@Vengeance_I_m I meant to say that I also can't find the words to express how much I love this game. "I can't find the words to explain this" "Me neither" That type of thing. Idk maybe it's wrong tho
Fun fact about Rellana's OST: of course she has some vibes and similarities with Rennala's, but it shares its melody with the very first trailer of SOTE, the one published in February
@@xaitatnah. It's Radagon's part of the theme, and it applies to him specifically. Same way Dark Reality applies to the final area of King's Field IV. And how the initial notes of The Final Battle are heard in Marika's village.
Having red hair doesn’t mean Radagon at face value I can see why a lot of people would think he is Radagons son but it’s said In many places most namely gaius rememberence that he is the son of Godfrey and Marika
I love that one the most. Like yeah boss sharing motif is cool but this is truly otherworldly stuff. Miyazaki pls more Bloodborne-esque cosmic horror shit.
@@quynguyenkhanh5983 Fr Its really cool, but gameplay wise its a pain. I don’t think you can dodge it regularly without ashes or spells and then you just stand there legit 15 seconds doing nothing cause most spells cant even reach her. Could’ve made a more engaging light show
I big part of the strength of Miyazaki's games are that they not only have a very consistent visual design language for how they represent ideas & themes, but that the same also applies to the leitmotifs & orchestration in its audio design language as well. Things having familiar echoes to other works enables the form of thematic & emotional storytelling to be done outside of just narrative or lore descriptions in items, but to extend out into the whole of the setting & environment of the game itself in something that you can sense outside of just what we're explicitly told.
To add one more thing, I really love how the music in these games doesn't just sound good, but also tells a story, often very reminiscent of what visuals actually show. That's why we have pro music producer youtubers like Davi Vasc and Marco Meatball listening to these OSTs without ever playing these games, and then perfectly summarising the boss/story narrative by simply putting into words just what these OSTs try to convey
@@Vengeance_I_m They especially do this with boss phase transitions. While it's hard to deny that Ludwig's phase 2 in *_Bloodborne_* is one of the most iconic EVER in the series, I think that *_Shadow of the Erdtree_* probably has my favourite use of this with the Scadutree Avatar, because of how the music carries so much of that storytelling when you're familiar with the Erdtree Avatars and other bits of game lore. The Staff of the Avatar from the base game states that, "The avatars, emerging in the wake of the Elden Ring's shattering, were determined to protect the withering Erdtree's offspring." and in Shadow Keep, the Wrath from Afar incantation explains, _"When the Elden Ring was shattered, the people of the realm of shadow felt it too-and feared it as a sign of the Erdtree's wrath."_ We learn from the Iris of Grace & Iris Occultation that they forcibly controlled others with their Marika's ocular seal to either quell or amplify the fears of the Erdtree to artificially align followers to their faith. However, Marika & Radagon's Scarseals reveal a different side to this as they're themselves beholden to that same system of control, _"These seals represent the lifelong duty of those chosen by the gods."_ which increase in power as the wound deepens into Soreseals but also amplify the pain that is experienced, so their description becomes _"Solemn duty weighs upon the one beholden; not unlike a gnawing curse from which there is no deliverance."_ When fighting the Scadutree Avatar, the Impenetrable Thorns it attacks with are the same things winding through its own body and forcibly holding it together in a wounding embrace, and both of its sorceries state that, _"The image of the misshapen Scadutree is an edict:"_ with slightly different messages. The Mantle of Thorns, _"Spurn all that exists. Wound all that exists. For we have been abandoned."_ and the Impenetrable Thorns, _"Denounce their ways. Do them harm. For they have abandoned us."_ They're no longer magic in the form of Faith-based incantations either, _"Sorcery of those who abandoned the practice of incantations after devout faith rewarded them with only despair. The caster wounds their own flesh using impenetrable thorns grown from the Scadutree, which then sprout from the earth."_ It is an object of utter abandonment and detachment lashing out in a defensive self protection even though it means embracing self-destructive behaviour by doing it. Its Phase 1 theme feels like a normal fight against something powerful. When it re-emerges, the Phase 2 theme feels more regal, powerful, & intense. But then the Phase 3's theme is just... desperate, painful, & openly tragic. The golden facade is cracked open and the pain it takes to continue is an open wound pouring out over and over beyond the point of justifiable nobility. It's a helpless cry to make that suffering end, because it can no longer trust the kindness or pity of another, and it just wants this suffering to be ended. As each phase goes on, its detonation attack gains one more explosion for each of the 3 hammer blows used to shatter the Elden Ring that Radagon uses as his Phase 2 transition attack. As the Avatars all emerged in the wake of the Shattering to protect their respective trees, this theme feels like an echo of Marika & Radagon's own pain growing within the tree as they're the avatars of the Erdtree itself. They're fragmented but eternal and cannot be freed from their duty as rulers. They keep being brought back over and over again, ripping themselves to pieces all alone, and trying to find a way to enable you to slay a god to end them. The tragedy & heartache in that Phase 3 theme against the Scadetree Avatar is something that mere words could never appropriately convey alone for that conflict, but especially against a being incapable of its own speech. Its emotions are solely communicated through the score. Once it's finally finished, and the fragile sunflower falls for the last time, the whole of its golden arena finally fades into darkness & silence. Left with its Remembrance _"Born of dark notions that bear no sense of Order, that twist and bend its stock, rendering it brittle."_ and its boss weapon _"Much like the Scadutree itself in appearance, a second stalk winds tightly around the first, almost as if in a tender embrace."_ the same way Marika & Radagon's bodies are twisted together in the Sacred Relic Sword. Embracing a copy of itself because it is completely abandoned and alone, just like Metyr & the Two Fingers. ...and upon defeating the Scadutree Avatar, the shattered Great Rune that it drops is Miquella's - whose only remaining power is to enable you to break free from the charms a god that would wield love to steal your heart & force you to follow it again without any choice. Because that's a fate even worse than death.
"Hire" is not the right word. They're all full time employees at Fromsoft, they just interchange in making music, probably because they have slightly different styles of making music and some styles suit certain games better than others
Yuka has stepped away from the company because she wants to explore other kinds of music. She is a freelancer now so it’s possible that she will do more for From in the future
3:37 For me, the music holds an especially powerful symbolism here. It only plays the few harp chords that introduce the main theme. We expect a build-up, a dramatic explosion of sound that never comes. And for a simple reason: this soft and melancholic music represents the original life of the shamans, before it was disrupted by the Hornsent, by Marika's rise to power, and so on. The music thus becomes the symbol of a sudden rupture, a disturbance of the primordial purity of life in the Lands Between.
The Putrecent Knight/ St Trina similarity to Astrea/Garl Vinland tracks well. The knight comes out of the cave where Trina is, protecting her at all times. Also both dwell in pits of death.
I knew Metyr's second phase sounded... weird. I noticed the lack of music and felt that it intentionally sounded like the void of space. Crazy to think that is *exactly* what it was. Also, I may be overthinking but some specific aspects of the Promised Consort theme sound similar to Maiden Astrea's as well. Wonder if anyone else catches it.
@@JoseViktor4099 black holes are black because they suck in all the light, sound certainly wouldn’t be fast enough to escape. The sound of things surrounding the black hole sounds more likely.
While we can't technically hear the black hole itself (sound doesn't travel through space, and black holes can suck in even light), the disc of matter around it is constantly colliding with itself, causing pulses of heat, light etc. that can be interpreted as sound. At least, that's what I understand it to be.
Messmer's ost really gave me flashbacks to Dark Souls and Demon souls. I don't know why but something about the track just felt like a late 2000's early 2010's fantasy ost and thats why I love it so much. His entire fight in of itself gave me good flashbacks back to Dark Souls 1.
Consort Radahn theme sounds like Starscourge theme but restored to it's former glory and i fucking love it. Starscourge felt grimey and withering but Consort theme feels like a glorious ode to battle
My favorite part about that whole thing was that when I first saw the cutscene, it didn’t immediately register who it was, until just four violin notes played, echoing the final chants of his soldiers in the original ost, and then I immediately proceeded to lose my fucking mind
The frenzy flame theme got me, that's crazy cause it's like an in game npc playing the theme for a boss, it's almost like the frenzy flame has a melody that all afflicted by it can hear. Also I wonder if the frenzy flame ending has music that's like this as well
St. Trina taught the merchants the melody as a lullaby that would suppress the frenzy and allow them to sleep. When it appears in Midra’s theme it sounds like a desperate attempt to soothe the flame only to become consumed by it as it pitches up on the last note into a shrill scream.
the aggressive violin during the female chant in Malenia's ost kind of represents her struggle holding back the Rot, while Romina's female chant is much purer and heven-like, like the goddess of rot at its purest form fully embraced.
@@lanowyn No, I understood the point of the comment. I was adding more onto it. It may represent those things, but it is very much the theme of Rot itself
You guys are all cooking like crazy in this comment section. I never heard it but you’re right it makes so much sense. Malenia never wanted to be the goddess of rot.
Bayle shares the melody in his first phase with Placidusax and Lansseax. It seems to represent ancient dragons, you can hear it around 1:00 in Bayle's ost
Yup. Name literally one other boss theme as good as Midra or Radahn. Not fucking possible. Other devs aren't even close. Yet From always gets robbed at the Game Awards because they don't have cliche sad BGM playing every time a squirrel falls from a tree 😂
@@TheStraightestWhitest Sorry but there are plenty of other amazing boss themes out there. Fromsoft is amazing yes but it's disingnenius to say that no other ost comes close. Listen to Jenova Emergent from FF7 Rebirth or Vergil Battlle 2 from DMC3. When it comes to music in general, not just boss themes Fromsoft ain't the best. But there's nothing wrong with that
This is one of the many reasons why i love music and sound so much, no matter how different you make it, it will always perfectly blend in with another sound/song.
Pretty wholesome, if you forget the fact that she left her loyal family for Messmer. She could've helped her sister, when Radagon divorced her.. Also, love ya videos, Cell!
This what genuinely the coolest collection of references I’ve ever heard in any video game. Fromsoft details are superb even down to the tiniest little things ever. Amazing work BonfireVN.
There's also a really cool connection to Mohg in Gravesite Plain and PCR - there's a sort of warbling string effect used a lot on Mohg's theme that is also present in Gravesite Plain and (in sped up form) in Consort Radahn.
Absolutely, but the simple minded idiots will always bash on it claiming "mUhh iTs nooT aS MemOorable aS tHE OThEr GaamEs" because they can't recognize a piece that doesn't have a three note melody playing over and over again
Can you do research into how Scadutree Avatar is essentially the same model as Ebreitas from Bloodborne. They have the same skeleton, projective attack animation and face slam animation
Compared to Elden ring, Sote felt more similar to an original soul, from the setting, the level design and the sparse lore you have to link yourself, while ER base lore was very direct for a Fromsoft game, focused on open world exploration and had a slightly lighter (for a Fromsoft game) tone
ER base lore was very vague, more so than Dark Souls as a whole. So many unanswered questions, mystery how Marika and Radagon can be the same (and why that was important to Goldmask), etc.
1:55 The resemblance to a Sekiro track like Gyoubu’s makes sense. The Guardian Lion already gave me some big Sekiro vibes with its more oriental inspired origin and mask. As well as the heavy storm imagery that resembles the kind of stuff you would have seen for say Genichiro, especially with the lightning version of his moveset.
Yeah, I saw somewhere that thanks to the fantasy nature of ER they were able to use a lot of concepts that couldn't fit in other games or ideas that were scrapped; just look at the God Devouring Serpent, it's basically the great serpent boss we never had in Sekiro, even Malenia fights like the Okami, ulcerated tree spirit is basically a cut enemy from DS3 and all the cosmic horror naturally reminds of Bloodborne. It's basically 3 games in one package, truly insane
I like how Starscourge’s helmet’s ornamentation makes it look like the lion is insane, or maybe laughing intensely. On the other hand, Promised Consort’s helmet’s ornamentation looks rather focused
Idiots would say "Why does fromsoftware reuses their songs? 😭 That's such lazy behaviors 🤓" Though actual souls player would appreciate the references put into the musics
you know what, i think messmer’s ost is the way it is not only because radagon is his dad, but messmer’s feats in the wars in the lands between is also reattributed to radagon. so wars led by radagon could have been led by messmer instead and this is all to erase messmer from the history of the lands between and i will die on this hill
Tbh I think most of these are reached with the similarities. But they frew that aren't would be the reuse of light motifs from the base game that hint at a shared theme. Like marikas corpse have the same theme as her village. Radagan and messmar. Scadutree avatar and erdtree avatar. So on so you get the point
@@cucabeludo9342Bayle destroys Midir lol. Midir can only stand a chance because he, just like every other DS3 boss, don't follow the rule of stance bar in Elden Ring
@@Vengeance_I_m its all fun and games until Midir uses his phase 2 laser combo and deals 20k dmg just like against Placidussax because of the extra damage caused by poise break, since his laser also deals 999 poise dmg, also because of how the after explosions of his laser have multiple hitboxes kinda like Radahn's meteor It's gonna be worse than Placi cause at least Placi can teleport away from the laser, Bayle will have to tank it all
@@cucabeludo9342all of that is only possible because DS3 bosses don't have a stagger meter and modders make them do absurd amount of stance damage. If DS3 bosses were actually properly ported, Bayle would beat him easily, since Bayle is much more aggressive. I mean if we are to compare bosses on uneven and unfair conditions, why not simply put any Sekiro boss against Midir? They would destroy Midir since they're immortal, only player can land a deathblow and kill them
It's so beautiful that they did this, since it's their "last" souls game or kind of. They tried to put all of their works together, so beautiful, thank you FromSoftware
It’s very subtle, but Saint of the Bud has a small allusion to Gehrman the First Hunter in it. When the melody comes in hard in the second phase, the second time it repeats there is a violin accompaniment which plays a segment of his theme.
Considering some of the Composers were already present for a long time and the games all more or less following a similar musical formula, I wager some of the ones crossing over between various titles are probably more coincidental then intentional, still, it would be interesting to see the sheets laid out side by side
The friended song being something that the frienzied flame knows is just so beautiful as it turns from being a bandaid for the soul to being a warning of what's to come.
I still love the fact that you can hear the strings from the intro to Mohg's theme in the very start of promised consort, as a musical reference to the fact that Mohg's body is being used to bring Radahn back.
The comparison between Starscourge Radahn and Promised COnsort Radadhn visually shows how the red of the consort is quite artificial while Starscourge has a withered but more natural red
I'm guessing these similarities are a combination of intentional callbacks (i.e. frenzied lord, and final battle theme) and asset reuse to address budget and time constraints while the dlc was being produced. Odds are FromSoft was working on their next major title alongside SotE.
Some time ago i also noticed that: The Dark Souls 1 intro ( when the archtrees are shown at around 0.35 on the official Bandai US yt upload , this is by far the most "similar but not similar enough" of the group ), the Gwyn and Soul of Cinder fight ( obviously ), the Elden Ring main menu theme @0.12, and the second part of "the promised consort" OST ( when Miquella shows to fight with radhan , in the official OST at around 3.08 , 3.14 , 3.30 and many more ) all have the similar 3 notes played (sometimes with some kind of variation, with a different tempo ( i guess varies by which title they are in ). I don't know the possible meaning behind this, but its indeed a cool detail
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I like how St Trina and the Daughter of Chaos, as well as the Putrecent Knight and Maiden Astrea, have music reminiscent to each other and thematically they match their respective counterpart
I was listening to Shadow of the Erdtree ost the other day, and DBDL theme had brought me to plaing Sekiro. Well, actually, I even started playing FromSoftware games because I heard Vordt's theme in memes and liked it. Also, Froms seem to love waltz (which I love too).
Glad someone finally made a video on this to show people who maybe hadn’t noticed. There’s actually even more similarities between Midir’s and Bayle’s OST’s- specifically the use of triplets in Midir’s phase 2, and around 40 seconds into Bayle’s track.
Also St. Trina’s theme has that minor pedal with the 5th and 6th ascending/descending chromatically, similar to the vibe of 007 famous theme. That #5 (between 5 and 6) creates tension.. so it’s a sleepy vibe but with tension!
