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Self-Inflicted Hell
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An increasingly popular trope in fantasy novels is the idea that whatever you expect to happen when you die is pretty much what you get — effectively, Your Mind Makes It Real. So if you believe that your soul will remain chained to the karmic wheel and you'll be reincarnated as a cow, then that's what will happen. If you believe you'll sit at the right hand of God and sing hosannahs, that's what will happen. If you believe there is nothing after death, then all you'll find is nothing. If you believe that you'll become nothing after death, then that's just what you'll do — or not do. If you believe in Fire and Brimstone Hell, but don't see yourself as worthy of escaping it, then down you go. Of course, it means generally good but unduly guilt-ridden people will go to Hell, while people that spend their lives picketing funerals will go to Heaven, but nobody said it was fair. In this scenario, Hell is not a literal place of eternal fire and brimstone, but a metaphor for a psychological state of mind suffering from angst, remorse, pessimism, and depression. The mind is its own place, can make a Heaven out of Hell or a Hell out of Heaven. If you are a Pessimist, then you would expect the worst out of everything, and if you expect the worst out of everything, then you would think that you are in an inescapable Hell and therefore succumb to Absolute Despair. If you made a depressing suicidal tragic life full of regrets and unwanted memories, then the replay of these memories would Mind Rape you to Absolute Despair Event Horizon, and you would become a Pessimist with low self-esteem. Your pessimism would then generate an isolated Pocket Dimension within an impenetrable Absolute Terror Field or Witch Barrier that isolates yourself from the hope and light of God, other souls, or the virtues they represent, for all of eternity or until you somehow manage to tear away your self-inflicted torment and break free. In theology, this is known as Eternal Separation. Hell is the despair and isolation that a person inflicts upon themselves by rejecting God's love, which God can't stop without taking away their Free Will. This is demonstrated by the Parable of the Prodigal Son courtesy of Jesus himself. The Prodigal Son (sinners) left the father (God) thinking that it is "better to reign in Hell than serve in Heaven", but eventually he realized the futility of his ways, and the father is more than happy to take the son back and forgive him. This also solves the Problem of Hell (reconciling God's mercy with the existence of eternal suffering), and removes the God Is Evil implications of Fire and Brimstone Hell, Dante's Inferno and other traditional portrayals. Adherents of Universal Reconciliation take this further and say that Eternal Separation isn't eternal. If God is all forgiving, and you asked for forgiveness, then God is more than happy to forgive you and the eternal separation won't last. Only the Fallen's own pride and hatred are the very factors that keep them from doing just that, delaying their salvation. For this reason, Universalism is incompatible with this trope's belief-making damnation, for if the person believes they will cease to exist, they can never be reconciled, for there is no one there to forgive. Another dubious point in the religious interpretation above is "For what reason would a Person Willingly choose to punish themselves?" As stated above, a total monster may refuse and thus escape that sort of retribution due to lack of empathy and remorse; an overly sensitive but well-meaning decent person may choose to carry that burden, akin to a Disproportionate Retribution or Misplaced Retribution. Why would the benevolent deity in question allow that injustice to happen? Claims that one would be forced to endure their worst nightmares based solely on specific actions they commit, regardless of how they feel about it, could explain this, though what precisely are the choices that condemn a person, and whether that judgement system is reasonable or not, is another topic. Subtrope of Personalized Afterlife. A literal version of this trope can result from Reality Warping Is Not a Toy when a Reality Warper consciously or subconsciously creates their own hell. |
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Witches' Barriers in Puella Magi Madoka Magica are made up of symbols representing all the sins, regret and despair made by a Magical Girl in life. Puella Magi Madoka Magica The Movie: Rebellion: Homura creates a world at the end of the movie that is bar none the happiest we've seen in the series: all of the characters (and newcomer Nagisa) are alive and well, Kyouko and Sayaka are sharing Pocky together, the aforementioned Nagisa is a companion for Mami, and Madoka has been freed of her godly duties and is back with her family. There are no Witches to be seen (though their familiars seem to be just wandering around not hurting anyone), and the Incubators are living a long-deserved tortured existence under Homura's heel. But in order to accomplish this, Homura essentially stabbed Madoka in the back, erased her memories and stuffed her in a Gilded Cage, and as far as Homura is concerned she has irrevocably ruined their friendship; for her, this happy little world is one of crushing guilt, an existence without Madoka's friendship or affection. The others may be having fun in this new universe, but for Homura, it's misery beyond her worst nightmares, all at her own hand, and all of it deserved in her mind. |
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In the 'Epilogue' of Saint Joan, the ghost of Joan meets the ghost of a soldier who was kind to her at her execution. He tells her that he went to Hell after he died, but is given one day off a year because of that act of kindness. It's implied that his fate is an example of this trope; he says that he found Hell "a treat" after fifteen years of active service and that when he had his first day off he was at a loss how to deal with it. He's getting the hang of it now, he says, and "They tell me I can have as many as I like as soon as I want them". | |
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Bill & Ted's Bogus Journey has a sequence where the title pair are sent to a corridor full of doors, each of which leads to various "own personal Hells". Such torments include Bill having to deal with his creepy grandmother, Ted being berated by the Easter Bunny for stealing some of his brother's candy as a child, and both being subjected to doing infinity push-ups by the Army colonel who wants to recruit them. What makes it especially self-inflicted is that each punishment is behind a door, and the doors are unlocked. Apparently, you can flee your punishment at any time. However, when they refuse to choose a punishment, all the punishments storm out of the doors at once. The idea seems to be that you either choose your damnation or be subjected to them all. | |
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In Recommencer, every Miraculous has a Mental World that their bearers can access if they become attuned enough to it. However, this inner world reflects the mind and karma of the bearer. In Hawkmoth's case, because he's abused the Miraculi, terrorized Paris, and murdered another bearer for their Miraculous, his inner world has become a complete hellscape — and every night, the Brooch drags him in, with his former mentor berating him for his crimes and reminding him that he's Beyond Redemption. | |
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In the world of the Coldfire Trilogy, belief shapes reality. Hell only exists because the priests told their followers that it did. That is the precise reason why the founder of the religion deliberately did not have any mention of Hell in his original writings: To make it not exist. When the religion he created turned against him, he made a Deal with the Devil (which involved sacrificing his wife, two of his children, and his humanity) to escape the hell his former followers created for him. A slightly less literal form of this was also a plot point in the second book. Tarrant made a deal for immortality in no small part because he was curious to see if his centuries-long experiment to create God would work or not. It did, but due to the deal he made for immortality, he can never look upon Him. And he can never repent because he can never truly be sorry that he got to know the truth rather than dying ignorant. So a metaphorical — as well as a literal — Self-Inflicted Hell. |
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When the hero of The Savage Dragon meets God, He claims that whatever one believes is what happens: | |
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Rose is Rose Downplays this: Whenever Rose is irritated with Jimbo, she imagines that she's locked herself inside a Dungeon of Resentment, and has to decide when she's ready to let herself out. | |
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The Platform is an allegory for this. The movie depicts a prison made of several hundred cells with a food-laden platform passing through each of them every day. There's enough food for everyone, and prisoners are free to eat all they want, but they only have a small time window to do so and cannot keep any of the food after the platform moves on. So each day the first (or top) cells gorge themselves, the middle ones scrounge on leftovers, and the bottom ones are left with nothing and are driven to starvation, cannibalism or suicide. The catch is that every month prisoners are shuffled between cells. So those who'd left their prison-mates starve by refusing to ration food now suffer from the same injustice, those who'd spent time below and came to vehemently hate the selfish "abovers" relish their brief elevated (literally) position to stuff their faces and shit (some times literally) on the despised "belowers", and the vicious cycle continues. | |
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Old World of Darkness: In Demon: The Fallen, Hell only serves as a prison for the angels who rebelled against God (human souls have their own misfortunes, chronicled in Wraith: The Oblivion). Hell has no obvious tortures; it is, in fact, sensationless. The fallen angels, however, were so driven by rage and pain that they turned and lashed out, both at each other and any human souls that drifted too near; thus they provided their own punishments. As for WtO, there are several "hells," based on the beliefs of their inhabitants, but the only people there are those who think they deserve to be there or made deals with dark spirits. They mostly serve as macabre tourist attractions for more savvy wraiths and other supernaturals. Note that the heavens aren't much better and are run like cults. Most people who die — and wraiths who finish their business without being Obliviated — will Transcend instead. What that entails is entirely unknown. |
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HFIL is the punishment of the Dragon Ball Z Abridged universe's main villains - and it, surprisingly, is not a Fire and Brimstone Hell. It's a cul-de-sac; the punishment is that you're surrounded by the most evil, self-centered, and jerkish, vil - sorry, morally compromised malefactors in the universe (like you if you are judged as being evil enough to be sent there). | |
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Lord of War: Because of the things he's done, Yuri Orlov has lost his brother, had his wife and son walk out on him, and his parents disown him. As Agent Valentine says to him: | |
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The Lament Series runs on the Reality Warping Is Not a Toy version of this. Each story focuses on somebody making a Wish that retcons reality, only to find that the new world they've created is effectively their own personalized hell. Gabriel terrorized the city as Hawk Moth in hopes of saving Emilie from her coma. To this end, he was more than happy to sacrifice his son's happiness as well. In the new world, Emilie's Miraculous was not damaged, and she serves as one of Paris's protectors, fighting against its own version of Hawk Moth... and their son, who was akumatized into Chat Blanc thanks to his father's deadly combination of smothering control and Parental Neglect. Chloe convinced herself that Marinette was Secretly Selfish, looking down upon others just as much as she did. Her Wish had them switching roles, with Chloe expecting to become just as beloved as Marinette while the other girl was despised for being the Mayor's Spoiled Brat daughter. Instead, Marinette retains her kindness and compassion, proving naturally popular with their peers while Chloe is scorned for her petty bullying, no longer shielded from the consequences of her actions by her father's connections. |
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Harry Potter's Voldemort, as J. K. Rowling indicates that he's stuck as a mutilated, dismembered soul (because of the way he used murder to split his soul) in a sort of limbo. He has, in effect, created his own hell. His only recourse to leave and heal himself is to show genuine remorse, suggesting this is not necessarily a permanent state. It is also implied that showing true remorse would actually kill Voldemort. Given his mortal fear (no pun intended) of death, he might PREFER this fate. |
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Paradise Lost points this out many times. At the end of the War in Heaven, Satan and his followers retreat from the Son and throw themselves into Hell. While Hell is a physical location, Satan escapes it pretty easily and pontificates the nature of his damnation. He acknowledges that he could seek forgiveness and receive it, but concludes that he is too prideful to submit to God again, so he will stay damned. As the page quote suggests, Satan realizes that his damnation is his own fault. | |
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In Demon: The Fallen, Hell only serves as a prison for the angels who rebelled against God (human souls have their own misfortunes, chronicled in Wraith: The Oblivion). Hell has no obvious tortures; it is, in fact, sensationless. The fallen angels, however, were so driven by rage and pain that they turned and lashed out, both at each other and any human souls that drifted too near; thus they provided their own punishments. | |
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For Better or for Worse: Elly Patterson constantly complains that nobody ever helps her with the chores... then berates anyone who tries, complaining that they're "doing everything wrong". She's passive-aggressive towards her husband, lamenting that he never gets the message while refusing to be straightforward with her complaints, and as much as she dislikes her kids being rowdy, struggles with reinforcing any punishment. Deanna winds up having all of the same issues. | |
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In No Exit, Hell is only hellish for our three protagonists because they're attention whores who simply cannot leave the others they're locked in with alone. And they weren't as locked in as they thought, and could have escaped at any time they wanted. But even when the door straight up pops open at the end, they are held back by their flaws and insecurities, and no one even attempts to leave. | |
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A version of this is implied in Supernatural. So far, the only people we know of ending up in Hell are people who choose to go there by making a Deal with the Devil. And, while they do face horrendous torments at the hands of demons, all (or at least most) demons were originally damned souls as well, who were psychologically broken by the constant torture until they agreed to become torturers as well. The true torment of Hell doesn't seem to be the place itself, but rather the people you're forced to spend eternity with. Having been in Hell himself for 40 years 10 of those as one of the torturers, you'd think Dean would know how people end up there, and he tells two people in different episodes that they're going to Hell (a woman who's killed someone and an armed robber) — neither of them had made deals (specifically in "99 problems" and in "Appointment in Samarra", so this seems to be Jossed). | |
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The Discworld books exploit and subvert this concept in all kinds of ways, including (in Interesting Times) a part-time barbarian qualifying for a Valhalla equivalent because he sort of half-believed in his colleagues' beliefs and then started fully believing it just before he died, and a man who did not believe in ghosts being pursued through the afterlife by his victims because they believe in him. Many who hit the afterlife are confronted with a long desert to cross; they are told by Death that their eternal reward is on the other side. This mentally stuns a few; they end up sitting in the sand, tormented. Unless they're golems, in which case they may consider standing around in the desert with no more duties to perform to be Heaven; when a particularly ancient golem is blown to pieces in Going Postal, having an absence of tasks was eternal reward enough. In Small Gods Brutha the Prophet is the only one who sees the way out of the desert. When he dies and Death tells him judgment awaits him on the end of the desert, he says "Which end?" In response, Death grins. Discworld is actually almost a subversion of this trope. Since you only go to Hell if you really, deeply believe you deserve you go to Hell, Hell is mostly populated by rather nice people — because nobody who is genuinely, unapologetically evil (such as sociopaths) would believe that he deserves to be punished for all eternity. Although thankfully the torments of Hell are pretty harmless a lot of the time because people don't actually have to feel pain unless they're really trying to. Also, the demons are mostly Affably Evil. It's also stated that because you must think you belong in hell to go there, you cannot go if you aren't even aware there is such a place. "This is why it's vitally important to shoot missionaries on sight." On the other hand, nihilists (some of which can be genuinely evil) suffer greatly after death in Discworld, which does have real gods, pantheons, and afterlifes. If you don't believe anything, then you don't know where you belong after death, so you have to wait until you figure it out... and if you don't figure it out, then you'll be waiting a very long time... And The Discworld Companion clarifies that the soul goes where it thinks it belongs "shorn of all self-deception". note When you die the first thing you lose is your life. The second is your illusions — Pyramids. Death himself seems often bound to deliver people to the afterlife they believe in... but either he or the cosmic rules are not above giving their own interpretation in case of an evildoer thinking this gives him a "get out of jail free" card. See for example the fate of Mr. Pin. |
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The Chronicles of Wormwood has a system that largely revolves around this, but some adjustments are made on a case-by-case basis. For instance, suicide bombers go to Heaven and get 72 virgins, but all 72 are babies that they have to care for throughout eternity. Also, the road to hell is literally paved with mimes, who go to hell regardless. It also averts the usual injustices associated with this trope - guilt-stricken innocents going to Hell and shameless monsters going to Heaven - because one of the features of the afterlife in this setting is that you become inescapably aware of what you deserve. This is hinted to be one of the greatest punishments of Hell since most of the damned suffer from Moral Myopia of one form or another. |
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Infinity Train: Blossoming Trail: While Chloe doesn't recognize it right away, this is one of the reasons why she ended up on the Infinity Train. While her school life was legitimately hellish thanks to Sara, Yeardley and most of her classmates bullying her, and her father's decision to make her work at his lab after school in hopes of protecting her was Not Quite the Right Thing, Chloe was the one who turned her time there into a self-inflicted hell. She didn't trust any of her father's coworkers, rejected all of Ash and Goh's efforts to invite her along on their adventures, and refused to tell her parents how unhappy she was, assuming they'd just ignore her. | |
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At the start of And Another Thing..., Arthur, Ford, Trillian, and Random have — from their own perspectives — spent several decades in a personal Heaven courtesy of the Guide Mk II. Arthur relaxes on a beach with all the tea he wants. Ford spends time at a resort where he has all the parties, gargle blasters and sex he wants while his health and chin steadily improve. Random unites Earth and is elected President of the Galaxy. Trillian gets to become the most respected journalist in the galaxy, but it ends up being Hell for her. | |
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Puella Magi Madoka Magica The Movie: Rebellion: Homura creates a world at the end of the movie that is bar none the happiest we've seen in the series: all of the characters (and newcomer Nagisa) are alive and well, Kyouko and Sayaka are sharing Pocky together, the aforementioned Nagisa is a companion for Mami, and Madoka has been freed of her godly duties and is back with her family. There are no Witches to be seen (though their familiars seem to be just wandering around not hurting anyone), and the Incubators are living a long-deserved tortured existence under Homura's heel. But in order to accomplish this, Homura essentially stabbed Madoka in the back, erased her memories and stuffed her in a Gilded Cage, and as far as Homura is concerned she has irrevocably ruined their friendship; for her, this happy little world is one of crushing guilt, an existence without Madoka's friendship or affection. The others may be having fun in this new universe, but for Homura, it's misery beyond her worst nightmares, all at her own hand, and all of it deserved in her mind. | |
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Xena: Warrior Princess: Xena and Gabrielle were sent to their own version of Hell, a land called Illusia. It even featured Gabrielle being sacrificed and Xena being crucified (two things that happened in canon). The episode has a lot of Christian iconography as well, and not just the cross. Turns out it's all set up by Xena's dead son, who wanted the two to get past the whole "your daughter, whom I wanted you to kill 'cause I thought she was the God of Evil's Dark Messiah, really was that bad and killed my son" thing. We later find him in an unfavorable part of The Underworld, trapped in a stone forced to watch scenes from the world of the living. Turns out he chose that fate himself even though he was eligible for the Elysian Fields. He considered that to be more of a Lotus-Eater Machine, and would rather watch the real world even if he couldn't interact with it. | |
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The Rapture: Sharon refuses to enter heaven, even if she can see her daughter and husband again, remaining in an empty desert place by herself forever, because she refuses to accept God. | |
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Ajunta Pall in Knights of the Old Republic was one of the founders of the first Sith Empire, whose Force ghost is met in his tomb on Korriban. Unlike other ghosts, Pall never became one with the Force upon death as he used his knowledge of Sith alchemy to tether his soul to the physical world, essentially trapping himself in a self-made purgatory. After realizing Being Evil Sucks 3000 years too late, Light Side players can help him embrace the Light as well and move on. | |
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The Twilight Zone (1959) had several of these: The Masks, Nick of Time, A Nice Place to Visit and possibly Time Enough at Last...come to think of it, practically the entire series would fall under this one. And in Death Ship the ending reveals that the characters are stuck in a "Groundhog Day" Loop for eternity and don’t even know it because their leader stubbornly refuses to believe that they are already dead, preventing them from moving on. | |
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In The Order of the Stick, it is eventually revealed that Roy's father is stuck on the lowest plane of the Lawful Good afterlife, on account of his vow to not rest until Xykon was wiped out once and for all. He's trapped there because he did virtually nothing to further that goal while alive, and instead shuffled it on to his son—who, because he did everything he could to fulfill that vow, is admitted to the higher planes of heaven in spite of his failure—and will be forced to remain there until Xykon is destroyed. In other words, "It's The Thought That Counts" - but the fact that Roy fully intends to walk right out the revolving door and get back to fighting Xykon probably scores him some points, whereas his father just remains where he is out of sloth. |
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Monster in the Mountain: Asriel has made himself utterly miserable. In order to secure the power and form that he desired, he betrayed Frisk and all of the monsters, effectively losing everyone who could have cared about him and provided the affection he also desperately craves. And when Frisk discovers this, he refuses to give up the souls he'd stolen, losing both Frisk and the child he'd just conceived with them. | |
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Steven Universe: The Movie: The antagonist, Spinel, wants revenge because she was abandoned for 6,000 years by Pink Diamond in her garden when Pink left to work on what ended up being her only colony, Earth. The humiliating part, however, is that there was nothing physically keeping Spinel in the garden, standing perfectly still in one spot. She was just trying to do what Pink told her to do as perfectly as possible. On top of wasting a maddeningly-long length of her life, she ends up feeling like a complete idiot when she finds out that Pink is gone for good and abandoned her. | |
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Silent Hill: Although not technically Hell, the town of Silent Hill works on this principle; if its victims can free themselves of their guilt, they can leave unharmed. Otherwise, they are stranded in the nightmarish town until they succeed at this, get killed by the monsters or the town, or become one of its inhabitants. In Silent Hill 2, it's made clear that the baddies are only visible to certain people visiting there, and take on forms that represent the individual's hidden guilts. This is seemingly inconsistent with the other games, however; in the original, for example, it's clearly Alessa's vision of Silent Hill that's imposed on everyone else there, while in 3, the effect spreads beyond the original town, the source of the effect being Claudia. Except for Silent Hill 2, though, the other games all take place during occult summoning rituals, so the town's state in the second game could be interpreted as the way the town usually works during a "downtime" of no demonic summonings. According to the "Book of Lost Memories", an information book for the series, the appearance of the Otherworld in the first game caused the power of the town to increase, which is when it started calling to those who had darkness in their hearts, no matter their distance from its physical location. People get pulled into each other's dark worlds. In the first Harry is pulled into Alessa's dark world and while the majority of Silent Hill 2 takes place in James', we also get to see a glimpse of what Angela's and Eddie's are like; one of the monsters in the game (Abstract Daddy/Doormen) is Angela's creation, while the rest of them are James'. Poor Angela suffers from the most tragically direct example of this. She, Eddie and James have all been drawn to Silent Hill because each one did something that they feel guilty for. In Angela's case, she snapped and stabbed her sexually abusive father to death, possibly even in the act of violating her. Very few would condemn her for doing such a thing, but the years of physical and psychological torment heaped upon Angela by her father and mother led her to believe that she deserved it. As such, her personal dark world is an almost literal Hell, a burning place filled with graphic reminders of the abuse she suffered; this isn't because Silent Hill itself is passing judgment on her (indeed, the malevolent forces behind the town only seem interested in inflicting punishment, not doling out true justice), but because that's where she's convinced herself she belongs. |
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In Silent Hill 2, it's made clear that the baddies are only visible to certain people visiting there, and take on forms that represent the individual's hidden guilts. This is seemingly inconsistent with the other games, however; in the original, for example, it's clearly Alessa's vision of Silent Hill that's imposed on everyone else there, while in 3, the effect spreads beyond the original town, the source of the effect being Claudia. Except for Silent Hill 2, though, the other games all take place during occult summoning rituals, so the town's state in the second game could be interpreted as the way the town usually works during a "downtime" of no demonic summonings. | |
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This idea gives the title for a Farscape episode, though the implication seems to be that these afterlives are more positive than hellish. | |
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Berserk: The final fate of every deceased Apostle. Since they are humans turned into demons by sacrificing the people they love and opening up to evil, and with the only commandment being "do whatever you want", which includes the most depraved actions (rape, genocide, etc.), if they die, their soul is dragged to Hell by the spirits of their own victims. | |
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In Issue #36 of Tarot: Witch of the Black Rose, Jon ventures into a hole to a vast Hell Dimension that Crypt Chick was taken too. After finding Crypt Chick and intending on escaping, he calls out to the thousands of souls trapped there and tells them that he will bring them along if they choose. They all call out to him and are suddenly free of their imprisonment, their souls rising into the heavens as the sun rises. | |
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In Shaman King souls merge with the Great Spirit when they die, moving into various "communities" within it. What community you end up in depends on your personality. Chocolove ends up in a realm of suffering due to his unresolved guilt over his previous murders. | |
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What Dreams May Come revolves around this. Interestingly, Heaven is also self-inflicted. | |
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Those taking Joy in We Happy Few would rather ruin themselves and stay in a self-imposed, self-destructive bubble than to admit they did A Very Bad Thing. It's heavily implied that the rest of Britain are doing fine but by acknowledging that fact, it also means acknowledging that Wellington Wells was perhaps the only town to deport their children to the Germans. | |
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In the Gargoyles episode "Shadows of the Past," Goliath, Angela, Elisa, and Bronx return to the site of Castle Wyvern, where the massacre of Goliath's clan took place. Throughout the episode, Goliath is hearing the voices of the Captain and Hakon and thinks he may be going crazy. Eventually, we realize that the ghosts of Hakon and the Captain were trapped there because of their hatred for Goliath (combined with some magic phlebotinum). In the end, though, the Captain realizes that he was really hating himself for betraying Goliath, saves his life, and is freed from his prison. Hakon, meanwhile, is trapped with "no one left to hate." | |
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When Johnny the Homicidal Maniac is (temporarily) in Hell, he finds out that Satan isn't actively torturing the damned souls, they're making their own afterlife miserable by sticking to the same petty obsessions they had in life. It's hinted Satan suffers the most from having to put up with an eternity of their whining. | |
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In The Master and Margarita, the theory that everyone gets what they believe is listed by Woland (Satan) among possible afterlife theories. It is unclear from the novel if this theory is always true; it is shown, however, that the afterlife does exist, but Woland ensures that one atheistic character gets exactly what he believed in: nothing. The outcome may be based on deeds. It is explicitly stated that Margarita gets her eternal peaceful being with Master away from everything for her love. Neither Master nor Margarita believed in that outcome, called not deserving the Light, but deserving the peace. One can argue, though, that the lack of belief on their part was an important part of not deserving the Light. Behemoth the Cat also had the afterlife fate that he didn't expect. |
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Equestrylvania: According to Sypha, this is the only kind of Hell. As a demonstration, she forces Twilight to relieve the moment where she found the dead foals in the hospital, which morphs into Twilight's fears and doubts plaguing her. All part of her Training from Hell to help her stand up to Dracula's stronger minions. | |
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In the novel The Great Divorce, there's actually bus service from Hell (which in this story is just a drab and miserable city separated from God) to the outskirts of Heaven, and the damned are under no obligation to actually return. The problem is that until they give up the sins they were damned for (which most are unwilling to do), they are Made of Plasticine compared to Heaven and everything, including blades of grass, goes right through them. | |
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Almost everyone in Revolutionary Girl Utena is essentially in one of these, as they are too involved in their own troubles to do the one thing which can actually save them, but especially Anthy until the end of the series. | |
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In his comic book Swamp Thing, Alan Moore explained (decreed?) that the afterlife of the DC universe depends entirely on what the dead expect will happen, be it Heaven, Hell, or reincarnation. It is also possible to trap an innocent in Hell by convincing them that you have the power to do so. This concept has been used in other DC and Vertigo Comics, such as Hellblazer, Lucifer and The Sandman (1989). However, it's also been ignored on occasion due to story requirements or editorial lapses. Phil Foglio's '90s Revival of Stanley and His Monster plays with this when Stanley is forced to storm the gates of hell to rescue his friend, the Monster of the title. Stanley is an innocent little kid whose knowledge of Hell comes entirely from Saturday morning cartoons and the Monster's wildly inaccurate stories — so as soon as Stanley enters, Hell becomes cute, brightly-colored, and harmless, with the demons forced to behave as if they were stupid and easily-outwitted. John Constantine clone Ambrose Bierce explains this trope (but not to Stanley, since it only works because Stanley doesn't know any better). This idea was thrown out for Constantine (2005), the (very loose) film adaptation of Hellblazer, and replaced with a more conventional system based on Catholicism. |
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The Good Place eventually reveals that at least some parts of the Bad Place are like this: specifically, the Good Place in which the main characters themselves are is actually an Ironic Hell designed to have them unknowingly psychologically torture each other due to their clashing personalities. To the architect's frustration, however, the subjects keep figuring the deception out which ruins the entire point and forces him to wipe their memories and reset everything; ultimately the trope is subverted because despite the clash of personalities the four ultimately bond and become better people. | |
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Earth and Sky: Diamond Tiara eventually winds up trapped in her own nightmares, riddled with guilt and remorse. Upon seeing this, Princess Luna decides that the Spoiled Brat may finally be learning her lesson, leading to the two having a conversation about forgiveness before the princess frees her with a stern warning. | |
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The movie Night on the Galactic Railroad deals with a vision of the afterlife which seems at least partly based on where people believe they should go. One of the protagonists has a ticket to "the one True Heaven" (which isn't reached until the very end of the film). However, earlier in the film, a bunch of Christian Titanic victims arrive on the train, which lets them off at "the Southern Cross", a pious - and apparently ersatz - "Christian" version of heaven filled with robed figures making their way towards a giant, glowing cross. | |
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In David Hopkins' Jack, Hell punishes sinners with this and Ironic Hell, and it makes a point of having particularly damned souls take up the mantle of the Seven Deadly Sins, who arguably get worse treatment themed around the sin that's consumed them. The titular Jack in particular cannot truly repent for his sins involving Wrath (and earn forgiveness) as he cannot remember them; he asked for it before he died. | |
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Lucifer (2016): In this universe, souls in Hell relive their worst sins and/or their consequences over and over for eternity. Lucifer claims he takes absolutely no part in this process: humans drag themselves down and do this to themselves. They can leave if they believe they no longer deserve to be tortured - and Lucifer has never seen anyone manage it. Lucifer ultimately comes to see this system as unfair when despite all of Dan's Character Development, the latter still ends up in Hell due to his past as a Dirty Cop. In the Series Finale, Lucifer willingly returns to Hell to become a therapist and allow the damned to overcome their guilt and reach Heaven. |
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In Hell Girl, each person's vision of hell is what hell looks like to them when Ai Enma comes to take them away. | |
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Hell Temple in La-Mulana, especially the original (non-remake) version, designed to be the worst experience possible for the player. Memorably reduced DeceasedCrab to anguished wailing several times. | |
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Ravenloft tends to feature a mix between this and Ironic Hell. Usually, the personality flaws of the Darklords are what makes their domains hell, and any of them can escape at any time- they just have to accept that their Act of Ultimate Darkness was bad and wrong and that all of their suffering is entirely their own fault. Of course, as the game notes, if you were the sort of person to do that, you probably wouldn't be a Darklord in the first place. | |
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The Screwtape Letters are written from the perspective of the titular demon, who has the self-awareness to know that he and his colleagues reside in Hell by their own choice. He explicitly acknowledges (as John Milton did) that Satan himself could return to Heaven in an instant if he gave up his pride and apologized, but Screwtape supports his adamant refusal to do this. He even admits that Hell does not need to be a place of suffering and torment, but he emphatically insists that it should be. | |
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Saturday Morning Breakfast Cereal: In "Heaven 2", Heaven becomes Hell to a philosopher due to all the Fridge Logic about how it works. It's implied it wouldn't have been a problem if she didn't think about it so hard, although what she said about it isn't disproven in any other sense. In the bonus punchline, she voluntarily goes to Hell instead (though it's not clear it's not just for a visit). | |
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Chronicles of Darkness: Mage: The Awakening features the Supernal Realm of Pandaemonium, associated with the Arcana of Mind and Space and appearing very much like a Fire and Brimstone Hell. Why? Well, Space bends at the limits of the Realm, meaning that the inhabitants are stuck within and without much besides their own thoughts. Which inevitably turn towards the more negative impulses... and take solid form. | |
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In the backstory of Dogma, shown in a deleted scene, Hell was originally created as a simple prison for fallen angels, but when human souls started to arrive, their guilt-ridden demands for punishment made it much, much worse. | |
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In The Collector, a robotocist tries to evade death and eternal damnation by putting her mind in an immortal robot body. But the robot malfunctions and is incapable of movement but is still fully conscious. The devil pays the electricity bills for the next millennium and congratulates her for being his first client to literally devise their own personal hell. | |
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The Eldar of Warhammer 40,000 literally squicked their own Hell into existence. Centuries of murderous hedonism spawned the Chaos God Slaanesh. Slaanesh massacred the Eldar and their gods, then made it so that Slaanesh will claim all Eldar souls upon death. It's not clear what Slaanesh does with the souls, but it's probably not anything pleasant. | |
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For His Own Sake: A Running Theme is that the Hinata Girls tend to be their own worst enemies; while they could work on their respective issues and improve their lots in life, Granny Hina has been enabling them to avoid doing so through her coddling. Over the course of the story, some of the girls realize this; Shinobu, for instance, learns how to stand up for herself. Others, like Naru and Motoko, double down and refuse to even consider changing their ways, which causes problems as their Karma Houdini Warranties start running out. | |
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Though it's not the afterlife, Princess Luna from My Little Pony: Friendship Is Magic felt she was let off far too easily for the pain and suffering she caused as Nightmare Moon, so she created a magical being called the Tantabus that would force her to relive the past in her dreams, ensuring she would never forget what she'd done. This backfires when the Tantabus begins infesting other ponies' dreams and feeding on Luna's guilt as she tries in vain to contain it, trapping her in an endless cycle of self-loathing until the other ponies convince her to finally forgive herself. | |
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Doctor Who provides a near-uber-example of this trope in "Heaven Sent". After the tragic death of his companion, Clara Oswald, the grieving Twelfth Doctor is transported into what is essentially a massive torture chamber created by the Time Lords which tries to force him to reveal what he knows about a prophecy. He is pursued by a mysterious creature that injects an acid of some sort into his face that slowly vaporizes the Doctor into a skeleton, causing the Doctor to regain his memories while he painfully crawls to a cloning chamber to create a clone of himself with a fragment of his memories, which helps him get through the trial only to discover that the final obstacle is a giant wall of hyper-durable nanocrystals, which he punches with his bare fists for a few seconds as the creature injects him from behind, in a cycle that lasts for 4 1/2 billion years, before the Doctor is finally able to escape after the collective effort of all his punches carves through an over 12-feet thick wall that is literally harder than diamond. In the next episode, "Hell Bent", we learn he could have left at any time by giving his captors the information they wanted, but chose to stay within this personal hell for so long in the hopes that he might be able to save Clara's life. When Clara — who he does manage to extract from time a moment before her death — learns of this, she is horrified. All There in the Manual: the published script for part 2, "Hell Bent", contains a line of dialogue cut from the episode that directly refers to the Doctor as having been in hell. "Heaven Sent", meanwhile, does have a televised scene in which the Doctor wonder if he is in hell, which he just dismisses as "Heaven for bad people." | |
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Green Lantern Alan Scott once was forced to venture into Hell, where he found his old enemy Blackbriar Thorn. They fought at the Suicides' Wood, and Thorn used his sorcery to animate the trees, the embodiment of the souls punished in the Wood, to bind Scott. Even though he was no longer unable to affect wood, Green Lantern refused to break free from the trees, as he realized it would be like shredding their arms apart. The realization that someone cares about them, even in the depths of Hell, exorcises the souls from the trees. | |
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Afterlife (1996) is basically a Simulation Game where you built the afterlife (the choices are Heaven, Hell, or both Heaven and Hell at the same time) and have to develop and maintain it; whether or not people came there was dependent on what they believed in life, which you could tweak by, for example, inspiring prophets in the mortal world. A tip; your income rate depends on the death rate depends on the population... so go rack up some lust. There's also elements of the more traditional interpretation of these in many of the Envy punishments, in that they all have a way to succeed above others and sometimes even escape Hell, and the souls involved could finally reach relief if they just stopped screwing each other over for one second. But if they were able to let that envy go, they wouldn't be in Hell. | |
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Your Wish is my Command: Lila Wishes to swap places with Adrien, becoming the daughter of Gabriel Agreste. Her attempts to continue her usual tactics blow up in her face; the more she attempts to manipulate things in her favor, the deeper the hole she digs for herself. | |
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Memoirs: Inu-papa deliberately creates one for himself; in order to force his feral side to develop an aversion to killing humans, he gives himself a weakness to human blood. | |
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Hulk: The End, set centuries after all of mankind except for the title character died in a nuclear war, concludes with the Bruce Banner part of the Hulk dead and the savage personality trapped alone on a nuclear-ravaged Earth with nothing to look forward to except wandering aimlessly and being daily devoured by gigantic mutant cockroaches from which he always heals. Hulk could have died with Banner or die at any time by reverting to Banner. But the Hulk's own stubbornness at admitting weakness ever, viewing dying as a form of defeat or weakness, the idea he needs someone else, or being anything less than the "strongest one there is" would in his mind mean his old, dead enemies triumphant over him means he is trapped in a hell he could escape at any time. | |
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In the world of In Nomine, by Steve Jackson Games, a mortal only goes to Hell if they achieve their Fate, the darkest, most selfish possibility for their existence. And it truly has to be self-inflicted — if a demon (or an angel!) pushes them too hard in that direction, it doesn't count and the soul escapes. | |
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Job: A Comedy of Justice has a variant, in that whatever belief structure you believe in is the one you get to experience the afterlife for. So if you're Christian, you'll get heaven/hell/purgatory, if you're Hindu you'll get reincarnated. The Christian main character finds this out the hard way when he dies and goes to heaven but his wife is not there. So he assumes she's in hell, and only when he's trapped in Hell does anyone explain this to him. She's in Valhalla, and since he didn't believe in Valhalla, he can't get there. | |
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An interesting twist in Hell's Angels. The story is set in Hell, but it is later mentioned that souls' ultimate destiny is Reincarnation, and Hell (and possibly Heaven too) only exist because Abel's grudge over being killed by Cain extended to all of humanity. He created the afterlife and forced people to believe in it by means of philosophy and religion. Those who felt guilty in life went straight to Hell. The main character comes to Hell with her mortal body by accident (?) and puts a stop to all this. | |
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This is the Hell shown in The Sandman (1989) and its spinoff, Lucifer (though not everyone goes to Lucifer's particular Hell, so not everyone chooses their own damnation). Lucifer states explicitly as much in The Sandman: In Death: At Death's Door, several damned souls are people who definitely don't deserve to be in Hell but are because they sincerely believe they deserve it. For example, one was a little boy who was beaten by his mother. While he was alive, during beatings, his mother said she hated him for being born because the pregnancy ruined her figure, so he naïvely thinks suffering in Hell will make her love him. When Lucifer closes Hell and its inhabitants wander the Earth, a boy who encounters them notices that they seem to have brought their own hells with them. He even manages to convince one of them to give it up and come with him. Also, while Lucifer is closing Hell, he finds unique trouble in the last occupant, a guy who staked himself to a wall, refusing to leave because he needed to pay penance for the men, women, and children he slaughtered in life. Lucifer gets him to leave by saying no one remembers what he did centuries ago. The DC Universe Purgatory is shown as a place of crushing ennui; ironically several inhabitants earned their way upwards by kicking the ass of Purgatory's guards in a slightly misguided attempt to do good. There is also a minor form of DC Purgatory in Ragman. The evil men Ragman kill get to work off their sins by literally lending their strength to the hero and absorbing his injuries. A broken knee goes away by having some of the souls get injured knees. You work hard enough helping Ragman out/taking his owies, you get to go to Heaven. It should be noted that most Vertigo stories are not considered canonical for the DC Universe. The recent miniseries Reign In Hell shows a version of Hell different from the above stories: it turns out Purgatory's actually a subsection of Hell as a whole. But... either you work out your debt and head upstairs to Heaven, or you can take Door Number Two... Hell. You can renounce salvation, leave Purgatory and go to Hell. This is actually part of a much larger question that is answered at the end, answering, exactly, what is the (rather chilling) Unspoken Principle of Purgatory: |
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The Cosmos: Nino ends up in a waking version of this once the titular group returns. Unlike most of his classmates, he recognizes that Lila is a Manipulative Bitch, but isn't willing to stand up to her or call her out. His unwillingness to act means that he's Forced to Watch as she digs her claws deeper into his friends, well aware that karma is coming for them all, but too scared to speak up and risk her wrath. | |
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Fallen London has the Seeking Mr. Eaten's name quest, which consists of player character deliberately doing increasingly horrible things to themselves over and over. The quest is onerous both in-game and out, consumes your items, resources, and even your stats in enormous quantities, and finishing it will brick your account and render it permanently unplayable. The quest was written as an experiment in seeing what players would be willing to do to themselves just to know what would happen next. | |
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This is the explanation for his predicament given to the protagonist of Open Your Eyes, and its remake Vanilla Sky. | |
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In L. Jagi Lamplighter's Prospero Regained, Hell is this. | |
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It's a point of contention in pictures for sad children. Jeremy thinks Hell tries to serve up ironic punishments but is really bad at it. On the other hand, Paul thinks that the folks in Hell are already punishing themselves. | |
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Cruel and Unusual: The authorities in the afterlife seem to imply it is this, and that if the condemned accept their sins they can move on. However, only Doris is seen to do this, solely because Edgar took her place. | |
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In Small Gods Brutha the Prophet is the only one who sees the way out of the desert. When he dies and Death tells him judgment awaits him on the end of the desert, he says "Which end?" In response, Death grins. | |
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Star Trek: Voyager. When B'Elanna Torres wakes up on the Barge of the Dead she says that Klingon hell is a myth. The ferryman replies that if she truly believed that, she wouldn't be here. | |
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DC Showcase – Constantine: The House of Mystery: The Spectre sentences John Constantine to the House of Mystery for creating another Flashpoint. While at first he sees himself as living there with his friends, married to Zatanna with two children, things quickly become horrific when they all morph into demons and kill him, only for Constantine to be resurrected for the whole process to begin again. After centuries experiencing The Many Deaths of You he escapes and gives Spectre a What the Hell, Hero?, only to be told that the House was meant to be a Lotus-Eater Machine where Constantine could live forever with those he loved, but his guilt and self-loathing made it otherwise. | |
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Self-Inflicted Hell | |
| Self-Inflicted Hell / int_f4ca104 | comment |
In Weapon X (2017), while on a trip to Hell to stop William Stryker from resurrecting himself, Sabertooth is outraged that Stryker lives in a castle in Hell instead of being tortured. Marduk Kurios tells him that Stryker tortures himself: he is so consumed by his hatred of mutants that he is incapable of enjoying his life of luxury in Hell and instead just mopes and drones on and on about what the mutants did to him until he comes back to life and later dies so the cycle can start all over again. Kurios doesn't even have to do anything to him. | |
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| Self-Inflicted Hell / int_fa49fd7a | type |
Self-Inflicted Hell | |
| Self-Inflicted Hell / int_fa49fd7a | comment |
Oracle of Tao has one of these, both of Heaven and Hell. Hell is an empty desolate waste, resembling Yomi, the Japanese equivalent. Heaven appears as a Fluffy Cloud Heaven, at first, but it turns out that both are based on the hero's conception of the fate she deserves. Her final destination is a sort of Mundane Afterlife resembling her living existence. | |
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| Self-Inflicted Hell / int_fa5c1b11 | type |
Self-Inflicted Hell | |
| Self-Inflicted Hell / int_fa5c1b11 | comment |
In the River of Dancing Gods stories, there is an unusual subversion. People get what they expect, but whether it is a reward or a punishment is determined by what kind of a person they are. A bad person who believes they will go to a traditional Heaven will discover just how horrible it can be to sit on a cloud and play a harp for eternity, while a good person who believes they will go to Hell discovers that Hell may be filled with sinners and fire, but it will be an enjoyable Hell full of sinners and fire. | |
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| Self-Inflicted Hell / int_fbb719c5 | type |
Self-Inflicted Hell | |
| Self-Inflicted Hell / int_fbb719c5 | comment |
This idea was thrown out for Constantine (2005), the (very loose) film adaptation of Hellblazer, and replaced with a more conventional system based on Catholicism. | |
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| Self-Inflicted Hell / int_fd6407b | type |
Self-Inflicted Hell | |
| Self-Inflicted Hell / int_fd6407b | comment |
In classic Strontium Dog, Hell includes a desert of the dead, overseen by the Horsemen of the Apocalypse. Those who walk through it can see the city of Hate in the distance but never get any closer. As they fall into despair, they gradually turn into skeletons and simply kneel down, facing the city they will never reach, with nothing but their thoughts for all eternity. | |
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The third option in Skyhigh. | |
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