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that-ari-blogger · 6 months ago

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Complex Motivations (You Didn't Know)

Hazbin Hotel is about redemption, and a large part of that is the complexity of motivation. Sinners have unique reasons for what got them into hell, and that intricacy is explored in great detail with the main cast, but also everyone around them.

This is actually a mercy extended to the villains. Because contrary to popular belief, having a reason for doing what your doing doesn’t make you right. The Vees, for example, are characterised entirely by their dynamic with each other, and understanding their motivation means understanding just how cruel of a person Valentino is, for example. It doesn’t justify his actions, it explains them, and makes him a more complex character than “he does bad things because he is bad”, a mentality that the show criticises at every opportunity it gets.

Speaking of which, that reductive worldview is exemplified by the folks up in heaven. Specifically, by Lute, Adam, and Sera, and You Didn’t Know exists to show them on a sliding scale of villainy, and how their place on it doesn’t matter.

Let me explain.

SPOILERS AHEAD: (Hazbin Hotel)

CONTENT WARNING: (Language)

“But she was right”

The first words in any story give context to what is to come. They set up the plot, provide a question or mystery, and establish pacing. Songs in musicals are parts of the story told in microcosm, and so they apply these rules. In this case, it is important to understand that each of these people has been proven wrong.

Their worldview is measurably false, and the question is, what do they do now?

This isn’t a presentation of ideas, this isn’t a philosophical debate, this is an exploration of character in the face of challenge, and how it exposes a person's true motivation.

Starting with Lute, because she is, in my eyes, the simplest. She believes everything that she is saying with no one hundred percent certainty, and it’s almost refreshing in contrast with everyone else.

Adam and Sera are both fickle in morality, but Lute is rock solid. She is bigoted and evil, and she is owning it. She is, for lack of a better term, a paragon.

“What are we even talking about?

Some crack whore who fucked up already?

He blew his shot like the cocks in his mouth.

This discussion is senseless and petty!”

Why are we having this conversation? Angel Dust is a sinner, therefore incapable of making any points. Any evidence presented is invalid because he’s the one presenting it.

Redemption can’t be proven because redemption doesn’t exist.

It’s a flat, mindless understanding of the world that a lot of people carry, more than you think.

Dutch angle. These two make the scene unsafe. Standard filmmaking but worth pointing out.

This is called Doxastic Anxiety, according to the philosopher, Jenifer Foster. I recommend her dissertation, as well as the video by Philosophy Tube (@theabigailthorn), which discusses it in the context of deliberate ignorance, amongst other things.

Doxastic Anxiety is an aversion to forming new beliefs. In this case, Lute doesn’t want to believe that redemption is possible, so she, quite efficiently, doesn’t believe.

This isn’t an argument or a conversation, this is one side presenting evidence, and immediately getting shot down with “shut up, I’m right.” You can’t change the mind of someone who refuses to open it in the first place.

This is matched by the music itself. I’ve talked at length about Adam and Lute’s obsession with rock music and what I think about that, but there’s a gaping hole in Lute’s argument here.

The drums are doing something interesting, and I will come back to them later, but the guitar is remarkably restrained, which isn’t what you would associate with rock at all.

There's some colour symbolism here that I love. Traditionally, there is a correlation between good and evil, light and dark, white and black. Those three categories align and while there are implications there, it is storytelling standard. Except here, in this scene, the brightest part of the shot is the window into hell, and because of the shadows rendering lute in grayscale, the closest things in the scene to pure white are Angel Dust, and Charlie's hair. The filmmakers are messing with morality, so naturally, they can't resist a chance to mess with the imagery thereof. Also interesting here, the shadows are of the Angels own making because it is their architecture. They aren't just made to look bad by contrast, it's their own actions that lead to this symbolism.

Music is emotion, that’s why character playlists exist. Songs convey themes through vibes, and rock music is about big, unrestrained emotions. Rock music is fundamentally wild.

Consider Bullet With Butterfly Wings, by the Smashing Pumpkins. The song is about anger at an inability to claim freedom, and so the guitar evokes the pacing of a caged animal during the verses, then comes out swinging in the chorus only to, for lack of a better term, fumble it. The resolution at the end of each musical phrase is clumsy, like falling back to square one. The final chorus, notably, doesn’t do this, and is much more comfortable, evoking a feeling of catharsis that contrasts with the lyrics of the chorus.

“Despite all my rage,

I am still just a rat in a cage.”

Powerlessness. The character is trying to claim freedom and has transcended their anger, but it hasn’t worked. The finale is desperate, and the music thrashes against its bars, trying to break either them, or itself, all while repeatedly screaming the words:

“And I still believe that I cannot be saved.”

Maybe the bars are more than just physical. Maybe there is a psychological element to this kind of oppression.

Even Sweet Child O’ Mine, by Guns and Roses (they’re a small, up and coming band. But I think you should check them out. There’s promise there) which is calm and reminiscent for most of its runtime, is built on being dynamic. The iconic riff famously bounces between highs and lows to mimic the highs and lows of a life lived.

It’s messy in the way that memories are messy, and the solos are wild and meant to be experienced more than just listened to. They chomp at the bit during the lull at “where do we go now”, before climbing back into soaring expressions of glee and, for lack of a better term, raw power. It’s a very different emotion to Bullet With Butterfly Wings, and you don’t need the lyrics to understand that.

The point I am making is that rock music is intrinsically expressionistic and unchained, and when Lute sings, her portion of the song is anything but. Lute is angry, and appropriating imagery that is not hers to use to justify that anger. But what is the anger at? Being proven wrong.

Case and point, her guitar is simple and even. It rises, then stops, then repeats, then plays a nice little melody at the top, before resorting to power chords. She has tried to form a point, but has been unable to, and instead of examining that, has resorted to anger and displays of force.

There is something in that "stick it to the man" thing. People in power almost seem to fetishise rebellion, but when it actually happens, they get all upset. Adam likes to appear as the underdog, and I think he likes to feel like the underdog, but he isn't. He's the one the underdogs are fighting.

Moving on to Adam, who doesn’t believe anything he is saying. He is doing genocide for entertainment, and he doesn’t care about justifying it. There is nothing behind this man, he gets what he wants because he wants it. He is a man child.

He has also already had his views explained in detail, so this song gets to shine as a character beat for him, because of the aforementioned framing device. What do you do when you are proven wrong? Do you change? Do you shout down what the person is saying like Lute? Or do you get petty and start being an arse because you can?

This is where we see Adam’s vindictive side, and it sure is a coincidence that the guy who champions retributive justice has a habit of taking what he views as revenge and multiplying it tenfold. That’s probably not important.

Anyway, this is used to bring up Vaggie’s deceit, but it also exposes something interesting about Adam’s villainy. It’s innately self-sabotaging.

Adam could have kept his gob shut and this would have gone off without a hitch, but he didn’t. His villainy is based in retribution, and so he had to dish it out when he was slighted, even if it undermines his greater scheme.

Which, if I may get a bit soap boxy, is how villains work in the real world.

I get frustrated with the view that kindness is hard and that being awful is easy because it isn’t. Don’t let people tell you the world is naturally terrible, because if you believe them and expect the worst, then you don’t call people out on their nonsense. “Oh, the world is bad, it was the easiest choice to do this awful thing.” No! It took a choice to cause suffering, someone made that decision.

Evil is difficult and self sabotaging and will wreck you for doing it to the point where it stops being worth it. Truly evil people are those that make the decision to do what they are doing because they have weighed up the consequences and decided that they don’t care.

On a day-to-day level, kindness is easy. It costs you nothing. Don’t use the mundanity of misery as an excuse for your own shit behavior, and call people out on theirs because they are actively making the world worse, not prolonging the status quo.

But on a grander scale, this is where Adam comes in. I would argue that it would be easier for Adam to not do a genocide. Like, it would be easier to just sit at home, drink soft drink, be a tosspot. He wouldn’t be a nice guy, but it would be an improvement.

But to do what he is doing right now, he had to come up with the idea, something that probably took him a while. Then he had to persuade Lute and the other executioners, which probably took less time. Then he had to run it by Sera, and then he had to amass an army in secret and keep that same secret of genocide from an entire population.

But he did. He went above and beyond so that he could kill people for sport.

Adam actively made the world worse, and crucially, that directly led to his death later on in the series. He gave people motivation to want him dead.

I mentioned at the start of this post that the sliding scale of villainy doesn’t matter, and that brings me to Sera.

Sera isn’t evil. She doesn’t directly cause bad things. But that “directly” is doing a lot of heavy lifting, because Sera is an enabler. She doesn’t have a moral compass at all. She doesn’t stand for anything, so she lets everything happen.

She doesn’t do the genocide, she doesn’t want to be a part of it, and she thinks that makes her a saint. But then again, she had the power to stop it, and the choice to do nothing is still a choice.

General lump of ice for anyone who wants it. If you ever find yourself smiling like a maniac with literal hellfire reflected in your eyes, maybe reconsider your life a bit.

Sera could have said “no” and been done with it. But instead, she signed herself up for a lifetime of subterfuge because it seemed easier at the time. Theoretically, Sera isn’t as bad as the others, but in practicality, oh yes she is.

Sera’s lack of morality is actually what inspired me to analyse this entire musical, because her part in this song is so crucial to my understanding of the musical as a whole and I haven’t seen anybody else’s reading factor this in at all.

“I thought cause I’m older,

it’s my load to shoulder.”

“No”

“You have to listen,

it was such a hard decision

I wanted to save you

the anguish it takes to

Do what was required…”

Sera doesn’t defend the genocide; she defends her decision to lie. Even when called out on it, it doesn’t occur to her that the murder of civilians is what people are upset about.

There are two possible readings here, the first being deflection and the second being indifference.

Deflection is simple. She gets called out for murder and she apologises for lying. That’s not remotely the point, but if you can get someone tangled up in an argument that they didn’t sign up for, you can twist their words into something they didn’t mean.

Anger is a volatile emotion, but it can be lead astray. Deceit is not an easy thing to justify, but it’s a lot less difficult than systematic oppression, so Sera might be steering the conversation to something where she is on slightly less of a rough footing.

The other reading is indifference. Sera genuinely doesn’t care about morality, and so she is trying to keep her public face. She is the leader of… is Heaven a country? Is it a city? What is Heaven? Anyway, Sera is in a leadership position, and so she has made the decision to maintain her image first and foremost.

She spins the genocide as something that was required and starts defending the lie, because that’s what she thinks is most important. To her, the genocide was required, but to that I ask: for what?

Like, what is the end goal here?

Adam has presented the idea that the genocide makes him feel good. Lute is of the opinion that the sinners deserved it. But Sera says “required.” For what?

Is she required to let Adam do what he wants? Is she trying to find a middle ground between “no genocide” and “yes genocide” and landing on “some genocide”?

Alternatively, does Sera think it is required to keep the population of Hell down, so they don’t rise up? Does she think this is needed for her own security? Is it for control? Because, if that’s the case, I think she is talking bollocks.

You don’t need to murder someone to not feel threatened by them, and there are better ways of coexistence than control.

Sera returns to what I said earlier about villainy being difficult. She didn’t need to go along with the genocide. It wasn’t required. But she chose to, and that makes her stand alongside Adam and Lute.

Before I finish up, let’s talk about the drums.

The song is dense, and has a lot of moving parts, so as a storytelling technique, the drums are really impressive. Not only to they separate the sections and make the story easier to digest, adding to the vibes of each part while keeping the momentum going, but they also join the sections with fills to ease the transitions between disparate parts of the story.

The song starts out with no percussion as Emily pleads with the court and specifically with Sera. Then Charlie brings some backbone to the conversation with the concept of fairness, and we get a steady, repeated beat, like boxers circling each other.

We get a fill into the marching beat that backs up Lute’s solo, before a chorus from a rock song follows Adam’s input in the conversation. So far, so good.

Then Adam ruins everything, and the song abruptly cuts back to Emily, who suddenly has percussion accompanying her voice. Although, it is off kilter and unsteady, unsure if it should be here or not. It’s uneasy as Emily tries to work out what is happening and how to feel. Something is wrong, and her music is evolving to keep up.

Sera’s section messes with this in a way I love. Starting off mimicking Emily’s exactly with the unsteady beat as if to say “I’m with you.” Although it adds some bass drum, specifically the rhythm played during Adam and Lute’s chorus.

Then, as she says the line about doing what was required, Emily’s rhythm cuts out entirely to show the falseness of this offer. Sera and Adam are entirely aligned here.

Emily is back, and her rhythm is gaining more and more confidence as she gets more and more angry.

“Was talk of virtue just pretention?

Was I too naïve to expect you…”

We’re building to a final chorus, and we get a quiet fill before a surprisingly understated chorus.

“If Hell is forever than heaven must be a lie.”

The perfect world is built on suffering, which means it can’t be a perfect world. Everything else falls away, including the drums, into short punches that are just off beat enough to feel natural. This is just brutality. Messy, unrestrained, hammering. This is the point; this is the centerpiece of the musical.

Then the drums cut out entirely for the final moments to underscore the revelation, and the song wraps up.

Final Thoughts

I’m about to spoil the rest of the musical, so be warned.

I want Sera to be redeemed so much, and I actually think it might happen, here’s why.

First, I think it would be funny. I think Sir Pentious being in heaven would be an excuse to torment her into changing. Like, she gets so frustrated by the snake boy who’s voice she recognizes for some reason, and who proves her wrong so entirely, but whom she can’t escape from and whom she can’t bring herself to dislike.

Drag the angel, kicking and screaming, into being a better person. Commit to the theme, damn it.

But I do think there is a chance of this actually happening, and that is because of the expressions that Sera makes. When Emily snaps, the show makes a point of showing Sera’s response, and it is abject horror and sadness. There is no anger or spite there, it is just shock and terror.

A sinner couldn’t convince her, but she is willing to listen to Emily, and that is the expression of someone who’s entire world just came crashing down.

Maybe it’s the fear that Emily will fall like Lucifer, or maybe it’s the fear that she won’t. I cannot wait to find out.

Next week, however, is Out for Love, and I have thoughts about that song. So stick around if that interests you.

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