#hazbin analysis

[maxiemumdamage]

I realize we’re probably supposed to feel threatened, or at least worried, that the Vees are all ready for a power grab, but I’m…not.

Like, we just watched Carmilla and Rosie — aka the supplier of Angelic weapons and the apparent best information broker in Hell — clearly cement themselves as being on Charlie’s side. Alastor might have gotten his ass kicked by Adam, but he still held his own for a good while. Besides, Adam was clearly the strongest person in Hell at that point except for Lucifer, so it’s hardly a humiliating defeat. And considering the other Overlords already there are his friends, we can expect Zestial would probably jump in on the project just for kicks.

Compared to all them, the Vees…aren’t exactly a threat. They can’t do shit if Carmilla refuses to sell to them, and while she’s the least invested in the Hotel of all the Overlords involved, I do think she’d draw that line if she thought it necessary. Business is clearly a secondary priority compared to family for her, and I’m suspecting her daughters might end up being some of the Hotel residents since it’s a good place to stay safe.

And even without that, uh. Lucifer. Lucifer who just kicked Exterminator ass for all of Hell to watch, Lucifer who just demonstrated to the public how much he cares for his daughter and how brutal he would be to anyone that threatened her, Lucifer who is the literal king of Hell and will now be staying at the Hotel.

To throw Vox’s words back in his face: they’re gonna die. They’re gonna fucking die.

[anthurak]

Something I was always a little concerned about in the lead-up to Hazbin Hotel was that Charlie was going to be a bit too passive of a character, ie; leaning only into the ‘kind, optimistic Disney-Princess-in-Hell who just wants to help everyone’ vibe and not really have much else going on as a character. Which in turn would make her feel kind of bland next to the big, over-the-top or dramatic personalities like Angel Dust and Alastor.

But thankfully, that is not what happened and there’s actually a lot that I like about what the writers are doing with Charlie, particularly in the potential future development and reveals they seem to be setting up.

First off, I like how Charlie generally comes off more like an over-the-top caricature of that ‘Disney-Princess-in-Hell’ vibe, ie; SUPER energized, enthusiastic, affectionate and emotional, often to overbearing degrees that get on everyone’s nerves. It’s generally funny, or at least amusing, and lets Charlie stand out alongside the other big personalities in the cast. Funny enough, she’s actually a lot like Blitzo in this regard, minus the seesawing into extreme abrasiveness.

And more importantly, we’ve already gotten major hints all but confirming that this over-the-top personality is largely a façade, and that Charlie actually has some very clear issues and baggage that she’s working VERY hard to keep buried beneath the surface. Again, much like Blitzo.

Like how in the trust-fall exercise in episode three, despite asking everyone to reveal something personal, Charlie actually bullshits just as hard as Angel Dust and Sir Pentious with her whole ‘I love you all!’ bit. Sure, it’s not like she was lying or being insincere, but it’s clear that was NOT something truly personal for Charlie. And in episode 4 we have Husk straight-up calls out Charlie as ‘wanting to solve everyone’s problems but her own’.

Then of course we have the brief glimpses we’ve seen of Charlie getting angry. Both the times we’ve seen Charlie dealing with some truly despicable and horrendous characters, we’ve seen that rather than lacking the ability to get angry, Charlie is often working to hold herself back. In both her encounters with Adam and Valentino we see points where Charlie is clearly NOT intimidated or afraid of them at all and seems fully prepared to throw down, only being stopped by reigning herself in or by someone else (in this case Angel) stopping her.

Again, it all paints Charlie’s big, bubbly, hyperactive exuberance as something of a front, a way for her to bury a lot of thoughts, feelings and general baggage she doesn’t want to face. Just like what the show has already explored with Angel and Husk.

It actually raises some interesting questions as to what’s REALLY driving Charlie in running the hotel and trying to help Sinners. For one, Husk has already pegged Charlie as ‘wanting to solve everyone’s problems but her own’. And going back to thematic crossover with Helluva Boss, I can’t help but see some potential parallels between Charlie creating the Hazbin Hotel, and Blitzo creating Immediate Murder Professionals.

I think it’s pretty clear at this point that half the reason for creating I.M.P. was as a coping mechanism for Blitzo, or rather the assassination business in general. Something that we’ve gotten hints to as early as the second episode in Blitzo’s back and forth with the Robo-Fizz (“Does anyone love you, Blitzo?”/“No. But I’m really good with guns now!”). With the other half of the reason Blitzo created I.M.P. clearly seems to be to create a surrogate family, as seen with how much he tries to insert himself in the M&M’s lives. Possibly even a specific attempt to replace the family he unwittingly destroyed fifteen years ago.

So I really have to wonder if we’re going to find out that Charlie creating the hotel and her goal of redeeming sinners is in part likewise a coping mechanism and escape for her own baggage.

It’s actually really interesting how episode two first introduced the idea of people opening up with Sir Pentious, then episode four dived further into the concept of the walls and fake personas people put up to hide from their pain and trauma with Angel Dust and Husk. With those two opening up and starting to let their walls down to each other, and by extension we the audience, I think it makes Charlie’s own façade all the more noticeable. It’ll be pretty interesting if Charlie actually winds up being the toughest nut to crack when it comes to opening up about their real issues and baggage. Yet another interesting trait she shares with Blitzo.

All in all, I’m really liking what the show has been doing with Charlie as a protagonist. And I’m REALLY interested to see where the story is going to take her.

Particularly what’s going to happen when she reaches a breaking point…

[aroromantic]

I don't know if I'm the first to point this out, but during respectless, when Velvette says "you've got it twisted," her head turns around at a different rate than her body*.

This actually works to confirm a small theory of mine that Velvette's joints work like a doll's do.

Just a neat detail I noticed for the first time!

*to clarify, her head spins around twice while her body only does so once

[jubileemon]

Husk and Cherri Bomb are friends with Angel Dust, but while Cherri has been friends with Angel for a long time and is openly affectionate with him, Husk was formerly cold to Angel and only came to view him as a friend after Angel showed vulnerability and let his walls down around him.

Like Cherri, Husk wants what's best for Angel, but unlike Cherri who thinks that feeding into Angel's addictive tendencies are the best way to treat his depression and that living up to the hotel's standards is only making his life more difficult, Husk encourages Angel to stick with the self-improvement he's learned from the hotel and not fall back into his old ways since Angel's trying to get into Heaven.

"Welcome to Heaven" shows Angel doesn't necessarily have to pick one or the other, as he can still enjoy himself in moderation so long as he still prioritizes being a good person, Angel saying there's room for both Cherri and Husk as his friends.

[silversodas]

Me watching Vox in stayed gone: well Vox, you seem to have some rejection sensitivity going on. Because this is a big time reaction to Alastor saying no to being your business partner. Which is also weird, seeing as he doesn’t really offer anything to your team being an old school, independent, radio host and serial killer.

I mean unless you guys can do some neat things with your powers together, I am not sure why you even asked. Unless it his charisma you were after, and the most charismatic you can get is a pleasant customer service voice, so I can see that.

Me after watching Vox in the final: OH! YOU WANT TO FUCK HIM SO BAD IT MAKES YOU LOOK STUPID!! And I am calling it now!! A big reason why he wants/wants to kill Alastor is because he can’t fucking have him!!

[alastors-antlers]

Why Alastor is good aroace rep after all, written by an aroace

Hello all! I just want to start off this post by saying that I'm one person who definitely doesn't speak for all aroaces, but I wanted to make a post on this anyway, and maybe some folk would be interested in hearing out another perspective?

I'm not really caught up on everything that's been said over the course of HH's creation - only more recent interviews, since I'm pretty new to the fandom. Apologies if I've missed anything, but also I do not have the time to keep up with all the out-of-canon-material backstory unfortunately. I'm working with what we've got here.

So here's the thing:

Alastor is cruel, he's narcissistic, he doesn't care about anyone except himself, he's a serial killer and a monster.

(That's the argument I've heard - please tell me if that's not really what people are going for lol, in which case I've totally misunderstood?)

The issue with aroace rep when it paints asexual people with those traits is that it aims to dehumanizes them. Sex and love are essential to the human experience, right? So why wouldn't someone be interested? Because they're self-absorbed, and cold, and detached. They don't have the capacity to love others enough to feel romance.

And sure, Alastor is a killer, and a schemer, and prideful, and a monster by hell's standards. But no matter how above it all and stylish and in control and provocative he wants to be, he's a very human character, and his aroace-ness never serves to add to his alienation. You could even say that it makes him seem even more personable.

That's what I think is the key difference.

why he's human

Alastor's whole persona is about control, and he basically straight-up says this. He's controlling what his enemies know, what his public image is like. His goal is to be the Radio Demon -- overlord of Hell, charismatic, Machiavellian, and undefeatable. He's not. Despite that smile plastered over his face (a powerful tool, huh) he's so expressive for someone who's constantly pretending.

You see his exasperation with the Egg Bois and with Charlie's ranting; his nervousness in front of Zestial; his frustration with Lucifer and the petty lengths he goes to to piss off the ruler of Hell.

You see his desperation, making that deal with Charlie. He's surprised by the idea of being vulnerable in front of an enemy like Adam, and so close to danger. He drops the radio filter and the affect out of fear, and runs on broadcast TV to let out panic and anger and bitterness in his hideout, where no one else can see him.

He has a smile that tells us he's genuinely happy to see someone; it's a little wider than his default. You see it with Mimzy's greeting, you see it with Rosie. Rosie, especially, serves to make Alastor more human to the audience. More on this later, but for now, I'm just saying that you can see that he at least seems to respect her greatly. Whatever bond they have, we know that he trusts her to touch him, to share history with him, and with support that he trusts no one else for.

He pretends, but he can't pretend it all away. Loads of these emotions aren't even advantageous for him to show. It isn't necessarily how the typical asexual psychopath acts; he's not emotionless or only capable of anger or brutality.

He's so full of emotion that it leaks through, despite all that he does to avoid it. He's not inhuman and aloof, not really - he's so, so human, even when he tries not to be because he thinks that'll be what keeps him above all the rest. In control, and free from his chains.

(If anyone wants to see images about all this, I'll make a separate post - just let me know.)

(I also have another post, talking about why Alastor is at least a little attached to the hotel's residents too, shown via conversation with Niffty. In what way? different question.)

how the aroace part contributes to that

Now, to be fair, we don't hear much about his aroaceness in canon. It's just not relevant a lot of the time.

In the pilot, Angel's proposition ruffles his feathers so much that Alastor blanks for a moment. It's a joke, sure, but that ace panic face is a pretty popular Alastor moment in the fandom - Alastor, thrown off-balance by a sex joke of all things, after so many years in Hell that he should probably be used to this.

It's a moment that makes him more approachable; his aroaceness shows him unprepared for something someone else does for one of the only real moments in the whole episode.

And the other part: the ace in the hole statement.

Rosie apparently knows Alastor so well that she read that he's aroace. That tells us about their relationship; namely, that it is long-standing and genuine enough that she gleaned a piece of real information from him. It's a casual fact that she knows about him before he even figured it out himself. It lends legitimacy to their bond - this bond that shows us a more comfortable and warm side of Alastor that we don't often see.

If their relationship is purely business, isn't this something pretty frivolous and personal? It's not like he has anything to gain by telling her about his life, but she learned about it somehow. How close are they? That's where it adds a layer of complexity and personality to his character..

thoughts on representation

Overall, Alastor's an interesting character who has a level of depth and care and personality (outside of cruelty) that asexual psychopath tropes lack. Again, the moments where he's being represented as disinterested in sex or romance don't make him seem detached. Again, they don't say "look how hostile toward relationships his behaviour is - how separate he is from our humanity". That's what bad villain ace rep is. That's not what the show's doing.

Also: I'm not saying that we need to lower our standards or anything, but even if you think it's not the best rep, I feel like we should be supporting HH's efforts here. I know that on Tumblr we have a pretty queer-friendly space going, which is honestly an understatement lol but

Aces are incredibly underrepresented in fiction. There's a whole Wikipedia page about asexual characters in media, and it's short as all hell, and even if you consider what's on there you see quite a number of one-off characters who are never mentioned again.

In terms of real life business - before the DSM updated their definition of hypoactive sexual desire disorder (HSDD) in 2013, identifying as asexual wasn't even a recognized thing. If you talked to a clinician about your lack of sexual desire, you could be diagnosed with a disorder. Only in the 5th edition do we now have a little exclusion footnote about it.

The concept of asexuality hasn't been explored nearly as much as other queer identities in our scientific research. We get crumbs in terms of mainstream representation and understanding. House M.D. has an episode where House "disproves" us because he's just so smart.

Alastor isn't going to be perfect representation. There's no such thing as perfect representation, and from the moment he was conceptualized, you could see how people would take him poorly. Still, I think he's a net positive.

He isn't a side character or a token ace - he's a core part of the show, whose personality and character motivations we can reasonably presume are going to be explored much more deeply in upcoming season(s). He's loved by the fandom. Right now, given what we know, I trust Vivziepop to write the aroace representation he deserves, because with the way I've heard the cast/directing/etc. talk about him, they're trying to do the aroace community justice, so I wish people would let up just a little on the whole "Alastor is bad rep".

Let's give him a chance, all right?

[lolomidi]

The Price of Entertainment: An Episode-By-Episode Analysis of Alastor's Facade

I don’t think any character in Hazbin Hotel has been discussed as much as Alastor, and it’s a testament to how much the writers put in his character that the mystery of his intentions, past, and contract have been so debated on.

There are some takes I vehemently disagree with, but something a lot of people seem to have settled on is that Alastor is, behind his massive ego and cool-headed persona, insecure about his place in Hell after his long “sabbatical.” I want to do an episode-by-episode analysis of Alastor’s behavior and how Season 1 shifts our view of him from an unquestionably powerful Overlord to something with more depth, and while I won’t be speculating on who owns his soul and how he’ll break that contract in those post, I will take a guess at the future of his character in a narrative sense. I will also implicitly be addressing my issues with some of the conclusions others have made, or at least playing devil's advocate.

NOTE: I want to clarify that none of this is meant to depict Alastor as some poor woobie. He’s still awful. He’s in Hell for several reasons and being a serial killer is only one of them. Rather, I want to analyze what is shown to us about him, and how those story beats can be used to determine where he’ll end up by the finale of the series.

ALSO NOTE: I haven’t followed all of VivziePop’s comments outside of the show about the characters, and it’s possible that certain details have been changed between the release of the pilot and the show, so take any mentions of what hasn’t been explicitly depicted within the show with a grain of salt.

___

Part 1: Recap Analysis

This section will consist of commentary regarding Alastor's appearance and behavior in the given episodes, with retrospection based on new information given in later episodes if needed.

“Overture”: Alastor is pretty one-to-one with his depiction in the pilot in the first episode. He’s snarky, open about his sadism, but helpful if begrudgingly so. Interestingly, he’s able to put together a well-edited, if tonally awful, commercial, and probably could have done better if he weren’t intentionally being an ass about it. From the finale we know that he and Vox likely used to have a more magnanimous relationship, and it’s likely that he picked up some tools of the digital trade in that time despite or before being turned off completely by it.

“Radio Killed the Video Star”: Vox effectively plays heel for Alastor this episode as we continue that first impression of the Radio Demon. We spend a good time showing off the former’s power and how far his roots have spread throughout Hell’s society, only for Alastor to effortlessly trounce him and steal from his audience, despite being gone for so long and his position in Hell less stable. This indicates that Alastor does still have pull, but at the same time that his position in the hierarchy of Hell is being contested due to the length of his absence. He deals with it easily here, but we’ll see in subsequent episodes that things aren’t as smooth as they first seem.

“Scrambled Eggs”: In terms of the eggs, there’s not much to talk about. He begrudgingly accepts Vaggie’s request to get rid of them “humanely,” but brings them back to the hotel after they prove to be useful spies.

More importantly, we get our first small hint that Alastor’s ego can be bruised when Carmilla doesn’t humor him during the meeting between Overlords. Now, I actually disagree with a lot of the takes on this episode in that I think it indicates that at least some of Alastor’s views and need to prove himself as a powerful Overlord are the result of self-delusion. Yes, he does need to reestablish himself as a person not to be messed with after being gone for so long, but I think it isn’t as bad as some are making it out to be, which makes his behavior in later episodes more strange and excessive if anything.

Carmilla, who mind you is a busy and stressed woman trying to hide the fact that she’s successfully murdered an angel, hits his ego by not caring where he’s been (something he wouldn’t have revealed in the first place), but she also welcomes him back, which is more than you could say to Velvette and by extension the Vees. And minutes before that, Zestial, who’s probably the highest on their totem pole, does go out of his way to meet with Alastor and inquire about where he’s been. Alastor himself gets over the slight pretty quickly and has no issue contributing to the meeting. Overall, he isn’t necessarily terrifying other overlords, but he still has an established place with them and they do seem to get along well enough. He’s “part of the group” unlike the Vees, who are treated more like upstart outsiders.

I also want to point out that despite Zestial likely outranking Alastor in power, they seem to be alright with each other. Alastor is cordial and does not demonstrate a desire to antagonize him like he does Lucifer in the next episode. Speaking of which…

“Dad Beat Dad”: This episode gives us a lot to chew on and is the first major indicator that Alastor’s issues go beyond wanting to be the center of the room. From the very moment Lucifer walks into the hotel*, his eye is twitching and he is visibly pissed. Lucifer undermining him (notably contrasting Zestial, who is polite despite his power) doesn’t help and makes Alastor let loose his first swear in the entire show. Being the petty bitch he is, Alastor, knowing he can’t intimidate Lucifer in any way, immediately goes for his weak point–Charlie–and plays up the role of a caretaker for her and the hotel. It’s a low blow, but it also feels like a defense–he’s signaling to Lucifer that this is his hotel, that things are taken care of already, and that they do not need his assistance, even though they ultimately do in order to get a meeting with Heaven.

But then things get more complicated with the appearance of Mimzy, who, to the surprise of several characters due to his solitary nature, was friends with Alastor all the way back when they were alive, and she carries a load of implications with her. She’s the only crack so far at what a “human” Alastor is like–apparently he’s a heavyweight drinker, a good dancer, and most notably, in Mimzy’s words, a sweet man who "becomes a kitten" when he's drunk. This is a huge departure from the unflappable, egotistical Radio Demon we’ve known up to now, and I think it’s a purposeful choice that we’re hearing this information but not shown it like his early days in Hell just prior. It’s simultaneously left to the imagination but difficult to do so because it contrasts so heavily with everything that has been shown to us beforehand. Another thing is that Mimzy is sure that Alastor will clean up her mess–and apparently this isn’t the first time he has, if Husk is anything to go by. So many people seem to miss this, but Alastor, who hates being tied down or disrespected, has been allowing Mimzy to leech off of him, presumably due to their past friendship making him turn a blind eye.

Alastor is on edge for this entire episode and is already unusually snappy when Husk addresses Mimzy, and pushing the button that was his contract is what sends him over the edge. His temper exploding is a direct result of his feeling that his control over both the hotel (via Lucifer) and his personal life (via Husk’s “doubt” that he can handle everything and that his reputation is what it used to be, plus the reminder of his deal) is being taken away from him. Alastor’s threat to Husk, which seems to not be his usual behavior if Husk’s willingness to show concern and talk back in the first place is anything to go by, is an attempt to remind both of them that he holds the cards, that he’s a powerful Overlord that is not to be trifled with, and he explicitly says as much when he goes out to deal with what Mimzy’s dragged in.

It’s only after he lets his anger out on the mobsters and “proves himself” that he visibly calms down and makes the logical decision to tell Mimzy to leave with a serious attitude, and also doesn’t antagonize anyone for the rest of the episode. It seems like despite his fury earlier, he was listening to Husk, who’s rightfully smug about it. He’s even present when Charlie declares her desire to protect her people, and his smile seems just a tad bit more genuine.

*Note: it’s not impossible that Alastor has some sort of personal grudge against Lucifer which caused his hate-on-first-sight, depending on the circumstances of his disappearance and contract (i.e. if it’s with Lilith).

“Hello Rosie!”: As opposed to Dad Beat Dad, Hello Rosie is arguably where we see Alastor at his most in-his-element. He gives off a lot of conflicting vibes at the beginning, from mocking Charlie’s distress to, in a shockingly honest moment, lecturing her about the importance of a smile to portray strength, a card we’d only been shown due to comments outside of the show. He smugly holds his knowledge over Charlie’s head but is visibly impatient to have her make a blank check of a deal with him, solid enough to benefit him but vague enough so that Charlie won’t feel immediately threatened. He’s clearly been waiting for an opportunity like this since the events of the pilot.

After that, he puts back on his gentleman’s demeanor and introduces Charlie to Rosie, and from here on he’s arguably at his most comfortable in the entire show. He’s relaxed around Rosie and is actually willing to ask for her help (something I can’t see him doing with any other character), casually complains about Susan, is encouraging to and praises Charlie even behind her back, and most notably, gives her his radio cane unprompted. More on that later. He also mentioned wanting to guide Charlie to Rosie specifically, implying that he was being genuine about wanting to act as a mentor to her, though his intentions are probably self-beneficial.

“The Show Must Go On”: The finale is arguably the most revealing episode on what Alastor’s inner world is like, as we see him unmasked several times. For one, his private admission to Niffty, the closest thing he has to a friend within the hotel, that he’s enjoyed watching the other residents connect to each other. This is in direct opposition to his initial (stated) reason for helping the hotel in that he wanted to watch them all fail, and yet he seems content with his initial assumptions being proven wrong. There’s no malice or sarcasm in this moment, he’s relaxed and talking to someone he relatively trusts.

And so he goes into the battle swinging and confident. Then, of course, Adam.

I want to bring up something before we keep going. Yes, fighting Adam without angelic weaponry was a needless risk. Yes, Alastor fell victim to the very sloppiness and arrogance he accused Adam of, and it’s thematically appropriate that he was the only one to lose his battle in that he was fighting for his own ego more than “love.” But also, people seem to forget that Alastor is the only demon in the entire show with a precedent for permakilling without an explicit reliance on angelic weaponry, as the Overlords he toppled in his original rampage seem to have never returned. He’s egotistical, but not stupid. He may have genuinely believed that he had the means to kill Adam himself but didn’t get the chance/couldn’t due to his contract or absence possibly weakening him. But that's speculation for another day.

So, he has to retreat before Adam double-taps his ass and is too injured to return until after the extermination. He makes a grand exit, but not before grabbing the broken pieces of his radio cane. The one he allowed Charlie to use just an episode prior, and presumably is a conduit for his powers, and he grabs it while a murderous angel is inches away from wiping him off the face of Hell.

His portion of “Finale” is the first time we see him singing alone and not playing off someone in a duet. It’s obvious that he’s trying to keep his composure, still speaking to himself in his artificial transatlantic accent (which we now know for a fact he doesn't need to do, seeing as he finally broke character when Adam wrecked his cane) and reassuring himself that he’ll come out on top next time. But here his front shatters and we openly see what the show has been hinting he is for the first time: a deeply paranoid, desperate, and unstable man.

Essentially the worst-case scenario has happened: after a season of interfering with every attempt to capture him on camera, Vox has footage of him at his lowest point for all of Hell to see, and he’ll have “died” a martyr, a weakling, and still in the chains of an unwanted contract. For Alastor, who is so deeply afraid of showing any sign of vulnerability, who wants to be seen as a monstrous Overlord, it’s understandable that this humiliation is enough to send him into a mental spiral and recant any fondness for the hotel in favor of accomplishing his own goals. Worse yet, when we next see him he gives zero indication of any of this even when Charlie and company are simply glad that he's alive, which leaves us to wonder: has he been like this behind the smile from the very beginning?

___

Part 2: Closing Thoughts and Future Speculation

With everything we’ve taken note of above, we can start to piece together a picture of who this guy is, and what the writers are going to do with him.

Alastor is sentimental. It’s not just his attachment to older technology or his love for being the center of everyone's attention. He likes being around people, he has friends, one of which he continuously indulged despite her using him multiple times, and he ultimately was starting to enjoy his time at the hotel before his defeat spooked him. Despite him using her, the fact that he was even willing to let Charlie use his cane (and note that he takes it from her as soon as she’s given a substitute, so that is a significant gesture for him) is an implicit display of trust whose implications don’t become apparent until the finale.

But this is paired with deep insecurity. Alastor, despite being one of the most powerful people in the Pride Ring, has a crippling fear of being seen as vulnerable or “lesser” by others. There could be multiple overlapping reasons for this: the general climate of Hell, whatever happened to him seven years ago, his experiences as a mixed-race human living in Prohibition-era Louisiana, his original death, a natural predisposition, etc.

Regardless, this anxiety of his is so overwhelming that, when paired with the ever-present stress of not owning his own soul, it’s driving him insane. He made a splash in Hell upon entry and now he’s desperately trying to reinvoke that in order to defend himself both physically and mentally. He’s the gifted kid who’s slowly going nuts trying to keep up an impossible momentum as they grow older. He’s an ex-human denying his humanity because he doesn’t want to feel human. Everyone’s out to get him, and anyone who could be an enemy is an enemy unless he has total control over them via a contract, power, or the reassurance of years of close friendship. It’s why he’s cordial to Zestial but takes Carmilla (who wasn't even trying to spite him) and Lucifer’s comments personally, in the same way someone with low self-esteem might want to lash out against an authority figure who they feel is looking down on them.

Worse yet, he can’t/won’t let these feelings out and is bottling them up so that no one will know he feels this way (note how quickly he was able to relax in Dad Beat Dad when he was given an outlet for his stress), because that’s a sign of weakness too. It’s honestly kind of frightening that in his final scene he gives zero indication of being injured or of just having had a meltdown. By all outside accounts, he’s his usual chipper self, and no one at the hotel save for maybe Husk, who can’t say anything Alastor doesn’t want him to, would realize anything is amiss. The reason his part of “Finale” is chilling isn’t just because of the implications that he will become an antagonist in the future–it’s that his mental state is so poor that he is no longer acting rationally, which makes him unpredictable in the worst possible way.

I think Alastor’s character arc isn’t going to be redemption by way of going to Heaven, I don't think that place is his style anyway, but rather redemption of his own self-image. I don’t think the writers would make what is arguably the most popular and well-developed character in the show just to say that he’s hopelessly evil and simply end it at that. We’ve been exposed to multiple facets of his character, and while his deeds and probably his intentions are sinister, his underlying motivation for it all seems to be “freedom,” which decidedly isn’t (unless your name is Eren Jaeger).

I do believe that he’ll have his villain moment where he indulges in his worst impulses, but that ultimately it won’t do anything to fulfill him, because as we see in the official comics before the release of the show (which may no longer be canon but still give a viable “baseline” for the characters), when his desire to be feared and respected is granted, it only isolates him. Like the others, he’ll have to hit rock bottom before he can climb back up.

Pentious, who was successfully redeemed, needed to understand that people weren’t out to get him, which allowed him to make the decision to put his friends before himself and trigger his selfless sacrifice. Angel, who’s well on his way to redemption, needed to realize he wasn’t alone and could rely on others, and his confidence and self-love has grown enormously since then. I think these are both lessons Alastor will need to learn eventually as well. He’s the manager of the hotel, but also undoubtedly a patient. He’s hungry for freedom, but only when he learns these lessons will he be truly free.

Or maybe I’m thinking too much into it idk lmaooooo

[the-irreverend]

Is it just me, or does something seem very... autistic about this man?

Maybe it's the way he hyperfixates on ducks, or how he tends to keep to himself, or maybe it's how his social awkwardness/anxiety consumes him every waking moment, but there's something about the way he acts and interacts with others that just screams neurodivergence.

What say y'all?

[beau-is-here]

Why has Husk never stood up for himself, especially when uncomfortable over Angel's advances?

Well, what if it's because of the very deer who owns his soul.

(TW FOR SLIGHT SA/ABUSE REFERENCES, MENTIONS OF BEING DRUGGED) (ITS ANGEL DUST)

ALRIGHT YALL, BEAU IS BACK WITH ANOTHER ANALYSIS. I'm so excited to be writing a Husk-centric one, he's one of my favorite characters!

So, we all know Angel likes to flirt, and this is mostly because of the way he copes with his own situation. Husk makes it very prominent about his discomfort towards these gestures, as he's the main victim of Angel's fake flirting.

While he shows his discomfort, however, he never actually tells Angel to stop. All he does is push him away, weather that is an annoyed reaction or literally pushing him away. He never sets boundaries, or even says no to him.

This all changes when Charlie introduces the concept of boundaries to Husk, as she had crossed Angel's earlier with the Valentino situation. While Husk seems annoyed about her remark, he takes it to Husk.

When Husk talks to Angel after saving him from being drugged at a club, we notice him setting boundaries for the first time, saying that Angel is always "pushing [his] boundaries". He also uses the same language he learns from Charlie earlier with the boundaries talk.

But why does Husk never set boundaries before this? Because he can not.

Husk is on a leash, meaning he has to take every order from his boss, or he could lose his life. He can't say no.

And Alastor's treatment only reinforces how not only hopeless he is, but how powerless he is over his own life. He can not back away from Alastor's grasp, and it makes him feel like he has no choice on how others treat him, especially with Angel Dust.

I wonder who's situation this remind me of?

But it makes sense that one person struggling with boundary issues is the one to hurt someone else struggling with boundary issues.

But when Husk opens up about his boundaries, it makes both parties feel better. Husk feels more in control of his life, having the ability to say no. Angel dust feels in control of his life as well, having the respect to not have to essentially sell himself to feel respected, as boundaries are in place to respect all involved.

Because he is willing to open up about his boundaries, it actually makes Husk feel more comfortable around Angel Dust, as he knows Angel's remarks will only be that of light hearted rather than sexualizing (to an uncomfortable degree). This is why Angel and Husk are able to become so close; as the trust formed between them allows them to open up to each other. This is a healthy relationship. Romantic or not, HuskerDust has really gone a long way for the best!

[glittter-skeleton]

I haven’t seen anyone talk about Alastor’s cannibalism in relation to his relationship with Vox

So with most cannibalistic serial killers the reason they are people wasn’t because they liked the taste. It’s about full control and psycho-sexual desire as consumption.

The want of control is obvious all though Alastor’s character over himself and others. From the way he clearly gets joy out of ordering Husk around and literally owning his soul to his own ever-present smile (if we assume he’s not forsed into it as has not yet been confirmed) as a means of controlling his own character at all times. But with cannibalism it’s more than that, it’s control over your victim ever after they died, the power to not only control their souls but their body

And that’s where the psycho-sexual part of it comes in. In resent years movies like “raw” and “bones and all” we see what has always been a part of cannibalism: desire. Because it’s not only the power, it’s also the feeling of consumption, of becoming one with your victim. I’m a way, that’s not too different from sex in it’s most pure and carnal. In real killers most of the cases of cannibalism are sexual, with sex crimes accompanying. We can assume Alastor wasn’t like that, but the element or the carnal desire that plays such a big part in cannibalism still follows his character.

All of that to say that the desire that Alastor can feel in his own twisted way towards other demons is… impossible with Vox. He’s not made of flesh and bone (most probably) and we don’t know if he ever was. There is nothing for Alastor to feel attracted towards, not even his body (in the most literal way). We can also play with the idea that Vox is a sort of Ship of Theseus-type cyborg replacing parts of himself with machine one by one until there is none left as we do not know of any other demons in hell who are anywhere like him. So even if Alastor could feel that sort of way towards Vox, it is no more. And on the other side, if Vox was literally re-born as machine (maybe as ironic punishment for trying to be like one on earth like cutting off his emotions, etc) than that Alastor finds most desirable in a person was never there in Vox to begin with.

This parts a bit of stretch but even without the cannibalism Alastor thrives in watching people who are hopeful, souls who try and fail over and over again. Which maybe, as a machine, Vox originally wasn’t. Maybe at the start of their relationship he was calculating and unemotional which pairs well with Alastor’s own mask of detachment and indifference but also makes him completely uninteresting to Alastor as a subject of desire. But on the other hand Vox isn’t just machine, he’s a TV and his character reflects the media’s reactionary and emotional judgment. I just don’t know how Alastor ever worked with Vox if he’s always had the mindset we see in the show. But if that’s the case Alastor does feed on Vox’s desperation but never fully, never truly desiring him the consuming, power-play way that he feels most strongly (aka the want to eat him). I present you with both readings of Vox’s past emotional state as we do not as of now know what their relationship has been before

TLDR: Vox is the pinnacle of un-fuckable to Alastor, as even though he does not feel sexual desire the cannibalistic part of him can feel the psycho-sexual want to consume a body. Which he can’t with Vox who is machine.

I’d love to hear what other have to say about a machine loving a cannibal so please feel free to share your readings in the tags

[correlance]

Paradise Lost: How John Milton's 1667 work influenced "Hazbin Hotel"

I've been thinking about why the "fruit of knowledge" in Hazbin Hotel is depicted as an apple, as opposed to another fruit that would've been more accurate to the Middle East during the Fall of Man, as well as how Paradise Lost by John Milton (1667) influenced the show.

Per one source:

"Because the Hebrew Bible describes the forbidden fruit only as 'peri', the term for general fruit, no one knows [what exactly type of fruit it was]. It could be a fruit that doesn't exist anymore. Historians have speculated it may have been any one of these fruits: pomegranate, mango, fig, grapes, etrog or citron, carob, pear, quince, or mushroom."

Per Wikipedia:

"The pseudepigraphic Book of Enoch describes the tree of knowledge: 'It was like a species of the Tamarind tree, bearing fruit which resembled grapes extremely fine; and its fragrance extended to a considerable distance. I exclaimed, How beautiful is this tree, and how delightful is its appearance!' (1 Enoch 31:4)."

In Jewish and Islamic traditions, the "fruit of knowledge" is commonly identified with grapes. The Zohar explains that Noah attempted (but failed) to rectify the sin of Adam by using grape wine for holy purposes. Today, the "Noah grape" is still used to make white wine.

Furthermore:

"The association of the pomegranate with knowledge of the underworld as provided in the Ancient Greek legend of Hades and Persephone may also have given rise to an association with knowledge of the 'otherworld', tying-in with knowledge that is forbidden to mortals. It is also believed Hades offered Persephone a pomegranate to force her to stay with him in the underworld for 6 months of the year. Hades is the Greek god of the underworld, and the Bible states that whoever eats the forbidden fruit shall die."

So, how then did the apple become the foremost symbol of the "fruit of knowledge"? You can partly thank Paradise Lost by English poet John Milton, a work which the lore of Hazbin Hotel is based off of.

Milton published the book in 1667, a time when the hedonistic Restoration era was in full swing. The exiled King Charles II was restored to the throne as King of England in 1660, and was a party animal, with dozens of mistresses, and nicknamed both the "playboy prince" and "Old Rowley", the latter after his favorite lustful stallion.

However, the association of the "fruit of knowledge" began with a Latin pun long before Milton immortalized the association in Paradise Lost. Per the linked article above by Nina Martyris for NPR:

"In order to explain, we have to go all the way back to the fourth century A.D., when Pope Damasus ordered his leading scholar of scripture, Jerome, to translate the Hebrew Bible into Latin. Jerome's path-breaking, 15-year project, which resulted in the canonical 'Vulgate', used the Latin spoken by the common man. As it turned out, the Latin words for evil and apple are the same: 'malus'.

[...] When Jerome was translating the 'Tree of the Knowledge of Good and Evil', the word 'malus' snaked in. A brilliant but controversial theologian, Jerome was known for his hot temper, but he obviously also had a rather cool sense of humor.

'Jerome had several options,' says Robert Appelbaum, a professor of English literature at Sweden's Uppsala University. 'But he hit upon the idea of translating 'peri' as 'malus', which in Latin has two very different meanings. As an adjective, 'malus' means 'bad' or 'evil'. As a noun it seems to mean an apple, in our own sense of the word, coming from the very common tree now known officially as the 'Malus pumila'. So Jerome came up with a very good pun.'

The story doesn't end there. 'To complicate things even more,' says Appelbaum, 'the word 'malus' in Jerome's time, and for a long time after, could refer to any fleshy seed-bearing fruit. A pear was a kind of 'malus'. So was the fig, the peach, and so forth.'

Which explains why Michelangelo's Sistine Chapel fresco features a serpent coiled around a fig tree. But the apple began to dominate Fall artworks in Europe after the German artist Albrecht Dürer's famous 1504 engraving depicted the First Couple counterpoised beside an apple tree. It became a template for future artists such as Lucas Cranach the Elder, whose luminous Adam and Eve painting is hung with apples that glow like rubies.

Milton, then, was only following cultural tradition. But he was a renowned Cambridge intellectual fluent in Latin, Greek and Hebrew, who served as secretary for foreign tongues to Oliver Cromwell during the Commonwealth. If anyone was aware of the 'malus' pun, it would be him, and yet he chose to run it with it. Why?

Appelbaum says that Milton's use of the term 'apple' was ambiguous. 'Even in Milton's time the word had two meanings: either what was our common apple, or, again, any fleshy seed-bearing fruit. Milton probably had in mind an ambiguously named object with a variety of connotations as well as denotations, most but not all of them associating the idea of the apple with a kind of innocence, though also with a kind of intoxication, since hard apple cider was a common English drink.'

It was only later readers of Milton, says Appelbaum, who thought of 'apple' as 'apple', and not any seed-bearing fruit. For them, the forbidden fruit became synonymous with the 'malus pumila'. As a widely read canonical work, 'Paradise Lost' was influential in cementing the role of apple in the Fall of Man story."

To tie this back into John Milton's relationship with King Charles II of England, as mentioned, Milton originally served Oliver Cromwell, Lord Protector of England, and the English Commonwealth, which was formed with the overthrow and execution of King Charles I on 30 January 1649, following the bloody English Civil War (1642 – 1651).

The King's two sons - the newly-christened King Charles II, the elder, and James, Duke of York (King James II), the younger - fled into exile on the European continent. However, with the death of Oliver Cromwell on 3 September 1658 came the 2-year-long dissolution of the English Commonwealth, and the restoration of the monarchy.

As for Milton himself, we can look to an article by Bill Potter.

Milton, born on 9 December 1608, was around 51-52 years old when King Charles II was restored to the throne. He attended Christ's Church, Cambridge in his youth, and mastered at least six languages, as well as history and philosophy; making him, perhaps, the most knowledgeable poet in history. He spent more than a year travelling across Europe, conversing with and learning from intellectuals, linguists, poets, and artists, including the famous Galileo Galilei.

However, Milton was a controversial figure of his time, being unafraid to criticize institutions of authority; arguing that "divorce was Biblical", for which he was routinely condemned; joining the Puritans; penning the Areopagitica, a treatise on liberty in favor of Parliament and the Roundhead rebels, during the reign of King Charles I, arguing that the King must be held accountable by the people; and agreed with and justified the murder of King Charles I, for which Parliament hired him in 1649 as a propagandist and correspondence secretary to foreign powers, on account of his fiery manifestos against "the man".

The collapse of the Commonwealth with the death of Oliver Cromwell in 1658 did not deter Milton from continued political writing against the monarchy and the new public sentiment that brought about its Restoration under King Charles II in 1660. On the contrary, Milton - now totally blind, having lost his eyesight by the age of 44 in 1652, a decade earlier - began writing Paradise Lost in 1661, and spent the next six years dictating the work to transcribers.

A supporter of regicide, Milton was also forced into exile himself, and faked his own death, as Charles refused to pardon - and sought to execute - any of those directly involved with his father's murder. Milton's friends held a mock funeral for Milton on 27 August 1660, just months after the coronation of King Charles II on 23 April 1660.

King Charles II commented that he "applauded his [Milton's] policy in escaping the punishment of death [execution for treason] by a reasonable show of dying", but insisted on a public spectacle nonetheless by having Milton's writings burned by the public hangman.

After eventually obtaining a general pardon from King Charles II, Milton was imprisoned, and released, likely due to political friends in high places. He died, aged 64, in 1674. His theological views were sometimes considered heterodox by the best Puritans, and his political views came close to getting him executed on several occasions. His poetry, however, has endured as some of the greatest works in the English language, especially Paradise Lost; much of his greatest work was written during his 22 years of complete blindness.

One of the main factors in King Charles II deciding to grant a pardon to Milton was, ironically, Paradise Lost. While originally written by Milton as a scathing criticism of King Charles II and the monarchy - depicting Lucifer Morningstar as a sympathetic rebel against God, with King Charles II claiming that is right to rule came from "divine ordainment" - Charles II enjoyed the work, and authorized its publication on 20 August 1667. We know this because a 1668 copy of Paradise Lost in royal bindings by Samuel Mearne, bound lovingly in a fine red leather made of goat skins tanned with sumac, and stamped in gold with the royal cypher of King Charles II, was found. The endpapers bore a watermark with the royal arms of Charles II.

Per one Miltonian scholar: "The most single important event in Milton's life was the event against which he struggled most: the Restoration of Charles II, [and his relationship with the King]. Had it not come, we might have never had Paradise Lost...certainly, we should never have had [it] in [its] present power and significance."

Milton followed up Paradise Lost with Paradise Regained in 1671, three years before his death, with advice for King Charles II, urging the hedonistic Charles to "reign over himself and his passions":

"For therein stands the office of a King, His Honour, Vertue, Merit and chief Praise, That for the Publick all this weight he bears. Yet he who reigns within himself, and rules Passions, Desires, and Fears, is more a King; Which every wise and vertuous man attains: And who attains not, ill aspires to rule Cities of men, or head-strong Multitudes, Subject himself to Anarchy within, Or lawless passions in him which he serves." - John Milton, Paradise Regained, Book II, lines 463-472

To summarize: "If we must have a King back again, my Lord, please try to be a good man, unlike your father, who fell to his pride, [which was also the downfall of Lucifer]."

To quote another source: "Though the passage begins by noting that the office of a King is to bear the weight of public concerns, it is the control of one's private concerns that truly set a King apart as a virtuous character. Indeed, so important is self-command that any wise or virtuous man who attains it is like a king; any king who does not practice [self-command] is nothing more than a mere subject, ruled by anarchy and lawlessness."

Milton's words, too, echo a work written by Charles' grandfather, King James VI/I of Scotland and England: Basilikon Doron ("Royal Gift").

Per Wikipedia:

"'Basilikon Doron' (Βασιλικὸν Δῶρον) means 'royal gift' in Ancient Greek, and was written in the form of a private letter to James' eldest son, Henry, Duke of Rothesay (1594–1612). After Henry's death, James gave it to his second son, Charles, born 1600, later King Charles I. Seven copies were printed in Edinburgh in 1599, and it was republished in London in 1603, when it sold in the thousands.

This document is separated into three books, serving as general guidelines to follow to be an efficient monarch. The first describes a king's duty towards God as a Christian. The second focuses on the roles and responsibilities in office. The third concerns proper behaviour in daily life.

As the first part is concerned with being a good Christian, James instructed his son to love and respect God as well as to fear Him. Furthermore, it is essential to carefully study the Scripture (the Bible) and especially specific books in both the Old and New Testaments. Lastly, he must pray often and always be thankful for what God has given him.

In the second book, James encouraged his son to be a good king, as opposed to a tyrant, by establishing and executing laws as well as governing with justice and equality, such as by boosting the economy. The final portion of the Basilikon Doron focuses on the daily life of a monarch.

All of these guidelines composed an underlying code of conduct to be followed by all monarchs and heads of state to rule and govern efficiently. James assembled these directions as a result of his own experience and upbringing. He, therefore, offered the 'Basilikon Doron' ('Royal Gift') to his son, with the hope of rendering him a capable ruler, and perhaps to pass it down to future generations.

Overall, it repeats the argument for the divine right of kings, as set out in 'The True Law of Free Monarchies', which was also written by James. It warns against 'Papists' (Roman Catholics) and derides Puritans, in keeping with his philosophy of following a 'middle path', which is also reflected in the preface to the 1611 King James Bible. It also advocates removing the Apocrypha from the Bible."

King James VI/I further instructed his son and grandson:

"A good monarch must be well acquainted with his subjects, and so it would be wise to visit each of the kingdoms every three years."

"During war or armed conflict, he should choose old-but-good captains to lead an army of young and agile soldiers."

"In the court and the household, [a royal] should carefully select loyal gentlemen and servants to surround him. When the time came to choose a wife, it would be best if she were of the same religion and had a generous estate. However, she must not meddle with governmental politics, but perform her domestic duties."

"As for inheritance, to ensure stability, the kingdom should be left to the eldest son, not divided among all children."

"Lastly, it is most important...that [a royal] would know well his own craft...to properly govern over his subjects. To do so, [one] must study the laws of the kingdom, and actively participate in the council. Furthermore, [one] must be acquainted with mathematics for military purposes, and world history for foreign policy."

"[A royal] must also not drink and sleep excessively. His wardrobe should always be clean and proper, and he must never let his hair and nails grow long. In his writing and speech, he should use honest and plain language."

King James VI/I further supplemented Basilikon Doron with a written treatise titled The True Law of Free Monarchies: Or, The Reciprocal and Mutual Duty Between a Free King and His Natural Subjects.

"It is believed King James VI/I wrote the tract to set forth his idea of absolutist monarchism in clear contrast to the contractarian views espoused by, among others, James' tutor George Buchanan (in 'De Jure Regni apud Scotos'), [which] held the idea that monarchs rule in accordance of some sort of social contract with their people. James saw the divine right of kings as an extension of the apostolic succession, as both not being subjected by humanly laws."

Milton's own Areopagitica was a follow-up on De Jure Regni apid Scotos by George Buchanan, and also to The True Law of Free Monarchies, as well as the idea of the "divine right of kings". It takes its title in part from Areopagitikos (Greek: Ἀρεοπαγιτικός), a speech written by Athenian orator Isocrates in the 4th century BC.

Most importantly, Milton also wrote on the concept of free will: "Milton's ideas were ahead of his time in the sense that he anticipated the arguments of later advocates of freedom of the press by relating the concept of free will, and choice to individual expression and right."

The concept of free will, too, was a major topic explored in Paradise Lost. Per one source: "In 'Paradise Lost', Milton argues that though God foresaw the Fall of Man, he still didn't influence Adam and Eve's free will. [...] God specifically says that he gives his creatures the option to serve or disobey, as he wants obedience that is freely given [or chosen], not forced. Some critics have claimed that the God of the poem undercuts his own arguments; however, Milton did not believe in the Calvinistic idea of 'predestination' (that God has already decided who is going to Hell and who to Heaven), but he often comes close to describing a Calvinistic God. God purposefully lets Lucifer (Satan) escape Hell, and sneak past Uriel into the Garden of Eden, and basically orchestrates the whole situation so that humanity can be easily ruined by a single disobedient act. In describing the Fall of Man before it happens, God already predicts how he will remedy it, and give greater glory to himself by sending his Son [Jesus Christ] to die, and restore the order of Heaven."

In Hazbin Hotel, Adam also describes the Calvinistic idea of 'predestination', and that "the rules are black and white":

However, "This possible predestination leads to the theory of the 'fortunate fall', which is based on Adam's delight at learning of the eventual coming of the Messiah [from his bloodline]. This idea says that God allowed the Fall of Man, so that he could bring good out of it, possibly more good than would have occurred without the Fall, and be able to show his love and power through the incarnation of his Son. In this way, the free will of Adam and Eve (and Lucifer/Satan) remains basically free, but still fits into God's overarching plan."

However, there is one major flaw with this, and that is that we don't know if Jesus Christ exists within the Hazbin Hotel universe or not. Yet Charlie Morningstar, the daughter of Lucifer Morningstar and Lilith, and the "Princess of Hell", is depicted as a savior-esque figure within the show who, like God in Paradise Lost, encourages lowly sinners to choose obedience to God out of their own free will. More interestingly, Charlie does not come from Adam's bloodline; yet, while Lucifer decries 'free will', Charlie supports 'free will' instead.

Perhaps is is merely because Charlie, being the daughter of Lucifer and Lilith, claims to want to fulfill Lilith's "dream" of humanity being empowered in Hell ("The mind is its own place, it can make Heaven out of Hell, or Hell out of Heaven" - Lucifer, Paradise Lost); however, I think it also stems from Charlie having a genuine belief that 'free will', and people choosing to do good instead of evil, is "good" and "Godly".

True to Paradise Lost, this is also in fulfillment of God's plan; and, according to one fanfiction, why God allowed Charlie to be born to Lucifer and Lilith, so that sinners may be redeemed through Charlie.

For more on differing interpretations of 'free will', I suggest reading: "Free Will and the Diminishing Importance of God's Will: A Study of Paradise Lost and Supernatural" by Kimberly Batchelor (2016)

Excerpt: "'Paradise Lost' –and Milton’s purpose for writing the poem— is rooted deeply in postreformation Arminianism and this is apparent in its employment of free will. Chapter 1 argues that Milton turns to free will as a tool to justify the actions of God. Freedom of choice is God-given, and sets up a morality in which right and wrong are dictated by God. Chapter 2 shows that in 'Supernatural', free will is not given by a higher power; and, in fact, free choice functions as an act of defiance against God's will."

This raises the question: Is 'free will' given by God, using Lucifer as his vessel, in Hazbin Hotel, as in Paradise Lost? Or is 'free will' not given by a higher power; and, in fact, an act of defiance against God?

This brings us back around to our first question: Why is an apple, or 'malus', used to depict the "fruit of knowledge", especially if 'malus' means 'bad or evil', whereas Milton depicts 'free will' as God-given?

Well, for one, Lucifer still chooses to associate himself with apple symbolism and imagery, despite being skeptical of free will:

Based on the introduction to Episode 1, Charlie also views 'free will' as a gift (Miltonian), whereas Lucifer appears to view it as a curse.

However, Charlie also notes that it was through the 'gift' of free will that the "root of all evil" entered the world, for if mankind could choose to be good, then they could also choose to be evil ('malus').

John Milton states in Paradise Lost: "Of Man's First Disobedience, and the Fruit Of that Forbidden Tree [malus], whose mortal taste Brought Death (evil, malus) into the World, and all our woe."

Thus, the use of an apple specifically is likely a tie-in to what others have been speculating about a character that series creator Vivienne Medrano (Vivziepop) alluded to a while back: "The Root of All Evil".

However, "Roo" itself is depicted as possessing the body of a human woman, presumably Eve, the first one to eat the "fruit of knowledge":

Thus, we can discern that "Malus" likely refers to this character. (Also see: "Maleficent", a name that also uses the root word "mal", "evil".) As for Roo's intentions, if Charlie is "good" - and, if, in fact, Alastor was sent by "Roo" (Eve) - then they may want for Alastor to work on their behalf to "corrupt" Charlie, or make sure the hotel never succeeds.

This is because demonic power is tied to human souls, and there are "millions of souls" in Hell, which likely fuels the great power of "Roo". The more souls there are in Hell, the more powerful "Roo" becomes. The Overlords also get their demonic power from "millions of souls".

The deal between Eve and "Roo" might even be the first contract, or deal, between a human soul and a demonic entity; in exchange for 'free will', and the knowledge of good and evil, Eve allowed the "Root of All Evil" to inhabit her body, and to escape the void or prison it was confined to by Heaven (Hell?). (For one cannot be 'all-good' unless you attempt to 'eliminate' or 'ablate' evil; and, in Greek mythology, Zeus imprisoned the Titans in Tartarus for all of their evil deeds.)

Another possibility, brought up in an article by Gillian Osborne, is that Lucifer sees the "fruit of knowledge" as an apple, but it may appear as different fruits to different people, depending on how they view it. This also fits with Lucifer and angels being able to easily shapeshift.

In Paradise Lost, only Lucifer describes the fruit as an "apple" (malus), as he associates malus with "bad, evil", while the narrator also describes the fruit as "a mix of different colors" and peach-like. This then begs the question: "Did the fruit of knowledge of good and evil become 'evil' because Eve harbored resentment towards Adam?"

Quote: "Lucifer (Satan) gives Eve yet another hint that this tree may be more complicated than he wishes her to believe: although elsewhere in Milton's poem Eden is heady with its own newness, sprouting spring flowers left and right, the tree of knowledge is already old: its trunk is 'mossie'. Nevertheless, Lucifer claims to wind himself around the tree 'soon'; the quickness of his reported arrival stands in contrast to the timescales required to cover a fruit tree with moss (PL 9.589). Placing Lucifer's winding body between these two timescales—an easeful present and the inhuman scale of natural history—Milton suggests that there is something dangerous in entangling the past with the present. Yet, 'Paradise Lost' also makes deep biblical history feel like present politics for its readers. When Adam and Eve wander out of Eden at the end of the poem, they famously make their way not only into an earthly paradise, but also into the present. Eden's mossy apple tree therefore represents the pitfalls of conflating nature and history, of seeing any action in human history—even Eve's eating of an apple—as natural, if by nature, we mean inevitability. For Milton, history, unlike nature, is directed by humans, progressive, and, like the reading of 'Paradise Lost', hard work. While trees may inevitably collect moss the longer they live, Adam and Eve's labors in the garden, and our labors of reading, require agency and effort. Milton's poem refuses mourning the loss of Eden, [and the perfection of Heaven], in favor of a perpetual, melancholic, recreation of paradise: a present perfecting."

To quote Twisted: The Untold Story of a Royal Vizier, which also draws inspiration from John Milton's Paradise Lost: "It's an unfortunate situation...but you do have a choice [i.e. free will]."

[maxiemumdamage]

You know, with Lucifer being the Sin of Pride, I kinda expected him to be…harsher? More arrogant? Solemn? Certainly, I wasn’t expecting a rubber-duck collecting, jazz singing, cat-loving enthusiastic goober. It feels like “proud” and “self-important” have gotten their wires crossed in my brain.

Because I’m realizing now that stuff like cooing over a cat, pet goats, etc., using embarrassing nicknames, hearing people take a dig at your less-than-commanding appearance, and having your familial drama, all the while not caring how many people have a front row seat to watch it happen….

That kinda is pride, isn’t it? Not to act the way everyone else thinks is proper or expects of you, but to do the exact opposite and not care what people think. Lucifer severely outclasses all of Hell, but especially sinners — why would he value their opinions? He may regret that he got cast out of Heaven just for humanity to abuse their free will, but the rest of his life and personality he’s seemingly pretty comfortable with.

The opposite of pride is SHAME. Of course Lucifer is shameless about being immature or weird or cringy!

[anthurak]

One of the things I love about the Lucifer and Alastor scene/rivalry is how these two come off so similar yet clearly seem to be approaching from two completely directions.

Like Lucifer is kind of the embodiment of the whole ‘massively ancient and powerful and does not take himself seriously one bit’ vibe we’ve seen from the likes of Ozzie, Bee and Mammon. This is ostensibly THE top dog in Hell, yet he gets into a musical pissing match with some rando who was talking shit about his parenting and seemed to be trying to be a better dad then him. He’s at the absolute top of the chain in terms of power and status yet clearly cares nothing for any of that and seems to only care about his family, his ducks and his crippling depression.

Then on the flipside we have Alastor who is clearly this tightly wound bundle of nerves and hangups who keeps ALL of it carefully repressed and beneath the surface, who also clearly has MAJOR issues and beef with Lucifer and is trying very, VERY hard to not let that slip out. What exactly those issues are isn’t ENTIRELY clear yet, but we can certainly make some pretty safe guesses. Like I personally imagine that Alastor kind of hates Luci but also knows he CAN’T actually do anything directly to him, owing to both Lucifer simply being MASSSIVELY more power and more likely the fact that his wife is almost certainly the one holding Alastor’s proverbial leash. Which of course could itself help explain Alastor’s beef with Lucifer. So Alastor has to content himself with simply fucking with the fallen angel however he can while trying VERY HARD not to let his composure slip.

Which of course, he fails at.

(As an aside, I do love Lucifer’s grin here. He KNOWS he just got a genuine rise out of Alastor so he makes that petty little ‘I won’ grin.)

It really makes these two really neat and interesting foils as characters. Both come out with a big, flashy, whimsical and playful showman shtick. But for Lucifer it all seems to come from a genuine ‘wearing your heart on your sleeve’ earnestness and passion for performance, while Alastor is largely using it to hide a tightly wound bundle of repressed feelings.

[spyder8itch]

Episode 4 of Hazbin is quite literally the best episode so far. It doesn't suffer from the vivzieisms that the first three episodes did and fundamentally told a better story about an SA and abuse survivor than I've seen in a long time, speaking from being an SA survivor. Angel being an unperfect and sometimes downright awful person with how he acts around people is really important to portray. When people always see perfect victims, they then like to dismiss victims who are assholes. NEWSFLASH!!! Many victims suffer negatively to their social skills when they are being abused!

Especially with Angel's hypersexual demeanor to everyone, I find it so refreshing how he even sees the need to be desired by everyone as crucial while also hoping that they reject him the same time. He feels the need to be the person that he pretends to be in all his videos because then he is desired by people; wanted. But he hates being Valentino's favorite toy. He needs to be wanted, but hates hates the biggest source of it, since it is the source of his abuse.

[jubileemon]

Understanding Husk

A "husk" means a shell or a protective outer cover. This fits his character well since he's shown to be a husk of a man. More specifically, he's a former overlord who lost his power.

Husk in the "Pilot" was a lot more grumpy than he is in the show proper, losing his temper at Alastor and not hesitating to show his disinterest in anything going on as long as it doesn't concern him. When he sees just who has yanked him away from his card game, all he can do is exasperatedly ask Alastor what he wants with him this time. Seeing as Alastor is a constant reminder of how his gambling ended up costing him his status as an Overlord, it's easy to understand why he'd be upset at having to bend to the Radio Demon's will.

In the series, it's established he's still a jerk, but it's evident he cares, and his temper isn't as volatile and often warranted. In the beginning, Husk made it no secret that he was forced to stay at the hotel because of his ties to Alastor and would gladly get as far away as he could if able to. Behind his grumpy exterior, Husk is actually very patient and it takes a lot to make him legitimately angry.

He does his job as a bartender competently, but Husk is fairly blunt about the fact he's only participating in the group's shenanigans because he simply can't be bothered to protest. He does join bonding activities but departs once it's no longer enjoyable for him, after Vaggie decided to literally throw everyone into the middle of a turf war as part of her trust exercises. Thankfully, he grows out of this a bit as the series goes on and grows to care about the staff and guests.

Husk has his own issues and is pretty much apathetic to almost everything out of pessimism. But he still has the most common sense out of the cast and he's the most emotionally intelligent and self-aware, even serving as an advisor to the others at the right times when he's not bitterly accepting his circumstances. The hotel's owner is the only cheerful idealist demon princess who just wants to see the good in everyone, one investor is a maniac who wants to get entertainment out of watching the chaos, the other investor is the owner's neglectful, depressed father (and also the literal King of Hell), the manager is bossy and threatens people with weapons at the slightest provocation, and the cleaning lady is a neatfreak with a thing for "bad boys". Then there's Husk wanting nothing to do with their escapades. He's also a lot more hostile towards Alastor and Angel after they touch him multiple times.

It should be noted that Alastor lets Husk get away with flipping him off. But the moment Husk brings up the fact that Alastor's own soul belongs to someone else within earshot of the Radio Demon, Alastor can barely restrain himself to threatening to tear Husk's soul apart and broadcast his screams for all to hear if he ever says that again. By the end of the encounter, Husk is a shivering, terrified wreck and Alastor couldn't care less.

As the bartender, Husk knows how to listen to people and knows exactly what kind of problems that all the residents of the hotel are going through, and while he would rather let them solve their own problems, he isn't exactly above giving them some pretty solid, if very brutally honest. While it was unnecessarily rude to bring up the Hotel residents' flaws, Husk was accurate about every one of them as Charlie's desperate to help others but doesn't confront her own issues, Vaggie judges others because she hates herself, Sir Pentious is a lonely Sinner who watches people in their sleep, and Angel puts on an act that he's happy about his porn star job but is really miserable.

Husk was always cynical and crass, but he's also an old Sinner with a tender heart. With Angel however, he tends to be a lot more irritable. While it initially looks to be because of Angel constantly flirting with him, it's because he hates how hard Angel acts out to hide how miserable he actually is, considering him a "phony" in a self-destructive spiral. He eventually realizes he and Angel are the same, despite their differences. They're both self-destructive addicts since Husk is a gambling addict, while Angel is addicted to sex and drugs who sold their souls to an abusive Overlord. And both of them have descended even further into their addiction and adopted outwardly cynical, cruel personas as a coping mechanism.

Husk getting through to Angel Dust in the manner he does makes a considerable amount of sense when it's taken into account that the first step to overcoming drug addiction is usually getting the addict to acknowledge they even have a problem. Angel hasn't been able to get better despite having some genuine interest because he's been utterly refusing to admit he has a problem to fix, the moment he does his mood drastically improves as does his motivation.

In "Welcome To Heaven", Husk saw Cherri as a bad influence on Angel's path of redemption and advised her not to get high during their night out. He even defends Angel from Cherri's criticism about how the hotel was changing him. Of course Husk wants what's best for Angel, but unlike Cherri who thinks that feeding into Angel's addictive tendencies are the best way to treat his depression and that living up to the hotel's standards is only making his life more difficult, Husk encourages Angel to stick with the self-improvement he's learned from the hotel and not fall back into his old ways since Angel's trying to get into Heaven.

When Vaggie leaves to find out how angels can be killed, she tells Angel, Sir Pentious, Husk and Niffty that she knows they didn't sign up to be the first targets of the angels, so she wouldn't blame them if they left. Of course, when she and Charlie return, they find that all of them have stayed and fortified the hotel.

Husk even admitted that he doesn't want to look for new drinking buddies and being nice to both Angel and Pentious is a demonstration of the massive character development he's undergone over the course of the show. In the beginning, he was grouchy towards everyone and hated even being in the hotel, but now he's willing to risk his life to defend it and the other residents.

[nov4-rocket5]

Of all the potential characters and players we might see in Season 2, I definitely think St. Michael is the one I'm most interested in (especially since Viv kind of teased him in a Discord Chat).

Though it'll be a pretty big plothole unto itself to try and explain how he's been around, but not taking any part in the Exterminations.

Being on Lucifer/Demon wrangling duty is his job. But he's also one of the friendliest and chillest of the angels in all 3 Abrahamic religions.

Even in the Paradise Lost, the story written from Lucifer's biased perspective, Michael is still a merciful guy who wants humanity's redeemption. He could easily be open to Charlie's project.

Meaning Vivzie will interpret him as either:

An abusive asshole who enjoys being the Favorite after kicking Lucifer from Heaven (though that's just... Adam all over again, which would feel really redundant).

Charlie's tough but fair, goodhearted uncle who hasn't been in touch with his brother and actually kind of misses him.

Personally I prefer the later option. Maybe have an episode where Mike disguises himself to check the hotel out for himself (because Lucifer won't let him anywhere near Charlie), and after seeing a lot of the attendees only there to avoid punishment instead of an actual desire to be better, gives Charlie some hard criticism, but leaves with some encouragement and advice.