“The big secret to breaking the rules is to make it look as though you’re following them.”

“But you know, the hard part comes after you conquer the world.”

— Johan Liebert, Monster

These words come from Johan Liebert, the enigmatic and terrifying antagonist of Monster, a mid-2000s anime that explores morality, identity, and the psychological depths of human nature. Dubbed “the devil” in the show, Johan is a mass-murdering sociopath—destroying communities, manipulating people to their breaking points, and bending the world to his will by any means possible.

So, what does an incomprehensible, almost mythological evil have to do with a Twitch streamer?

The Architect of a New Streaming Era

Once known as MaxGotNext, PlaqueboyMax has redefined what it means to be a music-based content creator. As Peter Berry of Complex put it:

“PlaqueBoyMax is at the center of a new frontier of artist-fan interaction. Whether he’s making bangers or helping artists get feedback for them, he’s using Twitch to make moments fans feel like they can be a part of. More symbolically—and even, functionally—he’s creating micro-archives for musical experimentation.”

Max’s rise to prominence stems from his ability to merge entertainment, music creation, and audience engagement into a seamless experience. His content isn’t just about playing music—it’s about making music, breaking artists, and shaping the culture in real-time.

Some of his most innovative ideas include:

• “Song Wars” – A round-robin competition where rappers play unreleased tracks for a panel that scores them out of 10.

• “In The Booth” – A behind-the-scenes look at song creation, where Max actively contributes to the process, from production to engineering—even laying down vocals.

• “5-Star Boot Camp” – A developmental program for rising artists, featuring legendary singer Akon as a panel judge, with his own son participating.

What sets Max apart is his ability to turn streaming into an interactive experience, where fans aren’t just passive viewers but active participants in music discovery and creation.

The Johan Liebert Connection: Genius in the Shadows

Much like Johan Liebert, Max operates with an uncanny ability to stay ahead of the curve. He’s not just reacting to trends—he’s creating them. His influence is so embedded within the culture that even major artists see value in aligning with him.

Take, for example, his collaboration with Central Cee. Max not only hosted an “In The Booth” session with him but also facilitated an early listen of Cench’s debut, Can’t Rush Greatness—a move that (to me) was clearly part of Central Cee’s rollout. When an artist of his caliber—someone with international appeal—chooses to engage with Max’s platform, it signals that Max’s Twitch stream isn’t just a show; it’s a major music hub.

In Monster, Johan’s genius lies in his ability to manipulate the world while remaining almost ghost-like—always two steps ahead, always unpredictable. The detective chasing him even calls him a “figment of Dr. Tenma’s imagination” for most of the show.

Similarly, Max has reframed what it means to be a streamer, an artist, a content creator, and a community builder. He’s everywhere and nowhere at once—his influence is undeniable, yet his exact place in the industry remains fluid. He is both identifiable and unidentifiable, constantly shifting roles from producer to artist, from interviewee to curator, from internet personality to tastemaker.

Truth is Subjective—So is Success

One of the central themes of Monster is the idea that truth is subjective. Johan, despite his horrific actions, operates by his own philosophy—one that suggests morality is flexible and that humans can become anything they want.

Max, in his own way, embodies this philosophy. He is a chameleon, blending seamlessly into whatever role the moment calls for. He can be the engineer crafting viral hits like Pink Dreadz, or he can be the personality leading a “GOAT Talk” interview with Complex. He refuses to be boxed in, just as Johan refuses to accept the moral constraints of the world around him.

At the end of Monster, Johan attempts to recreate the trauma of Kinderheim 511, an orphanage designed to strip children of morality and identity. His ultimate goal? To prove that his worldview—the one he was conditioned into—is the only truth.

Max, in a much less sinister way, also refuses to let external expectations define him. When offered a chance to perform at Rolling Loud, most streamers—and even artists—would jump at the opportunity. Instead, Max declined, stating that when he and his team are ready to perform, it will be on their own terms, in an environment they have full control over.

That level of self-determination is rare. And, like Johan, Max understands that true power isn’t about chasing validation—it’s about building something so undeniable that the world has no choice but to follow.

The Devil of Streaming

At the heart of Monster, Johan Liebert isn’t just feared because he’s a killer—he’s feared because he understands people better than they understand themselves. He sees the cracks in their psyche and exploits them, bending reality to his will.

Max doesn’t exploit people, but he does exploit the industry’s inefficiencies. He sees the flaws in traditional music rollouts, the lack of genuine artist-fan interaction, and the rigid nature of mainstream content creation. And instead of fitting into those structures, he builds his own.

He is determining his own destiny, proving that the lines between streamer, artist, and executive aren’t just blurred—they’re non-existent.

That is true power. That is true intellect.

And maybe, just maybe, that’s power only the devil can wield.