#both also appear in dante's inferno

[theastrophysicistnextdoor]

The Ineffable Detective Agency presents: Decoding 1941 Hell – The Hidden Morse Messages

The Good Omens team never fails to surprise us: In the Hell scenes set in 1941, there are subtle beeps in the background that many might have missed: morse code messages! 

We took the time to decode these messages from about 5 minutes of the show – some parts are easy to identify, some parts are really hard due to overlying sounds or noises. 

We used the 5.1 audio and selected only the channel with the morse signals. Check out an easy snippet – which line is it? :)

Then, we applied high- and low-pass filters to emphasize the code’s pitch around 1360 Hz. Some of us have pretty sharp ears, some of us worked with the frequency spectra to mark short and long signals as well as pauses in between. 

Here is what we have heard or seen, together with some facts and thoughts on the lines. Let us know what you think!

S2E4 06:19 to 08:23 “Have a miserable eternity”

Here are the pieces we have successfully decoded: 

HAVE A DREADFUL ETERNITY

We are wondering why this is different to the text via loudspeaker as well as Furfur’s “have a miserable eternity”...

TOMMY’S A LEGEND

Do we know a Tommy?

1) There's the Welsh magician/comedian Tommy Cooper (his magical act specialized in magic tricks that appeared to fail), who was the inspiration for the red fez in the magic shop. Cooper died live on television suffering a heart attack. :(

2) There's also the lead character Tommy in Brigadoon, the plot of which feels seriously GO-coded. There is a magic village hidden outside time that only appears in Scotland once every 100 years and is connected to the rest of the world with a bridge, outsiders who find "clues about the village and its people that make no sense", and a plot about unlikely lovers who are separated (because one "can't just leave everything in the real world behind"), and an ending that reunites the lovers against all odds because of the strength of their love ("I told ye, if you love someone deeply enough, anything is possible ... even miracles.")

PAUL’S OUR MIXING HERO

Could that be the Re-Recording Mixer PAUL McFADDEN?

ABANDON ALL HOPE YE WHO ENTER HERE CHEER UP IT’S ONLY ETERNAL DAMNATION ABANDON ALL HOPE YE WHO ENTER HERE CHEER UP IT’S ONLY ETERNAL DAMNATION ABANDON ALL HOPE YE WHO ENTER HERE CHEER UP IT’S ONLY ETERNAL DAMNATION ABAN

The phrase "Abandon all hope, ye who enter here" is a quote from Dante’s Inferno, Prelude to Hell, Canto III, Vestibule of Hell: Dante passes through the gate of Hell, which bears an inscription ending with the phrase "Lasciate ogne speranza, voi ch'intrate". So, the minisode is THE place where we get quotes from the two most famous literary accounts of Hell – with Furfur's quotation of Paradise Lost in the dressing room at the Windmill Theater: "In dubious battle on the Plains of Heaven". 

S2E4 09:16 to 10:09 “Processing the Nazis”

ABANDON ALL HOPE YE WHO ENTER HERE CHEER UP IT’S ONLY ETERNAL DAMNATION ABANDON ALL HOPE YE WHO ENTER HERE CHEER UP IT’S ONLY ETERNAL DAMNATION

S2E4 11:07 - 13:12: “The offer to return as Zombies”

These two minutes are very tricky: while in the first half it is ok-ish to identify the signals in the spectrum, the second half is overlaid by so much noise… – yes, we are calling the dialogues and sounds in hell noise now :D – that we chose a different approach. 

It looked as if the sequence starts from the beginning, so we compared both parts, and now we are quite sure that it is the same pattern. 

DO NOT LICK THE WALLS HEAVEN LOOKS DOWN ON YOU BECAUSE YOU ARE PATHETIC ABANDON ALL HOPE YE WHO ENTER HERE CHEER UP IT’S ONLY ETERNAL DAMNATION DO NOT LICK THE WALLS HEAVEN LOOKS DOWN ON YOU BECAUSE YOU ARE PATHETIC ABANDON ALL HOPE YE WHO ENTER HERE CHEER UP IT’S ONLY ETERNAL DAMNATION DO NOT LICK THE WALLS HEAVEN LO …

So those are the sections we are pretty certain we have correct. However, there is one section we are still unsure on - maybe you can help?

Back to S2E4 06:19 to 08:23

We have been fighting hard with the first six seconds, before “HAVE A DREADFUL ETERNITY” and we think it is:

SHE’S IN MA PHONE

Who are we talking about now?

Do you have any other ideas of what this could be? If it is “She’s in ma phone”, what does that mean? Or is the S just noise and it starts with an H? Or even with a B – BE’S IN MA PHONE?

So, what are your thoughts on all of these messages? Why go to the effort of putting morse code here? Is it a fun easter egg, or something more? And why say “dreadful eternity” in morse when the quote used in the show is “miserable eternity”? We have so many questions!

Spoiler: There is more code hidden throughout the series.  Let us know what you see or hear!

-... .    -.- .. -. -..    - ---    . .- -.-. ….    --- - …. . .-. 

An amazing joint effort with @noneorother, @kimberleyjean, @thebluestgreen, and @embracing-the-ineffable at the @ineffable-detective-agency (with the incredible @maufungi, @somehow-a-human, @lookingatacupoftea, @komorezuki, @havemyheartaziraphale, and @dunkthebiscuit)

See more of our posts, plus a collection of Clues and metas from all over the fandom, here.

[hamliet]

Hazbin Hotel Has Better Theology Than Most Modern "Christian" Stories

As a Christian who was raised in a fundie cult and escaped to now have a far healthier and vital faith, I genuinely really like this show. The songs are bops. The characters are well crafted and interesting, and likable too. The art design is bizarre but appealing.

And, as a theology nerd who studied theology as part leaving said cult and also has since gotten papers published in theology, I'm actually fairly impressed by the show's handling of theology.

No, I'm not expecting the story to preach or even like, be explicitly Christian in a lot of ways. But it's taking a lot of the really beautiful aspects of Christian theology and re-contextualizing them in a way designed to provoke thought: by juxtaposing them with the antithesis of what you would think, by making demons heroes. In my opinion, this makes the beauty shine brighter.

Yeah, yeah, it's designed to be offensive and obscene in a lot of ways. Yet, it's never (thus far) mean-spirited. On the contrary, it seems to have a big, beating heart at its core that is perhaps best embodied by Charlie Morningstar, its protagonist and the daughter of Lucifer and Lilith.

Critique of the Church, with Caveats

The story works best with an interpretation that heaven isn't actually heaven or God (who has been conspicuously absent), but instead as a critique of the church. Specifically, the evangelical American church, and specifically, white evangelicals. (Same as She-Ra's premise, actually).

God's absence therefore makes sense, because while Christians do believe God is present as a living reality among us, we also can't like, see him physically now. So, God being not even mentioned in HH makes it seem more like a mortal reality rather than an immortal one. Honestly I kinda hope God doesn't appear in the story, not only because I think it could cross some lines (which is admittedly personal), but also because I don't see that the story really needs it.

Adam in particular reminds me of every "theobro" on Twitter (I'm not calling it what you want me to, El*n). Basically a dudebro coopting his supposed salvation to flex in an often misogynistic way, who doesn't realize that he has absolutely no love in him and therefore is actually a worse human being than everyone he condemns on the regular.

(Which is kind of why I'm expecting Adam to wake up in hell next season...)

Think red hats. And Mark Driscoll. And, I have a list of pastors. Sigh. They advocate for how "simple" Christianity is, except they themselves make it ridiculously complicated and don't even examine what they suppose is "simple" if it requires them to take the planks out of their own eyes. "Shallow" is a better description of what they actually preach.

But what sends people to hell or heaven anyways?

Eschatology and Atonement Theory

Hazbin Hotel combines a lot of theories, throwing not only the idea of a physical hell (albeit mixed with Dante's idea of what hell is the Inferno, but to be fair a lot of the church has adopted that idea too) but the idea of annihilation, which HH calls "extermination."

See, in Christianity, there's a lot of debate about hell. Like, since 2000 years ago. The reason is because a lot of Bible verses seem to indicate hell, but others indicate the eventual redemption and salvation of absolutely everything in the universe, so you have Christian universalism tracing itself back just as long. But, setting aside universalism, people who do believe in hell tend to fall into one of two camps:

Physical hell, aka suffering for eternity, or annihilation: the idea that souls that aren't saved end up annihilated, or snuffed from existence. HH combines both of them, wherein everyone lives in hell but then every so often heaven "exterminates" a certain number of sinners.

And then you also have Catholic purgatory, which is also adapted in HH in that... for most Christians, physical hell doesn't offer the ability to redeem yourself. Chance over, you're dead. But, Catholic Christianity, which draws on ideas of praying for the dead, has the idea that people can improve themselves or be prayed out of it and into heaven. This seems to be somewhat similar to the idea of Charlie's hotel, in that sinners can improve, redeem themselves, and rise to heaven.

And, I mean, it's already kinda worked. Sir Pentious acted out Jesus' words: Greater love has no man than this, that he lay down his life for his friends (John 15:13).

But anyways, the branch of theology that deals with the afterlife is eschatology. And Hazbin Hotel takes on a related form of theology as well, a type of theology I've only seen covered in stories once before (The House in Fata Morgana): atonement theory.

Atonement theory is something I remember well from my theology 101 class, as in I remember sitting with a friend and her turning to me and being like, "okay, so we know Jesus' death and resurrection give us eternal life, but we have no idea how or why?" To which the answer was "basically, yeah."

Most of the white, American evangelical church is very "penal substitutionary atonement," but the reality is that this theory has only been popular for the past few hundred years. It's also, imo, somewhat scripturally unsound. But there are a lot of other theories, and sometimes the theories overlap. Here's a fairly decent summary. (I'm in general a believer in Christus Victor.)

So how does atonement theory tie into Hazbin Hotel? Well, essentially the scene where Charlie and Vaggie are debating with Emily, Sera, Adam, Lute, and others in heaven is them going over various atonement theories and realizing that they actually know nothing at all. How does one get to heaven? How is one saved? They don't know.

Sera criticizing Emily for asking questions was also very relatable, and I feel for Sera. She's genuinely scared but the truth will set you free, Sera. John 8:32. Anyways, the point is like... the angels are an organized religion, an evangelical church, that preaches about simplicity but mistakes shallowness for simplicity and discourages depth and discovery.

Anyways, the whole crux of theological study and atonement theories is that they should promote humility. We don't know for certain on this side of the curtain. That's okay. So what do we have to guide us?

Love. After all, God is love (1 John 4:8).

Charlie is Jesus

"Why would you endanger your immortal life for these sinners?" 

Adam, the absolute worst, says the above to Charlie in the finale.

I mean... look. That's literally the premise of Christianity. That the immortal son of God comes down to earth, lives with sinners, loves us, and dies to save us. However that happens. Charlie even responds:

"They're my family!"

In other words, she loves them. Yeah, sure, they're destined for extermination, but they are going to be exterminated over her dead body.

In a lot of branches of Christianity, and even in some creeds--though I'm going to give into my pet peeves here and state that it is NOT Scriptural and relies on the faulty assumption that God is bound by time, when I think God exists outside of it--state that Jesus descended into hell after his death and took all the souls of people who were saved prior to his coming to earth to heaven. Again, I think that's small-minded at best. But, the idea that Charlie is working among them to bring them to heaven is pretty reminiscent of this idea. And I don't hate it lol.

Charlie sees worth inherent in everyone, and no matter what they've done, thinks there's a future for them. Honestly we need people like her on this earth.

Angel Dust

Angel Dust is clearly my favorite character. Bite back your shock, I know (I have a type). But his name is also a fascinating multi-layered pun.

Angel is clearly foreshadowing his endgame. Let's be real, we all know Angel is ending up as an angel. And "angeldust" is of course a name for PCP, and considering Angel's drug habits, yeah.

But, dust also has another meaning to it. See, when Adam was created in Genesis 2:7, the words in Hebrew are "apar min ha'adamah," which is translated literally as "dust of the ground." So the dust is what creates Adam, literally "ground."

In other words, I very much expect Angel Dust to end up being foiled with Adam even more so. Adam might be the first man, but Angel is the first sinner working towards redemption. And let's be real, for all Angel's flaws, he's already a better person than Adam. And if there's any hope for Adam (not that I particularly care if there is but) it'd be through realizing that he and Angel aren't actually different after all. Conversely (and not necessarily mutually exclusively), Angel might serve as a more symbolic "adam" in that he becomes the person all sinners look to for hope. Which, y'know, since "the last Adam" is also a Scriptural term for Jesus...

And so it is written, “The first man Adam became a living being.” The last Adam became a life-giving spirit. (1 Corinthians 15:45).

I fully expect Angel's arc, alongside Charlie's, to bring life and redemption for everyone around them. Maybe, maybe even the dramatic "all" of Colossians 1:20 (which means, literally, all, everything, everywhere, in the entire universe).

Closing Thoughts

But honestly, regardless of how the story ends--besides that it will presumably end happily because HH is at its core feel-good despite being profane--season one at least has got good theology. Why? Because it's digging into the questions that theology is concerned with. It's digging into the ideas of human nature, of what it means to be a good person, of what it means to redeem oneself, of affirming how precious each individual human soul is.

It doesn't offer cheap answers, and it specifically calls out the white American evangelical church for how it purports to be simple but actually just confuses people and punishes them for things they can't help, that creates more stumbling blocks than it does shine a light. And it does it in a way that is scandalous. Offensive to many religious people.

But, y'know, Jesus was pretty scandalous too.

So I really love the story so far because it emphasizes what I find so beautiful about my religion, and criticizes the parts that have also hurt me. I don't think it's remotely aiming to be a Christian allegory or anything like that, and I don't at all think anyone has to be religious to enjoy it or gain the core message of it, but I do think that it's doing a hell of a lot more good in the world message-wise than most evangelical movies of the past 30 years.

[inhuman-obey-me]

The Authoritarianism of "Father's" Celestial Realm (NB Season 2)

OKAY, life got crazy for a while, but we're finally all caught up on Nightbringer's main story, and PHEW we've got some things to talk about. So let's dive right in, starting with one of our favorite topics:

God and the Celestial Realm actually kinda suck in the OM universe!!!

(spoilers up to NB lesson 38!)

Now, this been a consistent pattern for most of OM's story and lore, but we're going to be focusing here mostly on Lessons 37 and 38 in particular this time, because they had a lot to talk about in that regard.

In Lesson 37, we are introduced to the underworld, specifically Cocytus at the very bottom layer of it.

One interesting note, however, is that this region is territory of the Celestial Realm, despite it being geographically in the Devildom, and the Celestial Realm is the one that doles out punishments relating to it -- usually. We'll dive more into that whole conspiracy in another post, but it's certainly an interesting geopolitical fact of the Three Realms.

As for the underworld itself, the idea of multiple layers of hell is a common one which originates from Dante's Inferno, the first section of the Divine Comedy, and we see that Cocytus here is taken pretty directly from that as well. Just like Dante describes in the Divine Comedy, Simeon informs us that there are four regions that make up Cocytus, made up of four concentric circles of growing intensity according to their corresponding offenses. Specifically, each layer of Cocytus is related to a type of betrayal: of family, of homeland, of guests, and finally, as the very worst type of betrayal, of "him".

The design of that is immediately very telling about how the Celestial Realm views these offenses. Other offenses may land a person in the underworld in general, but these specific types of betrayal are the worst. And among those worsts, betraying God is the ultimate offense, absolutely beyond anything else one could ever do.

Now, these levels of Cocytus almost directly match Dante's Inferno take on them -- with one major, interesting distinction. In the Divine Comedy, Judecca is for "traitors to masters and benefactors." In OM, it is traitors to "him." Considering that the rest of the levels are a direct match, this suggests that, in OM, their father is the master who must never be betrayed.

And as Mammon notes, that's exactly what our beloved demon brothers did, with Lucifer in the lead.

That brings us to the present situation, with Lucifer chained and suffering at the very center of the bottom of the underworld. The worst of the worst offenders.

Simeon, Luke, and MC arrive to find Lucifer in a screaming rage, noting that same fact. Lucifer is in such pain and rage that he's creating dangerously massive gusts of wind, and as he worries about MC and then his brothers, it only gets worse. Suddenly, Raphael appears to read Lucifer his charges. And then, we get this conversation:

There's a lot going on there, but to go piece by piece, Luke is obviously distraught upon hearing the brothers' decreed fate. He wants to protest it and argue against it. Simeon stops him because Luke absolutely must not say another word -- as a reminder, arguing against Lilith's punishment was the catalyst for the whole rebellion that ensued, which is the entire reason Lucifer is being punished like this now!

Simeon, however, has recently been demoted. We know he was a seraph at the time of the rebellion; the official Nightbringer website specifies that he was demoted for "covering for" the brothers, though we don't know the specifics of what happened there. Simeon has always been a little daring on speaking truth to power, and considering he's already been demoted, it seems he's willing to take the potential consequence of speaking up again here. So he does, expressing his questions and concerns about the whole situation going on. And, finally, he calls out Raphael on also feeling the same as he and Luke both do.

It is perhaps the most telling moment we've gotten to date of how Raphael has felt about this whole civil war between the angels. In the past, he's been fairly consistently strict about the Celestial Realm's rules, which essentially boil down to always obeying their father, and Michael by extension. And he holds himself to basically the same standards, obediently doing whatever Michael tells him to even as he's disgruntled or frustrated by the myriad requests. But when it comes to seeing Lucifer punished this way, he can't accept it either. It's wrong, and he knows it.

But he can't question decisions that come from on high. Even doubting is considered wrong.

We've heard the same from Lucifer once before -- that he questioned one who was never to be questioned. That is what he has been punished for.

This is the reason Luke must not speak up. This is the reason Raphael is crying. And it's the reason for Lucifer's current punishment. Simeon, Lucifer, and Raphael all know it implicitly -- what comes from on high is absolute. Questioning is unacceptable. Doubts are unacceptable. And rebellion is unacceptable -- the absolute worst thing that someone can do.

Anyway, now throw all that out though, because apparently Lesson 38 wants to attempt to bring us to a completely different conclusion!

Let's be honest here -- OM is a bit jumpy on its writing sometimes, and sometimes makes wild left turns. But we ended Lesson 37 feeling pretty excited because it's revisiting a common theme we've had hinted at throughout both games about what kind of leader their father is and what kind of place the Celestial Realm really is under him. And what we've seen, generally, is this: it is a very strict place, unforgiving of those who step out of line, where their father's word is absolute, and even feeling doubt is a grave offense. We even know that Simeon's greatest fear is their father!

So imagine our shock and disappointment when Lesson 38 suddenly decides that, no, actually, this punishment and everything else is actually God's love for them. What?!

New theory: exactly one person on OM's writing team is actually super religious and keeps trying to make this game about dating demons into a message that God is good. These lessons were not written by the same person.

Lesson 38 starts with a rather chaotic scene -- Lucifer has broken free of his chains and is lashing out in rage and despair, not thinking straight. Diavolo makes his appearance and tries to subdue Lucifer, though the two end up going into an all-out brawl as Lucifer lashes out at Diavolo as well. MC eventually intervenes and the brothers show up to protect MC from both Lucifer's and Diavolo's attacks. Lucifer is taken aback seeing that his brothers are all okay and present in front of him, and as MC approaches him to further calm him down, the Ring of Light glows and Lucifer momentarily transforms into his angel form, inspiring awe from everyone around at the sight of the Morning Star once more.

Earlier, Lucifer was begging to be shown some kind of sign from his father, of what it was that he wanted from him. Simeon comments that this might be Father answering that call for a sign -- a sign of his love. Lucifer seems to accept this, though with some bewilderment. But we have Lucifer straight up tell MC later in the lesson that he "must have forgotten" that Father loved them all along! That all he ever did was give, and never ask for anything in return!

Except for blind, unwavering loyalty. Something that Lucifer has actually forgotten about in this moment.

For that matter, why does Simeon automatically assume it's this grand sign of their father's love?! He himself just stated his own doubts and called Raphael out on his.

It's a huge 180 that gave us some intense whiplash for sure. But this isn't the first time we've seen that more religious trauma view from Simeon; we've seen it before in OG season 4, where he has obviously been deeply affected by being demoted out of being an angel altogether but tries to reassure himself that their father does everything for a reason, "even this."

However, even aside from the very sudden turnaround, this explanation leaves a lot to be desired, because it doesn't actually answer anything!!!

We just got told that Raphael was crying from the cognitive dissonance of obeying orders to read the charges against Lucifer while feeling deep down in his heart of hearts that this is wrong. Luke has been stopped from saying anything that could be construed as going against their father! Even harboring doubts is wrong, but somehow we are supposed to suddenly believe that it's because their father loves them?

If that's God's love, it's sure sounding like God is an abusive helicopter parent, because that's not a healthy loving relationship.

Think about it -- this is a scene of punishment. Lucifer isn't just chilling down here for fun; he is actively in pain when we find him, and it only escalates his torment at the thought that his brothers are being punished similarly. And even as we are told that Little D. No. 1 couldn't take material form because their father "just loved them so much," is it really a healthy form of so-called love to hold on to a piece of Lucifer's soul without his knowledge, even after casting him out?! We wouldn't say that a parent who throws their own child out to be homeless while keeping their old room intact is a good, loving parent; why should we think this is any different?

Plus, this is the case for Lucifer -- but what about the other brothers? Though they all managed to get free, Cocytus itself seemed prepared to punish each of them for their various transgressions, and as Mammon points out, all of them were guilty of treason against their father. Yet, it's only Lucifer whose Little D. was never able to take form. It is Lucifer specifically who is targeted for this Cocytus punishment, and the others would likely have been left alone if not for the fact that they came to save him. Lucifer is the one who, for that one moment, regains his angel form.

And what does this mean, if this is God letting go of the last of his grip on Lucifer? That he still loved his favorite son but is casting him away for real now? We know Lucifer has said that God would never forgive him in particular, and though he's been accused of just being stubborn himself (and make no mistake, Lucifer certainly is also stubborn too), it does seem in line with everything else we've been shown about their father. Does this mean that their father no longer loves Lucifer, from this specific point onwards?

And, if their father loves them so much -- then why did they need to rebel for Lilith's sake? The implication here is truly bizarre: their father was going to obliterate Lilith entirely from all existence so that not even her soul would remain, but he also just loves Lucifer so much, but is also so authoritarian that Lucifer trying to talk it out with him was met with a complete shutdown so that Lucifer felt he had no other choice but to start the war. Of course, conveniently, this lesson also just chooses to completely disregard the whole Lilith thing, both her existence at all alongside the brothers before the war and her punishment, so apparently none of that matters!

It's completely out of line with the rest of everything we've ever really been told about the Celestial Realm, and frankly, we don't like or accept it. This so-called love that's suddenly used as the explanation in Lesson 38 isn't a true or healthy kind of love, and we don't want it.

So in conclusion: God is gaslighting us but he really does totally actually suck. We're just supposed to suddenly believe now, out of nowhere, that he doesn't. But he definitely, really does.

Anyway so, Lesson 37 is 10/10 and 38 is -10/10, would not read again. Merry Crisis!

[ceruleanwhore]

I know it's been a minute since Hazbin dropped and I'm late to the hate train but I have things I want to say, so I shall.

First off, the whole thing makes absolutely no fucking sense, conceptually. There is really no good way to execute this batshit idea of Lucifer having a daughter and that daughter deciding to start a fucking hotel in Hell to redeem sinners so they can go to Heaven. Also, the culling shit with the angels showing up to just kill already dead souls for no reason also makes no sense and there really isn't any way to make it make sense.

Secondly, when making yet another piece of media inspired by Christian canon, even if it is Christianity and you hate the religion, you absolutely have to know the source material before you go fucking with it. That's why, for example, Dogma is such a good movie but this series falls flat even though both are comedic critiques of Christianity - Dogma understands the subject well enough to criticize it intelligently whereas Hazbin feels like it was conceptualized and made by someone who only watched like two episodes of Veggie Tales and otherwise knows jack shit about the religion. Throwing Lilith in there is worse because she isn't even in Christianity and it has the same vibes as when CCD classes host a Passover Seder by and for a bunch of gentiles to 'teach' about what Jesus was up to when he was around. It's just so disrespectful. Actually, that's what it is - the creators learned everything they know about Christianity, Heaven, and Hell from Tumblr posts which is definitely why she's in there.

If they knew more about the thing they're trying to make a whole ass show about, Adam and Eve wouldn't have been angels, there would be no hotel because you could just have the creation of Purgatory instead or, at the very least, some take on the harrowing of Hell and salvation of the virtuous pagans in Limbo. Also, even if you don't want to touch the Bible because it's icky (and I mean yeah), all you had to do was read like Dante's Inferno and peep the Ars Goetia and then actually make a structured Hell with a hierarchy and everything. I think kinda like what Rachel Smythe did with the worldbuilding in Lore Olympus, they wanted to modernize Hell for some reason, so the turf war/mafia type shit was supposed to replace a stronger hierarchy of Hell with princes and dukes and presidents and such, but I fucking hate it and there's no goddamn structure.

More importantly, the worldbuilding of Hell itself completely misses the fucking point of Hell as a thing. Hell is there both to contain Satan and the fallen angels who joined him in that uprising thing that one time and also to serve as a place where sinners go when they die and are punished for their sins. We never see even once any sort of actual system for sorting all these souls and punishing them for their sins. On the contrary, characters like Angel Dust appear to get to do drugs for the rest of their immortal lives and, since they're dead, it's not like those are going to kill them so it really doesn't read like a punishment. The closest we get to actual punishments are when the sinners/demons have gone and made deals that give other residents of Hell control over them, like how Husk is under Alastor's control and then Alastor apparently also has some kind of deal screwing him over, and Angel's situation with shitty boa dude is pretty similar too. It feels like they did the extermination shit to replace punishment in Hell along with these deals we see here and there, which is utterly fucking ridiculous and makes absolutely no sense.

The other thing I'd add kind of going off that is that Heaven in this series also makes literally no fucking sense. It's actually also the biggest issue I have with Good Omens that it makes NO SENSE for the angels to have no clue what God's plan is or, in this case, how souls even get into Heaven. The whole fucking point is that there's an entire, nicely structured hierarchy for exactly this. Seraphim, cherubim, and thrones are all closest to God, so they can get the info from Them and pass it to the lower ranks. Hell, this could even be how you get problems, like you make it a bit of a gimmick that Heaven runs on a massive game of telephone. It also could've been a way to have some really cool variety in character design, so maybe some of the higher ranking angels look like the weird biblical shit with all the eyes and fire and they get progressively more normal as you go down the hierarchy. Instead, they picked like three recognizable names, made them into pretty people with wings and potentially also stupid Homestuck looking masks, and threw them in our face while just refusing to actually bother with worldbuilding or character design.

That brings me to the third thing which is that, when doing a series like this based on something like Christianity, you really have to sit down and figure out what kind of God your Christian God in your series is going to be, even if They never show up on screen. Is this God distant and neglectful and that's how all this shit is happening? Or do we have the wrathful God of the Israelites who regularly exterminates Hell out of pure sadistic rage? Or do we have a weak God on the verge of death who is barely present out of necessity while the angels take advantage of that absence and run amok? And it's not even just that determining what kind of God is supposed to be the God of this series would inform why stuff happens like it does, it would also help the writers to have a sense of direction and motive for what happens.

The writing in the show is all over the fucking place and figuring out what kind of God this God is meant to be is the very first question they should've asked themselves and it would've prevented most of the problems that currently exist in the show. If we had that, then maybe we wouldn't have weird shit with Lucifer where he very much does not feel like he's the devil at all and also Charlie is supposed to have daddy issues but then he shows up and is just a really adoring and supportive dad so that doesn't make sense. If we had that, then maybe Hell would have a fucking structure because we would actually have the motive behind Hell itself and why it exists. If we had that, then maybe we could get into the nitty gritty of the ethical/theological complexities of Hell and how, no matter how you slice it, it's really God's will at the end of the day so we could get a whole debate over if Lucifer is even evil or if God is just controlling and sadistic and all that. If we had that then maybe we could even have some reveal about how sin isn't even a concrete thing and the true nature of Hell is that it's a place people choose to go when they die because they don't feel worthy of salvation and they feel in their soul that they need to be punished. Anything, really.

Fourth is that it really, really shouldn't be a musical series. The pacing fucking sucks and they overexplain everything and I just feel like if you took all the time spent on shitty musical numbers and instead put it into showing, not telling, and also developing characters and relationships, it could be a lot better. If there was more time for shit, then maybe Charlie could not be a Mary Sue and Vaggie could have a personality and Angel could be an actual fucking character that isn't just an animated twink with trauma who gets off on violating people's boundaries. Also, I just really didn't like most of the songs in the series (outside the series they're fine) and I skipped a lot of those scenes.

Fifth and final is that it really just wasn't funny. A lot of the stuff that was supposed to be funny was just excessive swearing that felt completely unnatural, like that tiktok going around of that girl saying the n word. If you're bothering to do a whole series set in Hell that's ostensibly about Christianity, then why tf aren't you leaning more into biting criticism of Christianity for your humor? If they'd just gone full Dogma with this, it would've been so much better but no.

So yeah, it fucking sucked and so did the character design.

[admiral-mason]

I'm bored, random crossover time again

Recently I have gotten into a little shooter game known as Ultrakill.

For those who don't know: Ultrakill is basically a shooter game that combines elements from Titanfall, Doom Eternal, Devil May Cry, etc. You play as V1, a literal blood-powered combat robot that descends into Hell (from Dante's Inferno) to get more blood. On the way, you fight demons, angels, and other machines.

So? With my blog basically sporadically alive, let me revive it with another nonsensical crossover!

Gender neutral reader

SPOILERS AHEAD!

How these two games crossed over:

So you own both a PC and a phone/tablet. You would mostly play Genshin Impact on your mobile device while you played Ultrakill on your PC.

You've managed to complete both games and right now you tried obtaining all the alternate 'slab' weapons in Ultrakill. You have one already, simply called the slab revolver by many. Your next weapon to obtain is the sawblade launcher, located in stage 4-4 Clair de Soleil.

So, you did so. Whiplashing the blue skull from the right room after you used the first jump pad, the door opened and you shot your railcannon into the water. However, when you did so, the game decided to crash on you.

"What the hell??" You said before grumbling a little and trying to boot the game back up to no avail. Closing out the game, you bothered to play a little Genshin. However, within a few seconds of booting up the game, you got shocked and blacked out.

How you got to Teyvat:

After waking up, you found yourself in a plains area... and then you saw an anemo slime.

"Hey, you. You're finally awake." A voice that sounded like Microsoft Sam said from behind you.

(V1's voice from this program)

Turning around, you were greeted by the blue camera head himself.

"What the frick V1 how are you here??"

"I don't fucking know, one moment I touched the sawblade launcher, and now I'm here in what appears to be Limbo but not fake with the human who basically assisted me in murdering all of hell for blood. By the way, you perform really great shotgun yeets!*"

"Uh, thanks." You awkwardly responded.

"Now where the fuck can I get some blood?"

In Mondstadt:

The two of you ended up wandering around V1 had managed to kill a few wild animals for blood with his revolver. It didn't take long for someone to hear the sounds and approach you two afterward.

"You two! Stop right there!" Amber heard the sounds of V1's revolver shots as she ran towards you two. If it weren't for you rapidly telling V1 to not shoot her, she'd likely be on the floor in a pool of her own blood.

"...Hi there." You awkwardly said before she ended up tackling you to the ground in a hug with V1 just looking at the sight.

After Amber took you two to Mondstadt, word spread quickly of the Divine One and their blue angel-looking machine. The two of you managed to receive free housing with the Knights of Favonius alongside a tour of the city.

V1 abused his superior mobility to cross the entire city from one side to the other in less than a minute. This astonished the local citizens at this strange individual's movement skills. And then he accidentally crashes into a random citizen's cart.

"WHEEEEEEEEEEE"

"V1 don't you're gonna-!"

V1 crashes into a cart full of cabbages, toppling it

"..."

Everyone's also confused at his ability to seemingly generate coins... before shooting at them with that curved thing he holds in his hands and then it kills stuff. (I presume that most Mondstatians have never seen guns, the closest they have seen is probably a bow,)

Then he somehow pulls a giant double-barreled minigun?? Then a tube that shoots rockets??

Expect Klee to be all over him.

"Well see, this rocket launcher used to be an industrial tool, until some-"

"HOW BIG OF A BOOM CAN IT MAKE?!"

"...Let me demonstrate!"

V1 activated the freeze mode on his Freezeframe Rocket Launcher and fired a few rockets at a group of wolves...

...Safe to say, those wolves and their surroundings got blown up to high hell.

When Jean found the destructive duo, V1 just took Klee into his arms and proceeded to abuse his mobility yet again.

"BOING! Catch me now, bozo!"

"Get back here you blue thing-"

"I am not a blue thing thank you- BOING!"

Looking past shenanigans, Albedo and Sucrose have taken an interest in V1's lethal arsenal that's even far superior to Fatui tech. Noelle might ask to train with the machine after some introductions.

In Liyue

After a few days of staying in Mondstadt, you kinda wanted to see Liyue so you told everyone else and asked V1 to accompany you. Upon arrival though, you found out that Liyue prepared a celebration for the two of you. Turns out news can leak out quickly to the world even if you've only interacted with a part of it.

V1 found Liyue significantly more fun to traverse and navigate around. From mountainous marvels to spacious streets, the nation provided him with no short of tricks to pull off.

Everyone interacted with V1 normally until he started using the Whiplash to grab items from various vendors merely flipping a few coins at them in return. This led to a scuffle with the Millelith and he ended up shocking everyone by knocking all of the soldiers out with a mere punch to their chest.

Thankfully you managed to calm him down.

When he saw the Jade Chamber, he made it a personal challenge to ascend without using the proper way. He unfortunately did so while Ningguang was pleasantly talking with you.

"This, your grace, is-" You could then faintly hear rocket sounds in the distance, with Ningguang following suit shortly after. You both turned in the direction of the sound to see V1 flying on a rocket with his Freezeframe Rocket Launcher yet again before he jumped off and landed right next to the two of you.

"Hi friend I'm back! Mechanic abuse is funny!"

Ningguang just blinked at the sight of the combat machine that somehow stood on a small flying object to get up here without proper authorization. "...Your grace what the heck did that thing just do??"

"I AM NOT A THING-"

Part 2?

*Shotgun yeets refer to projectile boosts.

[leanderfields]

Not too long ago I rambled about how Leander, Ais, and Mhin might be representing each of the three moons in the Triple Goddess Symbol and what that could imply about the Touchstarved routes. I left out Kuras and Vere since it’s, well, the Triple Goddess Symbol… but I wanna talk about them now. Leander, Ais and Mhin are connected, but so are Kuras and Vere. 

Just in a different way: they’re foil characters.

A foil character is essentially a literary device in which writers highlight a character’s traits (be it their personality, appearances, or philosophies) with another character who has traits that are opposite to them. But this is not to say that they’re complete opposites or made to be protagonist vs antagonist. They can be similar in some ways like two sides of the same coin. For example, Sherlock and Watson are popular foil characters. Both are intelligent, but in different ways. Sherlock is the logical type of intelligence while Watson is emotionally intelligent. They’reboth  friends, but they also challenge each other with their philosophies and methodology.

I feel like that is also the case with Kuras and Vere. Though they are far from friends, I do believe that they were designed to be foil characters and possibly challenge each other whether that be as rivals, foes or eventually– friends.  Am I coping? Maybe. But hear me out:

Vere’s design is primarily black and silver whereas Kura’s design is white and gold. Black and White. Silver and gold. Both of these are opposites. Black and white represent the typical opposites like good and evil.

Kuras is a virtuous person at heart. He dislikes dishonesty and has saved both MC and Mhin’s life and they might not be the only people he’s saved because we know he wanders the wastelands. On the other hand, Vere dislikes rules, is a natural liar and causes a lot of trouble whether that be breaking into Kura’s clinic or stealing MC’s key.

Another set of opposites black and white represents is heaven and hell. Kuras is obviously representative of heaven. He is an angel, a divine being. One that supposedly sinned, but he is still a divine being nonetheless. Then there’s Vere, a monstrous beast chained by Senobium. While he isn’t from hell (or maybe he is; we’ll have to find out), he has a hellish motif in his chains. In the Bible, the Chains of Hell are forged by humans who choose to disobey God's commandments. Chains of Hell give Satan the power to control and influence humans. Vere’s hair is also a fiery red. While the notion that hell is a burning hot pit of sulfur is biblically inaccurate, we have come to associate hell with hot temperatures because of how modern media depicts hell. But it also depends on different conceptions of hell you look at. Some shows like Netflix’s Lucifer depict hell as a cold, desolate place and Good Omens depict it as an underground subway of sorts. In Dante’s Inferno, hell is described to have nine “layers”. We know them better as the nine circles of hell, each modeled after a sin. The center of hell in this depiction is burning and hot, but other circles are cold or have completely different environments.

Silver and gold is also mentioned in the Bible. They’re usually mentioned together, but these metals do have different connotations. Gold is thought to be more “superior” than silver is. Even today, gold is used to represent first place and silver is used to represent second place in competitions ranging from school spelling bees to the Olympics.  

But biblically speaking, gold was a metal chosen to represent God’s glory. It’s mentioned in Genesis (2:11-12)– “It is the one that flowed around the whole land of Havilah, where there is gold. And the gold of that land is good; bdellium and onyx stone”. Gold is one of the first metals mentioned in the Bible thus being closely associated with God. And from there, the heavens have always been depicted with gold. Golden gates, golden arches, etc. And this is my own interpretation, but seeing as gold can withstand extreme heats without being tarnished, it can also be seen as a “pure” metal, a metal that could withstand hellfire. Supposedly anyway. As for silver…. It’s a bit more “common” than gold would appear to be. If gold represents wealth and the heavens, then silver is associated with trade. Although silver is a precious metal, it is also a fairly mundane metal. You see silver every day whether it’s real or steel– on mechanical pencils, technology, utensils, needles, etc.

Kuras having gold in his design helps to sell the ethereal look of an angel, but it also creates this divine, out-of-reach aura without revealing his true form (which is also probably too much for mortals to handle). His height adds to that as well. He’s so tall that he is literally out of reach. Kuras’s personality also makes him hard to reach. He doesn’t talk much about himself and you can hardly learn anything about him with small talk. He’s mysterious and allusive and Leander has never bought him a drink before. Also he’s a doctor. Not to say that doctors can’t be friendly or have friends, but it does create this professional boundary for many of his patients– and perhaps other people too– making it hard for his patients to connect with him in an intimate/close way.

Vere is of a fairly average height and despite being a monster, he has a very mundane feel to him. Not mundane as in he’s boring, but rather earthly. Very grounded. Compared to Kuras, he is very much within reach by human standards. At least from just talking to him. Yes, he plays around with his food and his words, but you can also garner a lot more from someone who talks a lot than from someone who never talks about themselves at all. From the get go, we knew he didn't like Kuras. In the demo, he makes many of his likes and dislikes clear. Vere feels very human in a way. He also goes out to have fun, drinks, expresses himself whether that be through talking up a pantomime, speaking in a vulgar way,  or having a hobby like drawing.

Each character’s chest windows also visually imply something similar about their personalities. Vere has a plunging neckline that exposes a good part of his upper body. Kuras has a bit of a plunge too though it’s not as deep, barely going past his sternum. Kuras’s chest area is also covered by some kind of sleeveless undershirt. It’s sheer, but it still covers his chest. These design choices suggest that Vere is more open about his feelings than Kuras is hence why his chest, or heart, is more exposed. Kuras’s “heart” is covered by a sheer material, meaning you could see some of his feelings but perhaps not all of it as he is guarding them with a barrier of some sort. Keeping his guard up, if you will.

Their chest areas aren’t the only “similar yet different” aspects of their designs. Color schemes and chest areas aside, they both have a robe-like outfit. Their top garments have bell sleeves and this small “train” that drapes down to their legs. Kuras’s sleeves are much longer than Vere’s and they’re detached from the rest of his top, but I think that it’s part of his ethereal look. There’s something classy and elegant about long sleeves.

As for the rest of his outfit, it’s pristine and structured. There’s distinct shapes and sections. The design is seemingly symmetrical (except for his belts) which probably suggests that he’s an organized and straight-laced person with an occasional 180 (probably fueled by his fatal flaw)

Vere’s sleeves and most of his top is sheer and flowy. They’re probably made from a comfortable, silky material. In addition to his chest window, he’s also got a thigh window. Vere has a very lax and flirtatious design. The only thing that isn’t so flowy is the belt/collar situation he’s got going on with the Senobium. His center or his chest/heart. His collar is straight and symmetrical. It ties him and his nature down.

Speaking of being tied down, both Kuras and Vere have vambraces on their forearms. Kuras’s is gold while Vere’s is silver. They’re the only characters to have this. I personally interpret them as manacles. Vere’s vambraces are exposed. He sports them as he does with his collar– out in the open without care. He doesn’t advertise that he’s chained down by the Senobium, but he also doesn’t go to extreme lengths to hide it. Yes, he initially hid his leash from MC, but he also let MC figure out that he was affiliated with them. If people found out, they found out. If they knew, then they knew and he’d make sure they’d know how powerful he is too. On the flip side, Kuras’s vambraces are somewhat shrouded by his long sleeves. In every pose and artwork we’ve seen of Kuras, his vambraces are always half-covered. It’s like you know there is something going on, but you don’t know the full story or feel close enough to ask.

Those vambraces could also be representative of how both characters are prisoners in their own ways. Vere is more literal. He was captured and made to be the Senobium’s pet against his will. He’s somewhat resigned to that life, but of course he wants to escape. Kuras is shackled down by his own ideals. He stays in Eridia because he is compelled by his own guilt. In a way, he chains himself down and gives himself his own punishment. Vere is literally shackled. Kuras is figuratively shackled. Vere is a prisoner of the Senobium. Kuras is a prisoner of his ​​culpability.

The last thing I want to mention is that Vere is affiliated with the Senobium while that place is listed on Kuras’s dislikes. There wasn’t an exact reason for his dislike though. For Leander, we can sort of infer the reasons. He’s a mage, possibly an exile, etc. But there’s not much to go off for Kuras’s revulsion. He is also friends with Mhin who happens to like the Senobium. Does Kuras’s dislike for the Senobium have something to do with Vere or is it something else? Their distaste for one another is mutual according to their relationship charts.

Perhaps if Leander, Ais and Mhin are connected through the Triple Goddess symbol, then Kuras and Vere’s routes might be interconnected since they appear to mirror each other. They’re foil characters!!!

Not just visually but also with their personalities. They’re also marketed with complimentary colors. Colors that are opposites. Kuras is yellow/gold and Vere has purple. I think that means something. Maybe.

[dailydemonspotlight]

Adramelech - Day 96

Race: Fallen

Arcana: Hanged Man

Alignment: Neutral-Chaos

August 19th, 2024

For such a central and popular concept, ironically, Demons are actually a rather uncommon sight in many translations of the Bible. For the most part, several attestations of demons are relegated to the old testament, with the new testament seeming to focus most on demons in terms of spiritual possession and the like. However, many biblical stories that have demons within them seem to have a few common trends, whether it be references to demons in reference to grimoires or, more strangely, and more rarely, translating gods from other religions into demons. This can be observed in Dante’s Inferno most obviously, with several deities from other religions seeming to be reinterpreted as demons or sorcerers. However, while most can recognize deities from throughout this trend as not originating as demons, some are a bit more obscure, especially when this trend spreads to other books. One such deity of course, is today’s Demon of the Day, Adrammelech: an ancient semitic deity turned demon in Paradise Lost. 

While only mentioned briefly in the Book of Kings, Adrammelech is a very curious figure in the world of Biblical study. For those unaware, the Book of Kings is a book situated in the Hebrew bible cut in two parts, including mythologized accounts of real history in order to tell the theologized story of the destruction of the Kingdom of Judah by Babylon. Of course, like many books in the bible, the Book of Kings is long, interspersed between Luke and Leviticus, and its two parts are a rather complicated read overall, but for our purposes, we only need to focus on a mention in Kings 2, particularly in 17:31. 

the Avvites made Nibhaz and Tartak, and the Sepharvites burned their children in the fire as sacrifices to Adrammelek and Anammelek, the gods of Sepharvaim.

Interesting to note here is the mention of ‘Sepharviam,’ a word that has contested meanings and is said to be grammatically dual, but is generally agreed to mean the cities of Sippar Yahrurum and Sippar-Amnanum. Both of those cities, notably, were placed just north of Babylon, noted home of sinners and all sorts of nasty stuff, so the antagonistic role that Adrammelech is painted in is rather obvious in its origins already. Also, Anammelech is mentioned in the above passage, but basically nothing is known about said god, so we’ll just brush over that. 

Adrammelech’s name meaning ‘Magnificent King’ has been connected to Baal, though it’s commonly believed that Adrammelech and Baal are different beings with simply similar epithets. However, this does tie into the fact that, much like Baal, Adrammelech was a semitic deity whose worship was rather extremely depicted in the Bible. This isn’t the only place Adrammelech shows up, though- the Talmud has its own appearance in it of this god, where it gives us a physical description. To quote the Jewish Encyclopedia, 

The Talmud teaches (Sanh. 63b) that Adrammelech was an idol of the Sepharvaim in the shape of an ass. This is to be concluded from his name, which is compounded of  "to carry" (compare Syriac ), and  "a king." These heathen worshiped as God the same animal which carried their burdens (Sanh. l.c.; see also Rashi's explanation of this passage which interprets  "to distinguish," by "carrying"). Still another explanation of the name ascribes to the god the form of a peacock and derives the name from adar ("magnificent") and melek ("king"); Yer. 'Ab. Zarah, iii. 42d.

And all of this, eventually, ties into Adrammelech’s appearance in Paradise Lost, where he finally appears as a demon, and an incredibly powerful one at that, one who fights alongside Asmodeus but is eventually vanquished by Uriel and Raphael. To quote, 

Down clov’n to the waste, with shatterd Armes And uncouth paine fled bellowing. On each wing URIEL and RAPHAEL his vaunting foe, Though huge, and in a Rock of Diamond Armd, Vanquish’d ADRAMELEC, and ASMADAI, 365 Two potent Thrones, that to be less then Gods 

Finally, as a solid explanation and image for Adramelech, as he barely appears in said poem, we get a description in the Infernal Dictionary, a book by one Collin de Plancy going over yet another compendium of demons, in which he is depicted as a chancellor of hell and among Satan’s cabinet, appearing in the form of a humanoid body with a mule’s head and a peacock’s tail. A rather faithfully adapted design into SMT, funny enough. 

Lastly, though, he appears in, drumroll please…  the Ars Goetia! YEAH!!!! Unfortunately, his given name is Andrealphus, though everything else is accurate, strange appearance and all. A strange story for an even stranger demon, I must say, but also a fitting start to the countdown to 100. 

[whbtheories]

Character Preview: Satan

Domain: Gehenna

Sin: Wrath

Birthday: July 14 (Cancer)

Idiosyncrasy: spanking

Mental condition: depression

Ability: shapes the blood of those who love him

Theme colours: red, white

~

Interest

Of all the demons in What In Hell Is Bad? seen thus far, Satan's proclivities are perhaps the most tame of all, with only spanking highlighted as sparking his interest.

That said, his subjects are apparently big fans of being hit on the regular by their ruler, and his depression makes him quite the slapper.

Depression and Satan often go hand in hand, whether he is being blamed for it afflicting mortal beings, or portrayed as conquered antagonist or tragic figure.

And of course, his love of violence fits his sin to a tee.

We are told he is a lover of being both the spanker and spankee, but that anyone who gets with him on that level will soon be used to the submissive role 👀

(NB - the usage of S and M as personality traits in this context don't fully translate to sadist and masochist, but rather to dominant and submissive, or assertive and passive personality types.)

July is not a month associated with Satan, however the 14th is apparently Pandemonium Day - with Pandæmonium also being Milton's name for the capital of Hell, ruled by Satan, in Paradise Lost.

If we turn to the lunar calendar then July is also home to the Hungry Ghosts Festival, in which the ghost door opens and allows spirits to walk among us 👀

(The 15th of the 7th lunar month is when Dìguān, the Earthly Official of Taoism, visits this realm to absolve people of sins... And perhaps Satan seeks to beat him to the punch with his tempting deals.)

~

Personality

The ruler of Wrath is unsurprisingly said to be the most violent of all seven kings of hell, but despite this he is friends with all his subjects, an interesting feat.

It helps that the residents of Gehenna actively enjoy being the target of his wrath, with even Ppyong enjoying being slapped on his lil booty.

Satan spends his nights drinking with lesser demons in back alley taverns, suggesting a more casual approach to his conduct. Not so prim or proper.

He is also the first demon we meet in-game, and he is depicted as intense, knowledgeable, and tactically smart. And of course, exceedingly horny. He has a lot of ego but seemingly the skills and wisdom to back it up.

In this respect he is similar to Obey Me Satan in having a strategical mind and a flair for the dramatic, but unlike that Satan, WHB Satan seems confident in expressing multiple emotions without losing his head in his passion.

In tandem with Lucifer - and including Beelzebub who is often conflated with both - Satan is the demon most frequently portrayed in our media, historical and contemporary, and generally appears as one of two archetypes: the odious and not terribly bright monster of Dante's Inferno, often gifted with red skin and pitchfork; or the charming tragic figure of Paradise Lost, who may or may not bring ruination to us all.

This Satan is definitely in the latter camp, though just how charming he can be is yet to be revealed...

~

Aesthetics, symbolism, and my rating in the cut! ↓

Aesthetics

Satan is very much the pretty boy of the demon kings we've seen thus far, with long flowing locks, elegantly long horns, and an innocent looking face - well, other than the glowing red eyes, black cross pupils, and inverted cross mid-forehead.

His long black horns are tipped with blood red to match his eyes, and this colour also highlights his jumpsuit with a Seal of Solomon on each arm.

That seal is repeated in silver as his belt buckle, giving us a demon that is marked by Solomon three times - quite the statement. And in case it wasn't clear, he has the number 666 on him twice, as well as 'Gehenna'.

A full view of his outfit also reveals some katakana but it's beyond my translation abilities - I get something similar to boom/explosion isle which feels half correct at best. Although actually...

I wonder if it's a nod to Bakuon Rettou itself, which would certainly explain Satan's bōsōzoku style outfit 🤔 It's a subculture look from the 80s in Japan, consisting mostly of jumpsuits and bad biker boy aesthetic, with a dose of pseudo-nationalism to a greater or lesser extent - very problematic for irl nationalism, but fitting for a king of hell. They also put slogans on their jumpsuits that were translations of "cool sounding English" (eg "boom island", the literal translation of Bakuon Rettou.)

Bōsōzoku are an old fad now, but as a fashion type they are still popular in surrounding countries, thanks to popular media like the Bakuon Rettou manga.

(And on an even bigger tangent, they were heavily associated with nameneko merchandising, which as you can probably guess is cat related! OM Satan would approve of that part.)

If we see Satan on a motorbike, consider that one solved!

The inverted cross is also repeated - on his boots, his pants, and in the negative space of his heart pendant. This is a far more modern symbol of the occult, as until recent decades it was a holy symbol representing St. Peter.

In modern pop culture though the inverted cross is synonymous with Satan, hence its appearance here.

The placement on the forehead is also notable, as this is where the ash cross is placed on those repenting their sins - the inversion of that would suggest pride and relish of one's sins. Again, fitting for Satan himself.

And he has a final inverted cross on a long cord trailing from his hips to his knees - in this case one that is remiscent of Celtic high and Anglo-Saxon crosses of old.

This cord, along with his many belts and those boots, also ties in with the bōsōzoku vibe.

His thematic colours of white and red are a very provocative choice. White is a colour mostly associated - in this context - with angels and beings of celestial origin, as well as the concepts of purity, divinity, and origin.

For Satan himself to sport the holiest of colours is deliberately bold, not least with it accented by the colour of blood, of violence, and of passion.

His outfit is casual to the extreme but styled expertly. He very much gives the vibes of a delinquent king who is down to drink with his subjects, and he is also the leader whose outfit has least in common with the other residents of his realm.

In some ways this could suggest a demon who is careless about his throne, but imo Satan's look more strongly suggests supreme confidence in his reign.

A (pink-toned) blonde Satan reminds me of Lucifer from DC/Vertigo comics, who unlike Tom Ellis is platinum blonde and fed up of hell, as well as Satan from Ao no Exorcist who is the king of, wait for it, Gehenna.

[I'll dig into Gehenna in another blog ( ಠ▿▿ಠ)و ̑̑]

The only portrayal that comes to mind that has both blonde hair and red eyes though is Lucifer in Shingeki no Bahamut: Genesis - who also sports long black horns tipped with red. Personality wise though, they are completely different.

Overall his look is quite becoming, youthful with a knowing smirk, and absolutely made to tempt with large eyes, and teasing tongue behind a fanged grin.

~

My Rating

Firstly I should admit my own bias - after Mammon, Satan was always going to be the demon I would judge most harshly as I am a big fan of how he is portrayed in Obey Me.

That take on Satan, and the intricacies involved in his origin from Lucifer and subsequent strained relationship and burgeoning personality, are admittedly undercut by later in-game writing that reduced him to a far flatter interpretation. But still, the juice was there!

So, bear in mind that this is a harsh personal eye I am casting upon this Satan.

Satan and Lucifer both have the biggest challenge in being portrayed in a new and unique fashion, having been done so many times before, and in my opinion this Satan does an excellent job of establishing himself with an iconic new look.

The long pastel hair and large eyes give great contrast to massive horns and slit pupils, while his outfit is impressively modern and stylish.

Only one very minor criticism would be the lack of tail, but considering none of the WHB demons have yet been shown with one, that is either a deliberate stylistic choice for the whole game, or we simply haven't yet been granted permission to see them. Either way, as it applies to all, it can be disregarded.

This Satan stands as very distinct from OM Satan, and really from any other Satan I can think of. The long hair is a really nice touch, especially given his overall contemporary vibes.

One of the prettiest Satans I've seen, and one of the most intriguing.

10/10.

[amoransia]

Leviathan: "Oooooooooh"

Beelzebub and Asmodeus: (This could've been an email.)

!!!Chapter 65 spoilers below!!!

Good fucking food and good chapter as per usual. Thank you for showing me my snake wife (Satan) again. Loved every page, and I hope Fukayama-sensei is taking his time recuperating from his surgery and doesn't push himself too much.

I say this because those pages were out of this world. I love the spookiness factor they're finally adding. A lot of exorcist manga just focus on the action and completely forget they're dealing with demons (and other creatures of similar nature) so I'm glad Aruma added that in. Belphegor's pathetic poltergeists(?) are really funny, too lol.

Babacat confirmed!! Troperrific called it! I had my money on Cattan instead, lol. Regardless, this basically means she's been spying on Priest since the very beginning, so there's a high chance she'll try to talk-no-jutsu him into corruption(?) using what she knows about him. What Vergilius couldn't convince him to do, she'll probably (almost) succeed? If that's her goal, anyway...

Surprise! Chicken legs, as per her folklore of having a chicken leg-powered house. Nice to see that Aruma-sensei has some basic knowledge on her. As usual, they do look into things. Which makes me happy. I thought the chicken was kinda cute until her disemboweled headless corpse waddled in. Jesus.

Apparently, disembowelment and beheading are the punishments given to schismatics in the Ninth Bolgia in Dante's Inferno. Yeowch. Perhaps this is her punishment because she wanted to help wrongly convicted souls while not inherently being a non-believer and merely disagreeing? I don't know.

I'd also like to mention that Mikhail is probably going to gain a more prominent role when it comes to Baba Yaga. He was the first to recognize it was Baba Yaga, and I think this is because he's more familiar with Slavic folklore than the rest of the cast. After all, Mikhail is a name of Russian origin, so he's probably from around there. He probably got told stories of her as a child.

(I used to affectionately dub Mikhail "Florida man" because of his crazy antics, but he also does fit those crazy Slav dudes that post videos of themselves randomly bringing down abandoned buildings with only bricks. Anyway.)

Really hilarious that Priest can somehow tolerate the horror fuckery that happened this chapter but can't handle horror MOVIES or Japanese spirits. My MC is truly built different and I love him dearly. Someone get him a good therapist and multiple trips to a bunny café.

Just look at him go!!

Imuri's face didn't show up even once in this chapter, by the way! Probably means nothing, but it'd be curious if her reactions were obscured because she was familiar with Granny somehow. Imuri's lived quite a long while, too, after all. Wouldn't be weird if she knew some people here and there.

(Might I add that we've yet to see the mysterious Cass friend she texts... He said he hesitantly submitted a request to see her to the Church, but it's been a while since that...)

This line alone is either a red flag or a green flag, but I'm hopeful it's actually a green flag, since it goes against Satan's wishes. Maybe Baba Yaga will actually sympathize with Priest, since she's been watching over him... dunno!

Additionally, this is also something I mentioned on my Twitter, but to me, it appears that she's being set up as another parallel character to Priest:

Both are the strongest of their team

Got called "it" and "thing" by their respective benefactors

Both want(ed) to help people

Witnessed or witnessing wrongful accusations against the innocent

Priest even sympathized /explicitly/ with people who were wrongly tried for supposed witchcraft in chapter 64. Surely she must've heard him say that? I previously thought Vergilius would take on the role of the parallel, but I think Granny is a more deliberate one!

Welcome back Tachibana my beloved boss girl, in the most literal sense. She even has a big ass coat on. Is she single? We should ask Aruma-sensei. Please do a Q&A, I pinky promise to be civil.

Anyway, I'm convinced Mammon is coming back too, then, since she is extremely capable. Mammon's (first) arc was definitely rushed due to the looming danger of the axe, so I'm excited to see him being pathetic again. He's grown on me, for the wrong reasons. I think he's a big fan favorite amongst the JP sphere as well. He's the only Demon Lord that I feel truly values his human connections, so that's no surprise.

All in all, it was a perfect chapter, and I have nothing to say about the Japanese and/or translation of the chapter; I have but one single complaint:

Chapter 65

Chapter 36

THEY CLIPPED HIS FUCKING NAILS!!! NOOO!!!!!!!!!!! HIS EVIL SLY BITCH SWAG... it's GONE!!!!!!!!!! It has been STOLEN!!!!! Someone has to die for this FUUUUUUUCK

[jamiesfootball]

more leverage/tl thoughts. any time they need someone undercover in sports or labor, they send eliot. which of course makes sense. for eliot. and also probably au roy.

but consider: jamie is NO good at any of that stuff. he can do a lot of sports, especially anything where you have to be fast or agile, and he takes the boxing job - though he has to fight roy on it, but roy is on his last legs and they all know it. but when it comes to labor jamie doesn't know how to do shit, and he's prissy too. doesn't like getting his hands dirty. he's totally comfortable in his own sweat, sure, but he even gets a bit squeamish at blood he was the one to spill especially if it gets on him (this was never a reason roy cited for why he didn't think jamie should be their new hitter, but in hindsight it's Very Obvious lmao).

anyway, so the team is always like yeah you send in the hitter to fill an undercover role in labor, because his asset is his body, right? wrong. there's a gradient when jamie switches from hitting to hacking, a small transitional period of time where he's doing both, but roy always has to step in for any "hitter" job that isn't... well, hitting. he gives jamie all kinds of shit for being a gen z city boy who doesn't know how to change a tire or whatever, but tbf he's glad for the excuse to only be part time retired lol.

& then when they bring isaac(?) on to be roy's replacement since jamie didn't work out (and roy never stops saying he told everyone so about that), he doesn't know how to do a lot of labor stuff too, but he's happy to learn - unlike jamie, who would do the work of course but he'd whine about it and even when he shut up and bore it you could still tell he hated every second - but usually they don't have time for him to get fully trained in stuff so they have roy on comms talking him thru it and jamie always chimes in with totally wrong info just to be obnoxious aksjfks.

My hand didn't slip so much as it went ice skating, stayed out past curfew, and forgot why we were here in the first place:

"How are you so bad at this?” Roy asked over comms, and it took every bit of his restraint for Jamie not to throw the big-scissors right through the mark’s window.

Bad enough that he had to put up with the older man critiquing his fighting style on a daily basis, and the smugness when he pinned Jamie in a headlock, and the eyerolls when he thought Jamie was being purposely ignorant about some complicated maneuver.

(And he wasn't being deliberately obtuse. Roy just knew more obscure fighting techniques than God, and appeared to think that Jamie should have learned capoeira on the back streets of Manchester while reading a dictionary.)

That's what Jamie had to put up with if he wanted to get better. That was the price of having a stable gig, one that paid per diem even when they weren't on the con. Ted basically paid him to hone his craft, on the off-chance it'd be useful to him later. Jamie banked money, his bones didn't break, and the only note on his head these days were the sticky notes Roy left on his forehead when Jamie nodded off in the breakroom.

("I think it says 'Dante's Inferno,'" Keeley said as they shared a stolen sandwich; Roy really was a good cook. She squinted at the tiny, furious handwriting. "Do you think it's a clue?")

He understood the old man was frustrated; his grandad knee had the structural integrity of a broken bottle that'd been glued back together. He'd be stuck in Beard's weird, smelly little van for at least the duration of the job. But it didn't give him the right to be a dick to Jamie about yard work. Where did Roy get off thinking Jamie had ever learned to prune a rose bush?

"You can't cut it down that low or you risk it having to grow up from the graft."

Jamie yanked the big-scissors back from a deadened stalk. “Then you should’ve swapped me with Keeley,” he hissed.

A while ago she'd been gagging over the comms. Her and Ted had a long debate--the kind Jamie could never get away with--about whether she actually had to clean the mark's bathroom as part of her reconnaissance. Yes, the tank was an excellent place to hide stolen jewels; no, she'd never found one there in her life.

Jamie wondered if the housekeepers wore maid outfits. Keeley would look dead fit in a maid outfit. He'd look dead fit in a maid outfit. Anything would look better on him than the gray, stiff-collared maintenance uniform Beard had presented him without comment.

The earbuds made it sound like Roy was right behind him, whispering disapprovingly, "Keeley's on the inside so she can crack the safe when she finds it. And you're supposed to be keeping a lookout on the armed guards. Focus." The hairs on the back of his neck stood up. Focus, he said. Like Jamie had the luxury of forgetting that not ten metres away stood a burly man armed with an assault rifle and a blind spot in the cameras. All Jamie had was a pair of big-scissors and a prickly old bastard in his ear.

Honestly? He'd rather scrub the bathroom.

Jamie could scrub the hell out of a bathroom. Hell, he could scrub a carpet so well the landlord would never find the bloodstain. Roy might get high and mighty when Jamie admitted that he'd never used a drill or whatever, but Jamie knew the ins and outs of patching holes in the wall. He couldn’t change a tire, but he could steal a hubcap in under thirty seconds. He couldn’t slice an onion, but he could make twenty pounds at the grocers stretch for two weeks. Crouched eye-level with the rose bush and with a hidden spycam on his top button, him and Roy faced the same barren pot of twigs. Somehow Roy could see the instructions that would guide it to blooming, but Jamie couldn't. To him the rose bush was a dead thing, simple as that.

The big-scissors in his hand curved sharp and short with a thick handle for wielding. He was sure they had real a name for them, but he was also pretty sure his dad used to have something similar around for threatening the debtors who ran late on payments.

He could use a hammer. Roy never asked him if he knew how to use a hammer.

He made another go at the rose bush and got himself pricked for his trouble.

"Shit!" he swore, and over the comms Roy demanded to know, "Are you bleeding?"

"Don't leave DNA," Beard added. Jamie startled; he'd forgotten about the creepy weirdo entirely.

Danger shifted to his left. The guard rounded towards him, boots crunching in the gravel. "Hey! Is there a problem?"

Roy swore. Beard warned him not to engage.

Jamie rose to his feet with his best charming grin slapped on like a plaster over a nasty prick. He held his bleeding hand out like an offering, and with the other he slipped the big-scissors into the sleeve of his shirt.

One of Rebecca's first rules of the con: if you're uncomfortable, use it to make the mark uncomfortable.

He squeezed the big-scissors tight. "Yeah sorry, mate. Got a bit of a nasty cut--don't want it to infect. Could you point me somewhere I could clean up?"

[thegaycondor]

this is the ask about ninth house and dantes inferno, from someone who loves both and woud love to hear the theories!

i feel like this is less theories and more analysis of textual influence. while we don't get the one to one journey into hell comparison there is a lot of things that perk my interest as a little literary goblin. truly truly there's way to much for me to get into all the little things that i think have a connection to dante, but i will get into some of the basic characteristics of hell and how they are mimicked in hellbent, along with the more direct literary references. however if you want another post about other parts(the leopard, lion and she-wolf characteristics being able to be transplanted onto alex,, the call into hell/darlington & beatrice comparisons,, the roles of virgil and dante,, etc.) , i will do it.

ok, brace your self for a far too short analysis

the most glaring reference we get to dante's inferno is bardugo labeling part 2 "the descent"[242] directly after dante's canto 2. not to mention the titles of lethe themselves being derived from the story. i cannot find it but i believe someone in either hellbent or ninth house say "abandon all hope ye who enter here" (if anyone can find where this is said i would be eternally grateful). ok so, it's known that leigh took some inspiration from dante, but let's get into how she characterizes hell in comparison to dante's version.

the beginning of canto 1 and chapter 27 start very similar. in dante's inferno(working from John Ciardi's translation), we start alone in a "dark wood" which is is "so rank, so arduous" that "it's very memory gives a shape to fear" [1.3-7], with a dawn sky over head. in hellbent we start in a similar state. alex finds herself alone, in an orchard, feeling afraid, confused, and lost. specifically the journey was supposed to cause fear, just as the forest for the lost souls in the first canto.

then just as the group find the hope of getting darlington, they are attacked by wolves. while wolves and dogs make multiple appearances in the inferno, the most notable is the she-wolf seen in that first canto, right before virgil comes in. if this is a one to one comparison(not suggesting it should be), than these wolves are the counterpart to the leopard, lion, and she-wolf. they represent the sins committed by the group, while also preventing them from bringing their and darlingtons soul to safety, or salvation.

i could go into more details about other things that come to fortition when looking at hellbent through the lens of dante's inferno. i would love to talk about alex and the wolves in the inferno, but i could fully write a 10 page paper on it if i wanted to. honestly if you already like/own/have read the inferno, i just recommend reading the two books in tandem to each other. it's fascinating.

[petrenocka]

I skimmed over the Dante's Inferno wiki article and now I am ready to make some god damn Ultrakill Act III predictions babyyyy.

So obviously liberties have been taken, but overall Ultrakill so far was surprisingly faithful to Divine Comedy's portrayal of Hell. Wrath and Limbo being the standout "to a tea" ones.

7th layer of Hell is Violence. In Inferno it is devided into 3 rings itself. However the third ring, a scorching desert for those who committed violence against God, was already integrated into Greed in Ultrakill.

This lives us with 1st ring and its boiling rivers of blood for those who committed violence against their neighbors, and 2nd ring for those who committed violence against themselves and are turned into infertile trees harassed by harpies.

Thus I expect 7th layer to be mostly forrest themed, with rivers of blood for the deadly "floor" like water was in 5-2. Specifically, I expect it to draw from the Japanese Aokigahara, the suicide forrest. Somehow. Maybe one of the levels is going to happen in a suspended tree house city type location, and another will be rafting down a river.

Additionally, both Limbo and Greed have introduced a flying enemy to the roster - Drones and Virtues respectfully. So I suspect Violence is going to continue that and add Harpies, who I think will be husks, if only because I can hardly imagine an Ultrakill demon flying. Maybe they'll be somewhat tengu-like in appearance, or just Filth with jetpacks. Who knows.

7-s will 100% be a Duck Hunt reference. I can feel it just as surely as I could a fishing minigame for 5-s.

Moving on. I straight up have no idea what Hakkita will do with Fraud. None at all. There is like a fucked up city there in Inferno, but Ultrakill already moved that to Lust. Other then that, maybe it'll be a volcano level, idk why. I do find the potential to have a surviving Council member as a boss here extremely exciting, although unlikely.

Maybe 8-s will be an Ac Attorney reference, because it would fit Fraud.

Moving on again.

Treachery, the last level of the Act and of the game too most likely. The gauntlet. The one where P-3 is.

Oh, Treachery. In Inferno, it is a frozen lake with sinners encased in ice. I thus expect the 9th layer to be ice themed, although since it is The Gauntlet™ there won't be new mechanics and therefore no ice physics, don't worry. But we do lack a white level, and blood splatters will look beautifully on the snow.

1st Round of Treachery punishes "Traitors of Their Kindred", and I am like 80% that either 6-1 or its ost will get called exactly that, since this is such an Ultrakill name.

2nd Round of Treachery is for traitors of their country. I think it fits Gabriel pretty well, considering he never really betrayed God of you think about it. He went against the Council. And yes, obviously a Gabe fight in 6-2, is there even a qestion about it?

Very low chance, but maybe there is 6-3 where we kill Hell itself, since it's sentient and all.

Now for P-3. Take out the crack kids, we'll need it for this one.

3rd Round of Treachery is for traitors of guests and I think it will correlate to the gauntlet before P-3 boss. This in not the part we need drugs for.

And that is because in Inferno the 4th and final Round of Treachery, at the very bottom of Hell reserved for those who betrayed God Himself, Satan, aka Lucifer, is encased in ice and is chewing Judas.

For Ultrakill that means that we have them fucking options for our Flesh and Prime.

For Flesh it could be just another container cube. But since this is the very bottom of Hell, and Hell is alive, it could also be The Heart of Hell, or something. It could also, hear me out, be Satan. In Inferno, Lucifer is basically Judas' flesh prison, in fact, I am half convinced that the imagery of Judas being chewed by the Devil is the very reason why Flesh Cubes have teeth.

Our first two Primes were ancient Greek Kings. And the Prime of P-3 might be another ancient Greek king who I am sleeping on entirely.

But I think it is pretty safe to assume that this pattern is getting broken, just like we are not going to fight V2 in act 3 either. As far as I know there is no Greek king more into defying gods then Sisyphus and the game requires escalation.

What is more important about Primes to me is that both we have so far are enemies of God. We have a peaceful protestor in Minos, then a revolutionary in Sisyphus. So the Arch Enemy of God in Lucifer seems like a plausibility for our next ass wooping.

I am personally more in favor on Judas for that role though. I mean, he is kind of the guy who managed to get God killed, if you think about it, a natural progression from Sisyphus who tried but failed. Also Judas hung himself, so him being the King of Violence, specifically the forest part of it, makes sense.

This concludes level predictions.

We are also getting Red variants for 4 weapons, a new Arm and probably an Alt version, which is ridiculous. Absolutely zero idea how the new guns will be like. Imo S.R.S is already pushing the bloatedness of our arsenal, but Hakkita is obviously a super genius, who made the ball work, so will see.

As for the arm, we are defo getting it from 7-4, and because of the colour, my bet is that we are ripping it off of the Real Swordsmachine, the twist being that the ones in Prelude were copycats afterall, explaining why there are suddenly so many of them in 6-1. Maybe it's V-0 or something, the machine that spearheaded the modular design approach, or the first blood-powered machine, period.

I also, for literally zero reason other then "what else could it be", expect the new Alt to be a Slug variant for Shotgun. A Winchester lever action rifle sort of deal.

Ye, rant over, I don't have a concise way to wrap this up.

[lucyav13]

All bosses PT2

So, let's continue with this!

O'chunks again. Actually, is the villain that we fight the most.

King Croacus, yehah, I've talk about him in one last part, so go see it!

Mimi. Same.

Brobot XXL

Despite being an improved version of Brobot, the L-type has less HP, however this is due to the nature of the two battles: the original robot is fought using Squirps' laser fire, which is much more damaging than normal attacks, necessitating a greater amount of HP. Its attack and defense have been increased by one, however. And also It has been upgraded with hands and feet.

Additional information:

Catch Card: 194

HP MAX: 64

Attack: 5

Defense:  4 (8 against fire)Score: 6000

Card description: This is a souped-up version of Mr. L's robot. It looks like he went all out with the customizations. Too bad they don't help much!

Tatle: That's Brobot L-type. Mr. L pulled out all the stops to make this one... Most of its moves are the same, but it can now use its hands or tackle you... He seems to be weak to explosions, so try using Boomer on his feet... You remember that after setting a bomb, you can use 1 again to set it off, right?

Bowser. Again. What a surprise, not? At least, he's not the main villain and the final boss this time.

Underchomp. A great boss!

Despite the fact that Dorguy the Third is the one that summons it, the Underchomp's Catch Card states that all three Dorguys have ownership of the beast. The Underchomp is based upon the legendary hellhound Cerberus, a giant, three-headed dog who guarded the gates of Hades in Greek mythology. In one story, he was put to sleep by the music of Orpheus, which is similar to how Piccolo's music can put the Underchomp to sleep. 

Mario, Luigi, and Bowser face the enemy in a far different way from other enemies in the game; they fight the creature in a turn-based battle, though it is farther from the style of other Paper Mario games, and closer to that of the Dragon Quest titles and EarthBound Beginnings. Its battle music is an 8-bit remix of the normal mini-boss theme.

The player cannot use Tippi at any point during the battle with the Underchomp, and it does not appear in the field before or after the encounter, making it the only enemy in the game (and one of the few in the Paper Mario series) that cannot be Tattled. However, a Tattle exists in the game data.

Each head has a special ability. The Red Underchomp (left in battle) breathes crimson fire, the Blue Underchomp (middle one in battle) exhales blue fire, and the Yellow Underchomp (right one in battle) expels stinky breath. Each Underchomp can also charge up for one turn to use a stronger attack later.

Adittional information:

Catch Card: 104

HP: 48 (16 each)

Attack: 3

Defense: 4

Score: 6000

Card description: The three Dorguys command this special breed of Chomp. In off-hours they like to practice their comedy act. (A/N: ?)

Tattle: That's the Underchomp...It's a three-headed Chomp that guards The Underwhere...Max HP is 16, Attack is 3, Defense is 4. It's immune to flames...Its Defense is high, so try using Cudge, Boomer, Thudley, or any special attack. The three Dorguys enjoy springing this fearsome Chomp on unsuspecting travelers...

Bonechill. The most disappointing boss. 

He is an undead dragon with a large, blue-scaled head, six small, white-feathered wings on his back, and a large golden cannon with two wheels for a lower body. He is the leader of the Skellobit army and attempts a takeover of The Overthere. According to The InterNed, his theme is called "Bonechill Appears".

Tippi's tattle says that Bonechill may have once been a Nimbi, which is supported by the fact that he has feathered wings on his back. This fits into the overall motif of The Underwhere and The Overthere, which draw heavily from both Ancient Greek mythology and the Christian religion. In particular, the concept of a fallen angel (Nimbi) is inspired by the Biblical story of Lucifer, who became the devil after betraying God. Furthermore, in Dante's Inferno (of the epic Italian poem, the Divine Comedy), Lucifer (now known as Satan) is depicted as a giant, six-winged beast imprisoned in ice in the deepest circle of Hell. This is all paralleled by how Bonechill has six wings, was imprisoned deep below the Underwhere, and is a self-styled "master of the cold dark" who uses ice breath to attack and is "something of an evil celebrity in certain circles of the Underwhere". Similarly, his being released during an apocalyptic event (the emergence of The Void) may be derived from the Book of Revelation, where Satan escapes from hell and he and his army are battled and defeated in heaven.

 Fun facts: In the Japanese version, Bonechill used the archaic zansu conjugation of the auxiliary verb gozaimasu at the end of each sentence, which is typically used to characterize older, snobby, social-climbing females in fiction.

Bonechill is one of the two bosses in the game whose looks change as the player damages him; his scales begin to fall off as his HP declines. The other is Mimi, who gradually loses her legs over the course of the battle.

Additional information: 

Catch card: 187

HP: 80

Attack: 4

Defense: 

Score: 7000

Card description: Tremble before the frosty lord of the Underwhere! Bonechill's minty-fresh breath will freeze you solid! (A/N: What??)

Tattle: That's Bonechill. This frigid boss escaped from his prison in The Underwhere...Max HP is 80. Attack is 4. Bonechill will only be hurt by attacks to his head...To hit his head you'll need Luigi's super jump, or Thoreau to toss icicles...Bonechill's icy breath can freeze you into a soild herocicle...I don't know why, but I get the feeling he's related to Grambi and the Nimbis...I wonder if he was once a...

I'm not even going to bother putting up another image. Is O'chunks. 

Yehah, you guessed, is Mimi!, the creepy copycat.

Not again, this...

This one makes me want to talk. But, I already did it in a previous part, so go check it out >:) 

Well, the next one is Super Dimentio, BUT, I'll make a future part with all the info. Stay noticed!

Now, we'll check the most powerful bosses: the optionals. Let's keep goin'!

The first one of 'em. With all of you: Wracktail!!

Wracktail is a giant, lavender robotic dragon that appears in Super Paper Mario. He stated that he was a wrathful god who was locked away by the Tribe of Ancients, and Tippi says that he was the prototype for Fracktail, who looks identical to Wracktail except for his color. Before the fight, he expresses anger at the heroes for disturbing his slumber and decides to kill them in turn. Wracktail is found at the bottom of the Flipside Pit of 100 Trials and upon his defeat, Dashell, a Pixl, is obtained, and a Pipe appears, leading Mario and company back to the entrance of the Pit. Just as Fracktail is the Super Paper Mario equivalent of Hooktail from Paper Mario: The Thousand-Year Door, Wracktail is the counterpart to Bonetail.

To defeat Wracktail, the same tactics must be utilized as those used to defeat Fracktail. The player must wait for the boss to dive low along the ground, then jump on his back and use Thoreau to grab the Wrackles and throw them and Wracktail's antenna, which must be hit 30 times to defeat the dragon. It is also possible to damage the antenna by stomping it, either via Luigi's super jump, or by landing on it when Wracktail flies in a loop. (A/N: By the way, this made me feel so fool. Because I wanted to defeat him in the conventional way 'cause a Video tutorial, but, not being able to defeat him, I did arduous research until I realized that I could defeat him with Luigi :/ )

Upon defeat, Wracktail warns the heroes that he was not the only monster created by the Ancients, referring to Shadoo, and directs them to the Flopside Pit of 100 Trials.

Fun facts:  Contrary to what his Catch Card description in English versions claims, Wracktail is only ten times stronger than Fracktail, not 100 times.

His Catch Card description in the Japanese version claims he is Fracktail's "father" and simply mentions that he is stronger than his "son" despite fighting the same way. It also does not directly mention his status as the boss of the Flipside Pit of 100 Trials, instead stating that he lurks "somewhere in this world".

Unlike Fracktail, who speaks almost entirely in capital letters, Wracktail's speech is in the game's standard style. This is partially reversed in the Japanese version, where Fracktail only lapses into mostly-katakana speech when "scanning" Mario and while under Dimentio's spell, and Wracktail speaks entirely in katakana and kanji with katakana furigana. (A/N: I don't even know what does it means 🫥🫥)

Additional information:

Catch card: 181

HP:  ?? (30 hits)

Attack: 10

Defense: 

Score: 9990

Card description: This baddest baddie in the Flipside Pit of 100 Trials. He may fight like Fracktail, but he's 100 times stronger.

Tattle: That's Wracktail, the very menacing lord of the Flipside Pit of 100 Trials. Max HP is ??. Attack is 10. It can fly and swoop down with its big open mouth... I think this is a prototype of an improved Fracktail from the Yold Desert... The Ancients must have built it. But like Fracktail, its antenna is its weak spot...

Omg, I didn't notice that I've never do a chap with Shadoo!! I'll fix it, I promise in the new part along with Superdimentio. I apologize. 

Now yes, the last one! 

The guardian of the 100th and final gate. His name is fittingly a reference to the last boss in a game. When End Boss is defeated, he attempts to cue end credits. End Boss can breathe fire, use a rolling attack, and attack with his club. Despite his name, it is possible for him to not be the final boss, as the player can battle Wracktail and Shadoo after him.

Additional info: 

As strange as it may seem, it does not have catch card, idk. 

Max HP 99

Attack 10

 Defense 4

 Size Big

Color Gold

 Weapon Spiked

 Club Special abilities Fire Breath, Rolling, Fast

Spiked? Yes (A/N: Would someone be kind enough to tell me what it means?)

Tattle: That's End Boss, one of King Sammer's famous Sammer Guys… He won a Sammy at last year's Sammer Awards for Best Final Boss Performance…

And those would be (almost) all the bosses in the game. Now, a challenge for you: If this publication reaches more than 150 notes, I will make a part listing all the Samiteros, by name and surname.

[henrysglock]

Stranger Things: The Upside Down and The Divine Comedy

Okay, as you all know I'm not a religious nut. However, I did enjoy Dante's Divine Comedy when I read it for school.

That is to say...I don't call the UD "The Hell Dimension/Super-Hell" for nothing.

I think I can prove which crimes Henry actually committed, and what was a setup, using Dante's Inferno as a framework. I can also feasibly explain the existence, aesthetics, and chronological order of appearance of the different versions of the Upside Down that we see in the show.

To kick this off, I want to talk a little bit about the areas involved:

Paradise: A place of goodness, light, and truth. Many who reside here are concerned with worldly injustices.

Purgatory: A place of change, a crossroads, a holding space to decide whether one goes to heaven or hell.

The 7th Circle of Hell: Violence. The 7th circle has 3 rings: Outer is violence against people/property (murder/pillaging/rape), and filled with fire and blood. Middle is violence against the self (suicide), and those there are eaten by harpies. Inner is blasphemy, or violence against God and nature (including sodomy and usury), and those there are made to wander in burning sands.

The 9th Circle of Hell: Treachery. This circle is a frozen hell split into 4 sections, where sinners are frozen in an icy lake: Caina, Antenora, Ptolemaea, and Judecca. Caina is for betrayal of family. Antenora is for betrayal of one's nation. Ptolemaea is for betrayal of guests/those one has entered into a willing relationship with. Judecca is for betrayal of benefactors/masters.

The Pit of Hell: The very depths of Hell, where Satan, depicted as a three headed beast, feasts upon Judas, Brutus, and Cassius.

Cool. What does that have to do with anything?

It. Is. Everything.

Henry exists in five different settings at four different times chronologically:

First: He is physically and mentally in the Creel house, which is initially described as a fairytale. It's the place where Henry develops his abilities and begins to obsess over the injustices in the world.

Second: Hawkins National Lab, which is his turning point, the fork in the road between returning to Paradise or proceeding to Hell. He does not get a choice, here. By his nature, his hand is forced. It's a tragedy.

Third: He is in the Yellow UD both physically and mentally.

Fourth: He is physically in the Blue UD and mentally in the Red Mindscape in varying degrees. He never physically exists in the Red Mindscape.

(The five vs four will be important later when we talk about what Henry is by nature, and how that affects his location)

I think these different settings can be fit into the framework of the Divine Comedy

That is to say:

Paradise: The Creel House

Purgatory: Hawkins National Lab

The 7th Circle, Blasphemy Ring: Yellow UD

The 7th Circle, Murder Ring: Red Mindscape

The 9th Circle...multiple sections: Blue UD

The Pit of Hell: We have not seen this yet, but given the painting of the three-headed dragon and Nancy's beast with a gaping mouth...I think we will in ST5.

Based on this, I also think I can prove that a) Henry didn't kill his family, b) the 1979 Massacre was something Brenner planned out, and c) the 1979 Massacre was staged.

So...let's map this out from Henry's banishment to current day.

We're told during the 1979 massacre, which is painted as a betrayal of Brenner, that Henry killed his family. Point blank. That should land him square in the frozen 9th Circle, in Judecca or Caina. He...doesn't end up there, and we know there's a lot of shit about his backstory that doesn't line up.

Our first clue into this is where Henry initially ends up.

El pushes him, covered in blood, into the hell dimension. There, he's burnt and scarred before ending up in a rocky, yellow version of the UD which we have not seen until this point.

You would think he'd end up in the Blue UD, since that's the one we're most familiar with, but it seems that the Blue UD doesn't exist yet.

Either that, or Henry does not have access to it.

Why? Because Henry has not committed the deserving sins yet.

Henry arguable passes through the Outer 7th Ring, where he is briefly burned, likely for the murders in the lab regardless of their status as self-defense.

It's still murder in the eyes of the church, because it did not strictly require lethal force due to there being no deadly weapons present, as per St. Thomas:

"Someone who defends his life is not guilty of murder even if he is forced to deal his aggressor a lethal blow: If a man in self-defense uses more than necessary violence, it will be unlawful: whereas if he repels force with moderation, his defense will be lawful...Nor is it necessary for salvation that a man omit the act of moderate self-defense to avoid killing the other man, since one is bound to take more care of one’s own life than of another’s."

Essentially: St. Thomas says: "Don't bring a gun to a knife fight, man. That's uncool."

Henry brought a nuclear bomb to a knife fight. He has to get zapped a little for it.

However, he does not stay burning. He is only spattered in blood. There is no sea of blood. Henry ends up in and stays in the rocky, yellow UD. Why wouldn't he stay in the Murder Ring...unless he hasn't actually killed anyone unnecessarily yet?

This ties into the Creel Massacre fuckery re: Virginia and Alice. Henry could not have killed Alice. Point Blank. Period. It's also highly unlikely that he actually killed Virginia. Even if he did, it was self defense. No betrayal of family. No Caina.

(Although: I'd argue that's where Virginia is ending up for that shit she pulled on Henry re: Brenner and the lab)

No Murder Ring...No murders. Self defense, plus a good bit of zapping for unnecessary roughness, but no sin worthy of the Murder Ring.

You'd think, though, that Henry would at least end up in Judecca, though, right? He'd end up there for betraying Brenner, his "master"...unless there was no betrayal. Unless it was Brenner's plan to incite the massacre, Henry was actually doing exactly as his "master" bid, killing the guards/orderlies was self-defense at its base, and he may or may not have murdered the numbers. It may very well have been staged.

This lack of Murder Ring and 9th Circle imagery majorly ties into the fuckery with the bloodstains, bodies, and perspective fuckery in NINA. It's possible Henry only killed guards/orderlies and 002. We don't even know why he was killing 002, or why 002 was in there in the first place. We don't know why bodies show up in places they shouldn't, or why bloodstains show up in completely different patterns, or even disappear entirely. We don't know why the actors playing the dead numbers switch between child and adult, and why they shift position so often. (All of this is Aemiron's baby, and he has way more to say about it, so I'm going to leave that there.)

Either way...Henry ends up in the Blasphemy Ring.

And what is one thing we know about Henry, based on his parallels to Will? He's gay.

Sodomy. Blasphemy.

("Fruit on pizza? That's blasphemy")

Anyway, the most heinous crime this man has actually committed at this point is homosexuality. Homosexuality is a sin of both body and mind...for the Original Henry (NOT something that happened due to the absorption or due to his hive-mind status. That will come into play later), thus Henry ends up in the Blasphemy Ring in both body and mind.

So...Yellow UD: Blasphemy Ring.

In conclusion: It's likely that Henry was set up...for all of it, pre-1983, and his worst sins were homosexuality and being excessive with his self defense actions. However, he ended up absorbing horrible people, which condemned him to deeper parts of Hell in the future.

Okay, neat. So...what about the Blue UD and Red Mindscape?

What's interesting about both of these settings is that we only see them after the events of 1983 (the Gate, the killings, Will). Up until 1983, Henry wasn't physically able to commit any other sins. It's likely that we only see those two realms after 1983 because Henry didn't have reason to exist there yet.

He hadn't done anything worthy of the 9th circle.

So...why 1983? Wasn't that murder, rape, sodomy, and property destruction? Shouldn't that keep him firmly in the 7th circle?

Not necessarily.

Let's think about the 9th circle, and about what Henry encounters in the Yellow UD.

Henry encounters the Shadow Monster and we see at least one demogorgon, which were relatively docile at that point...but which we know go on to be the vessels for Henry's major crimes of the series. We see him enter a willing symbiotic relationship with the creatures of the Yellow UD via the Shadow Monster, which changes/shapes it.

And then, in 1983, when El opens the gate, everything changes. A "demogorgon" (likely, if not definitely, Henry) takes Will.

The Blue UD was, presumably, created and frozen on that date.

So what does that have to do with the 9th Circle?

The demogorgon and Shadow Monster were non-aggressive pre-Henry. Henry, in a betrayal of a willing relationship, corrupts the creatures to continuously harm Will. Ptolemaea.

It is also a betrayal of a benefactor. Judecca.

It is also a betrayal of his nation, as he attacks the citizens and government officials of Hawkins. (This concept becomes even more relevant in ST3, when Henry uses the Russian gate to enter Hawkins.) Antenora.

All the creatures involved physically end up in the 9th circle/Blue UD with Henry because they are a symbiotic hive mind, regardless of whether the Yellow UD even exists anymore or not. The sins of one (Haha...001) become the sins of all.

That's great, but what about the Red Mindscape?

This is where absorption comes in...and where I bring back our five settings at four times.

Everything we've talked about so far has been physical and mental, or solely physical. We haven't touched on Original Henry vs Henry et. al vs Henry the Super-Organism.

Henry is not alone in his body. Henry's body is a super-organism. He's many people in one, many beings in one. What the body commits, the original mind may or may not. Due to the fact that he literally contains multitudes, being part of the hive mind, Henry the Mind is somewhat separate from Henry the Body.

That is what the Red Mindscape is for.

The Red Mindscape, where Henry mentally commits his murders from in his bids for freedom, is distinctly wet...and red...like blood. That is to say...like the Murder Ring of the 7th Circle.

Henry's mind, which contains multitudes of other people influencing his original self, is usually in the Outer/Blood-Sea Ring of the 7th circle, and not always in the 9th circle with his body. When he is in his body, when he is with the multitudes of creatures and people, he is in the 9th Circle because the post-absorption, post-hive-mind body committed 9th circle sins. When Henry leaves his body, when he commits the murders with his mental powers...he ends up in the Outer 7th...the Murder Ring...because that is the worst sin that Henry alone, as the composite human mind, has committed, regardless of the influence on him by others within his mind.

This is why we no longer see the Yellow UD for any form of Henry post-1983, regardless of whether we think the Red Mindscape/Blue UD replaced the Yellow UD or we think Henry was moved and split into the different realms. Whatever the case may be, he has progressed into a different level of hell. Homosexuality is no longer his worst sin as a whole super-organism or as a composite mind.

We don't know what Original Henry's setting is as a single person, or if he exists distinguishably. He may exist solely in the Red Mindscape. He may be along for the ride with the composite mind. We haven't seen Original Henry outside of pre-massacre NINA, and even that was debatable at best due to Brenner's influence.

I hate to make a Shrek reference...but by God the man is an ONION. He has so many layers, and we've only actually seen two of them...maximum.

A note just in case anyone asks: Dante traveled through all these different places without having committed any of the sins. Thus, he was only educated, not punished. Hence why everyone who comes and goes from the UD without having committed the deserving sin, can come and go without receiving punishment.

So what about Barb and Will? The ST4 victims? What did they do?

Well. That depends on your point of view and how extreme you take betrayals/sins.

It could very well go like this:

9th circle: Blue UD

Ptolemaea. Betrayal of a willingly entered relationship.

Barb betrays Nancy by not supporting her with Steve...but it's also implied that Barb is into Nancy. This could be perceived, by some, as a betrayal of Nancy's trust in a platonic relationship. Ptolemaea.

Will betrays Dustin immediately before he is taken. He cheats in the race home. He also, as we know now, is into Mike. Another betrayal of a platonic relationship. Ptolemaea.

Max mentally betrays Billy by wishing he was dead. Thus, her mindscape is the Blue UD graveyard. Caina.

7th Circle: Murder Ring

Red Mindscape

Chrissy betrays Jason by turning to Eddie for help/drugs, which is what spirals the situation into Jason's death. Murder.

Fred betrays the victim of the car accident by not getting help. Murder.

Max wishes death on Billy and stands by while he dies. Murder.

Patrick aids Jason in his attempt to murder Eddie, which spirals into Eddie's death later on. Murder.

Interesting to note here: Both Barb and Will get slugged by Henry...but not in the Blasphemy Ring/Yellow UD. It clearly has something to do with sodomy, homosexuality, and betrayal...but not on the level of setting/location. This is Henry-specific behavior, not realm behavior. They're in the Blue UD/9th circle on the basis of the betrayal, but the slugging? That's pure Henry. I want to visit this on a Creelarke basis re: my DALDOM thoughts from earlier. I think Henry is projecting himself onto others the same way he does when he chooses his victims in ST4. Local man punishes the new round of gays using sodomy-type behavior because he a) was not permitted to have a healthy relationship with homosexuality in his formative years, b) perceived his nature as a betrayal or was made to perceive it that way, and c) was then abused using his own sexuality against him for two decades afterward in the form of MKULTRA.

Or we can see them as the objects of Henry's sins.

Barb and Will are the objects of Henry's sins, his crimes in the pursuit of freedom, and they exist as the reason Henry is in the Blue UD, not necessarily that they did anything wrong. Chrissy, Fred, Patrick, and Max exist as the objects of Henry's sins, while not having actually done anything wrong.

I also have some supporting evidence for this framework outside of Henry's narrative re: the Upside Down:

Dante's Divine Comedy is his progression from doubt to faith via revelation of truths re: the afterlife. Henry's story almost exactly maps it in reverse: He starts out happy and normal in his fairytale home, but then begins to doubt and distrust the world. After experiencing untold abuses, he ends up in Hell.

Henry's story very much feels like a Lucifer tale: God's favorite angel, a creative, intelligent boy with incredible abilities, ending up cast into Hell by the inevitability of his circumstances and his own inevitable, inborn fatal flaw.

Henry comes from what is at least a somewhat religious family: Victor speaks of demons and angels readily, and even hired a priest/had an exorcism done.

Henry encounters all sorts of creatures in the Yellow UD. He encounters the Shadow Monster, the demogorgons, and arguably demodogs and demobats: Demobats, like harpies...which go on to eat Steve and Eddie, who are both self-sacrificial to a fault. It's also implied that the 1979 Massacre may have been a suicide-by-cop/"I'll take out as many as I can before they kill me, because there's no saving me anyway" type deal, given that Henry does not request El's assistance once he realizes he's absorbing the lead guard. He goes it alone, without knowing what effect years of Soteria had on his abilities. He had no way of knowing his limits. He would have been expecting them to use lethal force...but then there was no one left to kill him. On top of that, it's implied via Henry's monologue that he's at least passively suicidal regardless. Hence, demobats in the 9th circle hive-mind functioning as harpies from the Suicide Ring of the 7th circle.

Brenner "dies" in the burning sands of Nevada: This happens after decades of harming children, namely...three-legged Papa. Sodomy is defined as any non-reproductive sexual intercourse. Three. Legged. Papa.

In the Blasphemy Ring of the 7th circle, Dante meets his late teacher...and speaks to him kindly: Brenner "dies" in the burning sands of Nevada, much like the burning sands of the Blasphemy Ring...and El speaks to him kindly. She doesn't rant at him in anger while he "dies". She holds his hand, and says goodbye.

Will's S2 Visions: Will sees the Blue UD multiple times throughout early S2. He's seeing visions of the 9th circle without actually being in it...but why? Well. He then goes on to (while possessed) indirectly kill Bob, a father figure, and directly strangle his mother. Caina.

All the religious/spiritual imagery in ST4: The Russian church, the Binghams, "Running Up That Hill (A Deal With GOD)", Victor's demons and angels, "[Spiders] are the gods of this world", Henry's Christ pose while El disintegrates him, Hellfire club, the article Eddie reads at lunch about D&D being linked to sodomy, suicide, and murder.

[mask131]

Dante’s Hell: The bottom of Hell

Before moving on to the next parts of Dante’s Hell, I want to insist on something I haven’t clearly spelled out before… But in the poem it is make clear that Hell, the Christian Hell depicted by Dante, is the same dimension as the Greco-Roman Underworld. When Theseus and Hercules went into the Underworld, they actually just went into Hell – but a Hell that didn’t have yet all of the sinners it has now since, before Christ’s death, all souls went to Limbo and the other circles were empty, or merely filled with the mythological creatures we get to see in Inferno (Furies, Medusa, Cerberus, etc…).

 XV) The Giants

As our duo arrives at the end of the Eighth Circle, through the murky mist and thick darkness Dante identifies what looks to him like the great towers of a city… Only for Virgil to inform him that these are not towers, but Giants, who stand in the “Well” that is between the Eighth and Ninth Circle – their feet resting at the bottom of Hell and their bodies appearing at the border of the Eighth from the navel upward. Now, what does Dante means by “Giant”? Well, he uses this term to cover both the Greco-Roman “giants” (Giants and other affiliated big-sized monsters “sons of the earth”) and the Biblical “giants” (in the Biblical myth, it is believed that there were giants that existed in the early times of Earth, mostly but not all wiped out by the Great Flood), united here in their “evilness”, as both were seen as hostile, monstrous, destructive species that had to be wiped out. In Dante’s own words, it is because, unlike other “natural” giants like elephants or whales, which just had “brute force” and great size, these Giants had too the gift of “intellect” and an “evil will”, which made them true threats.

The first giant they meet belongs to the “Biblical giant” category – it is Nimrod, the man responsible for the creation of the Babel Tower, and the resulting divine punishment of not two men speaking the same language on Earth. Nimrod has a special punishment in this pit: he is now doomed to speak nonsensical gibberish no one understands, while not understanding the words anyone says – as a reference to the outcome of the Babel Tower. Whenever he is angry, all he can do is blow in some horn he wears around his neck, which causes a great, loud noise. The second giant the duo encounters is Ephialtes from pagan myths, who, for his “rebellion against the almighty Jove and the gods” is now bound with heavy chains twisting his limbs so that he may not move anymore – Virgil mentions Briareus is also suffering from the same punishment. The thing to understand here is that Dante (the author) creates a parallel between the Biblical and Pagan Giants: both are seen as figures that rebelled against a form of divinity and were punished for it. Dante identifies Nimrod’s Babel Tower, a rebellion against the God of the Ancient Testament, with the Gigantomachy and the various Giant rebellions against Jupiter/Jove, ruler of the Roman gods (and while Virgil name-drops the “gods” in plural, there is a clear focus on Jupiter/Jove, making him somewhat the Roman incarnation of the one the Hebrew would call their God). It is another attempt to unite the Inferno’s rivalling sources, Biblical and pagan traditions, with this very prominent concept of the Greco-Romans as being “proto-Christians”.

PLUS, Dante also places a high focus on the motivation of this rebellion: arrogance. Nimrod’s actions, with the Babel Tower, are highlighted as “prideful”, and the Babel Tower stays one of the most famous Biblical fables tied to “the pride before the fall” ; and similarly, Ephialtes’ rebellion against Jove is said to have been born out of an arrogance making him try to match Jove’s power. This all is meaningful in two ways… One, this makes the Giants aligned with the various fallen angels of Hell – who rebelled against God and were punished for it – especially with Lucifer/Satan, THE embodiment of rebellious pride and vicious arrogance, that is located right beyond the Well of Giants. In fact, many people have pointed out that Dante (the character) mistaking the giants for a “city with great towers” is meant to evoke the Walls of Dis, with their great towers, and filled by the various fallen angels and demons. Second, this shows that despite Dante stopping the “seven deadly sins” list at the Walls of Dis, seemingly forgetting the last two vices – he actually still has them in Hell. It is just that Envy and Pride are widespread among the various sins of Malice, and here the Giants embody these two vices perfectly well.

Virgil finally reaches the third giant and the one he wanted to see in the first place: one that can “speak and is not chained”, unlike the previous two, Antaeus (who is apparently in a similar situation to Tityus and Typhon. Virgil says  that these giants are not chained because they did not participate in the “rebellion of the sons of the earth”, aka Greek Giants, against the gods/Jupiter, but still went to Hell for their other various crimes – however, if you know your Greek myth, you know Typhon definitively would be chained… But Dante had a very medieval grasp of the ancient myths, through the prism of both exclusive access to the Roman texts and massive Christian readings of all these texts – so a very… bizarre grasp (the same one that makes him identify Briareus as “having rebelled against the gods during the Gigantomachy”, for some reason).  After bribing Antaeus with some flattery (Virgil promising that Dante will spread the giant’s fame and glory on earth, again some sin of pride here), the giant agrees to take them in his hands and lower them through the dark abyss that is the Pit/Well of Giants, so that they may end up in the ninth and last Circle of Hell…

XVI) The Ninth Circle: Treachery

We have arrived at the last of the Circles of Hell. The Ninth Circle. The smallest of them all, but reserved for the worst of sinners. We are at the bottom of Hell, where the devil dwells. Here, all the rivers of Hell pour into one giant lake, the Lake Cocytus (which IS the Ninth Circle, the same way the Styx marshes ARE the Fifth Circle). Cocytus is however constantly frozen due to the low temperatures and high, cold winds of the area – so you walk on ice rather than earth. This was Dante’s own little play on the very popular and widespread conception of Hell as a place of eternal fire and constant burning – a belief as much in actual Christian religion than in folk customs and popular art. He did play this concept fully with the City of Dis and other places of Hell – but for the very heart of the infernal realm, he decided to do a full reverse and rather have a land of eternal coldness and painful ice. An ice even said to be “more like glass” than actual ice, due to how it doesn’t crack or breaks in any place – it is a perfectly smooth, translucid “endless plain” of glass-like ice. And this ice is the punishment of the sinners, as they are stuck in it, unable to move, suffering the consequences of the extremely low temperatures and freezing winds.

And what is the sin of these damned souls? Treachery. Now treachery is similar to Fraud, in that it is the act of deceiving, tricking, cheating, lying, falsifying, stealing, etc, etc… BUT there is a big difference that Dante is clear about. Fraud is basically deceit towards people that did not place their trust in you. A thief steals from persons he doesn’t know ; a maker of false-money cheats out a system, etc etc… But Treachery, however, is what happens when you commit fraud on someone who expressly placed their faith and trust in you. It is betrayal, and for Dante it is the worst form of evil a man can commit, because while Fraud destroys the “bond of love” that is “natural” and innate between two members of the same species, here two humans, Treachery destroys a special, “extra” bond of trust and love that is not natural but rather made between two specific individuals – and thus to be cherished much more than the simple natural trust between two humans.

Similarly to the Seventh Circle, the Ninth Circle is divided into four “rings”, each of them covering a different form of treachery and betrayal depending on who was the victim of it – the outer ring being the “least worst” treachery, the inner ring the “worst of the worst”. Keep in mind that through this travel, Dante throws in some heavy commentaries about the own civil war, political struggles and social betrayals he witnesses and live through in his life, and putting this into context explains the specific hierarchy he makes here. The outer ring is called “Caina” (after Cain, who killed his brother) and is dedicated to those who were traitors to their family – they are plunged waist-deep into the ice, their upper-body bowing against the strong winds, their teeth constantly chattering. The second ring is Antenora (named after Antenor, the Trojan warrior who betrayed his city to the Greeks during the Trojan war), where the sinners are plunged neck-deep into the ice, their faces “purple with cold”, for they were traitors to their country, their city, or their political party.

The third ring is called Ptolomea (after Ptolemy who killed his father-in-law and brothers-in-law to a feast and killed them ; or maybe after Ptolemy XII for the murder of Pompey) – it is where the traitors to their guests, who broke the sacred law of hospitality, are sent. Only their face pokes out of the ice, constantly stuck contemplating the dark void above the circle, and the harsh winds making their tears turn into ice right into their eyes… Interestingly, by speaking with one of the shades there, the Pilgrim/Wanderer learns that Ptolomea (or Tolomea) is a specific zone of Hell where the souls can end up BEFORE their natural death (evoked here as the work of Atropos, one of the three Moirai/Parcae) – indeed, if someone ends up betraying by breaking the sacred vow of hospitality, sometimes their living souls ends up in Ptolomea while a demon from Hell goes to the surface and inhabits the body of the betrayer… As for the final, inner Ring, it is Judecca, named after Judas – the Ring of those who betrayed their lords, their benefactors and their saviors, punished by being completely frozen into the ice, unable to move. Some are parallel to the surface, other perpendicular with their head or feet up, some even have their bodies “curved” like bows... As all their love in its warmth and life had been destroyed in life, they are now frozen, mute and immobile in eternal coldness, forever…

 XVII) Lucifer

We’ve arrived. The very center of the Ninth Ring, the bottom of Hell. We have arrived… to the one call Dis, Satan or Lucifer. We have arrived to the one who’s fall created this crater that is called “Hell”. We have arrived to the Devil himself.

And… he isn’t sitting on a throne. He is actually stuck in the ice of Cocytus, like the other sinners here. He is stuck in the ice up to his chest, of such an enormous size that even the Giants of the Well could barely match the length of one of his arms, and all the wild, violent, freezing winds of the Ninth Circle, those same ones that keep the ice from returning to water? They are caused by Lucifer’s wings – six huge wings, similar to those of a bat (a parody of the six feathered wings of the seraphim, the supposed highest choir of angels) ; six wings that he constantly flaps around in hope of releasing himself from Cocytus, to no avail. It is something Dante really wanted people to focus on, and his own interpretation of the Christian Devil – he isn’t a king of Hell, he isn’t a true ruler of demons, Hell isn’t his private domain he can do with as he wants. We saw previously in the poem that most of the structure of Hell was ordered by the will and power of God, not by the Devil… Because the Devil was actually the first sinner sent in Hell, the first prisoner of the infernal realm. He is damned, like all of the others, and suffering for his betrayal of God. Dante particularly highly that by showing that Satan is actually constantly weeping… It is “his” Hell yes, as in his eternal punishment, not his “domain”.

Dante also added a very specific and unique aspect to his Devil. “Once the most fair” of all angels, now turned into a “foul” monster by his fall, Dante decided to have the Devil sport three faces on his head, each one a different color: one in the front, bright red, one above his right shoulder, colored a blend of yellow and white, and one other the left shoulder, the color of “the skin of those who live below the river Nile” (aka black). The decision to have Lucifer wear three faces is very clearly a way to show him as a perversion of the Holy Trinity, Christianity’s interpretation of God as manifesting simultaneously through three persons, the Father, the Son and the Holy Spirit. The choice of three different colors for the faces has been a subject of debate for a very long time: what would be the meaning of this? Some interpreted these faces as embodying the fundamental sins and manifestations of evil (for example some read it as a manifestation of Aristotle’s tripartite evil as being made of Incontinence, Malice and Bestiality – Dante reused the first two for his Hell hierarchy, and while he mentioned the third category through Virgil’s word, it never appeared in the Circles of Hell) ; other rather chose to see the three faces of Satan as representing the three known continent and human populations at the time (the black face for Africa, made evident by the “Nile” remark ; the pale-yellow face for Asia, and the bright red face for Europe). But the most agreed on and popular theory rather points out that, if the three faces are a parody of the Holy Trinity, then each color must reflect a perversion of the three main features of God. Since God is All-Knowing, the keeper of truth and the highest wisdom in the universe, one face of the Devil represents pure ignorance (black) ; since God is all powerful to the point of omnipotence, a second face represents impotence (the yellowish white) ; and since God is the strongest and purest form of love to exist, the last face represents pure and undiluted hatred (red).

The Devil cannot actually speak because his mouths are full – in each of them is a sinner, that the Devil constantly bites, chews, munches and rips apart, not with his teeth but also with his claws. And the bloody saliva that drips onto the Devil’s chin from this final torture mixes with his tears as they drop to the icy ground of the Cocytus… Who are these sinners? Well none others than the worst traitors of all time, the very embodiment of Treachery itself! On one side you have Judas, aka the one that betrayed the Christ and led to his death – it does make sense that in a Christian Hell he would be seen as the worst of the worst, having betrayed basically God Himself… And on the other side you have Brutus and Cassius. You know, Brutus and Cassius. The guys who plotted to have Julius Caesar murdered. Now you might be wondering: wait, why is the betrayal of Julius Caesar on the same foot as the betraying of Jesus? And if you have been paying attention, you just need to remember what Dante’s mindset is. To take back an image which has been shared a lot on the Internet – Dante was a massive Ancient Rome fanboy. This is why he reused a lot of Ancient Roman literature and legends to create his Hell, and why so many figures of Roman history appear in his Divine Comedy. But to simplify this as just one’s man obsession would be a mistake, because the truth is that it was one NATION’s obsession. We are at the end of the Middle-Ages, at the early times of the Renaissance – an era where the Greco-Roman Antiquity will be “rediscovered” and heralded, among other things, as a golden age of humanity ; but we are especially here in medieval/Renaissance ITALY, which already out of national pride had considered the Roman Empire as THE golden age of Italy, back when it was the greatest and most influential power on Earth, and all Italians glorify this long gone past, or strive to return to it. And Julius Caesar, as the “first of the Roman Emperors” (he wasn’t ACTUALLY an Emperor but he was on his way to become one in all but name, and it was in his honor that the next, actual first emperor of Rome called himself “Caesar”, and that all of the other Emperors also called themselves this), was heralded as a great national and cultural hero, as one of the noblest and best men of Italy AND the founder of the greatest empire and best civilization to have ever been.  Dante here depicts the worst betrayals of history, on both a religious level (Jesus’ betrayal) and historical/civilizational one. This is doubled – well, tripled by two other things to consider. One, Dante’s personal conviction – having lived in a time of civil war and perpetual conflict between independent City-States, Dante hated to see a self-divided, self-destroying Italy, and glorified Ancient Rome as the “great united Italy”. The betrayal of Caesar led to, at least to his knowledge, big first “real” civil war that split Italy and the whole Roman nation into pieces – the civil wars concerned with Caesar’s succession. As such, he considered Brutus and Cassius as the first to have “broken” an unified and pacified powerful Italy. Plus, there is also a Christian conviction here – f you don’t know, the Roman Empire was one of the first nations to convert themselves to Christianity and make it an official, public religion. In fact, it was thanks to the Roman Empire’s conversion to Christianity that the religion could spread so fast so quickly, and it was thanks to the Empire that the very Christian Church rose up as an institution (and it was also because of the split of the Empire that the religion divided itself between Catholic and Orthodox). As a result, in the Christian mindset of the Middle-Ages and the Renaissance, the Roman Empire was seen as the first true Christian nation, and as having been formed by God’s will precisely as a tool and mean to spread Christianity across the known world. There is a whole logic in Christian cultures of the Roman Empire being a proof and manifestation of Providence, and the Roman Emperors having been tolerated or created by God in preparation for the arrival of the true heads of the Church – which is quite funny, because it is a paradoxical logic that also recognized how the fall of the Roman Empire was something also needed and ordered by God’s Will and Providence, due to them needing to pay for their pagan ways, their antagonistic role in Jesus’ time, and the whole thing of being the main persecutors of Christianity for a very long time… It is one of the many paradoxes of Christian culture, but let’s skip it over – let’s just say that for the Christian mindset of the time, the Roman Empire’s formation was seen as something approved and pushed forward by God himself, and as history of the time agrees, Caesar would have been the first Emperor and form the Roman Empire, if not for his brutal and tragic murder – which means, these traitors were seen as also killing a man appointed by God to do a very important and holy task favoring humanity, thus the parallel between Jesus and Caesar…

 XVIII) Getting out of Hell

Okay, so… our duo got the very end of Hell. Now… where do they go? In Dante’s guided tour through the afterlifes, the next destination is Purgatory, but how to escape Hell? Do they have to go all the way back? No!

You see, when the Devil fell on earth from Heaven, it formed a crater, right? It was because earth itself was so reviled and disgusted by the presence of the Devil it “fled” away as much as it could… And so where did all of this “fled earth” went to, as the big crater formed itself? To the other side of the world, where it formed a mountain paralleling the conic form of Hell. And this mountain, the “twin sister” of Hell, became Purgatory, a way to ascend from Earth to Heaven. So Purgatory is found at the exact opposite point on the Earth’s globe to Hell. And due to the formation of one creating the other, there are actually cracks into the very Earth that inter-connect the two – so Dante and Virgil merely crawls through one of these earth-cracks around Lucifer’s falling ground, to them cross throughout the globe to Purgatory.

There is only one thing… these cracks are where Lucifer fell. Aka, they are basically around Lucifer’s body. It is the fact his body got stuck into the earth that caused them. So… to reach them and travel through them, Dante and Virgil actually have to climb down Lucifer’s very own body. Doing so proves itself quite easy however, because Lucifer has a very hairy, almost furry body, and so they can cling onto the Devil’s fur to climb down and down into the Earth… and then up and up. Dante (the author) has a lot of fun playing with the physics of the world as they were thought at the time, and so while at first they go down, towards the center of the Earth, where gravity becomes stronger and stronger, Dante (the character) quickly says to Virgil “Hey wait… We are going back up! We are going backwards! We are in the wrong direction!”, only for Virgil to explain that no, they are going the right way. It is just that the center of the Earth, which is also the gravitational point of the planet, is located around where the Devil’s hips are, so by crossing this, the gravity reverses and so does human perception. While, from the flanks to the waist of the Devil, Dante had the feeling he was climbing down, starting with the Devil’s thigh, he now feels like he is climbing up, and he does – climbing up to the surface, to the other hemisphere, to Purgatory…

[risarchives]

cataclysm finale rambles ii

ok ok let me talk about my theory as to why vin and freelancer weren't in the finale

beginning with the poem excerpts in the descriptions of audios where vin and fl were present in:

Cataclysm | What You Deserve:

“and voices are in the wind’s singing, more distant and more solemn than a fading star” — “Eyes I dare not meet in dreams / In death's dream kingdom / These do not appear: / There, the eyes are / Sunlight on a broken column / There, is a tree swinging / And voices are / In the wind's singing / More distant and more solemn / Than a fading star.” - T.S. Eliot, The Hollow Men

Cataclysm | Truth Will Come Out:

“the supplication of a dead man's hand, under the twinkle of a fading star” — “This is the dead land / This is cactus land / Here the stone images / Are raised, here they receive / The supplication of a dead man's hand / Under the twinkle of a fading star.” - T.S. Eliot, The Hollow Men

their first audio had a description that wasn't from this poem, so i excluded it, but it's this:

“with the first link, the chain is forged” — Captain Jean-Luc Picard: “‘With the first link, the chain is forged. The first speech censured, the first freedom denied, chains us all irrevocably.’ Those words were uttered by Judge Aaron Satie as wisdom and warning. The first time any man’s freedom is trodden on, we’re all damaged.” - Star Trek: The Next Generation (S04E21)

GOING BACK TO THE POEM: it talks of hollow, hopeless men.

the Hollow Men exist in-between, in liminal spaces, in the bridge of life and death, morality and immortality, light and darkness. the lines “remember us – if at all – not as lost / violent souls, but only / as the hollow men / the stuffed men.” strengthens the viewpoint that the hollow men live in neutrality. they avoid the life of motion and responsibility yet also fear the face of The Shadow, which is death.

this leads us back to the truth will out audio.

as vin had stated, freelancer had lost so much of their freedom and themself in the imperium (their being under the authority of moore connects them back to the star trek quote above, since he will occasionally command them to do or not do things, an action which results to fl not being given the ability to move on their own accord or their own liking.) they don't want humanity to die (and just them, i assume. they don't want to die themself) and for elegy to be destroyed. yet also they've grown exhausted of everything they have to do to be able to spend time with their lover, however limited, and to also do what they want—which is, hardly ever.

(^ the healing class thing with moore)

there are lots of references to the Divine Comedy both in the poem and in vin and freelancer's relationship, but i’m going to focus on their decision in the truth will out audio and a specific line in the poem, which is:

In this last of meeting places / We grope together / And avoid speech / Gathered on this beach of the tumid river

this is a reference to acheron. the river acheron.

Moral Hydrography: Dante's Rivers, Daniel J. Donno

acheron separates the mortal world from the underworld, for one cannot step upon the underworld or go back to the human realm without first crossing the river acheron. the unburied, those who couldn't pay or those who were never truly alive, is said to have been doomed to always wander around the banks/shore of the river.

the ‘neutral’ stay on the banks of acheron, being tortured by worms and flies, as they are neither god nor satan, heaven nor hell, but are only for themselves.

the hollow men that are ‘gathered on this beach of the tumid river’ are the unburied in this poem.

(…) ‘My answer can be brief: These have no hope that death will ever come. And so degraded is the life they lead all look with envy on all other fates. The world allows no glory to their name. Mercy and Justice alike despise them. Let us not speak of them. Look, then pass on.’

- Inferno, 3: 44-51

honestly, i don't know what this means for freelancer and vindemiator outside the hell that is the imperium, which, as we know, is now under the guidance of the demons and the shaw pack and samuel collins (?), but this underpins the idea that they are the ‘neutral’ of this equation. they are neither facing the responsibility of survival (fighting with the resistance) nor courageous enough to face death (...the entire point of the resistance lest they fail) and so, they are stuck “on the banks/shore,” not wherever the characters of the recent audio were.

i’m guessing that the constant hopes of a garden of both imp!fl and prime!starlight is a reference to the garden of eden, which is the original homeland of humanity, although i’m not sure because ajsksfnb how does it connect ?¿???¿

the fading star in both the descriptions written above refers to waning hope. i’m theorizing it was meant for freelancer ....

but like. there are dots i still can't connect.

does this mean they're doomed to live in hopelessness for eternity? or are they now free? are they in the garden together? have they created a little home in the woods for themselves, away from the hell that is the imperium?

ARE THEY HAPPY THERE??????? SAFE?????

echo pls give us something here im dying of curiosity.

i just wish they're safe and happy right now honestly i don't need anything else

(^ i do, in fact, need something. conformation that they're fine or something. anything. but i'm sure they are, considering how much echo values these two)