YMMV / Cesare - Il Creatore che ha distrutto

• Adorkable: Both Angelo and Giovanni in Squadra Verde — really, all of Fiorentina-dan.
  • Taiki (Angelo) is tall (almost the tallest in the cast) and awkwardly moves as if to not stand out so much. This works well with his role in the story, as he moves almost as if to hide his height (Giovanni and Cesare are both a lot shorter).
  • Giovanni is just so cheerful even as he bumbles around, and while you understand why Draghignazzo gets so frustrated with him, he's still adorable.
  • Draghignazzo trying to puff himself up and be seen solving everything for His Excellency... only to have Cesare barge in and solve it his own, Spanish way. Draghignazzo trying to recover from being upstaged and take back some level of control over the situation, until finally huffing off, snatching a book from Angelo and things like that.
  • Roberto, with Marco, Pietro, Ricardo as his Greek Chorus of dorks.
    Roberto: "This university is in Pisa, Florence's territory, so why don't we Florentines get more respect? Why do France and Spain stomp around shouting and fighting all they want? Where do they think they are?"
    Angelo: "That's right! That's right!"
• Awesome Music:
  • Let's be honest, the whole thing. Pure beauty from the first note to the last.
  • Listen to Cesare singing "Angelo, tenshi toiu imi no kotoba..." and just feel your entire world being purified and filled with light.
  • Try listening to the Act 1 finale "Conflict" and not dancing even a little.
  • "Quo Vadis", Cesare's duet with Dante towards the end of the play is really powerful.
  • "Idai na hito da, Dante..."
  • It's something of a cliche to say "Ohh, his voice is so beautiful, I'd listen to him reading the phone book!" but how often has that really been put to the test? Well, between Shima Ken's music and Nakagawa Akinori's pure, angelic voice, Giovanni's graduation scene manages to make a debate about usury and ethics sound not just interesting, but awesome. Both Giovannis hold their own as well.
    • The scene was even performed at Meijiza's 150th anniversary gala, along with the scene from Virtu 21 where Cesare and Giovanni discuss building the factory, and their respective future possibilities (these scenes use the same leitmotif, and they're also the only scenes where Giovanni sings). You have to wonder what people unfamiliar with the story must have been thinking, but the music, at least, was awesome.
  • Rodrigo has some surprisingly nice melodic lines — his part of the prologue (especially the line "Kyoukou toiu ouza ga aru no nara" ([If this kingdom called the church] has a throne, the papacy /[then the one who should sit there should be... *dramatic cape throw* ME!]), and also his Parental Love Song to Cesare in the flashback. Among other roles, Tetsuya Bessho is famous for playing Jean Valjean...
  • And Kojiro Oka (Giuliano della Rovere) is known for his Javert. His solo towards the end is an Anti Villain Song to rival "Stars".
• Cliché Storm: The festival scene in the musical is this, but it only serves to make it even more fun. Sneaking out through the roof? Accidentally going into the dancers' dressing room? Cesare getting a flower and being separately tossed around the stage by the crowd before finally giving the flower to Angelo? Check, check, check, and it's delicious!
• Funny Moments:
  • The way Squadra Verde's Giovanni (Yuujiro Kazama) says Angelo's name in this sing-song-y voice twice towards the beginning of act 2 — "An-GEE-lo~!". It shows so well that he thinks he's funny because he's always surrounded by flatterers who laugh at his jokes no matter how bad they are... while still actually being pretty funny. It also contrasts with the loving, almost prayer-like way that Cesare sings his name, which shows how worldly Giovanni is compared to Cesare, the philosopher.
  • The "bullfight" with Henri is rather brutal in the manga, but it's mostly played for laughs in the musical.
  • The festival scene — the fact that Cesare is so smooth and competent in every scene but this makes it wonderful. Also, the contrast between Cesare's carefree mood and Angelo's panic (especially with Squadra Verde (Taiki Yamazaki)).
  • And then there's the backstage — Everybody dance now!
• Heartwarming Moments:
  • Almost all of Cesare's improvised interactions with Angelo, and Angelo's lovestruck faces in response.
  • Cesare and Rodrigo don't actually have a scene together, but in the curtain call, they always nod to each other when they meet in the center, and when they part.
  • Rodrigo's song to 7-year-old Cesare in the flashback, framed by Miguel telling Angelo about his own history with Cesare. He might be a monster, but he cares about Cesare, at least. It's sad when you think of the fact that his caring about his children regardless of the fact that they were illegitimate is a big part of the reason for the Historical Villain Upgrade that the whole family has been subject to for 500 years.
  • Giovanni's excitement after his graduation, and his reaction when Cesare calls him "Your Eminence" for the first time.
• Ho Yay:
  • In the manga, what with Cesare's tribute to Miguel after the bullfight, the offer to give him Savonarola's corpse for insulting him, and all their general Bromance... It is very easy to ship them, especially when Miguel has no other love interest and Cesare's interest in Ottavia is only on the surface (he can't even get her name right).
  • The musical plays up the shippability of Cesare and Angelo. It starts with their romantic duet, then there's the festival scene, where they dance together in some performances. This is definitely present in the manga as well, with every parting and reunion of theirs as a prime example, especially the very end of volume 13.
  • To complete the One True Threesome, Miguel's interest in Angelo is sometimes even more overt, and the reverse as well. In the stage play, Miguel would occasionally grab Angelo's butt. As noted in volume 2, Cesare needs both his angels.
• One-Scene Wonder: Several historical figures who would have been very important if the series had lasted longer make brief appearances towards the end. These include Charles VIII of France, Catarina Sforza, and Sancia and Alfonso of Aragon (and Sancia is already smitten with Cesare though she's never met him).
• The Scrappy: Angelo seems to not have many fans, excluding those who first entered the series through seeing the musical specifically for an actor playing him. Die for Our Ship might be in play for those who don't want to put him in a One True Threesome with Cesare and Miguel, as there are a few Suspiciously Specific Denial posts out there, saying there's absolutely nothing between him and Cesare. To be fair, some might be annoyed with his purity, and what it lets him get away with, even though it's acknowledged in-universe. He speaks his mind and gets away with it, and Cesare is always rescuing him, but never gets too bothered by it. Cesare and Miguel let him into their circle rather quickly (though it's implied that they would show the same openness to anyone else, as long as they can keep up).