I think the reason friede is against setting the painting on fire is because it’s a cycle that regards fire and self sacrifice, so as someone from londor of course she’s against it, imagine if she told yuria “yeah so I let them set the world on fire sacrificing themselves for the sake of their new world” that’s basically linking the fire and goes against her entirely ideology It paints londor in a bad light to and makes the story less londor sided showing that you have to keep an open mind and can’t just mindlessly stick to one train of thought, she basically pulled a gwyn while technically doing the opposite of what gwyn would do.
That's an interesting idea. I always read it as different. Friede, to my reading, broke with Londor and escaped to somewhere where they did not have influence. The painter needs something new for her new world, as the world needs to be different from Ariandel, hence the blood of the dark soul for pigment. Ariandel is dofferent from the world we come from, and she wants to continue the stagnant rot, like the fire and gwyn and all those people wanted to keep the stagnant age of fire. It's a poetic mirror of the age of fire, instead of the light being frontloaded the rot that is in both is frontloaded. Friede does not want the change caused by 2 born of fire meeting. Idk thougb, your idea is interesting too, I need to do a closer reading. Thoughts though?
@@IndieGinge it seems unlikely because she refers to you as the lord of Londor and reminds you of your sacred duty to lead your people when you encounter and later fight her while siding with Yuria (I think starting when you have the 5 dark signs mechanically). These dialogues are even less aggressive than the usual ones.
This is very interesting. She avoids burning the painting (which would seem to us like ending the age of fire) because she sees it as linking the first flame. Instead, she is letting the painting rot (which would seem to us like linking the first flame), because she sees it as ushering in the age of dark. My question is whether she is correct or not. It's all like a backward parallel to the "world on the outside". Maybe the cycles in painted worlds work differently than cycles on the outside.
@@adamtichy8008 linking the fire & burning the painting are both cycles of fire that restart the world, so yes Frieda is correct in likening the rot & the dark; both are associated with giant humanoid insects & both of those insects come from not doing the thing. Edit: The Cycle of Fire & Making a new Painting are probably in sync. Once the Abyss/dark spreads to the painting it becomes rot & has to be burned. Gael calls what's left of the painting a "rotted scrap."
The corvians aren’t really turning into bugs, I think they’re supposed to look embryonic. They look like they’ve never matured. Like they’re still in an egg.
A very important detail of the crow people in the painted world of Ariamis is that they are guarding the Occult ember, ember needed to craft weapons to kill the Gods, like the club that Havel is hiding in anor londo...
Oh also the lion men in the ds2 shaded woods are forossans, their lion like appearance is from a similar warping of physical appearance that effects the corvians/Ariamis crow men. The lion features being from their faith in Faaram, the name the forossans gave to Nameless King
I don't remember the specific wording, but I always thought the dialogue of the Friede boss fight clearly indicates that father ariandel believes the self flaggellation will create fire, while in fact it's doing the opposite. My understanding was that when Friede arrived father ariandel was in charge and Friede took of Pricilla-like features to gain favor from everyone, fooled father ariandel into suppressing the fire and took over.
@@SohelanthropusDS1 is equivalent to "Ocarina of time": Fresh new, sets the template for future games. DS2 is Windwaker: Controversial. Deviated from OOT in terms of looks, feel. But unlike DS2, WW was always a really good game. DS3 is Twilight Princess: Basically an expanded OOT. And oh so very brown.
Hey man, another great video again! I always loved the painted world vibes, and with the scenery on the outskirts just being batches of endless icy mountains always makes me feel like this shit is lonely af Also for the bags the corvians carry in their groin, I always assumed it was some sort of placenta or umbilical cord type thing, given how it's something we've seen before in Bloodborne It's like they're so mutated into crows, but they can't lay actual eggs like birds, so they still reproduce like humans, weird af, but that's why I always thought
Yo I fucking adore this video! When there are beasties in Dark Souls that I like a lot (also ones that don't attack on sight), I go out of my way to let them live (there are individual enemies in DS2, DS3, and Elden Ring whom I have never attempted to kill once lol, can't recall if that's true of DS1 tho). The Corvians, especially the Forlorn, make up many of those that survive each time I exit the bonfire. I don't know if you would agree, but I personally feel, given that Ariandel seems to have been around for more than one painting cycle, that at least some of the inhabitants are able to move into the new painting as the old one burns away. Like I have reason to think that the Painter is going to stay and be destroyed in the old one. But I digress! Great video overall and I really enjoy your headcanons as a whole. I saw the Giants and Lion Knights videos as well and I think these are fantastic interpretations of Dark Souls lore. Anyway, congrats on your growing following and I hope you're enjoying these videos that you're making too!
great video. I still like to listen to Souls Lore. Im at a place where I try to get immersed and i keep thinking of the Mountain top of the Giants in Elden Ring and just takes me out.
Tell me more about this crowtien But putting aside the rich joke fodder to be had in this wonderful vid, I am glad you touched on the convictions of the "chef gang" Corvians. Despite his wretched appearance, Chef Corvian is one of my favourite NPCs in the entire series. This is due to him being one of the FEW who actually seem to realise the truth of their reality and speaks plainly to you in his kitchen. Many other NPCs seem to be in their own little world, and talk to you as they would when seeing someone outside pass by a fogged window. Or they've long since become entirely mad and are capable of only a few bizarre ravings before falling into dazed laughter and repeating themselves
When we think of Regimes we always think of "the big ones", hardly to consider that most regimes are relatively small and easy to manage by one person.
@@TheHonoredMadman In Bloodborne if you haven't met him there is an NPC Yamamura from the east banging his head against a wall wearing a unique hunter set. If you summon him he uses a Chikage(European style katana) in the boss fight just before Maria's boss room. You prolly already know but i didnt want him to be forgotten.
If I remember correctly one of the promotional descriptions of the corvians stated that those sacks are literally their bowels... so poor bastards are freezing and dealing with an anal prolapse. Which is odd, because I remember Miyazaki telling one of his artists to not draw maggots on the undead dragons in Das1, saying that he wanted a more dignified design for the game. If my memory serves right, this seems rather crude and needlessly graphic
I tried to not think too hard about it but in the back of my mind I could NOT think of anything less disturbing it could be. I tried to make myself think it was a tail or something but I can't just lie to myself. It could be argued that a game like this is perfectly ok having disturbing enemies but man o man, the DS3 DLC of the Painted World is really disgusting. Especially the... maggot blood fly room. I realise it's a fetid, forlorn place that is quite literally begging to be bathed in cleansing fire but some of the design seemed a bit 'nail on the head'
when Madman brought up the parasites of the rotted staff, it brought something to mind. Since many parasites infest the intestines, maybe those things really ARE the parasites. They have grown corpulent as they feast on the blackened blood and faeces that surrounds them, growing so large they eventually "crown" in a freakish parody of the birthing ritual, with added mockery considering birds typically hatch from eggs.
I always thought the Corvids from DS3 looked like bird fetuses and the sacks were carrying was supposed to be a yolk. Could not tell you the symbolic significance of this analogy
Do you think the flies at Ariandel and maggots from Rosaria are connected? There's a theory that the Maggot with staff that's next to PAtches after Patches kicks you is Pate.
The idea of the Pardoner leading them to the Painted World never occurred to me! Clever! The Crow Demons, as you've stated, were originally meant to be worshippers of Velka, but, the thing is, according to Miyazaki, though he wished to use their design( along with the other things dumped into the Painted World), he found that they couldn't fit. I believe I cannot stress this enough; we do not know what the Crow Demons truly are. We know what they were; not what they are. Why am I so insistent? Well, ask Ornifex where she learned her art. According to Ornifex, her people inheriting the art of " smithing" souls from a " great pale being", who once came to this land. You know as well as I do the implications of this. Seath may not have been directly known for soul transposition in Dark Souls 1, but the Giant who used his Crystal Ember could perform a much slower, crude version of the process. Moreover, the idea of bonding Souls to weapons, and reshaping said weapons physically according to the specifications of each soul, seems to originate in the most primitive applications of Seath's work. Crystal weapons. fully crystallized straight sword. How such a weapon was created is entirely unknown." "The crystallization boosts its attack, but makes the blade brittle. The sword cannot be used for long, as it cannot be repaired." "Logan's trials were successful, and the crystal medium facilitated a stronger bond between weapon and soul." Crystals as used in sorcery are, in effect, crystallised souls. The Transposing Kiln uses crystal lizard hide in it's composition; soul transposition is a process developed and perfected from weapon crystallisation; the goal is to solidify the essence of a soul into a weapon. The only reason crystal weapons exist instead of weapons transposed and transformed using souls is the frequent inefficiency of the process; a successful weaponsmith like Ornifex or the Giant, or a man like Ludleth with the right tools, could eliminate these variables and create a perfected boss soul weapon. This is what made me suspicious of the Crow Demons origins; if they are yet worshippers of Velka, then what is the point of tying them to Seath?! Note: The Painted World has surprisingly little trace of Velka's presence. Contrary to common belief, thw statues there are unlikely to be depicting her; they are the same as those within New Londo, and as we noted previously, the statues depict a woman comforting a child, and a Tearstone Ring lies at the city's gates. Combine that with Gael praying to a statue of Caitha as " Mother Of The Forlorn" ,and you can guess what I mean. Both the Occult Ember and Rapier can be explained simply enough; the humans holding them escaped to the Painted World in hiding. The Painting does not discriminate; it welcomes all who are Forlorn enough to enter.
@@specialnewb9821 In concept art, yes. Miyazaki explained that that was theor original concept, but like other things in the Painted World, he couldn't fit it in. Much like Priscilla bring a fire keeper.
Never noticed Vilhelms body was thrown in the pit below the church! Also, idk why you think the tail of priscila is a fake, the scales would be the only thing left after the flesh rots.
@@slenderman_proxy8741 that's because hair rots after 2 years, scales can literally last forever if you take care of it. It's literally From Software being realistic.
The tail is real but they stuck the real tail on a fake body like religious relics in the real world sometimes. I think it suggests we cut off her tail and so it got preserved separate but just imo
The thing that bothers me is that the painting exists within the real world, it is an object, and the painting made with the dark soul is within the first painting. Wouldn’t burning away the paining essentially burn the one with the dark soul too? It makes absolutely zero sense to paint it within the rotting world/painting if it’s just gonna get burnt away. Dark Soul painting is doomed right off the bat. They should have left the painted world and paint the new one within the “real” world. Wtf.
Sometimes I think the lore is good sometimes i think it’s terrible. I have questions like: fride is in a church … but what religion? It looks like Christianity .. but isn’t so what’s the religion? Is there a Jesus parallel ? Sister fride is a ‘leader’ apparently - but then why is she called sister rather than ‘mother superior’? She seems to be a nun in most ways so the title should correspond. Sister implies she’s part of an order of nuns so where are the others
