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This weeks #TuneTuesday just so happens to be one of my favourite boss fight cues, in addition to being one of my favourite bosses in gaming. It is Ludwig, The Holy Blade from Bloodborne, composed by Nobuyoshi Suzuki. Bloodborne is developed by FromSoftware, who are the same people who bought you The Dark Souls Trilogy, so you know that this game is tough as hell and has next to no plot with all the lore told through item descriptions, the environment and the occasional NPC who speaks in riddle. The plot for Bloodborne is incredibly simple on the surface. You are a hunter who must hunt the beasts that are slowly taking over the people of Yharnam, the city/land in which the game is set. As the story marches on, dragging you through the mud and blood (which there is a lot of) you will find that there is a lot more going on than people being turned into monsters for you to be killed. Without too many spoilers, the world in which Bloodborne is incredibly Lovecraftian (the term being derived from everyone’s favourite racist author, H.P. Lovecraft) as you find many of these beastly monsters and creatures to have Cthulhu-esque designs, each with a strange connection to things that live in the stars that may well have been the study of many a scholar within the Bloodborne world. That is where today’s cue comes in. Ludwig, a character who is mentioned every-so-often in the main game by NPCs and item descriptions, is a boss in the one DLC, The Old Hunters. He’s actually the first boss and one of the most unforgiving bosses in the whole game. He is also one of the most enjoyable (for me anyway) in the whole game. As you can tell by the thumbnail of the video and the header, Ludwig has become a beast, one that is best described as a monster/zombie horse lined with teeth and eyes. Like his visage, his theme is incredibly discordant, almost as if the entire orchestra is dying a slow and bloody painful death, led by a solo cello and almost screaming choir. I would usually hate something like this, but to analyse the harmonies and the deceptive rhythm (it makes the casual listener think it is in ¾ when it really is in 4/4) is just fascinating to analyse Bloodborne was the first FromSoftware game the introduced bosses with multiple phases, meaning that once its health has dropped to a certain amount, the boss will unleash a new set of attacks. In the case of Ludwig, his second phase is separated by a cutscene filled with lore, which allows him to transform into a more majestic, and laughably easier, knight form (in the video, this is about the 2min mark). The cue still playing, transitioning into a more sinisterly noble theme, with the brass more prominent, far more frantic with more syncopation, now in the key of E minor, a tone higher (previously D minor) than before. It acts as a final send-off for the character, who is rather significant in Bloodborne’s lore, a brave hunter fallen from grace. Even if you don’t bother reading any of the lore in the game, or ignore all of the NPCs, it would be hard for you not to feel some remorse slaying this mutated stallion, as he is one of the few bosses that talks to you during a fight, and the only one afterwards, where he has realised the monster that he has become and begs for you put him down. As much as I enjoy the narrative and lore of Bloodborne, I am a huge fan of its incredible soundtrack, consisting of 6 fantastic composers, each one adding something amazing to this game. This cue is no exception, as we have intense gothic horror one moment before doing a complete 180 for an almost heroic brass theme, whilst retaining that distinct Bloodborne take on Lovecraftian horror.
Week 3 of the #Spooktober takeover of #TuneTuesday has us look at a more intense #horror game cue, one that I think is terrifying, both in and out of its associated game. The cue is 'Suitor Attacks' from Justine, the DLC from Amnesia: The Dark Descent, composed by Mikko Tarmia. You play as Daniel, a young man from London who has awoken in the dark and empty halls of the Prussian Brennenburg Castle with little to no memory about himself or his past. All he can remember is his name, that he lives in Mayfair and that a 'Shadow' is hunting him. It does not take him long to find a letter from his past self, telling him that he has deliberately erased his own memory. But before doing this, he instructed his future self (ie, you) to kill Alexander, the castle's baron (it's set in 1839). Why he didn't kill Alexander before wiping his memory is beyond me... Gaping plot flaw aside, it is considered to be one of the greatest horror games to have spawned from the mouths of hell, and I am in that mindset. The Dark Descent takes many influences from Lovecraftian horror, using the famous quote “The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown” to it's fullest. I discussed in a previous #TuneTuesday thread (almost a year ago) about the impeccable sound design and score, both of which scares you more than the monsters themselves. You cannot fight the monsters, so your only option is to hide. They are sensitive to the light from your lamp, so you have to hide in the dark. Problem is, Daniel is scared of the dark and can start making whimpering noises, should his Sanity drop too much. You can't really look at them drains your Sanity Meter, which is not good for Daniel. In short, you're fucked. As for today's cue, this is found in the game's only DLC, Justine. Here, the player takes control of an unnamed female character, who awakens with amnesia in a dungeon cell, accompanied a phonograph. It contains a recording by a woman named Justine, who tells you that she is the subject of a psychological test. The player character is then allowed to escape, or die trying. In some ways, it is more frightening than the base game, for reasons I will avoid for spoiler reasons. In addition to the new monsters that you can't look at, there is also permadeath, so if you die in the game, you have to start all over again! Where it excels is its ability as a laxative. You will die a lot in this DLC, especially at the DLC's penultimate puzzle, which involves you moving about in a pool of water, so your movements are slower, whilst you are being chased by one of these Suitors, who is much faster and aggressive than the ones before it. Accompanying this is this uniquely aggressive cue, which is horrible in every sense of the word. I won't begin to attempt to pull it apart in a music theory sense, because (as I'm sure you can hear) is an atonal mess of screeching strings, harrowing synth pads and thumping percussion. As I said on November 2018, I do believe everyone should experience this game, whether you have the stomach to actually play it, or watch someone else through a let's play. One could argue it is because of PewDiePie's Lets Play that Lets Plays are a thing at all. It certainly made PewDiePie an internet sensation which, in turn, made gaming more mainstream, rather than just an expensive waste of time to the general public.