I love how the terminal entries for the new machine enemies imply that the Final War may have been WWI, but instead of ending after a few years it escalated into a 200 year-long arms race full of bloodshed, pain, and horror.
It would.... Actually make sense. Trenches and old, bulky designs for guttermen, large steel container for the live fuel source then 1970-ish designs for guttertanks, then slowly more and more refined machinery such as Earthmovers housing modern structures, "modern"-looking tools like its pipes and cranes, then much later in the war, technological breakthroughs such as V1-V2. That's... kind of scary to think of. (edit: earthmovers) EDIT 2: At the very beginning of the game, while V1 boots up its firmware reads 2112.08.06, which oddly enough sounds like a date. Meaning War could have started in 1912. Your theory lines up and it is genuinely scary.
@@whocares_yes That would make WW1 the actual "Great War" A war that not only all of the world fought in, but a war that was so brutal, that the whole world paid the price, and was THE final war, like everyone at the time thought it was.
If it did take place in WW1, what would happen if WW2 started with machines in VIOLENCE? I’m gonna start theorizing about the ULTRAKILL timeline before he’ll.
Note: The Gutterman’s terminal entry not only states that The Gutterman is fueled by a living person in its back tank, kept barely alive and in agony, but that whatever entity responsible for creating the torments and demons of hell took inspiration from it to create the mannequins, which are similarly in a dormant, agonizing state. *Humans were capable of creating something so horrible that Hell itself took notes.*
Hell was like, “Okay, I’ve made some messed up shit. Ya’ll humans might as well be running the place with the cruelty you all can express. However, since you all are wiping each other out, I’ll take inspiration from your own form of cruelty and make it my own”.
Not only that, but the person was being bled dry, fueling a machine that kills other people mercilessly in trench warfare. This enemy is probably the most fucked up yet in the game.
ive personally had no problem with guttertanks, just keep your distance but i missed the entire point of using the knuckleblaster on the guttermen the first time it popped up due to looking away, i ended up doing the whole layer without using it on them.
@@darkcrypter they take more damage, but track you better. plus the game counts it as "parrying" the shield so you get full heal. But yeah not at all necesarry to take them down.
Yeah I can hear it faintly and can just picture soldiers storming over the battlefield with machine gun fire coming from trenches. The small details just make the song even better and more fitting
It would be if there was a potential Prime Soul in VIOLENCE. There is not a single name dropped in VIOLENCE books and terminal logs, only Minos from the Minotaur log Edit: yes I forgot the redacted name but there are plenty of 6 lettered kings from ancient times and I somehow doubt a single redacted name from a single log mentioned ONCE will help us find out the Prime Soul, we're gonna have to wait for FRAUD and by extension act 3 which at this rate is probably gonna be out in 1 or 2 years give or take, be patient 2 years is not much
The -Minotaur- entry mentions it was made by "████ ██████", which we may assume to be "King ██████". Now, to go find prominent kings from greek mythology with 6 letter names.
Fun fact: Guttermen are confirmed by Hakita to be russian, they have ЧТ-01 marking on their shoulder, which is an abriviation for "ЧЕЛОВЕК-ТАНК"(HUMAN-TANK)
So Guttermen were fielded by Russia in WW1 (the trench warfare phase) to help beat the Germans, the Germans responded with the Guttertanks (evidenced by the Faust panzer words on the side) and later in the future Japan (possibly allied with the Germans like in WW2) deployed the Earthmovers and the war ended afterwards thanks to them blotting out the sun
A pretty gruesome detail about guttermen: Last night i was fucking around in the sandbox just spawning guttermen and guttertanks and making them fight each other. It's was among the piles of dead guttermen that i noticed ome of them actually had their "live fuel source" open. A corpse of a person can be seen in the coffin shaped thing. Just like the lore stated.
When Gutterman Dies, iit falls over On their backs is an Coffin, Their Fuel source One time, i noticed the coffin after killing one of them, punched it open, and Idk what the fuc i was expecting but i got jumped by the corpse lmao
I had this happen to me but couldn't help laughing at the fact that the Christmas update puts a Santa hat on the fuel corpse. It's the most gruesomely funny thing to imagine the monsters who designed this machine putting a festive little hat on the poor unfortunate soul who'd spend the rest of their life as a flesh battery
You know, I've read too many comments, and I noticed something. A weird thing. The entire world of Ultrakill is self-cannibilising itself, the world before it did it with a great final war, and V1 is inevitably gonna starve to death after killing everything in hell. A weird pacifist sentiment, I guess. That a world that is fighting with itself, is inevitably gonna self-cannibalise itself into nothing.
It is likely V1 himself understands this, but with the world the way it is all it can do is keep fighting to be the last. the secret level on the Lust layer seems to allude to V1 having a rather dour outlook on life. I can't help but conclude that V1 was one of the first machines to descend into Hell, all these others we see are catching up to it as they follow V1's path of destruction. Either that or Hell is moving them down, I can't imagine how the Earthmovers got inside unless Hell reached out and took them.
@@atomicknoob maybe they were rebuilt down there for some sort of conflict in hell? cause I know they have wars and advanced infrastructure and stuff. or there are other ways to get into hell than the narrow mouths that we've seen
the hidden log entry on the earth mover (to the right of its self defence system hidden behind buildings) mentions ouroboros aswell, supporting your statement
The opening to this level was so good, and the atmosphere was great too. Seeing the clocktower get blown down was such a good way to introduce the next part of the path.
I still got confused somehow, jumped on the small arena with guttertanks and red skull, escaped nearly dying and entered the clocktower not the intended way
This level was the perfect representation of why V1 is the perfect war machine. All these robots in active war go against v1, who hasnt actually seen proper field combat, and absolutely wrecks them. Though, I guess you could've figured that through V1 beating PRIME SOULS. Idk about y'all, but I hadn't struggled with the guttertanks AT ALL with my first playthrough. anybody else?
whats scary is that There's a possibility that if v1 got into production sooner then There will be more machines Specifically designed to counter v1's healing ability. V1 is really lucky to be developed at the end phases of the war
Violence really helped put things into perspective for me. The Violence of hell is artful as demonstrated by the mannequins. The Violence of the machines is as brutal if not more than hell's but it is industrialized as demonstrated by the guttermen and guttertanks. Hell has consistently made mannequins and seems to be showing no signs of changing that. But man made the guttermen, then quickly fazed them out for something more efficient. The guttermen, guttertanks, earthmovers, sentries, and V1 are all products of a soulless industrial war machine (pun intended) that consumed the earth and now is on the verge of consuming hell.
It's interesting to think about; the concept of "Violence" to Hell is akin to a path, a way of life, with the way the books describe it, with the way it urges you to "paint" everything red, and in that way is it indeed artful and almost even beautiful in a grotesque brutal manner. But mankind's violence is all consuming and has zero respect for any form and beauty. Just destruction and efficiency built to win pointless wars. If anything, Hell is simply a follower. Humanity itself has created a perfected senseless form of Violence that Hell can only replicate so much without being torn apart or losing interest in, assuming it only finds Violence enjoyable up to a certain point before it becomes boring and ugly
@@fabrizeantonio4425 Christ, when you put it like that, it's no wonder why God tried over and over and over to find a way for humanity to exist without free will - It was once a gift to be cherished, now a curse leading to oblivion. Things like the Final War must have happened countless times, humanity always cannibalizing itself before God tries again, the once benevolent creator of all getting enraged and slowly despairing at his creations continuing to destroy themselves, eventually creating Hell in an attempt to punish them and force humanity to own up to their mistakes. But that only proved to be his own biggest mistake. He couldn't unmake Hell, and it only continued to grow and fester, feasting on the horrors humans created over and over, even taking notes on how to bring more suffering. And the moment humanity ended the Final War and seemed to finally learn from the sins of the past, Hell used the Machines to destroy them. Hell is other people, indeed.
Hell seems to enjoy violence to a more extreme degree than your comment suggests. It took sadistic pleasure in killing the humans in the facility surrounding the gateway to Hell. It seems like engaging in acts of violence are somewhat akin to eating as far as Hell is concerned even if it might not have meant “I hunger” literally. Hell based its elegant mannequins off of the Guttermen, taking inspiration from the cruelty of the live fuel source in their backs. It seems more like Hell views the very senselessness of Humanity’s violence as beautiful. Violence itself has become a shrine combining the beauty of painting a white world red with the Final War.
From an overarching point of view, what's being demonstrated to me is that humanity has outdone Heaven and Hell at almost every turn. Hell was always about cruelty and suffering as punishment and even an art, but not really killing, while mankind industrialized and streamlined killing to such a degree that their mechanized creations are tearing through Hell at what can only be imagined as a relative breakneck pace with the consequential suffering not being an object, despite being bad enough to inspire Hell to step up their game. Where the apex of mankind's industrial death machines has torn through everything Hell could throw at it, and even destroying entities Heaven feared enough to make them extra secure prisons. Where even the simple Drones and relatively simple Streetcleaners first seen in Limbo are now as far down as Violence; a feat that, even when considering inter-machine teamwork and them following the metaphorical tunnel carved by V1, imples they are effective at tearing through Hell's forces (even moreso if some have managed to keep up with or push ahead of V1 enough to attack him mid-level). Humanity beat Heaven and Hell, even it cost their extinction and being condemned to suffer in Hell and die to their creations (again even, if some implications that the machines wiped out humanity are correct).
I love how the Violence Layer portrays the difference between Hell’s version of violence and man’s version of violence. To Hell, violence is an art form. Its punishments are cruel, grotesque, and unusual, but at the same time poetic; it has thought and design put into it. This is reflected in the Maze of White Walls; the maze is deliberately designed and liminal, almost like an art gallery, and the intricate-yet-gory mannequins on display strike flamboyant poses. The walls are white to act as a canvas for the blood to paint, and the entire place is sterile, rigidly structured, and intentionally designed to be confusing. It’s a representation of Hell’s stance on violence as a whole; it’s an art form Hell has mastered. In the endless battlefield, the exact opposite is true. There is no thought or intentionally designed confusion, it’s just insane chaos. The entire landscape is constructed of bodies and flesh, and the different arenas are connected by trenches that have been blown apart by explosives. Relentless killing machines wander about in the open, mowing down anything and everything they find. It’s a representation of human violence; rather than being purposeful and creative, it is senseless, and serves to convey no meaning. To humans, violence is not an art but a means to an end, the end being self-preservation. Clearly, in the ULTRAKILL universe, humanity’s desperation to end conflict via more conflict has annihilated them, their intense emotions utterly disregarding reason in the name of safety from “the enemy” until violence begins to self-perpetuate. In both examples, violence ends up being committed for its own sake, displaying how inherently pointless it is to use violence to a reach a goal or convey a message. Absolutely incredible game, Hakita has such a gorgeous artistic vision and I can’t wait to see it come to fruition!
never make the uttermost, on god lethally dangerous earthmoving (pun intended) catastrophe of a machine and dub it as a "war-ending weapon" while war DID end after the earthmovers ceased one of their power sources (solar energy), this ended up being VERY consequential to sustenance of human life with the Long Night
from 1:14 to 1:50 you can faintly hear what sounds like bombs dropping, or possibly the cries of the innocent caught in the cossfire, theres just so much soul and emotion in this song and I love it
they're air raid sirens, it's a lot clearer if you listen to the old version of the song ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-CbpcHNM_tQA.html
It sounds like it should be a calm beautiful moment in a song yet it just doesn’t. It just screams the words: Despair. Inevitably. Death. Hopelessness. The sirens warning of falling bombs just add to said despair.
This is easily my favorite ost in the entire layer, and it might be rivaling Deep Blue and War as my favorite Ultrakill song. I can’t wait for Fraud and Treachery, and eventually P-3
i mean, it still is better than being broken into pieces (don't forget that the gift of death is EXTREMELY rare in hell) and stuffed inside a Mannequin
@@nukilasjah4600 V1 isn't really doing good stuff on his own terms He's a semi sentient machine trying to survive, and it's heroic acts are all mostly accidental/unintentional.
Fun fact: this layer was originally an enormous blood ocean/river like in wrath, but after the great war there were so many new deaths and machines coming in that they literally fucked up the entire layer. The entire ground is bodies
"So these things are powered by humans?" "Yeah, aren't they efficient?" "Where do you keep getting them?" "uh....they...uh...volunteered to be in eternal torment!"
It's so... happy with _itself._ A ballroom dance for the marriage between blood and steel. A masquerade where you bring bayonets and helmets. Culminating in a harrowing climax of pirouetting corpses and empty cartridges. This layer is the most exhilarated to exist, I feel. It encourages us at every step, tempting us to partake in its twisted ballet. And so we indulge.
1:13 if you listen closely you can hear the actual sirens still. Glad hakita managed to keep them there in the background while we heard them in the WIP version
Hakita, you outdid yourself this time with the soundtrack. Violence was such an amazing experience, and 7-2 was perhaps the best of it! Hats off to you, my guy! I’m so pumped for the rest of Act 3!!
@@epicutmmgamer5366apparently it probably is finished since act 3 was supposedly meant to be the final act (unless people keep begging hakita for act 4”
I'm pretty sure they automatically punch you whenever you try to grapple onto them. At the very least if you cancel the grapple mid-way through you can bait out their punch and then get close enough to heal off of them after.
I love how far this level goes to make it seem like a genuine war zone. You have the atmosphere, with gun shots and search lights everywhere, not to mention the massive robots that tower over the level (great foreshadowing btw). The ground is quite literally made of corpses and the rivers of blood, it’s genuinely scary. The song sounds very alarming and threatening, and a lot of that comes from the fact that you can very clearly hear gunshots in the song, and vaguely hear eas alarms, bomb warnings, etc. Not even mentioning the gutter men and gutter tanks, this is my favorite level by far it’s so scary and that’s what makes it so cool
I got lost in it too. I realized near the end that I was supposed to follow a specific path but I played as if it was an open world game and thats why I got lost
@@mcaelm FOR REAL i was thinking ‘wow this level is so open! that’s a cool new direction!’ i just completely missed the path and wandered off somewhere else
Game got a "I DIDN'T ASK TO BE DRAFTED" out of me for a second, genuinely convinced me I was living the moment with that introduction right there and the aimless shots lighting the sky
This song and its title have been rattling around in my head for a while so I’m gonna try and write a little about it. A lot of people have picked up how it has this droning undercurrent of sorrow to it despite its intensity. But what I gravitate to most is the title - war and death as a ‘siren song’. How simple a thing war is, how tempting, how all consuming and monotonous and dreadful. How easy it is to let it last, like the humans of ULTRAKILL, until nothing else is left. To me, this song absolutely nails that aspect of war - something made terrible not just by its violence, but by its dullness and the apathy it inspires An absolutely fantastic reflection on violence. Fantastic work hakita
Well also, I'd like to throw out that Violence (at least in Dante's Inferno) is notable for it's boiling sea of blood. The reference to a siren, obviously a creature known for leading sailors to their deaths, is the kinda shit I just love, man.
This track is testament to how far you've come in terms of audio mixing, and I mean that. You've always mentioned how that wasn't your strongsuit, and I have seen that, especially in Versus. But here, everything is so perfectly balanced; nothing feels blotted out, and I noticed this entirely because this track gaslit me into thinking there was a train nearby my house in real life, but it was just the audio playing in the music!! I really do hope you revisit the older tracks (iirc you mentioned considering that in the Act 1 commentary doc), as they could do with a redo regarding mixing because this is genuinely really good!
"come on. this is the violence layer!! it can't be too sa-" *3:42** starts playing.* " *sob* i- im not crying! i j- just have something in my eye!!!!!"
ultrakill prelude lore: +projectile boost +projectile boost +projectile boost +projectile boost ultrakill violence lore: mankind's result of neglecting their own kind out of greed and the thrist for power has placed them in a never-ending war where what remains of them amongst blood powered machines face the cruel fate of living through nothing but hell until finally being put out of their misery in a place where God has abandoned his creations
7-2 "light up the night" has a soundtrack that (for me) resembles the duality of man: "Do robots dream of eternal sleep?" says; the gutterman has a living person imprisoned on its back and he is suffering "Hear! The Siren Song Call of Death" says; you were MADE TO KILL THEM,FINISH YOUR JOB MACHINE
3:42 This short, quiet passage, which uses mostly piano, seems to provide a picture of how, in the blink of an eye, time slows down for everyone in the battle as the most powerful weapons are dropped onto the battlefield, capable of destroying everyone within a radius of several kilometers.
@@seatray_realI feel exactly the same, I was in the same boat as you a while ago but with Battlefield 1 I still absolutely adore Violence though, it is my favorite representation of the utter ouroboros that war can become A portion of text from 7-4 says it the best to me "A machine built to end war is a machine built to continue war"
I really appreciate how much more classical and gothic in nature the music has gotten. Like further down into hell it becomes more grand, with V1s slaughter accented by breakbeats. Really intense and beautiful progressions Hakita! (PS, digging the cross layer motifs goin on. Hearing Death Odyssey in this was super cool)
Just noticed something in this level,but the pile of dark stuff around the city are actually human corpse,like the sea in Wrath These are the sinners of Violence,brought low by the War-Machine used to perpetrate their crime
@@cataclysm-000 That is the River Phlegethon you are talking about here. My assumption is that the Earthmovers have been draining the boiling blood river to use as a fuel source, which would not only explain why there are thousands of charred corpses, but also how it happens to be inside of the Earthmover we fought to flush out intruders as well.
@@TheBeastUnleashed87it always confused me how the earthmovers were able to function, without sunlight and the amount of blood they would need, but also I coulda sworn that the Phlegethons blood was too hot to be considered fresh and used as a source. Perhaps Earthmovers are able to use it differently than machines like v1? Would explain how they can flush out their interior with boiling blood, unless it’s actually a different liquid entirely.
@@Nghtmare_King Earthmovers are considered by hell as the peak of the humanity arms race, so it's quite possible the ones in Hell are merely just a "monument" to what happened. After all, Hell says "NONE WERE LEFT TO SPEAK YOUR EULOGY.", so basically them fighting forever in hell, for no reason for other than to perpetuate war itself, is Hell's eulogy to the Earthmovers.
@@Nghtmare_King they likely use hell energy to still run, as the defence system on the earthmover uses mostly hell energy projectilies (e.g the tracking blueish fireball things)
After reading the terminals i undestood what god meant when he got all mad and said free will is a flaw, like it was so horrific hell itself took notes
@@Swagmaster1102worst part is that the war is probably completely in control by those in power and ONLY those in power can stop it, but it never happens until it’s too late
"....the war lasted so long that people forgot why they were fighting, it was not for any purpose, but simply because of the fact of the battle. All resources were depleted, and war should have ended, but people discovered the opportunity to use blood as fuel for war-machines. The substance given by God to preserve life was now used for endless violence. Humans no longer participated in the war because of ineffectiveness, they took a back seat and were essentially used only as a resource for machines in their endless battle for no reason....."
I swear to god, every song Hakita and his Fellows make, is like a new decade long gift to the gaming and musical comunity. This is Like Undertale OSTs all over again. I sure hope it's here to last.
@@Taha_AThose goddamn earth mover projectiles could probably dunk Gabriel into never existing if you think about it. Sisyphus didnt need insurrectionists, he just needed to get the scientists that ended up in greed to create earthmovers 🗿
If you noclip before you go through the doors after fighting the first Gutterman, you can see that the skybox is all white. This proves that you haven't left the "Garden of Forking Paths" just yet, thus haven't entered the first Circle of Violence. Amazing attention to detail, Hakita.
That path with the mines and the gutterman before the red key/guttertanks instills a fear in me which I imagine is a trillionth of what people felt in actual trenches. Not the path itself but something about those oppressing walls around you and (to me), this feeling of not being able to climb up as if there are soldiers in other trenches constantly firing at you
I know, I know I've let you down I've been a fool to myself I thought that I could live for no one else But now, through all the hurt and pain It's time for me to respect The ones you love mean more than anything So, with sadness in my heart Feel the best thing I could do Is end it all and leave forever What's done is done, it feels so bad What once was happy now is sad I'll never love again My world is ending I wish that I could turn back time 'Cause now the guilt is all mine Can't live without the trust from those you love I know we can't forget the past You can't forget love and pride Because of that, it's killing me inside It all returns to nothing It all comes tumbling down Tumbling down, tumbling down It all returns to nothing I just keep letting me down Letting me down, letting me down In my heart of hearts I know that I could never love again I've lost everything, everything Everything that matters to me matters in this world I wish that I could turn back time 'Cause now the guilt is all mine Can't live without the trust from those you love I know we can't forget the past You can't forget love and pride Because of that, it's killing me inside It all returns to nothing It just keeps tumbling down Tumbling down, tumbling down It all returns to nothing I just keep letting me down Letting me down, letting me down It all returns to nothing It just keeps tumbling down Tumbling down, tumbling down It all returns to nothing I just keep letting me down Letting me down, letting me down Ah, ah, ah, ah Tumbling down Tumbling down Tumbling down Ah, ah, ah, ah Letting me down Letting me down Letting me down Ah, ah, ah, ah Tumbling down Tumbling down Tumbling down Ah, ah, ah, ah Letting me down Letting me down Letting me down
The tweet was: "I NEED THE DATE I NEED THE DATE DESPERATELY WHERE IS HAKITA Sorry, as much as I can understand your desperation for a date with me, I'm too busy to go out at the moment."
I don’t think any Violence Soundtracks would have a P-3 leitmotif. There is no mention of a leader anywhere in the books or terminals. Usually, Prime Souls connect back to which layer they ruled.
@@theorganizer27 I assumed it because 2-2 and 4-2 had their respective ones. Unless it happens in 8-2. My theory is that the third Prime Soul is the individual crossed out in the Minotaur data.
@@silversomnia Unlike you, I do not come to conclusions very quickly I believe the designated layer for a Prime Soul boss should require: -Their corpse -Lore books of "him" -And a painting of "him" because that is what the previous two have. For me, it should follow the formula. Also correction, it's still an assumption that the individual crossed out in the Minotaur's terminal data IS P-3. We cannot backup that claim.
Honestly, I can't get over this song. It's probably my favourite of everything in violence - save for Danse Macabre combat - because it's so damn catchy but every time I hear it I hear a new little thing that I love. Took me about an hour of listening to realise just how much of the synth is pitched to sound like air raid sirens and divebombing planes, and now I can't stop hearing it.
This has to be my favourite song in the layer. This song makes me want to commit Ultra Violence (in videogames of course). Like if there wasn't already a song in the game called War this would be the song of War and Violence
This song is very interesting and perfectly captures the complete lie that is 'war for a good cause'. The name itself says this explicitly. Propaganda for war tried to tempt people into it by saying they'd be heroes if they fought for their country and that all the killing would be fine because it's to protect the country. Soldiers were basically brainwashed into this, lured into their death like a sailor to a siren's song, hence the name. Another part i want to bring up is the melancholic part at 1:14. The first bar sounds almost good or positive, pushing the idea that they are fighting for a good cause, while the second bar takes that and pitches it down, twisting it and making it sound more sinister, a sign that the illusion of glory and heroism has faded. This is why I don't actually think it is meant to be a prime soul leitmotif. It seems to push a different feeling that's more relevant to the specific level than to an overarching character. But hey, that's just a theory. A music theory (not really).
To add to that, usually, there are hints to who the prime souls are going to be on a specific floor, like Minos with Lust and Sisyphean on Greed. So far, we haven’t found anything to allude to a prime soul on Violence so I do think that the OST of Violence as good as they are, they aren’t going to be leitmotifs.
the lore does state that the war lasted over 200 years and the date we see in the beginning of the game is around 2110, which means that the war started around 1900, meaning that it is actually ww1 vibes
@@Taha_Aremember to take the New Peace into account though, since it could've lasted some decades or so meaning the final war may have started earlier
@@atlas16198 o shit i forgot that but hakita probably did too because the numbers line up very will without the peace, unless the humans in this universe are much more inherently violent than us, making them fight earlier and for much longer
@@Taha_A I'm pretty sure it *does* line up since it's not the date of game events, it's the date of V1's last firmware update or whatever. And V1 was developed at the end of the war, but the production was cancelled so of course there wouldn't be updates afterwards. It all fits together
I like to imagine that this is the first level where the robot invasion of Hell has actually caught up with V1. Hence why a lot of the machines are drop podded in rather than being teleported in.
I think it's more likely that the machines we encounter are not the 'actual' machines, but instead recreations of Hell. Machines were the symbol of Violence, and so Hell chose them as a torture for people who commited violence
@@tuvergalarga6144 why? We already know that Hell can manifest things like Pyramids in Greed to torture sinners, why wouldn't It able to do the same but in Violence? And do why they arrive in DROP PODS?
The drop pods are 100% recreated by hell yes, but pretty much most machines, ESPECIALLY on 7-3 aren't teleported in. They're catching up@@ultrafun2227
The Guttermen are Russian, the Guttertanks are German, the Earthmover is Japanese (I think), so who knows what country V1 is from? I was going to suggest that the Faith/Ultrakill conjoinment implied that V1 was either American or Finnish, but the new lore on the Final War actually disproves the Faith/Ultrakill conjoinment. They aren't canon to each other, so the V1 drawing is just an easter egg. hmmm......
The Earthmover was made in Japan, judging from the signs inside it written in Japanese. V1 was made to kill the Earthmover. Considering that the Final War seems to be analogous to our real world's World War I, V1 probably comes from one of the countries that was in the Central Powers, which were countries allied against the Allied Powers, which Japan was a part of. If we go by this logic, V1 could be from Germany, Austria-Hungary, or Turkey. This is probably a coincidence, but the name V1 gives the blue skull, Hank, is of German origin. So that might mean V1 comes from Germany, specifically.
In my first attempt of this level, it had the same amount of restarts as I had in P-1 on my first try. It terrifies me to think about what else the game has in store for us later on.
i adore the fact that the name is a sort of double entendre, “hear! the sirens song call of death” could be taken literally, the wail of the war/air raid siren being a sort of call, calling people either underground or to the battlefield, but it could be taken differently “hear! the sirens song call of death” could also be a siren as in the mythical creature who lured sailors to death through song, similar to a siren in war leading innocent men to die without cause, *because all that remained is war without reason* (i don’t know if it was intentional but i thought it was cool anyway)
@@scout7734 i was just joking but nobody confirmed what V actually stands for because possibly it doesn't stand for anything V is the model and yeah it sounds like "Version 1/2" but its not really that its literally just "V" V is the robot model
i mean, that can be possible since there is A LIVING HUMAN being kept barely alive on the back of the guttertank as the guttertank can't keep it's blood fresh
i like how even if you knew nothing of ultrakill and heard just this song with no prior knowledge, you’d be able to immediately tell this song has something to do with war
This theme sounds very atmospheric and ... Artificial like machines that were made for war Represents how creepy are these walking lifeless pieces of steel are, and the suffering of poor souls who were unlucky enough to be guttermen's fuel source
1:13 3:42 This *has* to be the prime leitmotif, I'm making my prediction now. I realized the other day that it's the same part that plays in 'Do Robots Dream of Eternal Sleep' as well! Also, I'm thinking the terminal in P-3 is gonna somehow canonize our deaths and respawning, we'll see. Tangent: To be honest, this song sounds like a prime soul's theme with the way it is structured. In both 'Order' and 'War', there is a leitmotif from 'Requiem' and 'Sands of Tide' respectively. Those sections in the prime themes also have time signature changes, being 6/4 for 'Order' as well as 'War'. In 'Hear! The Siren Song Call of Death', a leitmotif from 'Do Robots Dream of Eternal Sleep'? can be heard with an accompanying time signature shift to 6/4.
Ultrakill is the worst timeline. An nigh-unending war with multiple parts, each one with a different "meta" I wonder, if this timeline could have been even worse. What im talking about is, what if V1 was finished and pubicly released? What if humankind never discovered hell? A fourth, even more brutal part of the war, where many, MANY, V1 models were dispatched to destroy, kill, terminate.
The song feels like its being played through a walkie talkie instead of being crystal clear like the WIP one which greatly expresses the fact that you ARE in the battlefield
americans when their goverment barely gives them enough money to live:😐 french people when their goverment increases the retirement age by 12 picoseconds :🔥🔥💀🔫🔫🔫🔫🗑🗑🗑🗑🗑🔥🔥🔥🔥🔥🔥🔥🏃♀️🏃♂️🏃♀️🏃♂️
wait, if hell uses and takes inspiration from machines and designs humans made, then could it mean that it can make a v1 inspirated enemy? after all, hell wants entertainment and it would be the biggest expectacle to watch the strongest machine fighting it's counterpart, besides, we haven't fought any enemy that can restore health mid combat in the way v1 does, except for the flesh prison which heals with it's eyes
I HEAVILY doubt that ULTRAKILL will end on a high note, or have V1 go into heaven, I believe the game will end with V1 sitting on the cold floors of Treachery, lying down as it dies, alone, with no enemies, just the cold snow of hell covering its corpse as the universe ends.
I've come up with a theory as to why so many machine enemies from the great war get introduced here. The guttermen and earthmovers both had some kind of biological thing inside, and due to their violent nature they were cast here. That led to largescale infighting as seen by the later arenas in 7-3 and when the 1000-THR is fighting another earthmover in 7-4. Guttertanks went there on their own accord due to the race for blood, but got stuck in their advance due to the earthmovers outclassing them. It's been an endless warzone ever since.
With V1 surely being an outlier of a machine not being teleported around the layers of the palace called hell by hell, its likely many of these machines are being teleported around and V1 just hasn't encountered them until hell deems it the right time for it. I would also add that the guttermen and gutterTANKS both don't get teleported in and rather are forced into bombs and slammed down. Also the machines never infight, only do Demons and Machines fight (as illustrated in the 7-3 arena where the tunnel you are in gets blown open and the second music for the level starts). The cause of this is likely hell trying to put these machines in their place and gives a possible reason why husks show up in such low numbers and when they do show up in large numbers its usually on their own. Hell is having trouble keeping these machines from killing all the husks in Hell. Most machines likely won't fight each other since neither can siphon blood from each other, but due to V1's expertise in dealing with blood carrying machines it keeps getting it to fight and kill all the machines it can find acting as both entertainment and the emergency service for the now, likely majority, machine population in hell.
The best part of layer 7 is how dramatic and final all of the level themes feel, really making it feel like the journey is inching ever closer to its conclusion, and yet despite this constant feeling of the end being right around the corner the music never gets any more annoying or feels any more tiring
