Radiosilence & Sexual Assault
When S2 Ep4 released, I saw a lot of people throwing around similar ideas that Vox was not being threatening towards Alastor, that Alastor was in no danger and, specifically, that Vox âpresented no sexual threatâ to Alastor. I found these takes really odd, personally, because I felt that the episode was riddled with imager that held sexual assault implications. In knowing that Vox is evidently not someone who is against rape, given his close relationship with Vaalenrino and Velvette where he acts as an enabler, the implications made a lot of sense. I was shocked to come onto tumblr and find out that, not only did people think the show had made an âexplicit effortâ to make it clear that absolutely no sexual abuse had occurred (using the cuck chair scene as evidence??), but that there were also several people who described Vox as being caring towards his captive.
All that to say, I expect this whole analysis to be incredibly controversial but itâs been in my brain since S2 Ep4 came out and Iâm going to lose my mind if I donât write it. This isnât intended to suggest that people cannot have different interpretations but I do think saying that there are absolutely no implications whatsoever of a sexual threat is a strong take. And I like discussing media.
Obviously, massive trigger warnings for discussions of sexual abuse.
This is a companion essay to my Deep Dive on the Vox and Alastor Flashback scene. They were originally part of the same essay until I moved that one, and Iâve only just gotten the confidence to post this.
During the Humiliation Parade, Vox takes Alastor on an interview with Katie Killjoy and publicly announces that Alastor lacks a tail. The thing is, it isnât presented as something that Vox was already aware of. Which at the very least, even if nothing further happened, means Vox checked if Alastor had a tail. I think that already classifies as harassment, at least.
If I wanted to be really pretentious and make my literature teacher hate me, I could take the smoothie date scene during this montage to a really metaphorical level, and suggest that Vox taking Alastor on what is essentially a forced date, ordering a drink with two straws and then drinking the entire thing himself is an allegory for taking âpleasureâ from Alastor. But I wonât do that, because I have enough evidence that isnât as flimsy. I just thought it was worth mentioning because it was a thought that crossed my mind while rewatching the Humiliation Parade while making this analysis, and thereâs nothing I love more than turning dark situations used as comedy back into something sinister!
If Iâm being completely honest, the existence of this scene kind of renders my entire analysis somewhat useless. This isnât an implication, or a metaphor, or imagery. Itâs clean-cut, obvious sexual assault. The reaction I saw from the fandom took this as comedic. Haha, the asexual was forced to watch people have sex. Iâm laughing so hard.
To be clear, I donât think that the show entirely treated this as a joke. But parts of the fandom did find it funny. And thatâs a little bit wild to me. Itâs especially wild to me that, as I mentioned in the introduction of this essay, that the cuck chair scene was used as evidence that no sexual assault occurred. My brother in Christ, do you know what sexual assault is? Do you realise that this qualifies? That forcing someone to watch you have sex qualifies as a non-consensual act?
I know that there is a debate about whether Vox and Valentino even actually had sex, but to me itâs clear that they did. People use Valentinoâs unsatisfied demeanour as evidence to say that they didnât, and the fact that right before it, Vox was looking at his ratings going up. But, when heâs looking at the ratings he still has his clothes on, showing a time jump between that scene and the scene of Vox and Val in bed. As far as Valentino being annoyed, Vox was probably just more interested in Alastor the entire time. Also, during Donât You Forget (reprise), when Alastor says âI knew youâd need me here to be your unwilling audienceâ, the fact that heâs making direct eye contact with Valentino, combined with the dance he does in his chair, suggests that heâs referencing the forced voyeurism.
Voxâs clothes were thrown towards Alastor, and Alastorâs ears pinned back and he tensed up when Vox stood up in front of him, as if he was expecting Vox to do something to him beyond just dragging around his chair. Vox takes Valentinoâs cigar and exhales some of the smoke from it in Alastorâs face. The smoke that Valentino uses on Angel frequently, which always makes him dissociate, and the smoke is an extension of Valentinoâs aphrodisiac saliva â which is likely used in Velvetteâs love potion. The fact that Vox is the one using it on Alastor, as opposed to Val, doesnât seem to change its properties, because it is still red when he blows it out into Alastorâs face, after literally pulling down the mask to force Alastor to inhale it. And then what does he say? âIsnât this nice?â.
Let me repeat that in a shorter and more concise way: VOX DRUGGED ALASTOR. WITH AN APHRODISIAC. AFTER FORCING HIM TO WATCH HIM HAVE SEX WITH VALENTINO. This should be so obvious. Itâs not even an implication anymore.
The one valid counter-argument I can imagine for why there may not have been any direct rape involved in the captivity arc that Alastorâs line, âour deal was for me to be your captive, I donât have to tell you anythingâ â because it means that Alastor was still able to have boundaries based on what was and wasnât in their deal. And Vox sexually abusing Alastor was not part of the deal, and if Alastor would resist against simply telling him something, heâd definitely resist against being raped too. But just because he wouldâve resisted doesnât necessarily mean it didnât happen. And even if Vox did not rape him, he did assault him. The cuck chair counts.
Being Voxâs captive does mean that Alastor has to allow himself to be physically restrained, as we see, and it is very unlikely thereâd be a caveat for âunless heâs sexually abusing youâ, considering Alastor is unable to move against Vox when he electrocuted him in Donât You Forget (reprise). Which is what weâre getting into next!
Donât You Forget (Reprise)
This song hints at the situation going even further than forced voyeurism (in case that wasnât enough). While I will discuss a little bit of the visual cues that are given, this will mostly be a lyrical analysis while the next section will deal a lot more deeply into specific frames while exploring parallels with Poison from s1 Ep4
âYouâre in my house / With my rules / And my room / with my toolsâ
What Vox is saying here is âyouâre my captive, so what I say goesâ. Itâs in direct response to Alastor refusing to give him the information he asked for, and itâs a threat that Vox can and will use force to get what he wants from Alastor. This shows that although Alastor can resist, Vox isnât going to take ânoâ as an answer, and this point is reiterated a number of times. This song is full of the possessive pronoun âmyâ, showing Voxâs control over the situation and how fixated he is with his own power over Alastor.
There is also something vaguely sexual about âmy toolsâ, as it could be referencing sex toys, and this isnât far-fetched because of Valentinoâs background presence in the song and his general Valentino-ness, combined with the activities he and Vox had just gotten up to, making it possible that thereâd be toys lying around. But simultaneously, itâs referencing Voxâs wires, and this is what is focused on visually. Even that has sexual undertones, however, as Vox uses those same wires to interact with Valentino throughout the cuck chair scene, and the wires are used to tie Valâs wrists to the bed, while theyâre also used to restrain Alastor in similar ways. Additionally, the wires are a literal extension of Vox. Itâs Vox restraining Alastor. Vox forcing him into compromising positions. Vox touching him. The wires are Vox.
âAnd worse, youâre at my mercy / Cursed to watch me take it all! / Youâve gone ass upâ
âŠNot to bring up my smoothie metaphor again butâ likeâ clearly my thought process isnât entirely off the rails. Heâs âtak[ing] it allâ.
But in all seriousness, being âat [someoneâs] mercyâ is a phrase that can so easily be taken to have sexual assault undertones, especially when paired with being âcursed to watch [them] take it allâ. On top of that, the visuals here show Alastor being hoisted up and restrained by his limbs, which are forcibly spread apart (and as Iâve mentioned, since the wires are an extension of Vox, he is literally being held in place by Vox).
âAss upâ has explicit sexual connotations, alluding to being in sexual positions.
âDonât you forget / Youâre on my string / You can try to squirm and struggle and it wouldnât do a thingâ
Alastor can try to resist, but heâs helpless and canât stop Vox. This could so easily be a rape allegory. If these lyrics were in a duet between Valentino and Angel it would be so clear what itâs about, and they wouldnât feel out of place in the slightest.
Here, Vox literally has Alastor dancing with him while tangled in the wires. If we compare this to the initial DYF song between Alastor and Rosie, thereâs an interesting difference in the way that the two of them present their power over Alastor. Vox is frequently restrictive and controlling, whereas Rosieâs is weirdly lenient in comparison to other soul owner dynamics weâve seen. It is significant that Rosie never binds Alastor in a chain, she only ever has him on strings. This is obviously an intentional decision and wouldnât be overlooked by the animators. While these strings are used to control and guide Alastorâs movement, theyâre never actually used as restraints, nor are they used to force him to be in proximity with her.
Rosie dances with Alastor without use of the strings at the start of the song, then when she does summon the string she immediately pushes him away, before putting it away when she gets close to him again. Then, the second time they dance together, the strings are completely unused. She does make him dance on the strings while heâs being puppeted, though this isnât him dancing with her. He then falls into an awkward position, somewhat reminiscent of the compromising ones Vox puts him into, but Rosieâs reaction is to immediately pull him up again, then she removes the strings before taking his hand for the final note of the song. The cage in which Alastor is placed in by her is easily opened from the inside, heâs able to poof away from her before she puts him into a hat, she doesnât protest against him doing that, and the net which she puts him in only lasts a few seconds. Overall, Rosie is much less oppressive with her power over Alastor than Vox is. While she is physically affectionate and this might be against his boundaries, she does have a line she wonât cross, which is forcing proximity and physically restraining him.
Contrast all of that with Vox straight up telling Alastor that his discomfort (his âsquirm[ing] and struggl[ing]â) means literally nothing to him.
âYouâre so obsessed with me / I knew youâd need me here to be / Your unwilling audience when you lose your marbles in Act Threeâ
I briefly touched on how the visual during the âunwilling audienceâ part of the lyric is suggestive, even though the second half of that line is obvious foreshadowing and a clue-in to the audience that Alastor does know what heâs doing to some extent. Like, itâs not lost on me that the line is about the foreshadowing of the final episodes, but at the same time, there is suggestive imagery and that idea of him being an unwilling audience drives home the point about the sexual assault that has already canonically occurred, regardless of how far Vox may or may not have taken it off-screen, which we can only judge based on implications.
âYou still need me like you did before // So cute, you think I care!â
I find these lines interesting when considering that this is Vox shifting the dynamic between them, and Alastor coming to realise that maybe heâs bit off a little more than he can chew by making this deal. Because heâs made assumptions about Vox, and for the most part heâs correct, but maybe he didnât consider all the directions Vox might go to try and prove him wrong.
While he has Alastor in captivity, Vox frequently attempts to exert control over him and is instead met with It would not be out of character for Vox to go to extreme lengths to try to control Alastor, and we know Vox enables both Valentino and Velvette in the way that they both capitalise on sexual violence, so thatâs not a line that he wouldnât cross. I think if he wanted to use sexual violence against Alastor, heâd try, and that it would be a way to prove his power to Alastor.
âNow Iâm the master / And youâre my bottomest bitch / no more Al the High and Mighty now that Iâve flipped the switchâ
Aside from the word âbitchâ just being derogatory in general, and the fact that it is commonly used against women alluding to Vox trying to demean Alastor in a misogynistic sense by likening him to women as an insult, a âbottom bitchâ is a term used in American pimp culture to describe the prostitute who is (ironically) at the top of the hierarchy of prostitutes under a specific pimp, having known the pimp the longest, likely consistently making the most money for the pimp, etc. itâs a sexually charged exploitative term which Vox is using, and the origins of the term are likely something Vox is aware of due to his closeness with Valentino. Calling Alastor his bottom bitch shows that Vox is objectifying him, and highlights the obsession he has with Alastor that does have sexual undertones in some capacity.
At this point in the song, Vox grabs Alastor by the hair and electrocutes him, and the focus in the shot is placed on Alastorâs shadow, which is not smiling, betraying his true feelings of pain, disgust, and, potentially, fear at their current dynamic.
âFlipping the switchâ is clearly also in reference to their power dynamic, and the way that Vox is now the one with power over Alastor, and Alastor is below him, unlike during the rejection scene. But there are also the connotations of âswitchingâ in a sexual relationship which are relevant here. Not the main meaning that was intended, but one that does seep through.
âBy the time Iâve had my fun / Youâll wish that you had Stayed Goneâ
The first part of this line can also be taken as one that alludes to sexual abuse. Vox may be talking about his villainous plans, his âfunâ being achieving his goals of reaching Heaven, but given that the focus is mainly on Alastor here, not on Voxâs plans, it also suggests that his âfunâ is going to be some form of abuse against Alastor. Vox references Stayed Gone, too, where Alastor had said that heâd make Vox wish heâd Stayed Gone, where now Vox is flipping it and implying heâs going to take revenge in some way for the humiliation heâs faced at Alastorâs hand. Being a victim of sexual abuse often feels humiliating, so this checks out.
Vox crowds in on Alastorâs space, pushing his chair up against the desk and getting between his legs, then pinning Alastor in place by putting his hands on the armrests of the chair. Alastor appears deliberately small in contrast. All of this imagery has concerning and uncomfortable sexual undertones due to the lack of consent on Alastorâs part.
Valentino then tells them both to âjust fuck alreadyâ, and this is where the episode ends, which means we do not have any idea what happened between this and Bad With Us, which begins S2 Ep5. I donât believe that Vox wouldâve gone with Valentinoâs proposal, if anything that mightâve killed his mood, but that doesnât mean he wouldnât have raped Alastor at any other given moment, or that the line isnât there to suggest something.
While I was watching S2 Ep4, I felt that some of the imagery in Donât You Forget (Reprise) reminded me of the imagery in Poison, and when my friend and I were discussing the sense we both got that there were allusions being made to sexual assault throughout the song, I went back through both music videos and realised there were actually far more parallels than I originally noticed, so I think those are worth mentioning here because they illustrate my argument well.
Perhaps the fact that both seasonsâ fourth episodes highly centre around one character with a name that starts with A and their abusive dynamic with one of the Vees which in which the A character is a victim.. might be a parallel? But I digress, back to music.
This isnât the first one that shows up, itâs the first one in Poison but comes up sort of midway through DYFr â Iâm putting it first because all of the others happen in a chronological way in both songs, and I find that relevant in and of itself, that each song hits the same visual storytelling beats in an almost identical order. The circumstances of both songs escalate in similar ways.
The parallel here is that both Angel and Alastor are dancing while restrained. I donât think the act of dancing itself is metaphorical in the same way that it is in Easy, particularly because in Poison we actively see direct imagery of sex, so also portraying it through dance wouldnât make a ton of sense. What this does illustrate, though, is the power dynamic at play and the lack of control that both Angel and Alastor are experiencing.
I might do a full analysis on Poison one day, but this segment of the song has always struck me as being a flashback to a period of Angelâs relationship with Valentino when he was only just starting to realise the abuse that was occurring, which I think could be mirrored well with Alastor in DYFr, where perhaps he is just now realising that heâs gotten himself into a less-than-ideal situation, and Vox can hurt him more than Alastor originally thought heâd be able to.
Both of these scenes end in the same way too â Vox and Valentino both toss Alastor and Angel away.
The first parallel that actually comes up chronologically in DYFr are these frames:
In Poison this comes after the dancing. Angel and Alastor both appear tense, with hunched shoulders, in the middle of the frame, and â while it is depicted in different ways â Vox and Valentino are looming over them. In the next shot we see that Vox and Valentino are both in essentially the same poses, with their arms out, and this is the parallel that immediately stood out to me the first time I watched DYFr.
In Poison, this shows us how afraid Angel is of Valentino, and how much of a danger Valentino is to him. In DYFr, Vox isnât a complete silhouette, which could suggest that Alastor isnât as terrified of him as Angel is of Valentino, but Vox is just as dangerous and just as capable of inflicting the same horrors, hence his identical posing to Val.
Alastor certainly isnât presented as being safe. And he certainly doesnât feel that way entirely, judging by his pinned-back ears.
Both Alastor and Angel are the main focus of the frame, and both of them are restrained by the wrists while seated in compromising positions, while Valentino and Vox are stepping into frame. These frames both lead into similar shots too, in which the respective Vee grabs their victim by the face:
These two also have somewhat similar facial expressions, I think. Both Angel and Alastor are expressing disdain while Vox and Val appear equally smug.
Of course, in the context of Poison, Angelâs dance isnât actually happening â the images shown on the blue screens in the background are his real situation. While in DYFr, itâs all in real time, and the backing screens emphasise Alastorâs anger, which Vox is deliberately drawing to attention.
But there is still a similarity in the composition of the frame and the use of the blue screens. This shot is when Vox sings âyou could try to squirm and struggle and it wouldnât do a thingâ, which could also describe Angelâs real situation in his scene. In fact, that helplessness is exactly why Angelâs coping mechanism is instead to dissociate and create a fantasy; because struggling and fighting doesnât get him anywhere. Alastor is more powerful than Angel, but he is still rendered helpless by Vox in this moment.
I think these two frames are actually lit in a really similar way, with the glowing eyes and teeth, the shadow on the characters which makes Val, Angel and Alastor all appear to have very similar skin tones (fur tones in angelâs case?). Though, of course, the main point here is the way that Vox/Val are both getting up in Alastorâs/Angelâs personal space, crossing boundaries, being in their faces and making themselves seem intimidating. Of course, Alastorâs facial expression here (smile not included) is not as fearful and worried as Angelâs, but the rest of his body language still reads as tense and uncomfortable, with the hunched shoulders and the pinned back ears. And Voxâs expression is similar to Valentinoâs.
Regardless of whether all of these frames are intended to read as paralleling sexual abuse specifically, which is how Iâm reading them, it is clear that the animators have used a lot of the same visual cues as Poison to illustrate a power dynamic between Vox and Alastor where Alastor is not the one with more power or control. We know Alastor had a plan, but there is nothing in any of these shots that suggests even an underlying sense of control of the situation on his part. I donât think he was prepared for everything.
Hints From Other Episodes
This is a weaker and less organised part of this analysis, but I think these things are worth mentioning and I wasnât sure how else to bring them up.
In S2 Ep3, Angel tells us that Vox âgets off on seeinâ people sufferâ, which we also had confirmed in S2 Ep1 with Vox finding enjoyment in the compilation of Valentino hitting Angel, and later in S2 Ep6 when Vox says heâs been wanting to hit Angel for a long time. All of these examples involve Angel, but I donât think it would be far-fetched to think that he feels a similar way about Alastor who he is far more obsessed with than he is with Angel. It could be a thing that is reserved for those people he obsesses over, though, including both of these two because I do think he gets fixated on Angel to some extent occasionally. He brings him up often. Val only brought Angel up to Vox, like, once. Every other time theyâve spoken about him, Vox appears to have initiated it.
In S2 Ep5, directly following and seemingly only a day or something after DYFr, Zeezi tells us that rumours are going around about what sort of things Vox is doing with Alastor, and the one she mentions is the rumour that Vox âfucked him with a chairâ. Not particularly strong on its own, but when combined with everything else, it holds more weight. Even if that isnât exactly what happened, it is an implication that sexual violence could have occured. This may be an exaggeration of the forced voyeurism we saw, but I wouldnât be shocked if it was something more direct.
Additionally, to me, the tone through which Alastor calls Vox a âfucking creepâ in the finale felt very emotionally charged to me. Which could mean nothing, but it could also mean something.
In all honesty, I donât expect any of these things to go anywhere and Iâm not sure how seriously Hazbin will take all of this stuff or if Alastairâs captivity under Vox will ever be brought up again â but I think that there is something here, and the reaction of the fandom to take all of this so comedically did upset me when the episode first came out. But Iâm kind of hard-wired to pick up on these themes in media where they were not intentionally placed, because trauma, I guess. Still, a part of me wonders how much of this could have really been an accident.
