultaneously saves and kills the Little Prince. (also this is me really really stretching here with my red string but. The Curious Cat. Like Mer-curius. Mercury. Both the Snake for Ruby and Oscar.)

Depending on your interpretation of the stories ending, the Little Prince ends up dead because of the Snake's bite, or the Snake genuinely helped him return home and be reunited with his Rose. Mercury/Hermes is said to be able to travel anywhere, any plane of existence without limitations, which has lead to theories of Mercury's semblance being flight or teleportation, which, well, in relation to the Snake aiding the Little Prince:

"I can carry you farther than any ship could take you," said the snake. He twined himself around the little prince's ankle, like a golden bracelet. "Whomever I touch, I send back to the earth from whence he came," the snake spoke again. "But you are innocent and true, and you come from a star . . ."

This is of course just me going off on another theory for funsies, but it would be interesting if Mercury was placed in between a choice of killing or saving the Little Prince and helping reunite him with his Rose. How Emerald and Mercury would save Oscar/help him and Ruby is unknowable. They could be save their life, help delay the merge, or just helping assure him of his own personhood and agency (this could be explored through how both Mercury and Oscar lack semblances relating to the "curses" placed on them in relation to their father figures), or something else entirely, but either way I'm pretty confident they'll have a significant role to play in the Vacuo arc.

I am aware most Rosegarden fans are mainly theorizing Tyrian as the Snake, (I've even seen some say Ruby is the Snake as well as the Rose, with a similar sentiment of the Snake being capable of saving/freeing the Little Prince, not killing him) especially since the first scene Oscar is introduced is him waking up from a nightmare following Tyrian being sent to capture Ruby Rose, as well as like, him being a venomous scorpion faunus present in the desert right now. But even that only makes me more certain in a way since Tyrian is meant to be Mercury's dark foil (and the antagonistic mercurius for Emerald/Mercury) accompanying him into the desert. So like, it Could Be Both.

Ruby also meets a King/Narcissist like in the Little Prince (the Red Prince). The Narcissist demands to be complimented and coddled, much like the Red Prince. The King is drawn wearing a crown too big for him (in the 2015 movie adaptation it is constantly crooked and threatening to slip off his head), similar to the Red Prince.

The King claims absolute authority, that what he says will happen if he orders it so. However this is untrue, as he will only order what will already happen. The Red Prince claims he always wins his games, but the board game he plays with RWBY is already in his favour as the pieces on their side throw the battle so he can claim victory. Both cheat and find loopholes in order to maintain their superiority over others. The King symbolizes rulers who make a big deal about the power they have, but who in actuality are pretty ineffective as rulers and will cheat and find loopholes to justify their power. It also mocks their grandiosity and showiness, which is kind of funny because they think they are way more important than they actually are, all of which fit with the Red Prince (...and with two other characters that were significant during the Atlas Arc *points at Ironwood and Cinder* even moreso after episode 3 of RWBY Beyond)

The Lamplighter, whose job on his tiny planet is to continuously light and snuff out the single lamp, but because the night and day cycle is so short he essentially never rests and is caught in this loop, always stuck working and nothing ever changing. Jaune as the Rusted Knight is stuck doing the same jobs everyday in a Sysiphus task of preventing the Paper Pleasers from ascending, and rests very little. He is also the Geographer, who maps out other planets but can never travel himself (because he is too busy drawing maps) and suggests to the Little Prince to visit Earth (the acres that Jaune maps out but has yet to properly explore because he can't leave the Paper Pleasers, is trying to find a way back to Remnant, their "Earth").

Another interpretation is the Lamplighter as the Caterpillar, who similarly has a neverending and thankless task of helping the Afterans ascend, and has stagnated as a result.

The Stars are not a character in the book perse, but they do come up a lot both in RWBY and in the Little Prince, especially when it comes to the theme of death and rebirth, and grief. In V9 in the Ever After we meet the Paper Pleasers (origami stars) that Jaune is desperately trying to stop from ascending, essentially keeping them trapped as he monitors them. There is a character in the Little Prince that obsessively monitors the stars and keeps them trapped, the Businessman. It is pointed out by the Little Prince that while the stars make him rich, the Businessman is of no real use to the stars.

In much the same way the Paper Pleasers do not need Jaune as much as he needs them to prove his own worth.

The climax of the Little Prince movie (2015) adaptation is the stars being freed from their entrapment, ascending into the sky, free from control, by the protagonist who is a young girl trying to break free of the expectations placed on her by adults as she grows up, is like one of the stars herself, rising into the sky.

The paper pleasers ascending, while initially seen as tragic, in actual fact allows them to grow and be more, and the Genial Gem that appears to once have been the Paper Pleaser called Ruby is the one who explains this process to WBYJ as they are worried about Ruby and how the process of ascension will affect her.

The Pilot is likely WBY, as for them Ruby is like a younger sibling to all of them who helps them reconnect with their inner child early on in the story, much like the Little Prince does for the Pilot. For Weiss, Ruby helps her connect with her inner warmth and heart. For Blake, she helps reignite her lost idealism. For Yang, she is her inner child to nuture, the one who lost her mother. The author Antoine Saint-Expury based the character of the Little Prince on his own younger brother who died, and that the Pilot as the narrator of the story is himself as an older sibling remembering and grieving for them. When WBY all watch Ruby drink the tea, it mirrors the scene where the Pilot watches the Little Prince give himself to the Snake, and is too late to intervene, particularly for Yang.

Their body disappears, and it is uncertain whether the Little Prince has died or found their way back home to their planet, and to their Rose. For Ruby, it is both. She dies and was reborn, literally reclaiming Crescent Rose and regaining her Rose emblem, she reunites with her Rose, her own sense of self. And in her ascension is able to come back to defeat the Curious Cat, and return home to Remnant with everyone. (coincidentally I think this is how Oscar's story will go, he will sacrifice himself to the Merge fully and "die" in a sense, momentarily, but return fully to himself later on, reuniting with both his sense of self and his Rose, Ruby Rose).

Oscar is also Ruby's Rose in a sense, someone she has tried to protect and care for. Even the pattern on the back of his outfit can be seen as the stem and thorns of a rose, like Ruby's hood can be seen as the petals of a rose. The Little Prince believes that if the Rose is left alone, then it will be his fault if they die:

“If some one loves a flower, of which just one single blossom grows in all the millions and millions of stars, it is enough to make him happy just to look at the stars. He can say to himself, 'Somewhere, my flower is there...' But if the sheep eats the flower, in one moment all his stars will be darkened... And you think that is not important!"

"He could not say anything more. His words were choked by sobbing."

When Ruby cuts down an illusion of Oscar, killing him, it is foreshadowing that Ruby is afraid she will not be able to save Oscar from his fate. This is the final breaking point for her (along with Little's death) that leads to her drinking the tea.

...But as much as I am a Rosegarden shipper, it's actually her mother Summer Rose and Ruby's identity that is the main "Rose" to her Little Prince in V9 that she becomes separated and united with, imo.

She learns that their Rose (Summer, and themselves) are not uniquely one of a kind, but "like any other common rose" the same as all the other hunters represented through their weapons in the Tree with the blacksmith. Like the Little Prince in the Rosegarden:

"Good morning" said the roses.

The little prince gazed at them. They all looked like his flower. "Who are you?" he demanded, thunderstruck.

"We are roses" the roses said.

And he was overcome with sadness. His flower had told him that she was the only one of her kind in the whole universe. And here were five thousand of them, all alike, in one single garden! ... Then he went on with his reflections: "I thought that I was rich, with a flower that was unique in all the world, and all I had was a common rose."

Not in the sense of being a SEW who believes they are the only one of their kind, but that like her mother Summer Rose, or any other huntress or huntsman that has lived (represented through the weapons she looks at, and her saying they all have the same weight to them) she is not perfect, or unique in always knowing the right thing to do and being a flawless shining hero. Ruby thought the ideal of the hero Summer Rose she carried and tried to emulate was unique and special, what made her "rich" in the sense it defined her self worth, but she was a "common rose", a person, a human being, just like Ruby. Being like any other common rose means Summer is much like Ruby herself, just a person trying their best, with their own flaws and burdens to carry. Ruby leaves the Rose behind initially (gives up her Rose emblem that Summer left her, rejects Crescent Rose) and the pedestal she puts her on shatters, becoming disillusioned with Summer like the Little Prince does with his Rose, specifically after finding out that they lied.

Ruby: What? What was that? She… She lied. She left with Raven. Why would she…?

Blacksmith: Who knows why people keep the secrets they do. Maybe you’re not the only one who has felt the weight of other’s expectations. Like Alyx, like your mother.

What makes Summer unique to Ruby is not her being an ideal hero, but the love she had for her as a mother, and that in of itself is incredibly beautiful and powerful, because it helps her realise and affirm her self worth.

Summer: (voice) I love you…

Ruby turns to see the red glowing light behind her.

Summer: (voice) Just the way you are.

"Of course I love you," the rose said to him. "If you were not aware of it, it was my fault"

Much like the Little Prince learning and understanding that his Rose is unique to him, not because she is one of a kind, but because of their time shared together, loving and caring for one another. That it is our ties to people that makes us special and unique in the world, to the people we are connected to and choose to care for, more than any power or titles do. Which goes back to the source of Ruby's power as a Silver Eyed Warrior, her love and compassion of those around her. The true power of humanity.