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When writing a drama that seeks to interpret life, the characters are not mere embodiments of principles but rather individuals who suffer and act, searching for their path or missing it. Their actions are not calculated like a mathematical proof; instead, they emerge naturally from their essence and circumstances, leading them to make their own decisions, which the author can no longer dictate. It is not the case that one character represents what is deemed absolutely good while another embodies what is considered absolutely evil. Such a writing style may be demanded or attempted by dogmatists, but it does not create drama. In the context of Oderbruch's fictional narrative, it becomes evident that a person striving for good, in their desperation and hopeless plight, may resort to committing a reprehensible act, such as murder, even against a friend. For in hell, there are no angels, and as the title suggests, this play depicts hell on earth.