u/Crocante_en_leche

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I don't know if I'm the only one who feels this way, but I get the impression that the *Hazbin* pilot (and *Helluva*'s, to some extent) conveyed an atmosphere of hopelessness and apathy—whether through visuals or characterization—that isn't reflected in the shows themselves. It’s as if Hell felt more "hellish," so to speak. Maybe it’s simply because we lacked information back then, or because these were our first impressions of the characters and their world, but that’s certainly how it feels to me.

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I often see criticism within the fandom claiming that Heaven in the series is too "childish" and "bland," and it’s like...

Why shouldn't it be?

Heaven is a *reward*; people who proved themselves virtuous enough during their time as humans are welcomed to spend eternity in a place free from pain, stress, and struggle—without the need to worry about day-to-day survival, allowing them to focus on enjoyment instead. It’s only natural that this fosters a carefree attitude toward life, because *that is the whole damn point of Heaven*: it’s a reward for passing the "test of life" without succumbing to sin.

So, people complain that the winners in Heaven seem too carefree—like children—but that’s actually the whole idea. Criticizing that makes no sense; what do they expect? To keep working and paying bills for all eternity? On the other hand, when people say things like Heaven is "bland" or "boring," they seem to focus only on things like the ball pit or the hug room. Yet, most of the activities Emily shows Pentious are suitable for all ages—and some would actually be far more appealing to adults: museums, nightclubs, polo, scented candles, a skatepark... in short, nothing particularly "childish."

It feels jarring to us because we know life isn't just pure happiness and enjoyment; on the contrary, it’s mostly bad things—pain and worry—punctuated by the occasional happy moment. So, it seems implausible that adults could simply enjoy life all the time, free from responsibilities or "serious" concerns, maintaining a positive, carefree attitude. But that’s precisely the point: you’re viewing it through human logic and an earthly perspective limited by the material conditions of our existence. The "winners" are angels who ceased being human long ago; they are now enjoying an eternity of pure perfection and happiness—and that is exactly what contrasts with Hell.

In Hell, what we see is an extension of earthly existence: a place where nothing is handed to you, where you must remain constantly on guard and find a way to survive. The idea is that those who failed the test of life—succumbing to worldly pettiness and sin—become trapped in that lower state of existence, sinking deeper and making it increasingly difficult to rise above it.

Finally, it has always struck me that people view "childishness" negatively. Christianity itself is founded on the idea that the first in the Kingdom of Heaven are the most childlike souls; Jesus himself said, "Let the children come to me," and declared that the pure, humble spirit of a child represents the greatest virtue in Heaven. Therefore... Yes, Heaven is full of childlike people with harmless tastes; it only makes sense for it to be that way. What would you want Heaven to be full of? Ambition, worldly pleasures, vices? All of that is obviously in Hell—it stands to reason.

Una cosa que he visto como seguidor uruguayo del 4teto, es que muchos fans nuevos, que por lo general no son uruguayos y no tienen tanta consciencia en terreno sobre la trayectoria de la banda,creo es que se habla de pre y post-raro y eso es un error, la banda tuvo varias fases bien distintas antes de Raro y post Raro, entender que hay un único punto bisagra es simplificar demasiado la trayectoria de un banda que en realidad tiene su buenos 47 años de actividad ininterrumpida

Como yo lo veo, se podría entender las distintas etapas de este grupo de esta manera:

Cuarteto 78-84 (etapa vernácula donde el cuarteto aún no definía del todo su identidad y lo que querían hacer, estaban asomándose y presentando sus primeras canciones y proponiendo tímidamente cosas, pero sin arriesgarse del todo aún a defender un estilo)

Cuarteto 84-88 (experimental, bizarro, apuntando a un público de nicho contracultural, mayormente ámbito intelectual-universitario y urbanita, propuesta que combinaba además de lo musical lo estético -visual, lo teatral y la performance, ya logran perfilar un estilo propio y madurarlo)

Cuarteto 91-95 (llegada a la masividad local, hacen teatros de verano, recorren el país y se consolidan como "la banda" por así decirlo, los empieza a escuchar gente de ámbitos que no tenían absolutamente nada que ver con de dónde venían,a nivel técnico y musical se nota un clara evolución y un enfoque más consistente en lo que querían ofrecer como grupo)

Cuarteto 95-2000 (intentan mantener lo conquistado pero la decadencia es inevitable, intentan repetir la fórmula que les funcionó con Otra Navidad en las trincheras pero ya no les resulta igual, sacan algunos discos que siguen la misma línea estética musical y sonora (con mejoras de calidad notables en cada nuevo lanzamiento), logran mantener un público ya asentado pero más reducido que el grueso que fue el "boom" del 94, la portada impuesta por el sello a Cortamambo que produjo la salida temporal de Riki de la banda no hace más que confirmar el rumbo "guarango" que tomó el grupo en esta época)

Cuarteto 2004-2012 (se busca una refundación y un cambio de enfoque, se llama a Campodónico como un intento de profesionalizar el grupo, empezando a delegar funciones que antes corrían por parte del grupo casi en su totalidad, sacan el álbum de grandes exitos dónde se intenta lograr una uniformidad musical, no funciona en lo absoluto (siempre hablando en terminos de números no en cuanto a calidad de la propuesta), sale Raro, un álbum grabado medio de casualidad con temas que se corren de la línea de lo que se venía haciendo y un sonido mucho más pulido, éxito total en el exterior, sale Riki, con lo que se pierde el sentido de autogestión en el grupo, se intenta replicar el suceso con Bipolar y Porfiado, sirve para mantener lo ganado)

Cuarteto 2014-2019(Roberto reformula a la banda como un proyecto solista, saca un álbum bastante Roberto-centrico,cargado de yoísmo y que habla de su hija,su madre,etc el sonido se vuelve más pop, las líricas llegan a un extremo arjoniano que no va mucho con la esencia del cuarteto,es la última vez que le permiten meter un tema a Tavella)

Cuarteto 2019-actualidad (a partir de 2019 la banda muta a una propuesta que retoma quizá un tono más irreverente comparado con el exageradamente personalista y sentimental habla tu espejo, luego siguen álbumes que tienen una temática musicalmente más variada, líricamente propone muchas críticas al sistema o la sociedad y bla bla, para mí gusto demasiado facilongas y clichés, pero bueno, a mucha gente parecen gustarles por tanto no se puede decir que esté mal o que sea algo vago)

Esas son en sí las etapas del cuarteto, si uno analiza bien, la banda tiene distintos ciclos que no pueden comprenderse simplemente como pre y post-Raro, Raro es un álbum bisagra con respecto a una época del cuarteto, sí, pero ver todo lo que pasó antes de Raro como algo uniforme y lo mismo con lo que pasó después es muy inexacto

Buenas gente, el otro día me estaba acordando de una marca de alfajores que estaba por todos lados en los 2000's (2003/2005 tengo el recuerdo) que la mascota era justamente un alfajor con piernas, brazos y cara y un sombrero de bufón, y era como con motivos de carnaval, había como mucha campaña de esos alfajores y luego desaparecieron o yo nunca más los ví

A lo mejor eran unas galletas y no un alfajor, pero algo de eso era

Foto de Peñarol apareciendo en el manga de supercampeones para llamar la atención

Entire comic source: https://www.tumblr.com/mindpalacearchitect1/824420121762250752/imp-business-ethics

I had already made a previous post about the flaws I perceive in Viv's writing, but i realized I fell short. There's so much bad writing in the Hellverse that I decided to make this second part analyzing other atrocities of concept and execution in the universe proposed by Vivzie.

I'll divide it into three parts:

1. She wants to have it both ways
2. She's incapable of understanding how power dynamics work
3. The Hell that isn't Hell, and yet is, but also not quite

The first post, in case anyone missed it: https://www.reddit.com/r/OkBuddyHelluvaHotel/comments/1v8m7zm/the_biggest_problem_with_vivzie_writing/

Let's begin:

1. She wants to have it both ways

Vivziepop in Hazbin wants to tell us a story about redemption, about the princess of Hell trying to prove her worth to her kingdom in front of her parents (especially her mother), about second chances, and also about oppression, and about raising your own voice, and about media manipulation, and about queer themes, and about evil demons with overly elaborate plans, and about mysterious characters who hint that they are more than they seem, and about subverting stereotypes, and about daddy issues, and... a lot more crap.

And in Helluva Boss, it's much the same. She wants to talk about oppression, class struggle, yaoi relationships between a prince and a commoner, daddy issues, murderous demons trying to climb the social ladder, and devilish clowns paired with the sin of lust, and daddy issues, and there's a cowboy, and there are daddy issues, lots of daddy issues, and about what? Don't be toxic and selfish like Blitz and Daddy Issues...

Aren't there too many themes? Luckily, we have a patient writer who knows how to use the time she has (especially in Hazbin, where it must be admitted that Amazon is largely to blame for only giving her eight episodes per season) to tell the story at a good pace and without many of these storylines overshadowing each other and generating numerous narrative contradictions...oops, she already did the exact opposite of that.

The world Vivzie creates seems more like a backdrop for her to execute (often poorly) the stories she comes up with without considering how this affects the world's plausibility, making everything seem fake, superficial, and underdeveloped in the long run. If both series were episodic sitcoms where plots develop and resolve in a single episode and don't impact the future, that would make sense, but that's not the chosen format. Both Helluva Boss and Hazbin try to tell stories (and in Hazbin, they also intend for you to take the story seriously), and yet the execution and world-building are so rushed. Improvised and poorly thought out, nothing feels organic; you never know if what you're watching is simply Looney Tunes-style funny animals, a shonen anime, an erotic novel, a queer manifesto, or a dark comedy. Everything is mixed together in a way that ultimately loses sight of the point, which is to TELL THE STORY IN THE PRESENTED WORLD. This is due to Vivziepop's inability to REMOVE WHAT DOESN'T WORK. She wants to have it all; she doesn't understand that in the creative process, you always have to discard everything that doesn't serve the proposed objective (telling a story of redemption in Hazbin and a story of rebellion in Helluva). So, she throws in every idea that comes to her, and since she didn't build the world beforehand, it's only after implementing that idea that she realizes it created plot holes that she has to fix with patch after patch, making the entire world more and more incoherent and implausible for any viewer with two brain cells firing who bothers to analyze it. What you're seeing is half a millisecond.

Why is Lucifer king if he's a castrated puppet that nobody respects? How is it possible that there's supposedly a caste system in Hell if what we see on screen 99% of the time is the "oppressed" mocking, scrutinizing, and even blackmailing members of the upper castes without remorse? Why do they never show us the perspective of a Hellboron or common sinner and that of a sin/Goetia that isn't a protagonist, so we can better understand this world? Why do they tell us that living in Hell is horrible for an imp if they've shown us that they have the life of a working-class human in a first-world country on Earth? Is being a working-class human in a more or less developed country equivalent to being a slave in Hell? How the hell did the exterminations only happen 7 years ago? What did everyone do during the... I don't know, previous millennia, I mean...I mean, they're supposed to be immortal, what were they doing before? Anything?I mean, they're supposed to be immortal, what were they doing before? Anything?

And Charlie? The exterminations only started 7 years ago. Charlie is the devil's daughter, meaning she must be at least 100 years old, let's say. That means she was already an adult a measly 7 years ago. How come she doesn't even remember what was happening? Because she says that "Vox wanted to change her mind about what was happening during Lilith's uprisings." How is a guy who's literally a baby compared to her going to remember better than her? It was only 7 years ago... If the series takes place in 2026, let's say, it was in the freaking year of 2019 when that happened. How the hell does a woman supposedly hundreds of years old not remember something that happened in 2019? Why did Lilith have to write a storybook to "explain" the exterminations to an ADULT Charlie about something that happened only 7 years ago? Is Charlie mentally retarded? Or is she just a spoiled little princess who didn't even notice the most basic things happening around her? But even the most pampered, coddled Bimbo notices basic things about her surroundings. Even the most superficial, plastic, and empty-headed person doesn't reach that level of needing to have something explained to them that happened only 7 years ago, when decades or centuries ago she had pubic hair and fully grown breasts like a stupid baby... Now, about Vaggie, in what context did she meet Charlie? Why specifically did Charlie go to Vaggie during that extermination? We've been shown Charlie dancing like a Disney princess among dead and mutilated sinners without even bothering to see if any of them were still breathing... so why did Vaggie? And why are there sinful children in Hell, specifically in the cannibal district? Did it have to be a child for Vaggie to "take pity" on them? Couldn't she have empathy for an adult? And if the cannibals weren't sinners but a native race, why were they being attacked? Lucifer's agreement with Adam is that exorcists can only go after sinners... and if children can go to Hell, why do we only see them in the cannibal district? Is cannibalism the only sin a child can commit? And speaking of children, why do children born in Hell seem more overprotected, cared for, and innocent than regular human children? But I'll address this last point better in section 3.

What I'm getting at is that there's no world-building. Vivziepop just wants to cram any random idea that comes to mind into the grand model (because it's not a world) that is the Hellaverse, and she doesn't care if it makes absolutely no sense in relation to something she herself explained two chapters ago.

Now let's move on to the second point.

2. She's incapable of understanding how power dynamics work.

In my previous post, I explained that she's incapable of writing about authority, and that's because she doesn't understand what power is and how it works.

Vivziepop has two conceptions of power: raw, shonen-style power where everything is resolved with punches or special abilities, and the power of social dynamics. These are the only two ways she operates with her limited understanding of power. So we get "brilliant" moments like this: How do I manage to prevent Lucifer, the damn king of Hell, from destroying Vox when he gets too annoying? I know! Lucifer can't harm sinners because...deus ex machina! I'm a writing genius!

Of course, because that's exactly how the power of a head of state works. He personally goes to kick his subjects' asses, and if he can't, because the script has tied his hands, as in this case, he literally can't do anything. It's not like he's still the king of Hell, it's not like he's supposed to have millions of hyper-mega-ultra-powerful subordinates, more powerful than an overlord, to subdue them if they go against him (which they end up doing precisely because they perceive him as weak—the only time Vivziepop almost grasped the concept of power and how it works, but that's as far as it went). He's supposed to be a guy who, for the Goetia, ruled by infernal legions, and the Sins, beings who are practically the gods of Hell, is their deity. So how the hell is the fact that he can't directly harm the sinners an obstacle to crushing them?

Is this because Vivziepop understands absolutely nothing about how real power works? The social influence of the Morningstars and the institutions that Lucifer has established in Hell, with an eon's head start over Vox, are useless to him in bringing him into line? The fallen angel, the Morningstar, has no way to subdue a single miserable human soul by any means?

Even if we accept that he was captured and used as a battery for a weapon? There are no consequences for Vox? They let him go home and masturbate with his robotic shark, the depraved moth, and the British Barbie?

Is that what it costs to kidnap the King of Hell and tear a hole in Heaven? Absolutely nothing? To go home, as if you had the right and were the master of your own destiny and not a damned, condemned sinner and a SUBJECT of Hell?

This makes it seem like Lucifer isn't a king, he's the "village idiot" with a paper crown on his head calling himself king while ordinary people mock him. The thing is, that's not what the series wants to present. The series wants to present Lucifer as the KING OF HELL, a real king, a king worthy of reverence from his subjects, and in Helluva Boss we have him... we see THAT LUCIFER, even if we don't see him, we see that Lucifer is LUCIFER in capital letters, and what Vivziepop doesn't understand is that Lucifer's power as king shouldn't depend on his fists, it should depend on having a retinue of beings behind him who are willing to carry out his orders and punish those who question his authority over them. Without that, no matter how many tweets you make saying that Lucifer is still the most powerful in Hell... well, no, if he can't subjugate his own Subjects, it doesn't work.

That means all the institutions in Hell... are nothing but wallpaper and glitter.

If you can't subdue pathetic human souls, and you have NOTHING to do to earn their respect for you and your position, then how the hell can you tell me you're the king? More importantly, what narrative significance would this have for the protagonist, Charlie, as Princess of Hell, if her title is worth less than nothing? Vivziepop has a childish and superficial conception of what power means. We see this very clearly in how the Hell elites are portrayed in Helluva Boss; they are all nothing more than privileged, snobbish fools who live in their own bubble and are unaware of the reality of the common demon. We are never shown a dynamic in which the Goeti severely oppress the lower castes; quite the opposite. What we see is that at most they are airheaded idiots like Stella, spoiled brats like Andrealphus, and spoiled but well-intentioned individuals like Stolas, Bee, and Asmodeus. That is Vivziepop's vision of class struggle: that of rich kids who don't realize that the poor don't have the same toys, not as beings who actively built a system to subjugate the rest. In fact, it is contradictory to try to sell the idea of a supposed The fight against oppression by IMPs is contradicted by everything the series shows us. To begin with, we're told that few IMPs create their own businesses, and who tells us this? Striker, a hitman, that is, a self-employed worker. Where does he tell us this? On Millie's parents' farm, that is, another private property, therefore, his own business. They live in Imp City, a colony specifically built for this species to live in. It's teeming with businesses and seems like a pretty decent place to live, even by human standards. Wacky Wackford appears in every episode with a new business, and several seem to be highly successful, even employing Lyle Lypton and Woopty Loopty, that is, two sinners who are supposedly above him.

IMPs are mafia bosses, hitmen, business people, stars like Fizarolli loved throughout Hell, and yet they are... oppressed? When is this oppression shown to us? Putting some beggar imp there while they appear for two seconds? With imps living like any middle class in a developed country in the human world? Does Vivziepop understand that if you only show me examples of a race where everyone is autonomous and lives lives they have full control over, logically they can't be oppressed?

Then we have the fact that these supposedly oppressed little shits have the nerve to insult their gods to their faces (Blitz insulting Mammon and Crimson, and his blackmailed lawyer mocking Asmodeus), and both actions go unpunished. In Vivziepop's world, the oppressed may not be oppressed at all, and the oppressors can be humiliated and abused by these supposed oppressed without suffering any consequences whatsoever. But she'll tell you she's proposing a story about "class struggle"... because... she said so on Twitter, period. And the cherry on top: the only ones who wield power in both series are portrayed as the worst, even if they're right. This reaches its climax in Mastermind, where Andrealphus (with malicious intent) denounces real crimes committed by impostors, and Satan and the Goeti are finally portrayed as oppressors... and they are, because... they're trying to enforce the law. in any functioning society?

Let's not get confused, the trial was a farce and the police officers were prejudged beforehand for being police officers (and a hell of a bloodhound), but what most people always forget is that... THE POLICE OFFICER WAS GUILTY. Let's forget for a second that...The Imps are an illegal enterprise that enters the human world without authorization and commits careless murders that could attract the attention of the angels tasked with protecting Earth. This poses a significant risk to Hell's already tense relationship with Heaven, which is strained by the exterminations in the Pride Ring. These lowlifes, driven by a simple desire for social advancement, are putting all of Hell at risk of open war with their rival kingdom. They are also using an extremely important artifact meant exclusively for the infernal nobility, and they are supposedly the victims because they are supposedly "oppressed" (living normal working-class lives and being able to insult their "oppressors" to their faces, yet still seemingly oppressed).

Apparently, for Vivziepop, every crime is excusable: rape, murder, theft, lying, manipulation, enslavement (only if you're an overlord). But don't even think about exercising authority and imposing rules, because then you're evil and oppressive.

Ironically, they want to portray the Goeti and Sins as evil oppressors for... trying to take responsibility for the kingdom they rule? In other words, it's not that they're simply parasites who feed off the slavery of the lower castes... they're genuinely interested in protecting their kingdom... and that makes them oppressors according to Viv.

Among these, the only ones portrayed favorably are Vassago, Ozzie, and Bee, for advocating for due process and taking the trial seriously (good for them for doing so), but that seems to magically make them cease to be oppressors... I mean, they would only be oppressors if you didn't want to hear what Imp has to say in his defense; the moment they advocate for the rights of the accused, they cease to be oppressors.

In short, Vivziepop has a superficial view of power dynamics; she doesn't understand how class struggle works, how power is exercised, and why you can't build a world of oppression if transgression is the norm.

Now let's move on to point 3.

3. The Least Hellish Hell Possible

Hell often resembles a version of our world with demon skins

Going back to the subject of children born in Hell...because this is mind-blowing:

Beyond the fact that it doesn't seem very logical to me that there are children in Hell (because the native races were supposedly created to be slaves or to spread sin, so having to go through a growth process is counterproductive to that purpose), but I can let it go, now...

Children from Hell are more overprotected and innocent than human children. Yes, I mean, children raised in the astral realm built on everything evil in the universe, where anything bad that happens in the material world should be multiplied by 1000, are children whose mothers cover their ears so they don't hear vulgarities...seriously? What the hell?

Another issue is the importance of human culture to demons. They have an exaggerated knowledge of our world for an alien. Moxxie talking about Broadway...it's like...wtf. It's supposed to be a very specific group of demons who are allowed to travel to Earth to spread sin, and imps aren't among them. So, why the hell would Moxxie know about Broadway? Or any human crap?

In the end, they often seem like humans with demonic skins, for example, Millie's pregnancy. The imps are supposed to be reptilian, wouldn't it be more expected that they'd lay eggs instead of getting pregnant like humans? Why present us with an alien world if it then seems like they're going to be more human than humans?

Anyway, I think I've elaborated enough on why, while I consider Vivziepop to have a very strong aesthetic sensibility, she's not good at writing or world-building. Let's hope she improves for the sake of the Hellaverse, since it's a franchise with a lot of wasted potential.

How Vivziepop writes badly even though she has everything she needs to write well

(Warning: long text, this is for adults or older teens without a fear of reading, not for pre-teens with brain cells full of cavities from watching too many TikToks)

In two previous posts, I addressed issues related to the Hellaverse. In the first post, I proposed how I think Vivziepop's Hell might work before the events of both series, and what makes sense of almost all the writing errors and horrors that many of us criticize. You can and I advise you to read the first post because I think it might show us that perhaps Vivziepop is actually a good writer playing dumb with terrible writing in the first seasons just to troll us into thinking she lacks brainpower and then giving us tremendous plot twists. Although, most likely, this isn't the case, and she's simply a bad writer with a negative IQ. But hey, let me dream.

The post in question: My theory about Hell: r/hazbin https://www.reddit.com/r/hazbin/comments/1uka6vf/my_theory_about_hell/

Okay, as I said, this is going to be long, so brace yourselves.

The first thing we have to say is that the entire main conflict of the second season is poorly executed, but the curious thing isn't that; it's that the series has EVERYTHING it needs to execute the exact same premise and arrive at the same result, and for it to feel coherent and organic within the universe they've already presented to us.

Alright, let's start from the beginning. Vox wants to be a god, and to do that, he's going to take advantage of the Hazbin Hotel's newly created reputation as the defenders of Hell. How will he do it? By antagonizing the hotel from the very beginning.

We're already off to a bad start. I mean, we have a character who represents two things: technology and media manipulation. These are Vox's STRENGTHS, but instead of using these things to carry out his plan, the script prefers to take thousands of shortcuts to give him... Vox: a victory handed to them on a silver platter

Now, how is it supposed to happen then?

Okay, this is really quite simple, it's just a matter of putting two and two together. We have a character like Vox, manipulative and with a knack for making everyone like him, and on the other hand, we have Charlie, naive and kind to an extreme, who has recently gone from being a joke in Hell to someone with a reputation as the "respectable princess of Hell" who repelled the angels with an army to save the lives of her subjects.

So, the logical thing for anyone would be for Vox not to antagonize and defame Charlie from the start, but rather to try to get close to Charlie as a friend, as someone who supports her cause, as an ally who is genuinely interested in the idea of ​​redemption, and combine both of their impeccable reputations in Hell to work behind the scenes on their plan.

This would divide the hotel, with most of the cast members trying to make Charlie see Vox's ulterior motives, but Charlie, with her usual... His childish optimism and lack of street smarts prevent him from realizing how convenient it is that someone like Vox is so interested in redemption, given that he has far more to lose than to gain if redemption were to work (the overlords' power is supposedly derived from the accumulation of souls).

Vox could use this to his advantage by sowing division in the hotel without having to attack directly (i.e., by manipulating), and furthermore, he could organically integrate himself into Charlie's life. But why would he want to do this?

To reach Lucifer, the king of Hell, someone who shouldn't be so easy to reach or deceive (and yes, I know that in the actual series everyone, especially Lulu, has water in their skulls, but let's imagine a scenario where that's not the case), but if Vox were closer to Charlie, it would be much easier to capture Lucifer.

Then, we also have another element that's used once as a joke, but if you think about it, it could have been used in a much more intelligent way. This is when Vox and Velvette visit Charlie at the hotel and give him a television, something that's never mentioned again, to the point that the new TV doesn't even appear again.

Wouldn't it be better to use that to capture Lucifer?

What does the television have to do with capturing Lucifer? You might ask me,

It's quite simple: Vox uses his recent closeness with Charlie to also get closer to Lucifer, within the limited reach Lucifer has of a sinner. He uses this to "trick" Lucifer, where instead of portraying the King of Hell as a simpleton falling into a Looney Tunes trap, Vox uses real cunning by making the famous call in Charlie's voice, saying something like, "Dad, I'm at Vee Tower. Vox wants to give you a present. You're going to love it." So, Lucifer goes, because, "I wouldn't say no to my daughter, and because she's going to get a gift, it makes sense for her to go there the basement in Vee Tower: if we established earlier that Vox and Charlie are now "friends," and that the subject, an aspirational bourgeois, wants to flatter the King of Hell, it wouldn't be strange (of course, this is assuming Vivziepop understood how power really works; I plan to make another post about that in the future).

So, Lucifer arrives at this place and finds Charlie, Vox, and the television as a "gift." Lucifer approaches, happy to see his daughter, only to discover that... it's not Charlie, but a hologram, and not just any hologram, a hologram that Vox uses to hypnotize him...

Because Vox is a FUCKING HYPNOTIST; it's his special ability. Why the hell would you give a character an ability like that if they're not going to use it in the only moment where it would REALLY be useful, like subduing the most powerful being in the entire kingdom (and at the same time, a mentally vulnerable guy, that is, susceptible to manipulation)?

That's how it is. It would have avoided the ridiculous, cheap trope of "Lucifer can't hurt sinners" and would have provided an organic way for him to be easily subdued. Then, it would just be a matter of subjecting him to constant hypnosis, keeping him in a permanent state, and connecting him to the machine.

Then, once he had the "power of Lilith" ready, only then would it make sense for Vox to betray Charlie. This would give Charlie more development, showing her how foolish and naive she was to trust Vox so blindly, having alienated her true friends because of it. And ONLY THEN would it make sense for Vox to start the smear campaign against her, just as only then could Charlie seek the angels' help to prove that redemption is possible. At the same time, Vox could threaten the angels more effectively, instead of simply scaring them with a "badass" little song and having the script on his side.

The rest remains more or less the same; in general, the other things are missing. So poorly executed, even Vox could get away with it, just like he did (just because) at the end of the season after KIDNAPPING THE KING AND USING HIM AS A WEAPON TO SHOOT AT THE HEAVEN .This would be a good moment for Charlie to intercede and spare Vox's life in front of her father and the angels, showing just how pious she is. Even after being used and betrayed by the TV personality, she doesn't want him killed. This would put Charlie in a position of moral superiority over Vox without making her look like an unbearable, naive, and unintelligent bimbo who doesn't listen to her friends, as they ultimately portrayed her.

All of this that I wrote was based on elements present in the series, but Vivziepop chose to write it all in the most incoherent way possible, constructing the script to fit Vox's plan instead of having Vox use his ingenuity to manipulate beings clearly much more powerful than him. That would have been an infinitely more interesting and mature plot, and it would have also The fact that Alastor beat her using manipulation would have been doubly satisfying.

But since Viv doesn't understand how manipulation works (something I'll elaborate on in a later post about her misunderstanding of power), we were given a rather unintelligent plot.

The Biggest Problem with Vivziepop's Writing

For me, Vivziepop is very good at creating interesting premises and proposing equally interesting worlds (and her art style is very original and unique).

But she has a major problem that many fans don't want to admit: she's not a good writer.

With the Hellaverse, she built a world with enormous potential, but the execution leaves much to be desired, and that's a shame, because she falls into errors and writing horrors that end up damaging a series that could be so much better without those mistakes.

One of the main problems I find is: the world of the Hellaverse doesn't have a logical order, a set of pre-established rules, and that means the plots are built to fit the needs of the script instead of the script having to adapt to the world.

As an example, I recently read something on this sub, and I completely agree with it: Vivziepop doesn't know how to write oppressors. I'd say it goes beyond that; she doesn't know how to write. AUTHORITY

First, let's analyze Hell: the realm of eternal darkness. It's presented well; there's a clear caste system, multiple infernal races, and fantastic racism—all great, until we see who's at the top of the pyramid, and...

The sins seem more like simple celebrities than the deities they're supposed to be, except for Satan, who is treated as the God of Hell he's supposed to be. The rest are treated like a joke. Mammon Blitz insults him to his face, and Mammon lets it slide. He doesn't know him at all; he's a fucking imp, beings barely considered citizens by the middle castes, and basically slaves by the upper ones. And he lets it slide because... yes, exactly, just because. Loona does the exact same thing, and Bee lets it slide, but in that case, we could understand it because Loona is friends with Tex, and besides, she apologized almost immediately.

But then there are unforgivable cases. The most interesting and insulting to the viewer's intelligence is that of Crimson and Asmodeus. To begin with, they never explain how Crimson, a common imp with nothing special about him, managed to position himself as the head of a mafia made up of infernal sharks. But let's just say this is because the guy is intelligent and charismatic, and that allowed him to climb the ladder.

But then the guy decides to kidnap Asmodeus's lover and blackmail him into giving up his property in the Ring of Greed in exchange for not harming Fizzarolli.

I mean...how? A king of Hell has no way to respond to this other than to give in? A simple imp, at the very bottom of the social hierarchy, can intimidate one of the most powerful beings in the Realm like that? There are infernal legions, they've been mentioned to us on several occasions (just as Millie's father mentions the Infernal Wars), and we've also seen ordinary police forces in Mastermind that are imposing and chilling in themselves, so it's logical that a king of Hell would have something far superior to that at his disposal, and yet, he gives in, just because "their relationship is a secret," even though EVERYONE KNOWS that Asmodeus and Fizzarolli are a couple.

But the stupidity doesn't end there. Then we have something even more bizarre: Asmodeus and Stolas go to talk to Crimson's lawyer in Lust, who is a NATIVE of Lust, meaning he should consider Asmodeus his deity, and the lawyer simply starts treating him condescendingly, mocking him and calling him "son" (he's later punished for it, something we don't see on screen because Vivziepop has a phobia of the truly powerful characters in his universe showing their true colors). (its on-screen power).

The worst part is that they have shown us what an archdemon is capable of. Andrealphus put up an excellent fight against Imp and Stolas, and was on the verge of exterminating them if it weren't for Octavia's intervention. So yes, the hierarchy isn't a joke; it's built on solid foundations of brute force. But for some reason, what's lacking is the most basic sense of reverence for authority that one would expect from such a supposedly hierarchical society (although it's the least authoritarian and most civilized version of Hell I've ever seen, but well, it's not as they initially portray it, since the supposed "oppression" of the imps is constantly repeated, though we see very little of it).

And then we have the saddest case, this time in Hazbin: Lucifer, a figure whose reverence from his inferiors is inconsistent, to say the least, ranging from grandiose praise from Katie Killjoy or Mimzy calling him "owner of everything"... and "divinity" respectively, even treating him like the most pleasant doormat for guys like Alastor and Vox to walk on, and conveniently he can't harm sinners (a very poor script device to eliminate the deus ex machina that was Lucifer, when there was Many interesting options could have been considered to resolve the matter without resorting to such a cheap solution, but they chose to castrate Lucifer. Again, authority and reverence are conspicuously absent.

Let's move on to another realm, the kingdom of heaven, the celestial city of light. Who do we have in charge?

Sera, the highest Seraph of heaven. Sounds good, doesn't it? She sounds like a wise authority figure suited to the position she holds.

Yes, she sounds like one, and that's where it ends when you realize that Adam, a mere archangel, and Lute, an ordinary angel, treat her like she's utterly weak, dominating her and doing whatever they please without her being able to exert even the slightest bit of control over them.

Ultimately, Vivziepop seems to have a phobia of the figures who wield political, economic, and cultural power in the realms she presents in her series actually using their power and asserting their authority. This completely undermines the point, especially since both series are supposed to be about the oppressed rising up against their oppressors. What we actually see is that in everyday life, no one respects authority, neither in Hell nor in Heaven, and beings who should be considered deities of cosmic magnitude are treated like jokes.

I tried everything to help you—I tried listening to you, understanding you; I gave you a luxury hotel with *everything* so you could redeem yourselves, all for free—and the only thing I’ve gotten from you is shit, nothing but insults and humiliation. Charlie is gone now; I am Charlotte Morningstar, Princess of Hell, and you are going to suffer torment, slavery, and despair for all eternity, you fucking bitches.

Creditos: @thatboni and @shad0w-Galaxy