The mistakes in Selina Tested Reloaded - Onyeji Nnaji

The beauty and fancy embedded in Absurd Theatre which complete theatre does not have emerged from the fact that it is the product of both the playwright and the edditor(s). The same is evident in Selina Tested, a YouTube multiple episodes' play by Lightweight Entertainment

It may be defended that the playwright may be lacking ideas to continue the cinema with, but iIdon't think so. For what I know, there are many confrontations to be engaged. Already, Aboy is tackling Done's misgivings. This apart, ChiBoy still has matters to settle with his Uncle and Armora; Priest also has issues to settle with ChiBoy. There are many other issues yet to be concluded. So, the return of Sibi become as "untheatrical" as anything devoid of literary merit.

The playwright of this drama has made a very big mistake. The mistake is as obvious as the situation ridiculously used in one of the comments following the return of Sibi. The comment suggests that ChiBoy's mother should also resurrect. l have advised against this return of Sibi earlier, but the playwright finally ignored it. Here are my reasons.

The play has gradually moved from ordinary cult rivalry to take the form of an epic. Is the playwright trying to create an epic contrary to what obtains naturally, then he should let the audience know about it. Where otherwise he should be constrained to remain within the bound of epic plays. From what I  could deduce from the play, there were journeys; such journeys that characterize epic are found here. 

ChiBoy's journey to Idoma to revenge his mother's death, for instance, is a good quintessence of an epic. Such a journey was supposed to be Aboy's role as the presumed protagonist. But recall that the play began and is continuing with the both characters as the protagonists. This, perhaps, is the reason why both characters share similar fate in all the activities in the play. They both have a fate bedeviled by uncles; both were involved in the spiritual journey, as Odogwu clearly told Nwanyi Mgborogwu; they both were declared wanted and arrested by the police. I also expect both to face similar fate as the cinema continues. Their journey to the underworld too is a good display of epic.

If it is an epic as obtains naturally, then Sibi is not supposed to rise again. Instead, he should remain as a spirit to be conjured by his followers in their defence against Aboy's group. In this case, Sibi may possess any of his followers or sister and fight or his spirit shows up evidentially to defend his followers. This is because, naturally, a person who died by a sword passed through his throat is not supposed to wake up again, especially when he has lasted for days. If the fellow should die by bullets the case would be different as he may be argued to have been unconscious. 

Trying to compare Sibi's death with the female US soldier cut on the throat in Afghanistan who later returned to life as shown in The Old Guard by Hollywood would readily prove a lack of the knowledge of how epic stemmed in the historic society. Putting both movies side-by-side, one should recall that Hollywood was portraying how it may be possible for certain epic heroes to have survived centuries by means of resurrecting after death. In this case, Hollywood showed how these epics had lived in the past. But here is Sibi, a street cultist who became popular by killing innocent people through which he declared himself wanted. To survive, he had to acquire mythical power to become imortal. Epic stemmed through traditional process, not the other way round.

On the other hand, if the reason behind the resurrection of Sibi is that he had been buried before, during which time he was imortalised, then the playwright should begin now to envisage how to also resurrect Aboy and ChiBoy since they too were buried and imortalised. 

Another big mistake about Sibi's resurrection is seen in this very episode about to drop. Naturally, a dead person does not always identify, by ways of attack, his enemies after death. Normally it is usually the living who conjures his spirit and redirects him to his enemy. Such is done durdng burial process or thereafter. But here is Sibi making his first attack against no other person but Otuaka. This is wrong. 

By supposition, Wonderboy or Sibi's sister should be the ones to spiritually redirect Sibi to all his enemies since the blind seer had earlier said that Sibi would resurrect as a beast. If so, how did he know Otuaka or how did he accurately remember the slangs he used in his first generation. Use Jagaban for example, it as Thressy's mother who redirected her spirit for vengance. Everything has a procedure that is the beauty of literature; it's realism. The staking issues which the playwright needs to clarify are:

* Before killing Sibi physically, he has been killed spiritually, whose spirit gave him life? For as his spirit was defeated, his chi will no longer reincarnate in any form.

* Another important question is, why is Sibi able to identify Otuaka and call him "the smilling demon", yet he could not identify Wonderboy?