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colinrobinsonscardigan · 28 days ago

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A Needlessly Thorough Examination of Raphael’s Diary Entries

A close reading by ✨me✨

Raphael’s diary entries are, without a doubt, some of, if not my favourite piece of video game flavour text, ever. They provide far more depth to our encounters with him in the game, an insight into his horrible little brain, and detail his downfall in three acts.

This close reading seeks to pick apart the entries, and see what they allow us to glean about this evil doom-seeking-missile of a man, starting with…

ENTRY 1

“[A chapter from a diary penned in Raphael's sybaritic hand].”

So right off the bat, this one line does a lot. His handwriting being described as ‘sybaritic’ is delightful: it’s not just neat, it’s not just nice, it’s luxurious—this is no utilitarian affair. Raphael consistently surrounds himself with fine things, so it’s unsurprising his hand reflects this, he probably wrote all these entries with a silver-nibbed, peacock feather quill or something.

It’s also notable that it’s not ‘a sybaratic hand’ it’s Raphael’s: his handwriting is distinctive. As someone who wants to be king of the Hells, and then the entire multiverse, it’s unsurprising that he wouldn’t want his handwriting to get mixed up with anyone else’s.

Lastly, this sets up a clear precedent for what Raphael’s handwriting normally looks like.

 “While I have (over many a sumptuous season) cast the net of my contractual predilections both far and wide, never have I been so attracted to mortals as I am to those infested by the tadpole.”

First of all, and most obviously, his choice of words really is something: “sumptuous”, “contractual predilections”, as with his dialogue Raphael writes like he swallowed a thesaurus. Notable, however, is that this is a diary: this is private, he isn’t speaking like this to impress someone.

Whilst I do think Raphael likes to think of himself as a bit of an intellectual, it also alludes to his love of words. He’s constantly reciting poetry (his, perhaps?), Yurgir’s contract takes the form of a song, he has a giant fully stocked library. It’s showy, obviously, but I do think it displays an earnest passion for language.

This is furthered by the consideration for how his writing sounds. The sibilance (I got my Nat 5 English!) in “sumptuous season” especially displays obvious intention in regards to sound, perhaps shared by the repeated ‘ck’ sound in “contractual predilections”. This all serves to reinforce that Raphael’s love for poetry and music is more than just for appearances.

This is firmly headcanon territory, but I do wonder if Raph’s preference for poetry, music, and plays (see his frequent references to theatre), which are usually spoken aloud, are an attempt to distance himself from his father, Mephistopheles, who is basically Hell’s No 1 Wizard, and therefor almost certainly a book-guy.

Second of all, in terms of the actual things that he’s saying, Raphael essentially conveys that he finds those infected by mind flayer tadpoles unusually interesting, which I think is indicative of Raphael’s love of struggle.

He finds Hope fascinating because she’ll never bend to his will; he outright says Act 1 “I like it when my clients out up a fight, only to realise victory was never an option”; he picks up Mol and rejects Voss in Act 2, yes, because Mol is desperate and Voss has little to offer, but I suspect it’s in part because he respects Mol’s struggle, and objects to Voss’ pursuit of what he sees as an easy answer. He won’t even let you make a contract with him following his offer in Act 1! Dude this is literally your job!!!

So yes, undoubtedly the reason he finds the victims of ceremorphosis so interesting is because they are struggling against the inevitable. I also, and this is purely headcanon, wonder if this reflects the belief that he has set himself apart from his father and forged his own path, rather than accepting his nepo-baby status. Who knows!

This section also sets up the fishing metaphor he uses consistently through his diary entries, because of course he has an allegorical through-line in his own private diary.

 “These particular fish find themselves splashing towards their doom, towards a steel hook unblemished by bait. How they resist the current! How inexorable its whelm, its tug, its dark undertow! At the other end of the fishing pole, the illithid. How their tentacles must quiver like cooled jelly at the prospect of more catches: more and more each day along the troubled riverbank. This process has a name I sample now aloud, to saver its taste: Ceremorphosis.”

Minor notes: the alliteration in “unblemished by bait”, and Raphael’s remark that “I sample now aloud, to saver its taste” do continue to emphasise his love of performed language.

“These particular fish find themselves splashing towards their doom, towards a steel hook unblemished by bait.” I would assume this is a reference to the fact that in order to take/corrupt mortal’s souls and take them to the Hells so they can become Devils themselves, Devils must make deals. This isn’t something illithids must do.

“How they resist the current! How inexorable its whelm, its tug, its dark undertow!” Continues Raphael’s delight in struggle.

“At the other end of the fishing pole, the illithid. How their tentacles must quiver like cooled jelly at the prospect of more catches: more and more each day along the troubled riverbank.” I feel that Raphael’s choice of “cooled jelly”, a slightly gross sounding comparison, does betray some level of disgust, disdain, or even just plain weirding-out at the notion of illithids. Remember, this the same man who brought us “sumptuous seasons”, he could have gone with something more appealing.

I personally just think he finds them icky, but maybe he’s trying to place them beneath himself: ‘yes, you kind of do the same thing I do, and maybe you do it in a more efficient manner, but I’m a lot cooler about it’. Who knows?

“I shall make crafty use of this development.”

Not much to say besides “crafty” definitely fitting with his perception of himself as a fox*: a cunning, resourceful creature. Raphael in general has an extremely high view of himself (sometimes to slightly deluded extremes) so this reinforces it, and I think it’s kind of funny.

*when Raphael meets the player, he recites the poem

“The mouse smiled brightly, it outfoxed the cat

Then down came the claw, and that, love, was that.”

If asked whether he’s the cat or the mouse, Raphael will answer ‘the fox’.

 “For with the hook glinting, and death so close, what could loom larger in the stricken fish's mind than the prospect of rescue?”

So, amongst Raphael’s fixations, another which stands out maybe a little less but once you see it you can’t unsee it, is his love of perceiving himself as a saviour. He describes himself as “helper of the hopeless and despairing”, even here he picks ‘rescue’ over say ‘help’, which I (subjectively) feel has less knight in shining armour connotations. And of course let us not forget the ever-iconic "Am I a friend? Potentially. An adversary? Conceivably. A saviour? Now that's for certain".

To be absolutely clear, this is not a benevolent interest, getting people out of doomed situations is generally implied to be how he makes most of his contracts (including how he tries to, or does, make a contract with Tav). He is a saviour who takes complete and total advantage of those he “””saves”””. That said, idk, it’s an interesting thing for him to mention so frequently, and I wonder to what extent he believes it.

Still, for his possible misgivings regarding mindflayers, his final line confirms he finds ceremorphosis fascinating. “This process has a name I sample now aloud, to saver its taste: Ceremorphosis.” Perhaps because it’s very different to what do Devils, undoubtedly a little because he enjoys the struggle against the inevitable, and because, to dip wayyyy back into headcanon territory, I think it’s an erasure of the self that he finds morbidly fascinating.

Ceremorphosis, an assimilation into a hive-mind, stands starkly against the sort of prideful individualism that Raphael revels in. He wants to be King of the Hells! He wants to be the saviour! He wants to be the specialist little boy that ever lived! But becoming a mindflayer wipes out who you were, links you up to a collective consciousness, and makes you identical, cookie-cutter, incapable of going against the grain. You cannot be Hell’s specialist little boy if everyone else is just as special as you.

I think the idea of becoming a mindflayer scares him, but becaus it’s not happening to him, he finds it morbidly fascinating. It’s a bit like body horror having a tendency to appeal to those with negative/complicatef relationship with their own bodies, it’s seeing your worst fears played out whilst you’re totally safe. That said, where they did not actually turn Demi Moore into a horrible two-faced abomination for The Substance (as far as I’m aware) this is a real thing happening to real people, so it’s a little more fucked up that Raphael takes pleasure in it.

The only closing note I have on Entry 1, is that fishing as a choice of metaphor is important because it’s a very tranquil, very methodical form of hunting. You are not stalking your prey through the undergrowth, prey which has the chance to flee if they hear you, or you miss your shot; you are sitting back and luring your prey, and once it has bitten down on your hook it can thrash and thrash but is unlikely to get free. Fishing is even often regarded as a way to relax. This reflects the mindflayers’ and Raphael’s remove from their prey, and their relative positions of safety.

Uh, RIP king you would have loved Shakespeare.

———

ENTRY 2

Entry 2 is by far the weirdest, but it’s also probably my favourite. I will say that this whole entry, to my mind, is not supposed to tell a clear narrative (i.e. the fire represents Mephistopheles, the hooks represent his plans, etc. and when you slot those in you get a coherent story). I think it’s more representative of Raphael’s subconscious fears, and the forces he feels are acting upon him.

“[A chapter from a diary penned in Raphael's steady, imperious scrawl]”

Right in with entry 2, even before you’ve got the actual content, there’s an obvious tone difference from the previous entry. ‘Steady and imperious’ implies a lot less enjoyment than ‘sybaritic’. It’s a little more practical, there’s less flair, maybe even implying tension in the usually flamboyant cambion. ‘Scrawl’ is perhaps also a little less grandiose than ‘hand’ in terms of word choice. Still, it is collected: Raphael hasn’t gone off the deep end - yet.

 “Last night I dreamt of a river. Waist-deep I waded it. Rusted hooks curled up from the water like the snaggled teeth of something ancient and diseased and submerged. The moon over the water cracked and fire flew out on the stubby wings of gormless insanely chirping chicks. They transformed into wriggling oblongs like sperm, yet by the time they hit the water they were fish with scales of orange and gold. There came a rushing sound, the dark water ablaze as if the fish were matches and the river a snake of oil. Approaching me out of the flames came the tadpole-infested. There was one among them who spoke for the rest. They gestured to the melting hooks, suddenly glanced my way, and in their face I saw they had the best of me.”

Because this paragraph is quite big, I’m going to go through it section by section for ease of reading. I would also like to point out the paragraph’s size as a possible indicator of Raphael’s descent. This is a man who delights in language, and takes pride in the way his diary is written: a structureless unburdening this not. Entry 1 has several, mostly even, short-ish paragraphs. This block of text evokes an unbroken stream of consciousness.

“Last night I dreamt of a river. Waist-deep I waded it.” These two sentences immediately place Raphael in the previous domain of the infected. Where before Raphael was the fisherman, casting his net, now he’s right in there with the fish. “Waist-deep” is also pretty deep, if you’re waist deep in a river, especially a fast moving one, you are very much at the mercy of the water. Does this represent that he feels he’s losing control over his situation? Mayhaps.

“Rusted hooks curled up from the water like the snaggled teeth of something ancient and diseased and submerged.” There are, I think, two main ways of interpreting this, but regardless this furthers Raphael being placed in the position of the fish (the en-tadpoled), no longer the hunter but the prey. Where before Raphael was either the fisherman, or a safe and removed observer, he is now in the shit with Tav and the gang. He is now in danger of being caught.

The first way of interpreting this line is that he has grown tangled in his own (and others’) metaphorical nets. He suspects (perhaps unconsciously, and almost certainly correctly if you’re rifling through his pockets) that Tav and Co, the increasingly powerful gaggle of oddballs, are going to turn against him.

He’s also battling with the Emperor, who has its own goals, and Most Certainly Does Not want Tav and Co making deals with Raphael, and is also actively subduing the threat of ceremorphosis, which was Raphael’s former point of leverage.

This also to say nothing of the rogue elements, like Gorthash and Helsik, whom Korilla accuses of spreading the word that Raphael has the Orphic hammer.

Raph may be beginning to wonder if he’s bitten off more than he can chew.

Speaking of chewing, based off Raphael’s allusion to “snaggeled teeth”, the other main interpretation I see is Raphael’s subconscious fear of being eaten. If you look in a crystal ball in the second floor of the Devil’s fee after you murder Raphael in his home, the Narrator informs you “*Within the ball you see Raphael, broken and bloody, dangling above the maw of the archdevil Mephistopheles, who is preparing to devour him.*”

Raphael’s mention of teeth could indicate this is a fate he already suspects will befall him if he fails, whether because it’s something Mephistopheles has threatened him with in the past, or because he’s seen the same fate befall others who incur his father’s wrath. It is notable that Mephistopheles is well known for killing those Devils in his court who threaten to exceed him, and it’s possible Larian feels that consumption is an appropriate execution method for a Devil as hungry for power as Mephistopheles.

I should clarify that I don’t think the hooks represent his father, rather that his choice to compare them to “snaggled teeth” indicates being eaten is one his mind (and not in a fun, sexy way!).

I think both these interpretations are valid. This whole entry is probably the most up to interpretation of all of them, and if you disagree with both these readings and/or have your own, please put it in the notes, I would love to hear.

“The moon over the water cracked and fire flew out on the stubby wings of gormless insanely chirping chicks. They transformed into wriggling oblongs like sperm, yet by the time they hit the water they were fish with scales of orange and gold. There came a rushing sound, the dark water ablaze as if the fish were matches and the river a snake of oil.”

This is a passage I am a little hard pushed to interpret, and I am certain other people are going to have different readings.

The chicks turned sperm, turned fish are almost certainly supposed to represent the tadpole infected, as indicated by the reference to fish (something Raphael previously compared the tadpole infected to in Entry 1) and sperm, something that the tadpoles do kind of resemble. The transformation from ‘gormless chicks’, a freshly hatched - flightless animal of little danger - to fish - something adapted to their marine environment- could perhaps represent Raphael’s fear that Tav and Co are growing more competent than he’d like.

I think that here fire implies Raphael’s own fears about his father. Mephistopheles is literally called the Lord of Hellfire, both for his fiery temper but also because one of the lates in Mephistopheles’ long line of arcane interests is hellfire. Mephista, the main city in Cania and where Mephistopheles resides is also often remarked upon for its warm, blazing hearths. Tldr, Mephistopheles is closely tied to fire, and it seems unlikely that Larian’s writers would have included such a prominent reference to fire without this in mind.

This doesn’t literally means that Raphael thinks Tav and Co are being aided by daddy-dearest, though Haarlep (gifted to Raphael by Mephistopheles) can end up a great ally to you in the House of Hope, rather that his father’s possible influence, or just his father in general, are on his mind.

Finally, the burning of the river is the transformation of his previously tranquil hunting grounds into something dangerous and volatile. Comparing the river to burning oil brings to mind a loss of control, something Raphael is averse to (before he fights Tav in the House of Hope he complains about their bringing chaos into his house). Raphael likes method, order, a fishing rod and bait, he doesn’t hunt his prey with oil and flame. His river no longer serves him.

“Approaching me out of the flames came the tadpole-infested. There was one among them who spoke for the rest. They gestured to the melting hooks, suddenly glanced my way, and in their face I saw they had the best of me.”

This section outright states Raphael’s fears of being bested. Out of the burning wreck of Raphael’s domain comes Tav and Co. The hooks (Raphael’s schemes and traps) are melting in the heat of the burning river. The leader, presumably Tav themself, has defeated him. This is Raphael’s worst-case scenario.

 “In waking, my courage has firmed. I progress my plans for the tadpoled even now.

I am Raphael. I am not easily bested.”

For all the tomfoolery of the rest of the entry, these might be my favourite lines. Raphael dreams all of that, goes ‘nope! Not listening!’ and shoves it back down into the depths of his subconscious. No doubts to see here, folks! Because of course he is Raphael, and Raphael doesn’t hesitate, doesn’t fear, “retreat begets regret” as he once said to Mol, and he is not about to have his ambition checked.

“I am Raphael. I am not easily bested” is such a brazen display of arrogance, but paired with the entry we just read it feels more like he’s painting over the cracks. I don’t think that Raphael can admit the possibility of failing to himself, at least not consciously, but he’s kind of increasingly - though subconsciously - aware that it is a distinct possibility.

But also, he writes all of this down! For all his pomp at the end, he does not write ‘I had this really weird dream about a burning river but it probably means nothing lol. Anyway, here’s how my dastardly and most ingeniously constructed schemes are coming along.’ Raphael, is, in his own way beginning to doubt himself, which is fantastic because when you see him in the game he never comes across as anything less than 100% confident. He is bluffing, regardless of how much he would like to admit that to himself, and it adds a lot more depth to your encounters with him.

Fantastic! Peak flavour text! Amazing soup, Larian!

———

ENTRY 3

And so, this brings us finally onto Entry 3, and though I think Entry 2 is my favourite because I like my men pathetic and suffering, Entry 3 100% ends things with a bang.

“[The final chapter from a diary penned in Raphael's hand. Here and there his composed hand stiffens and moves erratically, as if he were by times seized by emotion both powerful and unexpected]”

This is it, folks! The culmination of our Raphael handwriting arc. Immediately, his hand is no longer ‘sybaritic’, not even ‘steady and imperious’ it is just his handwriting.

Furthermore, there is one thing Raphael seldom is (outside of brief bursts of quickly concealed anger) it is ‘erratic’. The handwriting and language in the first entry displays a level of care that goes into his diary, care which he has obviously been unable to maintain. Call this man officially ruffled. We have been told that Raphael is not his usual self.

“The plot thickens goes the aphorism - entirely inadequate. The plot mutates. It fluctuates. I have conceived no less than thirteen variations by which I might seize the Crown of Karsus. Yet in the tumult of this eternally flowing river of schemes, I, the most careful of fishermen, finds his catch elusive and difficult to wrangle. Even in cooperation such ambiguity and delicious surprise! But the hook has snagged, the doom of ceremorphosis has abated, yet they could not predict (could they? could they?) that in leaving behind the river they have in fact welcomed the fishbowl? I am master here. A prince of bargains cloaked like scarlet satin. All that hidden under sublimely obvious truths that cannot be discounted.”

Here again we get another large text block. Again, this diary is becoming less and less a leisure activity and more a confidante.

 “The plot thickens goes the aphorism - entirely inadequate. The plot mutates. It fluctuates.” ‘Mutates’, ‘fluctuates’, these are not the words chosen by a man who is in control. ‘Mutates’ stands out especially because of its more organic connotations, the plot is alive and sick, something that undoubtedly does not appeal to the control-loving Raphael.

Also note the short sentences: these increase the tempo of the writing, like a quickening beat in music, as well as standing out as odd from the usually verbose Raphael. The staccato sentences convey a feeling of intensity, stress.

“I have conceived no less than thirteen variations by which I might seize the Crown of Karsus.” So we don’t know what Raphael’s typical number of contingencies is, but his use of “no less than” would seem to imply this is a lot for him. It could imply he is worried, and it could also be a form of self-reassurance - ‘I have devised so many ways by which I might gain the crown, surely I must succeed’ - I suspect it is a bit of both.

“Yet in the tumult of this eternally flowing river of schemes, I, the most careful of fishermen, finds his catch elusive and difficult to wrangle. Even in cooperation such ambiguity and delicious surprise!” He’s having difficulties, obviously, but Raphael of course delights in struggle, as he always does. I do think that Raphael found his battle for the Crown exciting, at least on a surface level, but I also suspect that this stroking of his own ego, describing himself as “the most careful of fishermen,” is similar to when he says he’s ‘not easily bested’ at the end of Entry 2. Yes, he believes it, he’s so far up his own arse he can probably see daylight again, but he’s also trying to reassure himself.

“But the hook has snagged, the doom of ceremorphosis has abated, yet they could not predict (could they? could they?) that in leaving behind the river they have in fact welcomed the fishbowl?” Raphael, at this point, sounds manic. “(could they? could they?)” marks the return of the short sentences, and also clearly expresses doubt: Raphael fears that he’s met his match. I’m also fairly certain the second ‘could’ should be capitalised, and if so, I feel that Raphael would have to be in a fairly dire state of mind to let slide poor punctuation.

His metaphors are also growing more strained. “in leaving behind the river they have in fact welcomed the fishbowl?” It gets his point across, but it’s not elegant, he’s stretching. Are you wanting Tav and Co as pets now, Raph? I thought you were hunting them.

This is also Raphael acknowledging that he has lost his original bargaining chip - the offer of saving Tav and Co from ceremorphosis - but he tries to reassure himself that they’re out of the frying pan and into the fire.

“I am master here. A prince of bargains cloaked like scarlet satin. All that hidden under sublimely obvious truths that cannot be discounted.”

See here the further boasting. This is Raphael at his most nervous, and it’s also when he’s the most self-aggrandising. He wouldn’t feel the need to clarify that he’s the ‘master’, that he’s in control, if he didn’t feel that control slipping. If you heard someone describe themself as “A prince of bargains cloaked like scarlet satin.” you would laugh, because it is a fundamentally ridiculous thing to say about yourself, and yet here he is, committing it to paper.

Having “All that hidden under sublimely obvious truths that cannot be discounted.” as a separate sentence is possibly for rhythmic reasons, but given the subject hasn’t changed, it should grammatically speaking definitely just be the same sentence as ‘scarlet satin’. Raphael’s punctuation has taken a wee bit of a nose-dive, which is absolutely deliberate. It is also a second, fundamentally ridiculous thing to say about oneself. On all levels possibly including physical, Raphael is white-knuckle gripping the bathroom sink as he goes through the world’s most absurd list of daily affirmations.

 “So the fisherman reels! The tadpoled are my catch. Struggle as they might, writhe as they wish, flop and squirm and thresh with every ounce of strength, no matter.”

Return of the fishing metaphor, but Raphael has presumably dropped his previous ‘fishbowl’ comparison, unless we are to believe he’s casting his line into a fish-tank. There are two short sentences, followed by one very broken up one, which serves to ratchet up the tempo and tension before the final line. Raphael continues to try and convince himself of the inevitability of his victory, because surely he can’t fail.

 “By all the reeking flames of Hell I will not be denied.”

What a closing line. Were I more trite, I might be tempted to call this bratty: to be clear, I do not believe he was spoilt by Mephistopheles, but his initial station as son of the Lord of the Eighth must have earned Raphael a certain level of entitlement, and the sheer magnitude of his ambition undoubtedly would have done the rest. Raphael will not allow himself to entertain the idea of failure, not least of all because he probably suspects that defeat would cost him more than the centuries of sunk time and energy.

My closing notes on Raphael’s final entry, is to point out how starkly it contrast with the first. Entry 1’s closing remark, “This process has a name I sample now aloud, to saver its taste: Ceremorphosis.” is an especially poignant comparison: he is savouring, he is taking his time. Compare this to Entry 3, which is rushed, impassioned, manic, and dare I say just a little bit scared.

The last entry also casts a whole new light on your final encounter with him in the game if you decide to kill him. That’s the first time you see him properly angry in the game (he quickly recovers himself if you accuse him of being scared of Yurgir in Act 2), and almost unprompted compares Tav to ‘doomed Karsus’: projecting much?

This entry shows us what was roiling beneath the surface to cause his agitation, and definitely gives an edge of desperation to Raphael’s final act. Perhaps that’s even why calls on Yurgir to aid him in his fight, someone you can make your ally instead, for a - granted, quite challenging - persuasion check, another of Raphael’s schemes you can turn against him.

———

Overall, Raphael’s diary entries serve to both reinforce and subvert what he see of him during encounters, and allow us a glimpse beneath the mask of a character who is always performing. Where Raphael wants Tav to see a cunning negotiator and saviour, one later catch seemingly completely off-guard, the diary entries paint the picture of a man driven to mania by his own ambition, and subsequently caught on the hook of his own line, then devoured.

Anyway, I do have more things I could say about Raphael’s fucked up little brain, but I think I’ll save that for another post, because this one is already pretty long.

Please, please share your own thoughts about this examination. The diary has been rattling about the echo-chamber of my own brain for weeks, so undoubtedly I have missed/misinterpreted things.

#original post #bg3 #raphael bg3 #bg3 meta #bg3 raphael #raphael the cambion #balders gate 3 #baldur's gate 3 #baldurs gate 3 #baldurs gate raphael #bg3 analysis #i dont usually do meta so hopefully this is good #i wrote this in a frenzy

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