A Mammon Analysis Written By A Mammon Kinnie! :8D

A Mammon Analysis Written By A Mammon Kinnie! :8D

It's time to make y'all love this magnificent bastard even more than you already do so we can finally have something just happen in this fandom!

First off, the analysis.

A lot of people seem to think of Mammon as "dumb" or "oblivious", when he's far from either. Mammon is actually a very intelligent and attentive person, but just like most subtle things about him, it can be hard to notice because of his eccentricities.

As far as I see it, Mammon views everything he does as an investment to some extent, whether it be a literal monetary one or one of time, effort and/or attention. This is also one of the big things that make him so relatable to me. It's also worth noting that as a flipside to this, he also sees any option he's presented with in terms of physical or emotional value and trying to maximize said value as much as possible.

Mam doesn't interrupt "Two Minutes Notice" not because he's stupid, but because insults don't truly detract from the value of him or anything he has, not to mention the fact that he could tell that a lot of people would be willing to buy the song, just look how many are hanging of Fizz's every word when he describes having a crappy boss.

Likewise, criticizing Fizz's weight is something Mam solely does because it helps profits and has no genuine personal issue with Fizz potentially getting chunkier.

This shows something else interesting about Mammon, he doesn't really want to do destructive things, people just keep giving him every reason to do so, he's not dangerous on his own.

Every action Mam takes that makes Fizz uncomfortable is a direct result of him catering to what the consumers want, whether it be religiously watching his spokesman's weight for the sake of keeping the skinny sex-bots accurate, or forcing a mentally unstable person to spend a lot of time socializing to get people to pay admission for a meet-&-greet.

There's also the fact that he runs Greed in such a way that benefits Hell as a whole way more than Ozzie and Bee do. Admittedly, he over charges for his products, but said products are up to snuff, you'd expect him to peddle cheap junk that falls apart almost instantly, but no, he makes quality products and just charges extra. He really is a shrewd businessman when you get down to it, and that's something a lot of people have sadly overlooked when discussing our favorite spider.

Which brings me to my next point, Mammon being a spider is actually really clever, assuming what I'm about to describe was intended and not just me reading too much into a cheap Australia joke. Spiders are often shown as eerie and a way of reminding the viewer of a piece of media that nature can be scary, and though they do some really weird and freaky stuff, that's also the beauty of spiders. They have some of the most innovative and distinct hunting patterns in nature, they're more of a neutral presence, just like greed itself.

I've seen many people claim in their analysis of Mammon that "greed can't be good" which is just demonstrably untrue, greed is really just any action that prioritizes bettering oneself, it's only destructive if you are willing to be destructive, but even then it can lead to innovation and broad positive change, even if someone is worse off because of it.

Lastly, I want to discuss Mammon's obvious need for personal affection, the big guy is blatantly touch starved and craves a close connection, I have a rather headcanon-y idea about the origin of this behavior and I plan to link to it once I post about it in detail, but that can wait. However, this does reflect that idea of value and investment, Mam has yet to find someone who is both pleasant for him to be around and whose company has a reasonable "price". I see many possibilities for exploring this facet of his characterization and look forward to seeing the discussion about it grow.

Stay tuned for my HCs and theories about his Stinginess! ALL HAIL MAMMON!

The part of HRM I've had the most fun developing

There's a particular part of Helluva Rewritten Musical that I've been thinking about more than any other. That being the sequence that focuses on Stella and Octavia's relationship and personal issues while their hiding out in Wrath.

Some of this I've only previously shared with @pinkandpurple360 , whose insights about HB's writing and general willingness to help me develop these ideas has been invaluable to HRM as a whole, and especially to this scene.

Bare in mind this is just an early outline, though I plan to keep the specific lines of dialogue as I'm really proud of it.

The sequence begins with Stella, Octavia and Striker entering a hideout Striker had prepared for the Goetia women while they were in hiding with him as their bodyguard. Towards the back of the stage there's a door slightly to the left and a couch slightly to the right.

Stella is very anxious as she recognized Blitz in an earlier scene and decides that for the remainder of their "exile" that she and Via have to disguise themselves as lower rank hellborns, something Octavia says she doesn't know how to do.

This revelation infuriates Stella as she lashes out in indignation that Via can't manifest a disguise, she says she'll explain it to Via later but that in the meantime, Striker has to find a succubus and off them for their asmodean crystal.

Striker nods and exits the scene.

Here Octavia reveals that she tried to learn on her own but couldn't get the hang of it and, due to his self-absorbed and neglectful nature, Stolas never actually helped her manifest a disguise, something Stella herself only learnt by watching her brother practice, as typically only a Goetia's heir is taught the skill.

Stella yells at Via that she needs a moment to collect her thoughts and that they'll back to the disguise talk later.

Stella then goes into another room in the hideout, something depicted with Stella walking through the door at the back of the stage as Via exits stage right, then Stella re-enters through the same door, representing her entering another room and the scene changing.

Here the show arrives at Stella's solo number, wherein she vents her frustration that she's never been listened to despite being a noble, during the song she comes to the realization she isn't frustrated that she hasn't been listened to, but that she's never had meaningful agency over what matters to her (her status, the respect of the Ars Goetia, etc...), except for her relationship with Via.

I've yet to come up with any satisfactory titles for Stella's song, so any suggestions would be greatly appreciated.

After the song ends Stella decides that she has to smooth things over with Via. The scene changes in the same way as before, this time, while Stella is behind the door Via enters stage right, sitting down on the couch, frustrated trying to manifest a disguise. Her attempts are represented by brief moments of purple lighting illuminating her corner of the stage, that's when Stella enters and sit down next to her. The lights only illuminate there half of the stage.

The two talk about the frustration they've been suppressing for as long as they've been living with Stolas, which unfortunately for Via, includes her whole life up to that point, she also expresses anger at her mother and how distant she's been during the affair drama. This gets Stella emotional and prompts this exchange between them:

Stella: I just hope you can understand, Dear. All I've ever had is my place in the world, and now-now I've lost my own and cost you yours. * Stella rests her head in one of her hands as the other stays between her and Via on the couch* What could I ever have now? *Stella's voice is shaky and she clearly feels she's lost everything, she's on the verge of tears*

There's a moment of silence between the two

Octavia: *Takes hold of Stella's free hand and gently moves it over her chest* A place in my heart, mom. You'll always have that. *She lets go of her mother's hand but Stella holds in there for a moment before she slowly pulls it back*

Octavia starts leaning in for a hug but Stella quickly hugs her first, Via is surprised but than happy to finally see her mom feel something positive again.

The lights over the other half of the stage light up showing Striker holding the crystal he was sent to get, he's seen at least part of their exchange, and though he tries to hide it, has obviously been emotionally impacted by it himself.

Striker: I-uh-I ha- *His voice is noticeably warbly before he clears his throat* I have the crystal, ma'am. *He holds it up and pauses for a moment while processing the emotions brought on from seeing such a loving moment from people he'd dismissed as emotionally vacant and vapid husks up until that point* Jus' thought ya should know.

Stella thanks him but also makes a comment about how Via likely won't be using it very long. She than asks Via to remind her of what part of the disguise spell she was having trouble with.

The stage goes dark as everyone and everything is prepared for the next scene.

And that's where the scene stands for now. Really hope someone enjoys reading this as much as I did writing it, there's more HRM to come so keep your eyes peeled! And remember that I'm accepting asks about the project!

ALL HAIL MAMMON!

Made a brand new drawing of the round boy! I added a few details, so i hope y'all like it! All hail Mammon!🤑

Helluva Rewritten Musical

I may not talk about it much here, but I am a massive fan of Team Starkid, there musical's make up basically my entire top 10 list and ever since I discovered them through Twisted I thought about the prospect of chipping away at an idea for a musical of my own.

However, it wouldn't be until recently, after several asks exchanged between myself and @pinkandpurple360 that it would occur to me how perfect HB could be if reimagined as a musical, or rather a series of musicals.

It all started with the simple idea of a stage adaptation that would use Stolas as the villain he was originally conceptualized as, with a focus on the episodes involving his affair, rewriting most of them to adapt the story to the plot shift and to make the production flow better.

Now, this is, at present, a purely hypothetical venture, an elaborate writing exercise being done by someone whose writing experience extends to a private, skit-based homage to British comedies from the turn of the millennium. (There is a non-zero chance I will refine that into something more substantial in the future) However, I would like to eventually realize HRM as an actual stage show.

For now, I'll be posting about individual aspects of it that I've thought about and discussed with others so far. If you're interested in what ideas have been developed so far, I suggest you start with these threads: one , two

Beyond that, I'm am more than willing to answer asks pertaining to the project, so if you have a specific thing you'd like clarified feel free to ask away!

Hii! Something that’s been haunting me for a while now is how would an analysis of Mammon would go down in relation with Tom Cardys song “your love is not enough” (if you’ve listened to it) and I’d love to get some other viewpoints on this :}

I haven't listened to the song but have seen at least two people say it fits Mammon, so I might check it out.

One song that I personally associate with Mam is Kick It Up A Notch, it nails the vibe him manipulating Fizz to work for him. The fact it's sung by a giant scorpion also helps. (I know scorpions aren't actually that close to spiders, but the general mood is there)

Also, I don't care what anyone says, this is the anthem of the Greed ring.

TFW you realize Flashback!Mammon's shades are likely based on Greedler's...