I think you’re looking at the situation from a perspective that’s way too rigid, as if every path is already sealed and tragedy is the only possible destination. But HC3—just like HC1 and HC2—has never been a deterministic narrative. Its core is human degradation, yes, but also the possibility of breaking it.
And that’s why I disagree with the idea that “a good ending would be impossible unless it’s contrived.”
Actually, the themes of HC3 make a good ending not just possible but coherent.
Let me break it down:
1. HC3 isn’t about proving people are irredeemable
N_Taii writes corruption, but he also writes guilt, shame, responsibility, and regret. If the message were “no one can come back,” then redemption routes simply wouldn’t exist—yet the narrative clearly sets them up:
- Rose is acting from trauma and emotional dissonance, not pure malice.
- Cyanna is driven by guilt, not cruelty.
- Haylen falls because of emotional weakness, not sadism.
- Lily is ruled by pride, not evil.
Characters who fall because they’re weak—not because they’re monsters—are
exactly the ones stories redeem.
2. This isn’t different from major dramas like Game of Thrones
People love to cite
Game of Thrones as a “dark and unforgiving” story, but even it shows that:
- Characters who fall can rise again.
- Trauma-driven decisions can be reversed.
- Redemption is earned through pain, not erased by it.
Think about
Theon Greyjoy:
He commits unforgivable acts, betrays the Starks, tortures innocents, and falls deeper than almost anyone else.
Yet when he finally confronts his guilt and trauma, the narrative not only allows him redemption—it
demands it for emotional payoff.
HC3 follows the same structure:
The fall must be deep so the rise can be meaningful.
A purely tragic ending in GOT would have been easy—redemption is what required bold writing.
Same with HC3.
3. HC always uses a “breaking point” before redemption
HC3 hasn’t reached that turning point yet, and that is exactly why a good ending is still on the table.
When the Duke’s lies collapse, the emotional chains trapping the girls collapse with them.
Trauma, manipulation, fear—once those break, guilt and accountability rush in.
That’s how redemption arcs work in every major narrative.
4. A good ending doesn’t erase anything—it confronts it
A Happy Ending doesn’t mean:
- “All forgiven.”
- “Everything is fine.”
- “Let’s pretend nothing happened.”
A real happy ending is:
- Consequences,
- acknowledgment,
- reconciliation,
- and slow rebuilding.
It’s not a Disney ending—it's a
mature one.
5. Leto hasn't had his turn to act yet
Saying there's no way for a good ending because Leto hasn't acted is like saying Jon Snow can’t change anything because he’s being manipulated in Season 5.
The story is structured to give the protagonist their moment—but only
after enough pressure builds.
We’re not at the climax yet.
6. A Happy Ending is not only possible—it’s required for thematic closure
Ending HC3 with pure destruction would turn the trilogy into a loop—not a progression.
The only way for the story to close with real emotional impact is to show that:
- People who fall can stand up again,
- corruption can be broken,
- and trauma can be confronted—not just punished.
A hopeful ending is not naïve.
It’s the only ending that prevents HC3 from repeating the same fatalistic beats of HC1 and HC2.
If
Game of Thrones—one of the bleakest modern series—can redeem characters like Theon, Jaime, Sandor Clegane, and even partially Daenerys before her fall,
then HC3 definitely has room for meaningful redemption arcs.
