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raven-at-the-writing-desk · 8 days ago

Note

I feel like Unparalleled Aeons and Far Out songs stands out to me is how both members were given equal screen time (Given they are two). Because I guess the issues with the songs is how they have small amount of time for some. Well I don't blame some not just the number of members but also how some of them aren't professional singers like

Notice how the rest of the songs, the way housewarden sings like being the main singer (make sense on who is twisted version they are) the rest being like back-singers but still have some good solos. Meanwhile, the way Idia and Kalim sings doesn't feel like Jamil and Ortho are back-up singers nor them being main singers but like partners with equal parts. When I listened to the other songs, I can't tell who's who while the Ignihyde and Scarabia I can tell.

I don't hate the songs, but you can't help but notice that makes it interesting. Overall, I love all songs that have their motifs, themes, and lyrics. It's kinda sad these songs couldn't be use in modern Disney that much.

[My personal ranking(s) of the dorm songs here!]

I definitely feel like Far-Out and Unparalleled Aeons had the most evenly distributed lyrics of all the songs. As you said, maybe it was more challenging for the composer to balance larger groups, or maybe the composer was limited in how he could write the songs due to some VAs being less skilled with singing. However, I also have to wonder how much of this was intentional??

These are dorm songs, right? And the VAs are singing in character. So to me, it feels like the songs are storytelling too, telling us about the dynamics of the group through their performances.

Looking back on it, the two most balanced songs belong to the dorms where its members are the most deeply intertwined with one another. Kalim and Jamil are locked into a toxic codependent relationship due to their families' history. Kalim relies on Jamil to do practically everything for him, while Jamil is stuck in a servant position he wants to break free from and always forced to play second-fiddle to Kalim. Idia is constantly haunted by Ortho's death, and Ortho plays a huge role in providing support for his older brother's mental faculties (encouraging him to get out of his room and mingle with peers). Ortho is very reliant on Idia for much of his own identity and presence at NRC (prior to book 6), only allowed to be there because he was registered as Idia's + Idia provided tech support for the school. Idia also designed many new forms (gears) for Ortho.

Many of the songs are structured to feature the dorm leader--which I'd argue is thematically appropriate, as I will soon get into. I have a pretty bad ear too, but I was surprised at how many of the voices I could distinguish. The card soldiers, Silver and Sebek, and Epel and Vil were the only ones I couldn't quite make out. There was enough variation for me to tell the others apart, especially Savanaclaw (no way would I mistake Ruggie for Jack or even Leona for Jack).

Every song not only has its own genre, but also its own vibes. I like that Twst can be its own thing and not necessarily kowtow to Disney's more traditional musical roots. I personally wouldn't want these to be incorporated into modern Disney film or TV productions. When Disney tries to do this, it ends up sounding so tonally dissonant or mismatched with the rest of their OST(s). ... Anyway, here's a very brief analysis of each song's arrangement + some lyrics and how they're divided up-- (MVs not taken into consideration; I unfortunately don't have the time to analyze every frame and how it lines up with the lyrics.)

Heartslabyul's Obedience is interesting in that it is very symmetrical with its vocal pairings. Cater and Trey sing with one another while Ace and Deuce sing with one another. The third years are deliberately paired with each other, while the first years are deliberately paired with each other. Trey and Cater, the original loyalists, have lines about "[playing] your cards right" and how their ruler is looking righteous and smug. Meanwhile Ace and Deuce, the rebels, sing about not being "caught" by their dorm leader's gaze. It's not until the second half of the song where they mix things up (Deuce with Trey, Ace with Cater), but it's still very predictable with the blends (always a third year with a first year). Trey and Deuce, the more level-headed duo, bring up setting the table, while Cater and Deuce, being more of the "hide your true feelings"/"avoid responsibilities" duo, "[hide] behind a smile" and warn to not "get caught with your tongue sticking out". This goes along with the song's theme of following the rules to a T; all the card soldiers are in place! You can even say that the song starting off with the rhythm of a military band indicates the song coming up will be regimented and structured. The only part I would say outright "breaks" this rule is when Adeuce sing with Riddle (around the middle of the song?) but in a way, that also makes sense given that those first years rebelled against Riddle in book 1, but eventually come around in book 7 to become his supporters. Then they of course all chant together for the English portions ("Yes, your Majesty!", "My pleasure, my Queen!", "As you wish, my Queen!") where they express their devotion to the Queen, indicating that these phrases are something "[the Queen wants] to hear". (Riddle chants with them too, to show respect for the rules.)

I think the true chaos of the song comes in the second half. Trey and Cater mention running through a maze and how the Queen's righteousness breaks at that moment, then Adeuce elaborate it scatters like cards. Riddle remarks how this--the twisting maze--"[hides] the true colors of [his] heart". This parallels how there was an elaborate chase through the rose maze in the depths of Riddle's book 7 dream, obscuring his loneliness.

You definitely get the vibes that although everyone has their little solo, Adeuce, Cater, and Trey are there to support their dorm leader. Riddle gets about the same amount of lyrics as the others, but his parts are more embellished and have more vocal flair to them. The lines specifically assigned to Riddle also feel like he's the Queen welcoming you to his territory full of his followers ("This is the path to the Queen's rose garden", "The cards are lined up and awaiting their (next) orders", etc.). The lines assigned to the card soldiers seem intentionally designed--as if the cards are reminding you of the rules so you don't upset the Queen.

DIADEM is reflective of the relationships between its dorm members too, but the relationships are very different than Heartslabyul's. The song begins with Jack singing, followed by a line in which he and Leona sing together. Then Ruggie has a solo line, which is also followed by a line in which Leona joins him. It's only AFTER Leona has already shared lines with Jack and Ruggie that he belts out his own solo, which stresses that they will continue to roar, no matter how many times it takes for their message to be heard. This gives the impression that he swooped in to support Jack and Ruggie with their own parts, just like a benevolent king or mentor figure/senpai might do for his people or mentees/juniors. This is also what Leona essentially does for his dorm in book 2. Then once Leona makes his own declaration, they're all able to sing together, united as one. It's like he uplifted Jack and Ruggie to join his rebellion.

There's an interesting part in the chorus where Ruggie and Jack break away to sing (without Leona) about fate and laughing through the hard times which. Has some heartbreaking implications when you consider that Leona expressed as late as book 6 (and is strongly implied in his book 7 dream as well) that he sees hope in others, but not himself. So??? Him NOT joining Jack and Ruggie in singing about laughing through difficult times seems pessimistic. Around the middle of DIADEM, Leona shouts out commands ("howl" and "roar", respectively), each of which is punctuated by Ruggie and Jack joining him with the English phrases "BEAT DOWN" and "DO MORE". These come off like a leader rallying his allies, and those allies responding with chants for their cause. This is especially the case because right after we get Ruggie declaring that his blood is boiling (ie he's pumped now) and he's eager to destroy a future that has already been decided for him. Then Jack enters, saying that he, too, wants to tear down an unjust world. There is NO Leona in this part, it's ONLY Jack and Ruggie, who have been newly emboldened by his words. The song really highlights how much the juniors are motivated by their strong leader.

In Heartslabyul's song, you get the sense that everyone else exists to prop up the Queen/Riddle and try to keep each other out of trouble by reciting the rules. In Savanaclaw's song, you can see how Leona encourages his dorm members and they react by taking to the words that lift their spirits. Both dorms' members are showing deference to their dorm leaders, but in different ways.

Entanglement opens with Jade imploring the listener to spill their secrets to him. Then Floyd comes in, continuing the charade. Azul takes over from there. This framing makes me think of Octavinelle's usual schemes--that is to say, the twins advertising Azul's "services" and then finally introducing us to him, this supposed "wish granter" (a procedure described to us in book 2). The order of the characters' presentation slots in nicely with this: we start with the more polite and unassuming twin luring us in. Once Jade has set the bait, Floyd, the more conspicuous brother, feels safe to step in and really talk up what Jade laid out in the beginning. Only after both twins are pitched Azul does Azul actually show up to make his offer. Jade and Floyd make up the majority of the chorus, singing together to coerce the listener into making a decision, even framing it like the decision is being made exclusively based on YOUR free will ("It's all up to you"), when really, it's not. Azul shockingly says very little solo in the chorus, only "Now, go on, we're all ears", before the twins join him and they urge you to share your wish with them.

The latter half of the song gives Poor Unfortunate Souls energy; it features Azul telling the listener they won't find a better bargain than this, then Jade saying they're drowning in their own desires and finally Floyd putting on the pressure to close this deal. Azul then mentions paying a price and how his rules are reasonable, which is very similar to how Ursula demands her a toll be paid (how it isn't "asking for much", etc.). The twins also very characteristically warn you what will happen if the contract is broken ("punishment", "squeezing", "no escape"), like the potential consequences if Ariel cannot get the kiss of true love from Eric. Overall, Entanglement reads as the extended experience of you being roped into a Bad Deal.

Far-Out opens with Kalim (the dorm leader), with Jamil (the vice) following. This pattern of Kalim first, Jamil second (which reflects their dynamic in general) also occurs when they speak English in the song; Kalim gets his verse about the magic carpet first, Jamil gets his verse about treasure later. The dual nature of Kalim and Jamil is also made apparent here: Kalim is allowed to fly "whenever [he] wants", while Jamil is only allowed to "dream" about "treasure whenever [he] wants". When the two sing together, this duality persists: "good and evil intertwine", "[falling] into a sea of ecstasy", the part where they list several people of different social standing, etc. The one time when Jamil sings before Kalim is at the beginning of the second verse, before Kalim mentions a scarab flying in front of him. This comes off as if Jamil is leading the way for his dorm leader, like some puppetmaster dangling his puppet and tugging it along by the strings. I think it's very telling that Kalim's opening line is about describing the scorching heat of their homeland but Jamil's opening line is about... TEMPTATION??? Hilariously on-the-nose, seeing as how Jamil is the one with the literal mind control UM and he describes a serpent in the night with sharp eyes in the lyrics to Far-Out (literally describing himself). Meanwhile, Kalim's UM chant seems to be referenced, as he talks about singing and dancing. Both Scarabia boys sing about "giving in" together, but as the song goes on, the framing of the lyrics makes it clear they're "giving in" to different things. For Kalim, it's "the heat" (a stand-in for Jamil's mind control), which is made apparent by Jamil immediately saying "indulge in this feeling until it takes over" and Kalim later says he is "captivated by the heat". For Jamil, it's "treasure", something he repeatedly indicates as wanting to take throughout the song. For example, Kalim sings about endless riches, and then Jamil has a solo line where he says "if you desire it, take as much as you want"--and his dream in book 7 shows him taking all that was once the Asims'. They're both venturing to a metaphorical oasis to seek relief, but seem to be distracted by things along the way ("heat", "treasure", etc.).

Kalim mentions a golden scarab crossing his eyes in one line, and while this is an obvious Aladdin reference, it also makes me think of Jade's one golden eye interrogating him in book 4; this would be another time in which Kalim is taken advantage of by others. First by Jamil, then by Jade. At the very end, Kalim sings about undoing shackles (most likely referring to Jamil's) while Jamil sings about a party (of which Kalim throws many of) that will eventually exhaust. The other Scarabia character is at the forefront of each boy's mind, and it is also where their respective desires (friendship for Kalim, freedom for Jamil) derive.

La Volonté is French for "will" or "willpower", which is a huge theme in the song. Unlike the other songs so far (which open with a solo or duet), La Volonté begins with all members of Pomefiore singing about their "one and only wish", and how they intend to immortalize their beauty. This is fascinating in that all three of them have very different personal goals (Epel wants to be strong, Vil wants to be seen as a "hero", Rook wants to pursue beauty), but they sing in unison anyway, because this validates all of their goals as being "beautiful".

Rook, the most secretive of the trio, mentions a heart locked away in a box, then Vil joins him in speaking of a truth entering his ear--like in book 5, when Rook convinces Vil to go with the more unconventional picks for the VDC/SDC auditions. In one of Epel's solos, he tells of sweet poison dyed in crimson, which is wording that is very close to his UM name. When Vil joins him, they sing, "A little more, a little more...", which makes me think of how Vil intends to "perfect" Epel into a weapon to use against Neige in book 5. The fact that Rook sings about their goal "[being] within reach" is ironic, given that it's ultimately his vote that decides NRC's loss.

Though this song starts off with the Pomefiore boys together, this is definitely one of those songs that centers the dorm leader over the others. There are many parts where it's just Rook and Epel singing ("Let all freeze", "[...] grant eternal slumber", etc.) and Vil joining in later or getting a solo after them. The first "waltz upon white snow" invokes the image of Vil standing over the cold body of his fallen rival Neige, but later on Rook and Epel join in singing about this. I wonder if that's an intentional callback to book 7, when they delved into Vil's dream and found Neige... dying. It's Vil singing somberly about all the hands that seek to pull him down (all his haters, all the people who assume he is as evil as the villains he plays), not knowing "the worth of a true star" (ie himself). It's Vil issuing the order for your breath to still (as if your breath has been stolen away by him; this is also the beginning to Epel's UM chant). And, most importantly, it's Vil vocalizing to end the song--a song which, need I remind you, started off with ALL of Pomefiore singing. Now Epel and Rook have stepped back, allowing Vil, the "true star", to command the stage.

Oftentimes fans—and even the Twst characters themselves—will compare Riddle and Vil on the basis of strictness. This also holds true for the compositions of Obedience and La Volonté. Both songs have their respective queens front and center, but La Volonté is definitely moreso than Obedience. Maybe it’s Vil’s celebrity status that has him commanding the spotlight? It could also be that Rook and Epel are simply more inited under a common front (“beauty”) whereas the card soldiers are more selfish and follow Riddle’s rules as a means to avoid punishment for themselves rather than truly subscribing to his strictness.

Unparalleled Aeons has Ortho starting us off, and it's framed kind of like the middle of an argument between the Shroud brothers?? He seems to be addressing Idia, asking if he will shut himself away again, only for Idia to respond that "[he's] just one soul" and that "[he's] the problem". The fact that the song begins with Ortho and not Idia--the dorm leader--makes me think it's symbolic of many of Idia's social problems "originating" with the original Ortho's death. This would go well with the theme of persisting despair in the early verse. In any case, they continue to have this back-and-forth, with Idia stating that he has known dreams are hollow for a long time (likely a reference to his backstory and how he's destined to be Director of S.T.Y.X. one day, whether he wants to be or not). The two later on talk about sulking in the Underworld, which is something Idia notes is a common trait between him, his father, and his grandmother--previous or current heads of S.T.Y.X., and what awaits him too.

The chorus has both Shrouds singing, and it is very much structured around the book 6 disaster in which they attempt to open the gate to the Underworld, unleash Phantoms upon the world. They reference their "happy end" and Cerberus's engine revving up--perhaps to call attention to Phantom!Ortho, the third "head" and sibling to the Shroud brothers. Idia sings about how his loneliness spawned into genius (could he mean how his grief led him to invent a new Ortho?) too. In another verse, the Shrouds declare they will "rearrange the cosmos" and Ortho jeers about heroes that arrive too late to stop them. They're almost gleeful in the "whirlpool of {swirling) souls", full of despair and chaos as they finally realize their shared dream. Hilariously, Idia and Ortho shout "FEVER TIME", a special state that grants temporary advantages in games--indicating that, at least to the Shroud brothers, they see this all as one big game.

At one point, Ortho has a solo line about how a happy ending with tears is crueler than being forever alone. Is he talking about bittersweet endings here? Does this not describe book 6's conclusion--an ending in which Idia is forced to say good-bye to one brother, while also embracing another brother? Idia gets his own line about having all of the cheats and going at full throttle, which paints the image in my head of him putting together that cheat tool and delivering the weapons + armor to Silver and Sebek via magiwheel in book 7. Ortho's solo line in the chorus mentions entertaining trials and tribulations, which I think calls back to book 6, when he tested each of our little groups with mini games. Unparalleled Aeons is simply packed full of internet lingo and gaming slang, all being weaponized to taunt the listener.

The Shrouds lament about how they've been "forsaken by [...] Fate", then make reference to the Fates cutting a Thread of Life, sending them crashing towards "The End". They also later call to attention knowledge of past, present, and future, which are concepts associated with the Fates too. The cut life might be the original Ortho's death, or it could be Phantom!Ortho finally moving on, and thus Idia pushing past his grief. The chorus wraps up with Idia whispering "Welcome to the Underworld"--very fitting, seeing as I recall him uttering a similar line when welcoming the OB boys to S.T.Y.X. HQ (the domain he will rule in the future) for the first time.

Unlike Far-Out, which has an insidious vibe due to the clashing nature of Kalim and Jamil’s parts, Unparalleled Aeons allows Idia and Ortho to be on the same page. It really feels like a Final Boss and his top-ranked henchman scheming together to destroy the heroes.

Capricious Calamity is technically another song which centers the dorm leader, but not in the same way that La Volonté does. In La Volonté, Vil has many solos, whereas in Capricious Calamity, Malleus is the subject of the song, the one being praised and worshipped (using archaic terminology). Given that Diasomnia seems to be a cult of personality around Malleus, this direction makes sense--and the choice to open with Sebek, THE Malleus fanboy, singing about his master's radiance shining brightly in the night, also makes sense. Sebek also closes off the second verse, declaring "unending tribute" to Malleus.

The first verse slowly evolves with a new character added per line. First there's only Sebek, but then it becomes Sebek and Silver together. It gives the vibes of wandering into an old castle and running into the ruler's guards who are evaluating you before you may be graced with their lord's presence. Lilia (the eldest and most experienced of them all) then gets a brief solo before making way for Malleus. It feels like Lilia showed up to announce their prince's arrival, and how all should make way for him. And of course the first thing Malleus says is that he "knows not of celebration"... This is followed up by Silver mentioning that Malleus "wishes for a miracle" (to be invited/included). Then Silver, Sebek, and Lilia speak of this as a transgression which warrants judgment. Again, Lilia concludes this verse with the line about judgment, which harkens back to earlier, when he seemingly "announced" Malleus.

Malleus leads the chorus once Lilia has summoned him. He calls himself an omen that comes with the lightning (his signature), then his dorm members chant that all shall kneel before his green light. Disembodied voices join in, echoing that the listener should give their entire being to the thorns. It paints the image of loyal knights kneeling before their king and beckoning others to do the same in order to quell his rage. This is also the note that Capricious Calamity concludes on, which just further drives the message home.

Silver starts the second verse, noting Malleus reflected in the dark skies. (Sebek begins the first verse, and Silver he second; the two youngest in Diasomnia are also the "start"--the start of, perhaps, a future where fae and humans can live in peace together.) When Sebek joins Silver, they sing about how Malleus, even at his lowest, burns brightly. These phrases paired together, said by the first two of Diasomnia to "awaken" in book 7, make me think of them staring up in horror as Malleus's draconic form takes to the skies. They're terrified and in awe of his might. There's a part where Malleus and Lilia share a line, commenting on a commotion and the cries of the weak ringing out. These two, the strongest in Diasomnia, remarking on this... It calls to mind their battle within Lilia's dream, or even Lilia intervening when Malleus (as a dragon) intends to strike Silver and Sebek down.

At the very end, Malleus announced another omen, this time harkened by spreading thorns rather than lightning... thorns, like the very ones he summons to drag us all into a deep, deep slumber--the trap he sprung in book 7. I think it's telling that it's Silver that joins Malleus in song before the entire dorm sings together. This duo sings about an aurora that is overtaken by the abyss. Is this meant to be a reference to Silver and Malleus's final confrontation, and how Silver refused to slay Malleus at the crucial moment?

It’s really interesting to compare this song to DIADEM, the two performances featuring a prince. In Capricious Calamity, Malleus is propped up by his dorm members—but in DIADEM, Leona is the one propping up his dorm members. This really speaks to (and feeds into) the idea that Malleus and Leona are opposites of one another. A prince worshipped by his people and promised the throne. but still left lonely and emotionally unfulfilled… versus a prince scorned by his people and forbidden from having the crown for himself, yet he’s surrounded by people who look up to him and trust him to lead them… OTL

#if you wanted me to do a line-by-line breakdown + analysis of each song's lyrics 🤡 sorry but this post isn't it #I'm just talking generally about the arrangements #twisted wonderland #disney twisted wonderland #twst #disney twst #notes from the writing raven #heartslabyul #savanaclaw #octavinelle #scarabia #pomefiore #ignihyde #diasomnia #twst analysis #twisted wonderland analysis #twst character analysis #twisted wonderland character analysis #Neige LeBlanche #book 1 spoilers #book 2 spoilers #book 3 spoilers #book 4 spoilers #book 5 spoilers #book 7 spoilers #book 6 spoilers #unrelated but a friend had a theory that jade is the younger twin bc the first years lead the songs #in scarabia kalim is the younger one + non-OB boy so he leads #and in octa azul is technically youngest but he's dorm leader so he cannot open...#so friend theorized that jade who leads entanglement is the younger one of the twins

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epicfroggz · 9 months ago

Text

Age of Shadow

(This is a fan-made Messmer questline and ending, not based on cut content or anything of the sort. Source is: I made it up. Thanks to @sermessmers for helping with some of the items, inspiring me, and listening to my crazed ramblings at the midnight hours. Very long post ahead, enjoy!)

After his fight, particularly after the Hornsent has left his arena, you will be able to locate Messmer at the entrance to the keep’s infirmary, near the West Rampart site of grace. He will be standing in thought before these three chairs:

Messmer has donned a cloak made of Shadow and patched himself up using black gauze (see drawing above). When prompted, he says:

“Hello, Tarnished. There art three chairs here, but none fit me. That seemeth an oversight, does it not?”

Messmer does not turn to face you when he speaks. When prompted again, he says:

“… Thou hast not walked away yet. Doth thee needeth something?”

>Ask how he is alive

pleasantly “Serpents art exceedingly difficult to kill. Believe me, I have tried. Is that all?”

>Ask why he is not attacking

“I had underestimated thee, Tarnished. Thee hast strength befitting a lord. I shouldst not have doubted my mother.” pause “The serpent didst not expect a lightless creature like itself to be elevated to such a standing. It appears things hath changed in mine absence. I have much to learn.”

>leaving dialogue

“Tarnished, I have a request, if thou’rt up for it. I hath misplaced some notes of mine, a recipe for a particular physick. If thee bringeth it to me, thee shalt be rewarded. Farewell, for now.”

The key item Messmer’s Notes can be found in the Specimen Storehouse, near the Storehouse, Loft site of grace. It requires climbing up the catwalks and dropping down to an area with bookshelves.

Messmer’s Notes - Barely legible cursive scrawl written by Messmer the Impaler. Details a recipe for a medicine once derived from one of his mother’s blessings. It appears to be based off a childhood memory, with a few added ingredients “for taste”.

When you return to the infirmary, Messmer will be kneeling in the “O, Mother” gesture before a shrine to Marika that he has set up, the three chairs neatly pushed out of the way. When prompted, he retracts his hands, and says:

“Hello again, Tarnished. Didst thee findeth the recipe?”

You may then give him Messmer’s Notes. Alternatively, you may choose to give him a Blessing of Marika if there is one in your inventory.

>Offer Messmer’s notes

“Oh! I thank thee. Here, thy compensation.” gives you a Rune of an Unsung Hero

>Offer Blessing of Marika

“Oh, this is… Where didst thee get this? Nay, ‘tis not my place to ask. My sincerest gratitude, Tarnished.” gives you a Marika’s Rune

You may now ask Messmer more questions:

>Ask about the jarfolk

“Ah. What remains of my mother’s people. I hath tried desperately, for aeons it seemeth, to ease their suffering, yet… At what point is keeping a patient alive no longer in the interest of their wellbeing? At what point does it becometh insanity?“ shakily “I still feeleth as though I hast failed them…”

The second question only unlocks after you have defeated both Rellana and Gaius. If you have not, when you leave and travel back to the West Rampart site of grace, you will be greeted by the sound of Messmer weeping. Walking within ten feet of him or breaking objects in the room will cause him to stop. When prompted, he says:

trying to sound intimidating but holding back tears “Begone, Tarnished.” shakily “Messmer does not wish to speak to thee at this moment…”

Leaving and traveling back to the West Rampart site of grace will let you choose the second question:

>About your friends…

“I knoweth, Tarnished. They were in thy way, were they not? Rellana, and Gaius… I shall grant them a hero’s burial. May they returneth to the Erdtree yet, even if that is a vain hope in this land.” quietly “My friends, forgive me… For I have availed you nothing…”

>leaving dialogue

“Tarnished, thee can travel to the Lands Between, can thee not? I have another request for thee.”

A cutscene plays wherein Messmer carefully pulls a snake from his eye socket. During it, he says: “After shedding the seal, I recalled abilities lost to me. Some wonderful, some terrible, some… Gah! Hah… For thee, Tarnished. On thy travels, I bid thee well.”

Thus he will grant you this key item:

Juvenile Serpent - One of the base serpent’s progeny, pulled from the eye of Messmer the Impaler. Writhes around often. Stares longingly at the world, or perhaps stares hungrily at you. Who can tell? “Do take care of it, wilt thee?”

After reluctantly accepting the serpent, when you travel back to any grace in the Lands Between that Melina can spawn at, there will be a new option to Speak to Melina. She will say:

“What in the world is that creature you travel with? It seems to like me… You are exceedingly warm, little snake.” pause “It appears hungry. I can feed it some runes, if you would like?”

>Accept (-100 runes)

“Snakes are said to be traitors to the Erdtree, but we too are walking the path of heresy. Let’s get you fed, little one… There. Do tell, where did you find it?” pause “A long lost demigod pulled it out of his eye? Have you been afflicted with madness? No, you are entirely sincere. Huh. Well, it seems harmless enough.”

The serpent must be fed one more time to continue the quest. Speak to Melina at any grace and she will say:

“Hello. The little one hungers once again. Would you like to offer some runes?”

>Accept (-100 runes)

“I am surprised at its good nature, though I have witnessed it spit a red flame when angered. It is impossible not to question what sort of demigod it came from…”

An interaction occurs wherein Messmer materializes in a shadowy haze—not unlike the spirit fog through which Melina appears to you. He introduces himself: “Ah, so it was thee feeding the wee serpent? I knew it smelled like kin… I am Messmer, and thee?”

dumbfounded “Melina?”

“I see. Melina. Sister of mine, I knoweth of the kindling that smolders within thee.” he summons a small flame in his hand to show her “There is no need to burn thy self again. The Tarnished and I shall see it through.”

After this, the description of the Juvenile Serpent item updates:

Juvenile Serpent - One of the base serpent’s progeny, pulled from the eye of Messmer the Impaler. Prefers the company of the kindling maiden, as her touch feels like home. It will not bite the hand that feeds it. Serves as an anchor between the Lands Between and the veiled Land of Shadow.

(Optional) Taking the serpent in this state to the Church of Vows site of grace allows you to choose the new option, Speak to Messmer, which will summon him in shadowy spirit:

“Thou hast met Miriel? We became acquainted when Rellana once brought me here… ‘Tis a burning memory now, but the pastor is a wise beast indeed.” he looks to the sky “‘Heresy is not native to the world. All things can be conjoined’. We have forgotten that. We have forgotten ourselves, what we held most dear. To repair shattered Gold, I must layeth bare the ugliest truths of this world, those which I have been the bearer of for so long—I must mend it with Shadow. For there is no light that exists without the dark.”

Taking the serpent to the Forge of the Giants site of grace allows you to choose Speak to Messmer:

“Thou hast done well to come this far, Tarnished. Long have the prophets uttered of this moment. ‘Tis not lightly I choose to fulfill it, but… I wouldst prefer to give my men the option to return home, if nothing else. Art thou prepared to commit a cardinal sin, with me?”

>Accept

A cutscene plays, in which the Erdtree and Scadutree are burned at once in Messmer’s flame. Messmer speaks:

“Tarnished, hold my kindling aloft. From here, I shall do my part… O, Erdtree, and Scadutree both, ye shall burn together. For the sake of the new Lord, and a new world, mended.”

You continue your journey to Farum Azula and then back to Leyndell, Capital of Ash. Sir Gideon Ofnir will have access to the incantation “Messmer’s Orb” in his fight (why wasn’t this a thing already???). At the Queen’s Bedchamber site of grace, you must choose to Speak to Messmer one last time:

“Ah… Thou art close. Within the Erdtree, I intend to confront my mother. If it be true she has become infirm, and lost all sense of self… Then I shalt taketh her place. The Two Fingers rejected me long ago, but I am yet capable. If it cometh to this, will thee be my Lord?”

>Accept

“I thank thee. We have come a long way, Tarnished.” small laugh “When it cometh to thee, I find I have no regrets. Take this, and when the bell tolls, summon me forth. To stand before my mother once again.”

Thus you will be granted this key item:

Mending Rune of the Abyssal Prince - Mending rune gestated by Messmer the Impaler. Used to restore the fractured Elden Ring when brandished by the Elden Lord. Formed of a swirling mass of serpents, and the base serpent biting its own tail. It will embed a Shadow lost back into the Golden Order, restoring balance. The “base” in the base serpent’s name refers both to its nature and the place it once belonged, at the roots of the Erdtree where light does not reach.

After defeating Radagon and Elden Beast, you will have the option to summon Messmer from a shadowy summon sign on the ground, giving this final cutscene:

“‘Those who walk alongside flame shall one day meet the road of Destined Death’… Yet, it seemeth my road hast led me back to thee.”

“Mother… Thee may rest now. I shall put thee, and this world, back together again…”

Messmer gently gives Marika’s head to you, and you place it upon her body, the Elden Ring becoming mended with the abyssal rune. The scene lingers on her as the shadows in the background deepen, and as a squelching sound grows in volume, soon thunderous. From the darkness suddenly emerges the abyssal serpent to swallow her whole, its red eyes burning against the dark:

The scene cuts to black.

Messmer narrates the final scene, showcasing the now physical Erdtree grafted unto its Scadu counterpart: “The fallen leaves tell a story… Of a Tarnished who became Elden Lord... And the serpent that became a god. A god that ushered in a gentle dark, so that this shattered world may heal.

So that the light of Gold can shine ever more brilliantly, against an Age of Shadow."

#sketch #graphite #lore and theorizing post #elden ring #elden ring dlc #sote spoilers #messmer the impaler #messmer #age of shadow au #it's finally doooone #my “what if messmer had 3 hours of voice lines” post #an ode to him and fromsoft in general #there will be at least one follow-up drawing to this so stay tuned for that :D

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