Artist: Run The Jewels
Album: RTJ4
Date Released: June 3rd, 2020
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Artist Background
The duo consisting of Atlanta rapper Killer Mike, and legendary underground produceMC El-P, known together as Run The Jewels, originally came together as a result of Adult Swim executive Jason DeMarco who introduced the two in 2011. After his 2011 album PL3DGE peaked at #115 on the US charts, Killer Mike told Jason that he wanted to make his own AmeriKKKa’s Most Wanted. Jason informed Mike, “If you want AmeriKKKa’s Most Wanted modernized, the only producer I know who comes close to the Bomb Squad-level of production is El-P”. The duo’s chemistry was immediate, as El-P went on to produce all of Killer Mike’s 2012 last solo album R.A.P. Music, and Mike featured on El-P’s final solo album Cancer 4 Cure. Mike and El’s respective albums released within a week of each other in May 2012, and the two embarked on a twenty-city US tour in the following months. After returning from tour, the pair had found a friendship growing between themselves, and made the decision to put other projects on hold and focus on the chemistry that had been sparked. Recording at an upstate NY studio beginning in April 2013, the duo re-appropriated the phrase “Run The Jewels” from the LL Cool J track “Cheesy Rat Blues", and released their self-titled collaborative album, for free via digital download, only a mere 2 months later in June 2013.
36” Chain vs. Pistol & Fist
Run The Jewels discography currently exists in a distinct pairing. With Run The Jewels as their debut, this record set the group's tone as a light-hearted, braggadocious duo with as much confidence in their abilities as swag in their punchlines. Just over a year later, the sequel Run The Jewels 2 took the foundation set from their freshman effort and dialed the insanity up to 11. RTJ2 pushed the boundaries of their aggression and flows to new heights; with incredible energy in their verses, and absolutely impeccable beats, blending El-P’s signature industrial sound with sharp synth arpeggios, chopped Zach De La Rocha vocals, and absolutely bonkers Travis Barker drums.
It was then nearly 3 years before Jamie and Mike followed up their breakout RTJ2, with Run The Jewels 3 being released again ahead of its scheduled release date via free digital download, this time on Christmas Eve 2016. Instead of these two attempting to outdo the pure insanity and in-your-face attitude found in their predecessor, Mike and El decide to evolve themselves as a group. The duo had noticeably pulled back on the swag and dick jokes which made such a splash on RTJ2, instead choosing a more subdued, electronic approach to their beats, as well as a clearly stronger political approach in their lyrics. This change in sound and style is demonstrated in the album cover’s artwork. The first two records featured the distinctive RTJ “Pistol and Fist”, with the fist tightly gripping a chain. The chain, in my opinion, represents the swag and braggadocio that drove the aggressive nature of their first two albums. In RTJ3 the chain is removed, leaving only hands that have transformed from bleeding and bandaged, to a pristine gold.
This brings us to early 2020. It’s been nearly 4 years of living in a post-Trump America, and El-P announces that Run The Jewels fourth record has been completed. Mike and El live-stream the first single “yankee and the brave” on Instagram on March 22nd, 2020. Lyrically and sonically, RTJ4 exists as the successor to Run The Jewels 3, with Mike and El again taking the good from their previous effort and launching it into the creative stratosphere. El-P’s beats are again leaning towards the synthetic, electronic side, this time with the intensity dialed all the way up to 11. From a lyrical perspective, RTJ takes the politically-charged lyrics from their predecessor, and again, up the ante, laying down some of the hardest hitting and politically poignant bars either of these two have ever spit.
Album Review
2020 was a year that none of us will soon forget. An unprecedented global health crisis kept the majority of us inside for months at a time. RTJ4 was announced on May 12th, 2020, with a release date slated for June 5th, 2020. However, with 2020 as the gift that won’t stop giving, the end of May was highlighted by the unjust killing of George Floyd. The phrase heard around the world, “I can’t breathe” instantly became a rally-cry for the oppressed to finally take to the streets to demand systemic police reform, as Floyd’s death was not the first time this phrase was uttered in an unjust police killing. In fact, a 2020 study by the New York Times showed that at least 70 people have died in police custody after using the same phrase over the past decade. As millions of American’s began organizing protests and demonstrations in the wake of Floyd’s death, Run The Jewels made the decision to release their latest chapter two days ahead of the scheduled release. El-P tweeted, just minutes ahead of the drop, “Fuck it, why wait. The world is infested with bullshit, so here’s something raw to listen to while you deal with it all. We hope it brings you some joy. Stay safe and hopeful out there and thank you for giving 2 friends the chance to be heard and do what they love”. In line with all past Run The Jewels releases, the album was made available for free digital download, two days ahead of its scheduled release date, on June 3rd, 2020.
THE RETURN (we don’t mean no harm but we truly mean all the disrespect)
RTJ4 opens with the first single, “yankee and the brave (ep. 4)”. Using the team names from their respective hometown baseball teams, Mike and El use the opening track to prove that they’re not just a hip-hop duo, they’re brothers, for better or worse. El-P kicks this installment off with rapid-fire, machine-gun esque snares, matching Killer Mike’s aggressive flow and tightly packed rhymes, before El jumps in to trade some dense rhymes as well. Mike and El depict themselves as outlaws, with Mike surrounded by cops with only one bullet remaining. He contemplates suicide instead of allowing the police to take him alive, until El-P jumps back in, offering Mike a way out, with a getaway car waiting outside. This tense situation is depicted lightheartedly in this song’s music video, which was released via Adult Swim and features the duo animated.
The trade-off between Mike and El’s short verses are reminiscent of late-80’s EPMD flows, while the production sounds like boom-bap that’s been sent to us from the future. This distinctive blend of old-school rap roots and forward thinking production is what continues to separate Run The Jewels from absolutely all of their contemporaries. While so many artists are continually playing catch-up with the latest trends, RTJ are side-stepping the trendy and moving forward with the mind-bending.
FLEXIN’ (ayo one for mayhem, two for mischief)
The second single “ooh la la” samples a Gang Star track "DWYCK (feat. Nice & Smooth)" as the basis for the chorus. I say “samples” as that’s how it is credited in the album’s liner notes, however it’s truly an interpolation of Greg Nice’s bar, slowed down slightly, and sung by El-P and Greg Nice himself. El-P is a true old-head at heart, and it’s abundantly obvious in his work, even going as far as to recruit legendary producer DJ Premiere to handle the scratching on the back end of this banger.
Out of key piano chords are looped to quickly create an unsettling aura surrounding the track, before El-P’s voice cuts through the infectious piano like a whip. Pounding, up-tempo drums are introduced after the chorus’ first iteration, creating what is possibly El-P’s first danceable beat. Lyrically, Mike and El-P initially seem scattered on this track, however the music video quickly makes their point very obvious.

”we imagined the world on the day that the age old struggle of class was finally over. a day that humanity, empathy and community were victorious over the forces that would separate us based on arbitrary systems created by man.
this video is a fantasy of waking up on a day that there is no monetary system, no dividing line, no false construct to tell our fellow man that they are less or more than anyone else. not that people are without but that the whole meaning of money has vanished. that we have somehow solved our self created caste system and can now start fresh with love, hope and celebration. its a dream of humanity’s V-DAY… and the party we know would pop off.”

The video envisions a society celebrating the fact that the class system we currently exist within has finally imploded. Money is worthless, and we have rejected the desire to bind ourselves to the constraints of capitalism. All creeds and colors unite to burn the system that has so effectively controlled us for over a century. It’s a party, and if there was a song to celebrate the end of the world as it is currently known, “ooh la la” is that song.
Mike’s last verse features a few metaphors and comparisons celebrating the destruction of capitalism, saving the most poignant for last:

I used to love Bruce, but livin' my vida loca
Helped me understand I'm probably more of a Joker
When we usher in chaos, just know that we did it smiling
Cannibals on this island, inmates run the asylum

Premo’s expertly cut scratches lead us into the equally hard hitting sample flip of “Misdemeanor”, by Foster Stevens as the basis for the beat to “out of sight”. Lending yet another nod to the old-school greats that laid the foundation for RTJ, “out of sight” samples the same track as The D.O.C.’s “It’s Funky Enough”, only adding a bouncy, electronic synth atop the inverted chord hits, and uptempo, industrial drums, to create an absolutely infectious groove for Mike and El’s dynamic chemistry to shine, rapidly jumping between each other’s two line flows in the first verse.
“out of sight” shows each MC providing insight into how each of them earned a living and achieved their current status. Mike and El’s opening verse each details themselves robbing people in order to eat. El alludes to the fact that he crossed his accomplices in crime for the whole bag, while Mike details the fact his assailant tells him it’s an “honor” to be robbed by his mother’s only son.
While El-P’s production is the obvious stand out on first listen, Killer Mike comes through with one of the most sonically pleasing and technically proficient verses of 2020.

We the motivating, devastating, captivating
Ghost and Rae relating product of the fuckin' '80s
Coke dealin' babies, never regulating, bag accumulating
It would not be overstating to say they are underrating
The pride of Brooklyn and the Grady, baby
We don't need no compliments or confidence
Our attitude and latitude is "fuck you, pay me"

The dense, intricate rhyme schemes smack you in the face, almost distracting you from Mike’s delivery and blistering flow on the verse; flexing his legendary status while paying homage to his drug-dealing past. This absolutely stunning display of technical skill, story telling, and complex rhyming illustrates how RTJ seamlessly integrates the best of both old school and new school hip-hop.
“out of sight” also features a guest verse from 2 Chainz, and he continues to lay the braggadocio on thick. Considering Tity Boi’s dedication to trap stylings, his verse feels right at home on the flex track, despite it’s late 80’s tribute sample, a considerable departure from his usual sound palette.
Up until this point, I haven’t mentioned any of the El-P’s lyrics specifically. El-P is a great rapper, but Killer Mike… Well, Killer Mike is an incredible rapper. He’s the guy who draws you in. El-P is the one who lays the foundation for greatness and Mike is the show stopper, and that’s generally the case for most RTJ tracks. But on “holy calamafuck”, El-P seems determined to make people stop and ask, “Who the fuck is this?!”.
A sharp, yet nearly minimalistic drum kit backing a heavily distorted synthesizer melody lays beneath rhymically knocking cow-bells. This aggressively set stage allows Mike and El to flex as the dynamic duo they are, until the beat suddenly takes a turn for the chaotic. A gnarled, ultra-menacing synth overtakes everything while Mike screams into the abyss, until a distorted snare, enormous 808s, and skeletal hi-hats cut through and launch the beat switch into another dimension. The minimal, yet incredibly dark soundscape allows El-P to snap in a way I have never heard from him previously. His rhymes schemes are reminiscent of an old MF DOOM lyric notebook, while his topics flawlessly combine flexing, psychedelic use, and his well-cemented legacy in the hip-hop community. Cutting and pasting a few of his bars into this review could not convey a fraction of how stunning El-P’s performance on “holy calamafuck” is.
Slightly later in the track list, making liberal use of the Ether song “Gang of Four”, “the ground below” samples and loops the sharp guitar riff and adds aggressive, pounding drums as the basis for the beat; this is finally reminiscent of the forward-thinking, stridulous production El-P has built his reputation on. Capitalising on the classic RTJ moment, Mike and El both flex in their own unique ways. Mike compares himself to Godzilla taking on Tokyo, and El-P demands respect for his name as the legend he is, threatening to smack dying children for mispronouncing his name with his middle finger to the world; his complete disregard for human life and confidence in his abilities are summed up at the end of his verse.

You see a future where Run the Jewels ain’t the shit
Cancel my Hitler-killing trip
Turn the time machine back around a century

SO¢IAL JU$T-ICE (until my voice go from a shriek to whisper...)
While the first few tracks aren’t without their social and political themes, the back-end of RTJ4 is where Mike and El start to bust out the heavy topics. “goonies vs. E.T.”. starts off light, with El-P pointing to the irony of how once he finally started to make it “big” in the industry, the world began to descend into chaos due to climate changes, increasingly obvious social injustice, and political madness. He culminates his frustration with our disregard for the Earth with a fantastic quotable.

Fuck y’all got, another planet on stash?
Far from the fact of the flames and our trash
That is not snow, it is ash, and you gotta know
The past got a wrath, it’s a lover gone mad

Mike’s verse takes the light-hearted frustration expressed by El-P, and turns the aggression to the next level. Aiming his sights against the ruling class and their society that’s been designed to oppress people for profit, who have very meticulously painted themselves as celebrities and idols to the American public. Mike accepts that he will be villainized by these people for speaking against them, but he welcomes the nefarious role, knowing that the working class will eventually eat the rich, no matter how much they are stomped into the dirt.
And this is just the warmup.
If it’s possible for a song to represent a moment in time that captures the absolute shit storm that has been 2020, “walking in the snow” is that song. It’s release coincided perfectly with the protests for George Floyd which were sweeping the nation. Killer Mike’s verse directly references the phrase “I can’t breathe”, the last words of Eric Garner, which also happened to be the last words of Floyd as well. The fact that this verse was reportedly written in November 2019 perpetually underscores the importance of the content and perfectly represents how persistent this problem is. “walking in the snow” is a true encapsulation of both a defining moment in time and an ever-persisting issue.
But he doesn’t just stop at the racial injustice. Mike goes on an absolute rant about the American education system; how it’s not designed to teach people, but to discriminate against poor populations, limiting their legitimate opportunities, and therefore disproportionately leading them into a criminal lifestyle. He calls out the media as fear-mongers, and the apathy of the American public in the face of indecency. Fortunately for Mike, by the time we finally had the chance to hear this masterpiece, we were already on our feet, using this album as a war cry to mobilize against a tyrannical government that militarized against its own citizens simply for asking that we recognize systemic racism and demanding change. Killer Mike has the best verse of the year, no doubt in my mind.
The only drawback is that Mike’s verse is so fucking good that it completely overshadows El-P’s, which is also amazing. A menacing guitar riff and haunting synths kick the track off into a bouncy groove, where El-P unleashes a flurry of internal rhymes that does not relent for about half his verse. Even adding layers of social commentary within the densely packed bars, El refuses to quit and continues on his political tirade; criticizing ICE’s detainment center practices and the “pseudo-Christians” who support them, with a bar that now lives in my head:

Pseudo-Christians, y’all indifferent, kids in prison ain’t a sin? Shit
if even one scrap of what Jesus taught connected you’d feel different
what a disingenuous way to piss away existence, I don’t get it
I’d say you lost your goddamn minds if y’all possessed one to begin with

The combination of two of the best verses spit by any rapper(s) this year and production help from El-P and long time RTJ collaborator Little Shalimar, create a bouncy, aggressive, deeply truthful banger. “walking in the snow” not only encapsulates the crux of 2020 with lyrics that will become more powerful as they age, but will also forever be associated with the Black Lives Matter movement and the determination to expose continuing racial and societal injustices.
The sonic palette of RTJ4 holds an extremely unique place in El-P’s discography. Jamie is the definition of a self-made 90’s hip-hop legend. This is the dude who put New York underground hip-hop on the map with Company Flow, and he did it with his unique flavor of dark, noisy, dense, boom-bap. Whether he was doing it with the help of Rawkus, or completely independently during his Definitive Jux run, El-P has never made music with the intention of becoming famous. Funcrusher Plus, Fantastic Damage,I’ll Sleep When You’re Dead, and Cancer 4 Cure are all highly revered as industrial, technical, abrasive, and completely unsuitable for the radio or a party. The fact that three songs on RTJ4 could easily be heard on the radio, at a party, or in a TV series credits scene is frankly, astounding. In a 2002 interview/documentary on El-P’s budding record label Def Jux, he stated that his friend bet him $500 that he could not make a beat that was “happy”. At the time of the interview, El-P said that he had not won that bet yet. While I might not qualify the beats on RTJ4 as “happy”, if you showed El-P the beat for “JU$T” in 2002, I believe he might have won that bet.
Pharell opens “JU$T” with the pre-chorus, spitting varied examples of how we’re all slaves to our current system throughout the track, over echoing snares and bouncy 808s before bright synth chords and up-tempo hi-hats burst in while Killer Mike delivers the chorus, pointing to the fact that the majority of the people featured on American currency owned slaves at one point in their lives. Mike’s verse touches on the fact that he has committed crimes to get where they are today. Mike is publicly open about his past as a drug dealer. So why is he a criminal, but Benjamin Franklin isn’t? These are the people who built our country, and they built it on the backs of slaves. He illustrates this theme with a more recent examples:

You believe corporations runnin marijuana? Ooh (how that happen?)
and your country gettin ran by a casino owner (ooh)
pedophiles sponsor all these fuckin’ racist bastards (they do)

When corporations are able to sell cannabis legally, but the government continually incarcerates people who trap, our president is a notoriously fraudulent businessman, and the people who helped put him in power run a pedophile ring, yet none of them face consequences and are allowed to continue to profit and remain in power while people suffer; well, we might be closer to slaves than previously imagined.
Rage Against The Machine frontman Zach de la Rocha also makes his mandatory feature appearance at the end of “JU$T”. As the only artist to feature on three Run The Jewels albums, Zach is essentially an unofficial member of the group at this point. His fiery verse is spit with the same “Rage” energy that set him apart in the mid-90’s, ending the track questioning his place in a capitalist society as a recipe for his inevitable demise, since his “breath”, or art, as his weapon to express himself is still being exploited for other’s profit.
Continuing with RTJ4’s heavily synthetic sonic palette, “never look back” features wavering synth leads resting above the slow-jams snappy snares and thumping bass, while a haunting voice echoes in the background. This unsettling aura provides additional gravity for Jamie and Mike to continue self-reflecting on defining moments in their childhood, and as well as how far they’ve come from those moments. Mike and El are both self-made men, and while they have a certain fondness for those gritty moments that defined them, moving forward in life is undoubtedly more important.
Skeletal drums reminiscent of a slowly pounding heart opens “pulling the pin”, before rhythmic hi-hats and textured, watery synths fluttering in the upper register resting above a bouncy synth lead, and punchy 808s, burst in. The track digs itself into a slower, marching groove and shows the duo figuratively doing exactly what the title implies. Painting a portrait of a society that has turned on itself, Mike and El are ready to pull the pin and start over.
The duo both detail their despise for the ruling class, pointing out multiple examples of how the elite have designed our society to keep poor people in their class. Simultaneously recognizing their own hypocrisy for profiting in a system that inherently discriminates; Mike reflects on his own success, knowing that living the lifestyle he enjoys is one built on oppression, and expresses the guilt that has caused him. El-P opens with a brutal metaphor for police, implying that they’re the root cause of the “wretched state of danger” our society exists within, and that the only effective corrective action is to numb yourself with drugs. Despite his advice, Jamie knows this is not a permanent solution, but one that causes more self-inflicted wounds.
The final piece of the puzzle that is RTJ4, “a few words for the firing squad” begins to close the album with ever crescending strings, and loud, thunderous drums which never seem to resolve, continuing throughout their verses. While the drums that lead to nowhere can be sonically unpleasant, the unresolved melodies are intentionally representative of their current mindsets. Their verses are reflective and grim, but simultaneously optimistic and envisions a world where tragedy is a less common occurrence.
El is grateful for what he has now but recognizes his entire life has been skewed by traumas, so out of place feels normal for him. He reflects on his current success, noting that the worst people tend to end up with the most, which makes becoming “rich” something not as desirable as it once was.
Mike opens up about the death of his mother who died while he was on an airplane, admitting his struggles to not cope with his trauma with opioids. However, his wife provides him the most important reason to stay clean “but my queen/say she need a king/not another junkie rapper fiend” while a heartbreaking saxophone solo highlights the gravity of his lyrics.
The track ends with what sounds the like wrap-up voiceover to a TV show, a conceptually satisfying ending, as the opening track “yankee and brave (ep.4)” began with El-P stating:

”This week, on Yankee and The Brave”

This voiceover paints the duo as brothers on the run from the law and crooked cops, and while this does close this “episode” out as intended, the critic in me is bothered by the slightly kitschy outro to such a spectacular album. The voices singing over and over, “Brave, brave, braaaaaave, Yankee and the Brave” would be, simply put, better left on the cutting room floor. The ending of this track alone is what knocks my score of this album down a few points. Despite its stellar lyrical content, with drums that never seem to reach that “holy shit!” moment, and the easily skippable outro, it’s upsetting to me that an album this great ends on such a low note.
Overview
RTJ4 is by far my favorite album of the year. El-P’s cutting edge approach to their sound, blended with lyrical content that continues to be more relevant by the day, the duo have come together with what is objectively their most accessible album to date. RTJ4 is the natural evolution of sound and subject matter for the duo; taking the foundation set by Run The Jewels 3 and evolving it into a more concise, more accessible, and more conceptual album. While I still personally prefer the “fuck the world” intensity and experimental nature of Run The Jewels 2, RTJ4 opens themselves up to a whole new world of exposure, and when you’re as talented as these two, you know they’re going to capitalize on it. RTJ is currently at their apex, and they’ve created an album that will make many new life-long fans going forward.
9.2/10
Discussion Points

• How does this compare to other RTJ releases? How about in comparison to the member’s solo works?
  
• Does the overwhelmingly positive critical reception of this album surprise you?
  
• How will this be looked back on in 5 years?
  
• What are your favorite lyrics?
  

Okay, I want to start this by saying that while Endless Summer is my favorite book due to emotional attachment ^{(Yeah, this is no longer the case as of October 31st, ROD GOAT}) I still think that Ride or Die comfortably surpasses it and every other Choices story when it comes to writing quality. I've been consuming some truly kino media like Steins;Gate, The Last of Us Part II and Better Call Saul in the past few months but seeing that the tumblr side of the fandom was having a ROD Appreciation Week made me have the book constantly wrestling for time in my mind along all those other things that I greatly enjoyed (Obviously, I'm not trying to imply this is anywhere near the same level of quality as these other pieces, cause that'd just be stupid) but yeah, I've been wanting to talk in depth about why I hold Ride or Die in such high regard for a long time now, so this post is for me, for anyone else that might be big fans of the book or even for people that didn't like it and don't understand why it's a fan favorite. It's also my late, not proofread contribution to the appreciation week since I can't really draw for shit.
PREMISE AND THEMES
Quick summary, it’s a story about growing up and finding oneself that focuses on an 18 year old girl in her last weeks of high school that joins a criminal crew without even realizing it due to her sheltered life making her feel like she missed out on her teenage years for the past 5 years since, after her mother’s death, her dad became incredibly protective of her. As she grows attached to the crew she gets deeply immersed in their world until she realizes what the pursue of freedom, fast cars and bad boys/girls truly entails. Of course, you all know that.
So, themes. Most Choices stories don’t have any big, noticeable theme that encompasses the entire story they’re trying to tell, which is completely fine since you can still write a good, compelling story without it ^{(Unless you’re David Benioff}). Of course, while not necessary, overarching themes elevate a story a lot more in my eyes if executed properly and I feel like Ride or Die excels at it. And what are these themes? Well, obviously, it’s up to every individual’s interpretation but to me the three biggest stand outs are freedom, obviously; the choice between someone’s own past and future; and how the typical Bad Boy Romance is not always the cheesy, idealized life most of us are used to. I’ll explain how the story presents these themes in the following segments.
ELLIE WHEELER, aka THE MC
I’ve raved about her at almost every chance I get because I feel like I can make a pretty compelling argument as to why she’s the best MC and one of the best characters PB’s ever written, but it’s about time I finally sat down to properly explain this stance. I might refer to her as Ellie at times instead of MC since I just don’t like having an essay this big and introspective and just referring to her as MC, even if I didn’t actually keep her default name myself.
So, let’s start from what most of the ROD MC masterrace knows about, she’s different from 95% of the MCs. She has a clear goal, a clear personality and, one of the most rare traits in MCs, her dad’s an actual character and he has an actual relationship with her. She’s also far from perfect, she’s an incredibly smart young woman that lacks “street” knowledge and as she gets in deeper and deeper with the MPC, her previous and new relationships suffer because of it, because she doesn’t know how to juggle both sides of her life. The hardships Ellie has to face are both products of the environment she lives in and a product of her mistakes, which acts as a nice balance so that she doesn’t come of as a bumbling idiot that fucks up everything for everyone and an overly perfect protagonist who’s only flaw is that the world just plots against her so that there can be a story to tell.
Her goal is a pretty simple one, she wants to go to Langston university, her dream school. The thing that stands out to me is how she never betrays her dream and it’s always present in the back of her mind, well, technically you can choose to skip out on all of her classes but that always seemed really out of character to me, so I’m not really taking that into account, since she expresses that she loves to learn and she sees it as a challenge to be better than herself from yesterday. She manages to involve Logan into her school life so she isn’t fully distracted from her studies and even when she’s living on the Gramercy Garage, she still finds time to study for her finals. Even when everything goes to shit and she starts losing sight of who she is, Logan, Colt and Mona know that being a criminal is not the life she’s meant to live and it isn’t until after prom that she realizes who she really is. There’s so many choices throughout the story that, while ultimately not relevant to the outcome, I feel can add a lot of character to her if you’re willing to “headcanon” a bit, so minor things such as picking the color of her car due to it being the same as Logan’s or the one Colt or Mona suggested, choosing to listen to rap music as she’s driving the MPC around since it can be seen as a rebellious sort of music that her dad probably wouldn’t have approved of, treating Brent’s party invitation as something of no importance to her, getting a tattoo… wait this one’s supposed to be big, why does no one acknowledge it dammit? Then there’s also some bigger choices such as her being able to tell Riya that she’s most excited about being able to leave LA on the first chapter or being able to choose to stay with Logan and help him fight Salazar, choosing to focus on her studies even when living with the MPC, and so on.
Now, how is she tied to the themes I mentioned above? Well, it’s clear that her desire for freedom and independence is what initially leads her to want to be a part of the MPC’s life, when Kaneko brought her to the garage for the first time she didn’t quite see them as criminals, but as people that lived as they wanted and were still, well, humans. She’s constantly seeking her own freedom from her dad’s overbearing presence and from her own boring life and she achieves it twice, one is the fake freedom she got when she ran away after her dad found out about her involvement with the MPC and the second one is what I like to think of as her true freedom. The definition of true freedom is tied to the second theme I mentioned, the choice between past and future, after the Brotherhood attacks her and her LI after prom she realizes that she can no longer try to keep on living both lives, the nerdy valedictorian girl and the criminal that gets a thrill by being behind the wheel, the inability to choose between one and the other is what initially landed her into that mess and it’s only by finally choosing that she’s able to get herself and everyone else from the MPC out. It’s a very unique way of showing a character being strong, she got herself out of the mess she herself helped cause and she did it without the conventional strengths of MCs such as being a warrior queen, a part of an alien entity that transcends time or a literal vampire.
Ultimately, she chose to embrace her future (And her past, in a roundabout way), her long time dream, which meant letting go of the life and people that once made her feel so free and alive and by doing so, she got the freedom she desired so much while also finding who she truly was and what she valued in life. That’s also tied to the third main theme I mentioned, in the end she couldn’t keep on living an idealized version of the bad boy romance where you get to keep a good life out of living on the wrong side of the law and while I could definitely go more in depth about how she embodies this theme, I’ll do that when I talk about other characters, since I’ve already talked about about Ellie a lot.
LOGAN
The cover boy, the boy with the car, the “bad boy”, the mandatory “good boi” LI, the only Love Interest that has managed to rival Quinn Kelly in terms of how much I love them. I feel like the love for all 3 LIs is mostly evenly distributed on this sub but I’ve definitely seen some people say that Logan is kinda boring compared to Colt and Mona and honestly, that just couldn’t be further from the truth in my mind. Prepare for another long ass analysis.
Being a fan of the anime/manga series Attack on Titan has made me gain a great, great appreciation for story recontextualization and that narrative element is exactly what Logan brings to the story at the end of Chapter 10 and boy, did Luke and the team knock that shit out of the park with how they implemented that tool into their story. ROD Ch. 10 is notorious for being the chapter that officially turned the book from an initially hated book that people were slowly warming up to, to a current fan favorite as far as online communities are concerned, seriously, you can look up the discussion for that chapter in the search bar and the first comment you’ll see if someone taking back everything negative they said about the book and then it’s just constant praising for the next 6 weeks. Why did all of that happen? Because of how much starts making sense or becoming clearer because of the reveal that Logan initially started dating (?) MC because he was trying to get whatever intel her dad had on them from her, seriously, everything becomes so clear after the end of the chapter, everything starts falling into place like a carefully crafted Lego build, be it for the stories’ themes or for characterization of characters like Colt, Mona, Kaneko, Jason and Logan himself.
Let’s focus on Logan for now though. A couple of chapters in, as we start learning more about his life, we can see that Logan is someone that’s never truly had someone in his life that could show him true human love and bonds, the closest he has to that prior to Ellie is his “cousin” Vaughn. Initially, it seems like a weak attempt at making the titular bad boy seem like a layered character, specially since he seemingly just fell for a random girl that literally stumbled upon him on a high school parking lot, but in reality the reason his fake interest in Ellie started to become reality was exactly because of the lack of proper, meaningful connections, which we couldn’t have known until after Colt reveals the truth. As we know, Logan always had the mentality that, no matter how good a crew might be, he should always be ready to bail when the heat is too much, that’s a philosophy that he adopted and he knows that any criminal that’s as good as him will share the same sentiment, which proves to be the case when the MPC immediately disbands after Kaneko’s death... but Ellie isn’t a hardened, professional criminal, she’s a girl that, while certainly enamored by the allure of their life, still sees them as people, not as mere means to an end that are just fun to hang out with, which is why she doesn’t run away after the escape from the mall or the encounter with Salazar’s crew at the drive-in cinema, that’s not something Logan thinks people are capable of, why would such a saint of a girl not get away from them after things like that?
That’s when Logan’s guilt enters the scene. He tries to undo what he now considers to have been a great mistake since he’s slowly catching real feelings for the girl that was just supposed to spill all of Detective Wheeler’s info and leave them as soon as she realized how dangerous their life was, but how is he supposed to do that now when doing so would mean losing this person that’s so incredibly unique in his world? We see how his guilt starts weighing on him more and more as the story progresses, until he almost does something very stupid by almost revealing the truth right before the stadium job, so he probably wouldn’t have lasted much without revealing it but, for better or worse, Colt was the one that did it for him and once again Logan turns Ellie’s whole world upside down. For the rest of the book, he does everything in his power to show her that, while he was lying in the beginning, he actually did come to care for her a lot (even if his actions might’ve pushed her into the arms of Colt or Mona, or at least acted as the final push in their routes).
After the MPC disbanded there was only one person I could see appearing on Riya’s doorstep when I played through ROD during release and that was Logan, because it just made all the sense in the world in my mind. Backtracking a bit, we know from his two diamond scenes on the early chapters that Logan dropped out of high school but he always liked to learn about random stuff, hence him reading while on the road, and that he always toyed with the idea of going back (He also says that he’d probably be graduating that year if he hadn’t dropped out, which tells us that he’s the youngest of the 3 LIs, which is a neat detail), so I always saw that as him showing up not just for Ellie’s sake but also for himself in a way, since it’d be a good way to live out the life he never had, even if just for a few hours. Speaking of prom night, I absolutely adore how when he tells Ellie he loves her, she can reply with “Logan… no you don’t.” since it’s only natural she wouldn’t believe him 100% since not only did they get together through a web of lies spun by him and Kaneko, but because as far as she knows, Logan can’t possibly know what real love feels like.
Fast forward to the final chapter and it’s time for the MPC to go their own ways, for real this time, to avoid getting entangled with the FBI and, even if Logan wasn’t your actual LI he still shows that he’s completely accepting of the fact that he isn’t the one Ellie loves, and on both cases he shows that he also grew to truly love her by deciding to not be a part of her life any more, because it just isn’t feasible for her to pursue her dreams while also being involved with potential suspects on the FBI watch list, so he chooses her future over his because he can’t and he won’t let her risk her future for something as small as a space rock lucky enough to burn up in her atmosphere for a moment and with that, a heartfelt kiss, an explicit and tacit declaration of love, a request for Troublemaker to give ‘em hell and a brief but tense showdown with Detective Wheeler, Logan speeds off into the night.
COLT KANEKO
The actual leather wearing bad boy of the story that sauntered his way into the hearts of many fans, both as a character and a love interest, he’s sarcastic, he’s funny, he’s soft-ish only with the MC and he’s also a multilayered character, how could he not be liked? I want to preface this section by saying that, just like with really popular LIs such as Jake Mackenzie, Damien Nazario or Ethan Ramsey, I could never bring myself to like Colt in a romantic way, even though I can certainly see the appeal of their route but even then, just like the aforementioned gentlemen, he’s still one of my favorite characters of the series regardless of that, simply because of how much he brings to the table. So without further ado, let’s get started with Mr. “Christ, who caaares?” Kaneko’s unnecessarily long essay.
Right off the bat we can see that Colt has a bone to pick with Logan due to their relationship with Kaneko, he’s always butting heads with Logan and Kaneko at the beginning because he resents both, the latter for sending him away to college and not being willing to let him in on the family business and the former for, in his eyes, being the son Kaneko always wanted, not knowing that the only reason his dad kept him away from the business and seemingly replaced him with Logan was because if Jason actually harmed the MPC he could live with the loss of Logan on his conscience, but not Colt’s. As time goes on Colt finds himself slowly warming up to Ellie, even if he initially just thinks of her as one of his dad’s mistakes waiting to blow up in their faces, and even if he does relentlessly teases/annoys her it’s very obvious that he can connect with her because of her complicated relationship with her dad and she can understand him, they both love their dads immensely but they severely disagree on the view they have of their respective child. And against Colt’s predictions, Ellie proves herself as a valuable asset to the crew (Not knowing until later on just how deep that rang true) and he eventually starts falling for her as well, which is what sets the Chapter 10 plot twist in motion.
After the MPC manages to steal the super cars for the Brotherhood, Kaneko opens up to the idea of letting Colt into the business, since it’s clear he won’t just pack up and leave for college anymore, especially after Kaneko is shot and threatened by the Brotherhood and he has to rely on Colt’s plan of kidnapping one of their members and at some point he reveals the truth about their current situation to his son, where Colt finds out about the truth behind Logan and Ellie but it isn’t until after the stadium heist that he makes shit hit the fan by starting a fight with Logan and spilling his secret. That always seemed to me that it came from a place that’s equal parts being mad at Logan for using Ellie like that but also him seeing it as a petty opportunity to sow discord between them, which is why she later has the choice to unload on Colt for deliberately keeping the truth to himself until the right moment. This also marks the moment where the somewhat toxic, somewhat supportive, somewhat wholesome and entirely complicated romantic relationship between them can start to flourish, since Ellie obviously doesn’t see Logan in the exact same way she did 24 hours before and depending on the player, she could’ve actually started to develop her relationship with Colt (Or Mona) prior to the reveal.
Something I haven’t seen being mentioned about Colt’s arc is how him being misjudged and misunderstood by both Ellie and Kaneko plays a huge role in it. After Ellie leaves the MPC, he decides to put the rest of his plan in motion, luring The Brotherhood into an illegal casino’s vault using the member they kidnapped and kill them via gassing. Toby completely disagrees with their actions and decides to recruit Ellie to help him stop the crew from crossing a line that they seemingly haven’t crossed yet, yes they’re criminals but much like Ellie’s initial impression of them, they’re not psychos and much less murderers, they’re still good people; so she sets out to stop them with the help of Toby and a Logan that’s desperate for atonement, but her biggest mistake was assuming that Colt isn’t the kind of person that can kill another person if it means protecting those he cares about. This is where it gets incredibly interesting and compelling to me, since not only does her misjudge of character ruin Colt’s entire plan but there’s also the possibility that she had been working for Jason and the Brotherhood the whole time, so in some cases they might’ve actually escaped the trap directly because of her and it doesn’t stop there, since as a result the MPC lose their entire advantage and are once again being targeted by The Brotherhood and that directly leads to not only another huge reveal from Kaneko’s part but also his death, him sacrificing himself so that the crew could escape as he let’s Colt know that he wishes for him to just let go of this life and do something better for himself. Before the rest of the MPC reunites at Gramercy Park, Colt tells Ellie how he plans to kill them all, to rebuild the garage and kill them all before finally breaking down on her arms as his loss catches up to him, right before the Mercy Park Crew splits up after their loss against Jason.
In the end, the two people Colt cared about the most failed at truly understanding him, his dad kept him at an arm’s length for a long time, missing out on time with his son because he never considered the fact that what he wanted for Colt was not what he wanted for himself, despite of all the risks it might entail, and Ellie played a part in Kaneko’s death by not realizing that Colt would be willing to cross such a fucked up line if it meant protecting the people and legacy he cared about so much. Those two factors play a huge role in the rest of the book since they’re the reasons why Colt is pushed dangerously close to a downward spiral that will most definitely only bring him more pain at the end of the book. After Jason is dealt with, he laments the fact that he and Ellie met under such circumstances and not in a classroom where they could annoy each other and become friends and/or significant others but he doesn’t lament his current situation, he’s dead set on becoming the king of LA, on carrying on his father’s legacy, now more than ever. I’d argue Colt Kaneko is the biggest cautionary tale in this book about the dangers of the often glorified life of the bad boys and fast cars and how it can consume you, he was very special to Ellie and Kaneko but they didn’t fully understand who he was, how he was shaped by his ideal future and they couldn’t see how the most important thing for him was his past, his legacy and as a result, he’s alone against a dangerous world, but that’s a danger that he very much welcomes.
If any of you have done Colt’s romance route and feel like I missed out on anything, do let me know in the comments, I feel like my appreciation for him only grew more as I wrote his section.
MONA
The bad girl, the loner, what even is her real name? I’m also going to dedicate an analysis to her but I also want to direct you to a post from a few months ago by user u/elbenji who has reviewed ROD from a WLW perspective that I think you should also check out if you’ve got the time. Anyway, Mona’s turn.
So, who’s Mona? Well, she’s kind of the Drake Walker of the book, which is a role that you don’t usually see being filled by a female LI. She doesn’t seem to like anyone, she’s pessimistic, she rarely misses the chance to mock people, she’s damn good at her job and she’s loyal to no one but herself, to some she might actually be the worse person of the 3 LIs during the early chapters but as everything else in this book, the layers to her start to show the more the story advances. She shares Logan’s worldview of everyone only being out for themselves but unlike Logan, she knows that not everyone is necessarily like that but in her eyes those people are in for a rude awakening from the world at some point for being dumb enough to think that they can count on someone else and that’s why she’s borderline condescending towards Ellie when the topic of interpersonal relationships comes up between them.
If Colt is shaped by his future, Mona is shaped by her past. Once upon a time she used to be little Miss Perfect like Ellie, honor roll, on the path to valedictorian, the whole thing, until she met a girl that she fell in love with, a criminal that made her enjoy life to its fullest and ended up becoming her whole world until one day they got caught and were taken to interrogation separately where Mona, fully trusting of her partner, lied about their involvement but was still arrested because her girlfriend ended up giving her up in exchange of freedom. That event shaped Mona’s entire philosophy, when it came down to it, people would always put themselves above everyone else and after Kaneko gave her back her freedom that’s the only code she stuck by, her own personal freedom and survival became the most important thing in Mona’s life, even when the man that saved her was in danger she considered multiple times to just leave the MPC to their luck. That is, until she met Ellie Wheeler.
Obviously, in typical Pixelberry fashion, Mona doesn’t have as much screen time as her male counterparts but what she lacks in screen time she more than makes up in both narrative and thematic relevancy. As mentioned previously, Mona’s always reminding Ellie how out of her depth she is and treating her like a dumb girl that doesn’t know what she’s doing (Which, to a certain extent, is true) but when shit goes south after the stadium heist it turns out that she’s the only LI that never actually played with Ellie’s feelings and was always straight (Heh) with her. It's things like this that I love immensely about ROD, the 3 love interests have so many layers to them, they do good and bad things and they feel like actual people that exist in this fictional Los Angeles, their actions are a product of what’s established as their characters, not just as stuff that happens because the plot needs it to. Back on track, just like with Colt, this is the point where Ellie and Mona’s relationship really takes off if the player chooses to and unlike Colt, her going after Ellie feels like it comes off from a place of actual concern since she understands what she’s going through, regardless of whether their relationship is platonic or not at that point, she still sees a girl that feels like she’s got no one left that she can trust in, so she takes it upon herself to be there for her, slowly shedding her walls that she’s put up for so long, probably without even realizing it.
After the failed job at the casino, Mona once again contemplates leaving the MPC in the middle of the shit storm but Ellie manages to get her to help since she owes Kaneko that much at the very least, only for her to find out a few minutes later that Kaneko knew The Brotherhood were corrupt cops from the beginning and never confided in them with that information and, in another cruel twist of fate, Kaneko ends up sacrificing himself so that Ellie, Logan, Colt and Mona could run away, once again, giving Mona her freedom even after completely betraying her trust. As the MPC discuss their course of action after that, she breaks and let’s out what’s probably my favorite quote in Choices: ”You wanted freedom? The fast cars, the bad boy, that whole life? This is it… and it’s not for you. Go home, for everyone’s sake.”, in that moment she let’s the entire pressure of the situation get to her and unleashes on Ellie, the main reason why they’re all in that whole mess. It’s an incredibly cathartic quote that perfectly encapsulates what ROD is all about, the criminal life is not something one can just juggle as if it were a part time job that’s there for the thrills, it can only lead to a life that most people, if presented with the choice, would never want for themselves. When I read that for the first time I completely forgot that I was just reading a story on a free Visual Novel app where you’d never expect to find writing of such quality. I can perfectly feel Mona’s anguish and anger in that quote, the whole weight of the events of the book finally come crashing down on us after we read those words and it’s just such a great feeling that I’ll never stop praising.
Let’s get to prom night though, much like Mona going after Ellie on Chapter 11, I feel like her showing up for her prom is still really fitting and the diamond scene that follows after is arguably the best wlw dirty thirty in the app, the dialogue during it is just top tier to be honest. But even better than it to me is the scene after that, where she decides to join The Brotherhood if it means Ellie gets to run away from them since they’re obviously looking to tie up lose ends, it is especially hard hitting if she’s your LI but the version with Colt or Logan is still amazing and I especially love how she uses the hot wiring skills Mona taught her to run away. After the Mercy Park Crew’s last ride together, Mona ends up taking a bullet for the girl that reminded her so much of herself and as Ellie drives her to the hospital she talks about how hard she’s going to be to forget, before reaching the hospital and walking herself inside, knowing that she’d be imprisoned once again before the day is over. I’ve seen a fair share of people that were unhappy with Mona having to deal with such harsh consequences but I personally love, love the end of her route since Mona’s always been about self preservation and only being there for herself but meeting Ellie gets her to slip, she starts caring for her and in the end chooses to give up on her freedom if it means Ellie gets to walk away with hers, in a way being for Ellie the complete opposite of what her ex-girlfriend was to her all those years ago (The dramatic irony can be turned to 11 if you choose the options that show her slowly adopting Mona’s philosophy during the final chapters, so she can slowly become more cynical as Mona slowly sheds her cynicism). In the end, Mona might not be free but she’s still on her element, she’ll be on a place where she’d have to count only on herself and while she’ll definitely have to face some time for her crimes, I’m pretty sure she’d thrive in prison.
End of Part 1
Okay, I initially wanted to talk about the supporting characters as well but this shit is truly living up to its title at almost 5K words, that’s already a decently sized one shot, so I’ll stop here since I still want to post it close to the appreciation week, though I might make some edits here and there as I reread it later on but I'm too lazy to do that right now. If I see there’s a good reception for a stupidly long post like this I’ll probably get to work on the second part where I talk about Kaneko, Jason, Detective Wheeler, Toby, Ximena and Riya and Darius, as well as maybe analysis for other books that I hold in really high regard such as the Endless Summer trilogy, Open Heart or It Lives Beneath. If you actually made it all the way here, I just want to thank you for taking the time of your day for reading my semi-coherent thoughts and definitely let me know what you think, if you agree, if you disagree, if you think I should go outside, etc. Thank you for your attention.