Clearing up some confusion on the titles, Refraction Railway is essentially an endgame boss rush mode of sorts where you fight a whole bunch of really difficult boss battles in a row, ending with a superboss. The King in Binds is that superboss (though it's an odd situation where its minions make up most of the challenge), and both Audite, Pauper and Vovete Miserias play during Phase 1 and 2 of the fight. Now, I'm not usually one to go out of my way to do really difficult content, but I heard these themes on TH-cam close to the time when Refraction Railway Line 4 was released, and they single-handedly made me want to do the entire railway. The railways throw a loooot of bullcrap at you, but I powered through it JUST to hear these themes in-game. It was a surprisingly fun and hectic experience, all things considered. The aesthetic and atmosphere of the place really helps with that. This railway is titled "Masquerade," and indeed the battles are presented like a masquerade party where you fight your way through waves of servants to gain an audience with the king. That's why Audite, Pauper sounds like a waltz playing for a banquet, as the first phase involves you fighting though the last of the enemies while the king (very visibly) watches your struggle from above for his amusement. Then, as soon as the servants are culled, the king comes down to confront you personally in a dramatic cutscene, and then Vovete Miserias hits you like a freight train. You fight one last pitched battle, where you slowly realize that the king set up the entire ordeal as a means for someone to ease his loneliness, even if just for a little. It's a cool story for a boss rush mode, something that previous iterations of the railways did not really have. And that is all heightened by the music just blaring organs in your ear, increasing your heartbeat with that EDM beat, and overwhelming you with regal might. I agree with you that these themes are probably my favorite nonvocal themes in this game, which is a shame considering it's limited to a seasonal challenge some players might never get to. But it did make that challenge incredibly memorable. P.S. I looked up the titles of the tracks a bit more, and apparently they are both in the imperative forms in Latin, meaning that they are essentially commands. So the translation of "Audite, Pauper" is more along the lines of "Listen, Pauper" (as in you, poor, wretched person) and "Vovete Miserias" is something like "Swear upon your miseries" or "Vow that you will be miserable." Which is pretty hardcore, not going to lie. The King is commanding you to listen, and you _will_ obey.
3:54 "There has to be a reason for that too, right? All the L names?" Yeah, it's because of how many L's you take playing the games (they're very hard.)
PMs soundtracks are nothing if not eclectic, they embrace almost any genre that fits with what they're trying to convey, and its one of my favorite parts of their work. As someone else who really values variety and jumps between genres, that endless pioneering spirit to try something different each Canto is part of what makes PM's voyage such an endearing one.
The King in Binds is a real joy to dissect conceptually. Its one of those abnormalities that really feels like a realised thing, instead of just a single personified concept like Fish With No Head and What If Toads Could Be Sad? He isn't just The King in Binds, he's been bound *by* something, or someone. And he really, really hates it. He's invented games to keep himself entertained, and subdued. How long has he been here? How much longer? The music and the atmosphere in this fight, his design and the spectacularly unique combat design these railway end bosses always have really beg you to stew on questions like that as you puzzle out a way to muddle through with a low turn count. ooogh. the milli moments are always really good but the railway bosses are honestly just as high a peak for me. feels just a little more LoR / Lobcorp in the way they do atmosphere, a little more subdued and shocking. Cromulent asf Edit: Hahahaha, its so funny to hear you hypothesise about people playing this blind taking a pause at the start of these kinds of fights to just absorb it. That happens literally ALL of the time. Varies from person to person, but LoR and Lobcorp are both FULL of moments like this. Love Town and your first Sephirah Supression happen very early on in their respective games and are likely to evoke that exact response, as they did for me on my first times through.
Ah yes, nothing like entering the second half of an encounter, only to have the scene and music to suddenly change dramatically followed by suddenly hearing a peculiar voice singing "Oh I have been so afraid..." in an almost upbeat sounding way lol... Something the King in Binds slightly reminded me of with it's scene transition and music, but with a slightly different reaction.
On the flip side, you could imagine the King in binds having willingly bound himself. After all a King is bound to listen to the concerns of his subjects, to protect them, and to care for them. For what is a king but a shepherd to his flock. You approach the king in binds as he offers you a set of boons yet he grants these same boons to those underneath his banner. Yet all the same he has become worn down with time, bored, and bound to his duty as King. It is only when you beat those protectors of him that he rises from his chair moving to take action against those that would threaten the kingdom and the weight the title of king demands of its ruler. literally breaking the binds keeping him bound to his chair.
Glupo feels like a very well-realized abnormality, in his defense! He’s based on a Korean fairytale/nursery rhyme - let’s just go with fable - about a toad and their mother.
Theres been a lot of dubstep adjecent music made for limbus company lately. The Time Ripper and The Barber's themes for example, each is like a "dubstep and [Insert another genre here]" song. I wonder why
Boss Lore (written by Yi Sang): We emerged into a great hall of crimson ornamentations. Its appearance summons to mind the shape of a banquet hall. A man wreathed in red fabric rested atop the throne of the crimson hall. He raised his hands in an endeavor of effort and gingerly gestured toward a gathering of masks manifestly made for a masquerade. A spectrum of emotions were carved unto a spectrum of masks laid about. There was a mask of sorrow, a mask of wrath, yet I found myself most partial to the mask of joy. I know not the reason for which this mask embodies such expression of euphoria; yet, shan’t it be enough that it shall share the selfsame joy with others? Two birds with one stone; solace shared, sorrow shrouded, the twain under a blanket of elation. I wear the mask and feel my thoughts grow clear as an autumn sky. Upon my approach, the king tensed his shoulders for a moment so brief that it was nigh unnoticed. Perhaps it was a gesture borne not out of thought but of instinct, shaped by the cloth-suppressed will to express. We had but a moment to regard it before those akin in appearance to us appeared. Though their forms were opaque and their shapes half-shrouded in shadow, they held certain similitudes to our own forms. The monarch, with certain torpidity, tipped his head to the side in a show of intent to behold our battle. The long years spent in binds have filled the void left behind by your long-gone interests with tedium, have they not? A terribly tragic tale. Yet we battle in hopes that our clashes may bring this king in binds the smallest revelry. Such is all I have to say. These umbral reflections of us bring to mind the ‘Identity Cards’ Dante holds. An egoless incarnation of ‘Identities’ manifested may hold a certain resemblance to the way they appear before us. Defeating one of them merely makes a vacancy for another to fill, for they number the same as we do. Now that I have spent some time in observation of their operations, I have noticed a conspicuously considerable collection of similitudes between us. I can presume that their number is most likely equivalent to our own; their techniques in parallel to ours. Yet what those Peccatula lack is the will to make decisions of their own. Like cards to be played with and discarded at the king’s whim. Kings, both of eld and new it seems, enjoy plays of puppets, a musical of manikins. Wielding men as cold tools, brandishing and flourishing them with abandon, breaking them. And upon their inevitable shattering, the king shall fill their spot with another puppet, its absence unnoticed. Yet, this king may be quite fond of his own. To shower his retinue with ceaseless blessings while leaving naught for the rest of us. Mm… such is all I have to say. → H-how many of them are there? (Sinclair) → If the king seeks to watch an evenly matched battle, then it can be assumed that the entities have the same number of allies in their ranks as we do. If such is not the case, however, any further speculation may be a meaningless effort. (Outis) Thus the battle came to an end with our victory. Thus concluded it seemed the banquet, yet the King's tedium was yet to be sated; the bound monarch rose from his throne, tearing free his corpus from the bandage-chains. The long time spent in confinement has rusted his joints, yet his imposing presence and grace have only grown to touch the formidable grandeur of his sublimity. His resolute resolve roused awe in the hearts of those who beheld his emergence. Yet awe was not the only sense it roused; a question arose as well. For what did the king remain tethered to his throne, when he had the might to rise on his own? I… know not why the king remained in sedentary silence, bound not by the threads but by his own will. I write a few words here still, for I cannot very well put to sleep the simmering ruminations… It appears that the king has aught to convey. A monarch fettered to this spot, ere the hail of those who may discern his fathoms. A wraithlike state the sovereign has taken. This somber musing heaps and heaps with every blade-clash unto a mound of sorrow as sympathy falls sunken. Whyever does he hold one such banquet, his corpus bound to the throne, only to revel in such bizarre festivity? It is but a pitiful tragedy, for this abyss is deep and wreathed in inexplicability. Such is all I have to say. → A tragedy? Bullshit. (Ryōshū) → To be in command of others, to reign over another, is a declaration that one shall endure the responsibilities and the suffering that come with power. I would like to take this opportunity to extend my deepest gratitude to our Executive Manager, who leads us with a firm but fair, excellent hand. (Outis)
The latest chapter that came out a few weeks ago has some bangers in it as well. The game will have a very, very impressive soundtrack when it will be "finished" Also the music of the games is not done by Project Moon themselves but a music company called Studio EIM who made music for other games and work with several composers.
I just finished the relevant boss fight and hopped onto YT afterwards and this video immediately came up. It was an experience to say the least. Project Moon often does this thing where they make the very final boss very easy but the one before it incredibly difficult. And this was very much true with this song. I had struggled with the series of fights leading up to it, carefully planning my resources up to that point and then when I got to the final section, the music felt very triumphant as my team was getting clean hit after clean hit. Even the big attacks that came through and hit them would just be shrugged off and then immediately healed away.
13:45 "I feel like if you heard this for the first time, it got your attention that first time-- enough to even pause or stop the game..." Funny thing about that. Other people have mentioned that Refraction Railway 4 is the fourth in a series of boss rushes-- well in the other three of them, the final boss themes were VERY different. Eerie, ominous, slow tracks with not too much going on so as to set an ambience. So yes, that was entirely my reaction when getting to this boss for the first time-- and also the reaction of pretty much every streamer too!
I like to put Jesse's videos on and sit at my hobby desk while I work on projects. That second phase made me get up and sit at my PC desk and just soak it in.
Sinking gang report, after all we barely listen the whole song. In short the whole deal is the King in Binds force you to fight his knights (clones of your characters, this is the whole theme of this one event) just to entretain himself. After you deal with them he goes for you and the real final fight stars (All Railway final bosses got unique themes). And yes, the fight its a three stage fight: Knights-King in Binds and the Kings with some binds (he gets up of the throne to bash your skull).
Aside from how noticeable the track is as is, in-game, I think it adds a lot that this starts from the "skill check" where there is nothing on the screen other than the dialogue box asking what mask you want to wear. No fighting, the player is just there thinking what option to pick, then as the track picks up you get the animation of the King in Binds stand up from his seat and enter the field.
sleeper agent reporting for duty. I absolutely loved this one, the music, the fight, the presentation, it was awesome. First refraction railway boss that actually wiped me so i couldnt complete the boss rush on day one, did it on day 2. The most fascinating part for me was how it was presented even before the fight starts. Usually when a boss's phase changes, dungeon event or something important happens, you get to do something like a skill check or to choose 1 from a few options in order to gain an advantage if you get it right. With the king, it was different. Just as you press Start, it gives you one of those screens, To choose a mask, why? you need a mask to present yourself before the king, just presenting yourself before the king is already something important. you get to choose an option, and unlike other occasions where there's usually a right or wrong answer... all of them reward you in some way regardless of which mask you choose, all of them giving you bonuses before the fight even begins, it was set up in a way worthy of a king. and once the first phase fighting his minions is over, he breaks his binds, gets up, grabs his sword and then the screen is covered in binds as vovete miserias starts to play and you get to choose another mask, an additional bonus to face off against the king himself. my favorite railway so far, love it.
surprisingly, not all of the Project Moon projects (lmao?) involving the universe of the City are titled with an L, which makes it a bit more intriguing that the games are imo, because the supplementary materials (webnovels, webcomics) are named Leviathan (follows the naming convention) but also Wonderlab and Distortion Detective
There actually is a reason for all the L names. The games take place in a city split into 26 districts, each with a dominant corporation that starts with its corresponding letter of the alphabet. So district 20 has TimeTrack Corp, district 23 has WARP Corp, and district 12 has Lobotomy Corp. The first game takes place in Lobotomy Corp, Library of Ruina actually just coincidentally starts with L, and Limbus Company is about an upstart company attempting to become the next L Corp.
Just listened to Mission in Deep Space, and it reminded me a LOT of Valkyrie Profile 2. Well no wonder, it's the same composer ! Also, that track from Street Fighter sounds like something out of Ape Escape, I swear
The gameplay is similar to ruinas, but a lot more simplified. Instead of making decks for your characters for their skills and equipment, characters come preset with skills and different resistances. Lotta fun
I wish I had stopped to appreciate the music associated with The King in Binds. I normally have pretty big writeups about the context and themes that happen around these songs, but uhhh... I kinda just 2 shot the dude before I could even realize the music had changed. It didn't help that the previous 3 Refraction Railways didn't have particularly notable songs for their final bosses. Instead I will talk a bit about how you always see the immense amount of passion for Project Moon that pours in whenever you react to one of their songs. Project Moon is a company that, by all measures, should have failed before they even finished their first game. It was and is a buggy mess, they got scammed by a group that promised to make an English translation and just created the worst machine translated abomination possible. Project Moon had initially announced at one point that they'd be shutting down, that they'd finish off the remaining features they'd promised during their backing campaign, and then close doors after one game. The fan response to this was to buy hundreds of copies of their game and gift them to whoever they thought might enjoy them. The story that had been written was impactful, meaningful, and the people who liked it wanted to see more. Through this massive surge of sales, they got enough to continue through development of Lobotomy Corporation, and would eventually be able to start on Ruina, a game that once more had a plagued development cycle. While much more polished, Ruina still shows that while Project Moon writes fantastic stories, they simply were not proficient at game development. But the fanbase was there, and despite the way too high development costs of Ruina incurred by their inexperience, they pushed through. This is why Limbus Company is a gacha, they needed a consistent revenue stream. Aaaaand they were not prepared to create a live service game. Where Lobotomy Corporation and Library of Ruina were free to be a bit experimental during development as Early Access titles, gacha games really don't get that same freedom. There are many points during Limbus Company's early days that would've sunk any other game. Constant update delays, a deluge of game breaking bugs, improper balance, and just... several dead months with nothing interesting coming out. These issues would've killed any other company. Project Moon has enough funds to run for 3 years at a loss. And all of this is because their stories are really good. If you ask any Project Moon fan why they like Project Moon, you will almost always have the story listed among the reasons. It is this wonderful tale of a world in which hardly anyone has time for anything other than survival, making their way through a dystopian and authoritarian landscape where being murdered is a legitimate risk for the majority of the population. But it's not a story about despair, it's a story about hope. It's a story about the human spirit, about how powerful emotions can be, about how even when staring down the barrel of such a bleak society, there are people who feel passion, and who use that passion not just to power through the society they live in, but to rise above it. For a story about how the most powerful thing you can do is to simply feel, to have strong emotions, to care, it's no surprise that this would attract a fan base of people who are capable of feeling that passion. Multiple Project Moon communities have had to make statements saying "Hey, don't go bother people because they said the word lobotomy". There's a streamer I watch, LobotomyBunny, who had to put it in her Twitch chat's rules that her name is not a reference to Lobotomy Corporation. So when we find someone who is genuinely engaging in Project Moon content, the response is obvious. Here's a person who is looking at this thing that can elicit such passion, and what else is there to do than to share that passion? To talk about all the things that we love about these games? These are games about eliciting emotions, and that's what they do. Oh, and as for the fact that every game starts with an L, I think that's mostly a fluke. Lobotomy Corporation got it's name from... somewhere, even the CEO and head writer was like "I don't really know why I did that, it meant something, not sure what it was", Library of Ruina is almost certainly a coincidence, and Limbus Company I believe intentionally starts with an L because the setting of The City necessitates that whatever corporation ends up in charge of Nest L where Lobotomy Corporation once stood must start with the letter L, and there are some very not so subtle hints that the goal of Limbus Company is to become the new L Corp.
It's not there yet, but its definitely on its way. Likely never going to surpass LOR due to bounded numbers and absurd powercreep, but the 7-34 boss is a great first step towards real difficulty entering the game.
The theme from RR3 is probably my favourite cause it's metal as fuck. It's called "Cur dolorem sentis" which roughly translates to "Why do you feel pain?"
A lot of Limbus/Ruina songs that aren't by Mili are just titled something along the lines of "Battle theme A1" or "Boss theme 1". These kind of endgame bosses are an odd exception.
Refraction railways suck, hate em, as another comment said, its a boss rush, but they are absolutely greuling, rr2 especialy gives me ptsd, that was absolutely hellish Edit: i do want to say, i still enjoy em, as i do with all of limbus, their difficulty is just a bit much
@@Acertaintouhoufan isn't that the same thing? Because he has no context fans feel the need to infodump in the comments on the lore. If he has the context and explains it, there would be no need for fans to try to correct him
Agreed. Some things are better with context. But granted, you'll have to either tough it through the challenges it throws at you, or listen to a story compilation to learn about it. Which, understandably so, some people might not be up for.
Clearing up some confusion on the titles, Refraction Railway is essentially an endgame boss rush mode of sorts where you fight a whole bunch of really difficult boss battles in a row, ending with a superboss. The King in Binds is that superboss (though it's an odd situation where its minions make up most of the challenge), and both Audite, Pauper and Vovete Miserias play during Phase 1 and 2 of the fight. Now, I'm not usually one to go out of my way to do really difficult content, but I heard these themes on TH-cam close to the time when Refraction Railway Line 4 was released, and they single-handedly made me want to do the entire railway. The railways throw a loooot of bullcrap at you, but I powered through it JUST to hear these themes in-game. It was a surprisingly fun and hectic experience, all things considered.
The aesthetic and atmosphere of the place really helps with that. This railway is titled "Masquerade," and indeed the battles are presented like a masquerade party where you fight your way through waves of servants to gain an audience with the king. That's why Audite, Pauper sounds like a waltz playing for a banquet, as the first phase involves you fighting though the last of the enemies while the king (very visibly) watches your struggle from above for his amusement. Then, as soon as the servants are culled, the king comes down to confront you personally in a dramatic cutscene, and then Vovete Miserias hits you like a freight train. You fight one last pitched battle, where you slowly realize that the king set up the entire ordeal as a means for someone to ease his loneliness, even if just for a little.
It's a cool story for a boss rush mode, something that previous iterations of the railways did not really have. And that is all heightened by the music just blaring organs in your ear, increasing your heartbeat with that EDM beat, and overwhelming you with regal might. I agree with you that these themes are probably my favorite nonvocal themes in this game, which is a shame considering it's limited to a seasonal challenge some players might never get to. But it did make that challenge incredibly memorable.
P.S. I looked up the titles of the tracks a bit more, and apparently they are both in the imperative forms in Latin, meaning that they are essentially commands. So the translation of "Audite, Pauper" is more along the lines of "Listen, Pauper" (as in you, poor, wretched person) and "Vovete Miserias" is something like "Swear upon your miseries" or "Vow that you will be miserable." Which is pretty hardcore, not going to lie. The King is commanding you to listen, and you _will_ obey.
Considering Jesse's comments on dubstep, are either The Time Ripper or The Barber in the suggestions?
@@agenderwitchery Not at the moment, though I'm considering putting them on there. The Mili songs are currently taking greater priority, though.
3:54 "There has to be a reason for that too, right? All the L names?"
Yeah, it's because of how many L's you take playing the games (they're very hard.)
(L)ol
@@JessesAuditorium Wel(L) Played
As it has been said:
The difficulty of these games is VERTICAL. Good luck.
@@Kairax It's only vertical if you don't read / have a wiki on hand.
So you say. But if there’s one thing PM games & modern-day Yu-Gi-Oh! have in common, it’s the amount of reading.😂
I never felt more hype to see a man stand up move his chair and sit back down to fight.
Limbus Company mentioned
Release the horde, sleeper agents assemble
Activation code accepted. Releasing sleeper agents...
Reporting in for duty
Reporting in, captain.
Reporting.
Alright guys, now we all gotta recommend the canto 7 ost
PMs soundtracks are nothing if not eclectic, they embrace almost any genre that fits with what they're trying to convey, and its one of my favorite parts of their work.
As someone else who really values variety and jumps between genres, that endless pioneering spirit to try something different each Canto is part of what makes PM's voyage such an endearing one.
The King in Binds is a real joy to dissect conceptually. Its one of those abnormalities that really feels like a realised thing, instead of just a single personified concept like Fish With No Head and What If Toads Could Be Sad? He isn't just The King in Binds, he's been bound *by* something, or someone. And he really, really hates it. He's invented games to keep himself entertained, and subdued. How long has he been here? How much longer? The music and the atmosphere in this fight, his design and the spectacularly unique combat design these railway end bosses always have really beg you to stew on questions like that as you puzzle out a way to muddle through with a low turn count.
ooogh. the milli moments are always really good but the railway bosses are honestly just as high a peak for me. feels just a little more LoR / Lobcorp in the way they do atmosphere, a little more subdued and shocking. Cromulent asf
Edit: Hahahaha, its so funny to hear you hypothesise about people playing this blind taking a pause at the start of these kinds of fights to just absorb it. That happens literally ALL of the time. Varies from person to person, but LoR and Lobcorp are both FULL of moments like this. Love Town and your first Sephirah Supression happen very early on in their respective games and are likely to evoke that exact response, as they did for me on my first times through.
Ah yes, nothing like entering the second half of an encounter, only to have the scene and music to suddenly change dramatically followed by suddenly hearing a peculiar voice singing "Oh I have been so afraid..." in an almost upbeat sounding way lol...
Something the King in Binds slightly reminded me of with it's scene transition and music, but with a slightly different reaction.
On the flip side, you could imagine the King in binds having willingly bound himself. After all a King is bound to listen to the concerns of his subjects, to protect them, and to care for them. For what is a king but a shepherd to his flock. You approach the king in binds as he offers you a set of boons yet he grants these same boons to those underneath his banner. Yet all the same he has become worn down with time, bored, and bound to his duty as King. It is only when you beat those protectors of him that he rises from his chair moving to take action against those that would threaten the kingdom and the weight the title of king demands of its ruler. literally breaking the binds keeping him bound to his chair.
Glupo feels like a very well-realized abnormality, in his defense! He’s based on a Korean fairytale/nursery rhyme - let’s just go with fable - about a toad and their mother.
@@bentobias737 oh word! I'll be the first to admit I just kinda mentally drew names out of a hat. glupo can come to the function
Theres been a lot of dubstep adjecent music made for limbus company lately. The Time Ripper and The Barber's themes for example, each is like a "dubstep and [Insert another genre here]" song. I wonder why
Resurgence?
@@JessesAuditorium mayhaps
@@JessesAuditorium oh, and by the way, those two songs are 'Jazz Dubstep' and 'Electro Swing Dupsetp' respectively.
Boss Lore (written by Yi Sang):
We emerged into a great hall of crimson ornamentations.
Its appearance summons to mind the shape of a banquet hall.
A man wreathed in red fabric rested atop the throne of the crimson hall. He raised his hands in an endeavor of effort and gingerly gestured toward a gathering of masks manifestly made for a masquerade.
A spectrum of emotions were carved unto a spectrum of masks laid about.
There was a mask of sorrow, a mask of wrath, yet I found myself most partial to the mask of joy.
I know not the reason for which this mask embodies such expression of euphoria; yet, shan’t it be enough that it shall share the selfsame joy with others?
Two birds with one stone; solace shared, sorrow shrouded, the twain under a blanket of elation.
I wear the mask and feel my thoughts grow clear as an autumn sky.
Upon my approach, the king tensed his shoulders for a moment so brief that it was nigh unnoticed.
Perhaps it was a gesture borne not out of thought but of instinct, shaped by the cloth-suppressed will to express.
We had but a moment to regard it before those akin in appearance to us appeared.
Though their forms were opaque and their shapes half-shrouded in shadow, they held certain similitudes to our own forms.
The monarch, with certain torpidity, tipped his head to the side in a show of intent to behold our battle.
The long years spent in binds have filled the void left behind by your long-gone interests with tedium, have they not?
A terribly tragic tale. Yet we battle in hopes that our clashes may bring this king in binds the smallest revelry.
Such is all I have to say.
These umbral reflections of us bring to mind the ‘Identity Cards’ Dante holds.
An egoless incarnation of ‘Identities’ manifested may hold a certain resemblance to the way they appear before us.
Defeating one of them merely makes a vacancy for another to fill, for they number the same as we do.
Now that I have spent some time in observation of their operations, I have noticed a conspicuously considerable collection of similitudes between us.
I can presume that their number is most likely equivalent to our own; their techniques in parallel to ours.
Yet what those Peccatula lack is the will to make decisions of their own.
Like cards to be played with and discarded at the king’s whim.
Kings, both of eld and new it seems, enjoy plays of puppets, a musical of manikins.
Wielding men as cold tools, brandishing and flourishing them with abandon, breaking them. And upon their inevitable shattering, the king shall fill their spot with another puppet, its absence unnoticed.
Yet, this king may be quite fond of his own.
To shower his retinue with ceaseless blessings while leaving naught for the rest of us.
Mm… such is all I have to say.
→ H-how many of them are there? (Sinclair)
→ If the king seeks to watch an evenly matched battle, then it can be assumed that the entities have the same number of allies in their ranks as we do. If such is not the case, however, any further speculation may be a meaningless effort. (Outis)
Thus the battle came to an end with our victory.
Thus concluded it seemed the banquet, yet the King's tedium was yet to be sated; the bound monarch rose from his throne, tearing free his corpus from the bandage-chains.
The long time spent in confinement has rusted his joints, yet his imposing presence and grace have only grown to touch the formidable grandeur of his sublimity.
His resolute resolve roused awe in the hearts of those who beheld his emergence.
Yet awe was not the only sense it roused; a question arose as well.
For what did the king remain tethered to his throne, when he had the might to rise on his own?
I… know not why the king remained in sedentary silence, bound not by the threads but by his own will.
I write a few words here still, for I cannot very well put to sleep the simmering ruminations…
It appears that the king has aught to convey.
A monarch fettered to this spot, ere the hail of those who may discern his fathoms. A wraithlike state the sovereign has taken.
This somber musing heaps and heaps with every blade-clash unto a mound of sorrow as sympathy falls sunken.
Whyever does he hold one such banquet, his corpus bound to the throne, only to revel in such bizarre festivity?
It is but a pitiful tragedy, for this abyss is deep and wreathed in inexplicability.
Such is all I have to say.
→ A tragedy? Bullshit. (Ryōshū)
→ To be in command of others, to reign over another, is a declaration that one shall endure the responsibilities and the suffering that come with power. I would like to take this opportunity to extend my deepest gratitude to our Executive Manager, who leads us with a firm but fair, excellent hand. (Outis)
oh my god i forgot this game had observation logs...
The latest chapter that came out a few weeks ago has some bangers in it as well. The game will have a very, very impressive soundtrack when it will be "finished"
Also the music of the games is not done by Project Moon themselves but a music company called Studio EIM who made music for other games and work with several composers.
Actually the one being posted by pm themselves are composed by pm, while the other comes from eim which they posted some in eim offical channel
I just finished the relevant boss fight and hopped onto YT afterwards and this video immediately came up. It was an experience to say the least. Project Moon often does this thing where they make the very final boss very easy but the one before it incredibly difficult. And this was very much true with this song.
I had struggled with the series of fights leading up to it, carefully planning my resources up to that point and then when I got to the final section, the music felt very triumphant as my team was getting clean hit after clean hit. Even the big attacks that came through and hit them would just be shrugged off and then immediately healed away.
I remember doing this fight and getting absolutely wrecked by sinking deluge
Song slapped though
It's not fun being on the other end of a Sinking deluge, I'll say.
13:45 "I feel like if you heard this for the first time, it got your attention that first time-- enough to even pause or stop the game..."
Funny thing about that. Other people have mentioned that Refraction Railway 4 is the fourth in a series of boss rushes-- well in the other three of them, the final boss themes were VERY different. Eerie, ominous, slow tracks with not too much going on so as to set an ambience.
So yes, that was entirely my reaction when getting to this boss for the first time-- and also the reaction of pretty much every streamer too!
Really hope jesse does the Distorted heathcliff boss theme at some point
real he would definitely love it
I like to put Jesse's videos on and sit at my hobby desk while I work on projects.
That second phase made me get up and sit at my PC desk and just soak it in.
🔥LIIIIIIIIIIIIMBUSSS COMPANYYY 🚌
Sinking gang report, after all we barely listen the whole song. In short the whole deal is the King in Binds force you to fight his knights (clones of your characters, this is the whole theme of this one event) just to entretain himself. After you deal with them he goes for you and the real final fight stars (All Railway final bosses got unique themes). And yes, the fight its a three stage fight: Knights-King in Binds and the Kings with some binds (he gets up of the throne to bash your skull).
I have been listening to this for days, so happy other people appreciate this! (Especially the organ)
More limbus reaction! Wondering if there's intervallo IV boss 1 theme queued up, would be a banger to listen to
Aside from how noticeable the track is as is, in-game, I think it adds a lot that this starts from the "skill check" where there is nothing on the screen other than the dialogue box asking what mask you want to wear. No fighting, the player is just there thinking what option to pick, then as the track picks up you get the animation of the King in Binds stand up from his seat and enter the field.
sleeper agent reporting for duty. I absolutely loved this one, the music, the fight, the presentation, it was awesome. First refraction railway boss that actually wiped me so i couldnt complete the boss rush on day one, did it on day 2.
The most fascinating part for me was how it was presented even before the fight starts. Usually when a boss's phase changes, dungeon event or something important happens, you get to do something like a skill check or to choose 1 from a few options in order to gain an advantage if you get it right.
With the king, it was different. Just as you press Start, it gives you one of those screens, To choose a mask, why? you need a mask to present yourself before the king, just presenting yourself before the king is already something important.
you get to choose an option, and unlike other occasions where there's usually a right or wrong answer... all of them reward you in some way regardless of which mask you choose, all of them giving you bonuses before the fight even begins, it was set up in a way worthy of a king. and once the first phase fighting his minions is over, he breaks his binds, gets up, grabs his sword and then the screen is covered in binds as vovete miserias starts to play and you get to choose another mask, an additional bonus to face off against the king himself. my favorite railway so far, love it.
This place is nuts!
surprisingly, not all of the Project Moon projects (lmao?) involving the universe of the City are titled with an L, which makes it a bit more intriguing that the games are imo, because the supplementary materials (webnovels, webcomics) are named Leviathan (follows the naming convention) but also Wonderlab and Distortion Detective
Project Moon soundtracks are indeed Good.
Glory to Project Moon
There actually is a reason for all the L names. The games take place in a city split into 26 districts, each with a dominant corporation that starts with its corresponding letter of the alphabet. So district 20 has TimeTrack Corp, district 23 has WARP Corp, and district 12 has Lobotomy Corp. The first game takes place in Lobotomy Corp, Library of Ruina actually just coincidentally starts with L, and Limbus Company is about an upstart company attempting to become the next L Corp.
Just listened to Mission in Deep Space, and it reminded me a LOT of Valkyrie Profile 2. Well no wonder, it's the same composer !
Also, that track from Street Fighter sounds like something out of Ape Escape, I swear
The gameplay is similar to ruinas, but a lot more simplified. Instead of making decks for your characters for their skills and equipment, characters come preset with skills and different resistances. Lotta fun
Sleeper agents, wake up
Someone get this man some Canto VII tunes, STAT. 😂
Please please PLEASE do more Limbus Company. Every song in this game bangs, and I mean EVERY song
Someone should Get him to listen to the OST of Limbus by the Guy known as "Lunartique07"
I believe I'm the the Reddit sharer mentioned around 19:14.
I wish I had stopped to appreciate the music associated with The King in Binds. I normally have pretty big writeups about the context and themes that happen around these songs, but uhhh... I kinda just 2 shot the dude before I could even realize the music had changed. It didn't help that the previous 3 Refraction Railways didn't have particularly notable songs for their final bosses.
Instead I will talk a bit about how you always see the immense amount of passion for Project Moon that pours in whenever you react to one of their songs. Project Moon is a company that, by all measures, should have failed before they even finished their first game. It was and is a buggy mess, they got scammed by a group that promised to make an English translation and just created the worst machine translated abomination possible. Project Moon had initially announced at one point that they'd be shutting down, that they'd finish off the remaining features they'd promised during their backing campaign, and then close doors after one game.
The fan response to this was to buy hundreds of copies of their game and gift them to whoever they thought might enjoy them. The story that had been written was impactful, meaningful, and the people who liked it wanted to see more. Through this massive surge of sales, they got enough to continue through development of Lobotomy Corporation, and would eventually be able to start on Ruina, a game that once more had a plagued development cycle. While much more polished, Ruina still shows that while Project Moon writes fantastic stories, they simply were not proficient at game development. But the fanbase was there, and despite the way too high development costs of Ruina incurred by their inexperience, they pushed through. This is why Limbus Company is a gacha, they needed a consistent revenue stream.
Aaaaand they were not prepared to create a live service game. Where Lobotomy Corporation and Library of Ruina were free to be a bit experimental during development as Early Access titles, gacha games really don't get that same freedom. There are many points during Limbus Company's early days that would've sunk any other game. Constant update delays, a deluge of game breaking bugs, improper balance, and just... several dead months with nothing interesting coming out.
These issues would've killed any other company. Project Moon has enough funds to run for 3 years at a loss. And all of this is because their stories are really good. If you ask any Project Moon fan why they like Project Moon, you will almost always have the story listed among the reasons. It is this wonderful tale of a world in which hardly anyone has time for anything other than survival, making their way through a dystopian and authoritarian landscape where being murdered is a legitimate risk for the majority of the population. But it's not a story about despair, it's a story about hope. It's a story about the human spirit, about how powerful emotions can be, about how even when staring down the barrel of such a bleak society, there are people who feel passion, and who use that passion not just to power through the society they live in, but to rise above it.
For a story about how the most powerful thing you can do is to simply feel, to have strong emotions, to care, it's no surprise that this would attract a fan base of people who are capable of feeling that passion. Multiple Project Moon communities have had to make statements saying "Hey, don't go bother people because they said the word lobotomy". There's a streamer I watch, LobotomyBunny, who had to put it in her Twitch chat's rules that her name is not a reference to Lobotomy Corporation.
So when we find someone who is genuinely engaging in Project Moon content, the response is obvious. Here's a person who is looking at this thing that can elicit such passion, and what else is there to do than to share that passion? To talk about all the things that we love about these games? These are games about eliciting emotions, and that's what they do.
Oh, and as for the fact that every game starts with an L, I think that's mostly a fluke. Lobotomy Corporation got it's name from... somewhere, even the CEO and head writer was like "I don't really know why I did that, it meant something, not sure what it was", Library of Ruina is almost certainly a coincidence, and Limbus Company I believe intentionally starts with an L because the setting of The City necessitates that whatever corporation ends up in charge of Nest L where Lobotomy Corporation once stood must start with the letter L, and there are some very not so subtle hints that the goal of Limbus Company is to become the new L Corp.
QHatred, let him have the rest of the Limbus soundtrack.
Listen to Canto VII Boss 1 Theme next please. It is really really good. That or La Mancha Land 1 2 and 3.
Nice
project moon mentioned hi
Jesse, you NEED to react to Canto 7 boss 4 theme. It has a Spanish guitar in it, and it’s so, so good.
Oof the limbus company has a very extensive good vibes for fights, its a shame its not equal of the antecesor in the intensity of the fights
It's not there yet, but its definitely on its way. Likely never going to surpass LOR due to bounded numbers and absurd powercreep, but the 7-34 boss is a great first step towards real difficulty entering the game.
@@MHMegaand we all agree unbreakable coins does make things harder lul
yknow i never knew that these songs had names
The theme from RR3 is probably my favourite cause it's metal as fuck. It's called "Cur dolorem sentis" which roughly translates to "Why do you feel pain?"
A lot of Limbus/Ruina songs that aren't by Mili are just titled something along the lines of "Battle theme A1" or "Boss theme 1". These kind of endgame bosses are an odd exception.
has someone recommended age of mythology ost?
No way
Refraction railways suck, hate em, as another comment said, its a boss rush, but they are absolutely greuling, rr2 especialy gives me ptsd, that was absolutely hellish
Edit: i do want to say, i still enjoy em, as i do with all of limbus, their difficulty is just a bit much
Steam machine still haunt me in my dream,
@@du_san it was always shock centepide for me
skill issue???? i love RR lmao, fun as hell challenge mode
@@ninjakai03 it is 100% a skill issue, im still gunna be salty
tbh, i love all RR except RR2, that shit just pure pain instead of challenging
ahh yes another react vid with 0 context. feelsbadman
@@Arken_games I like no context more than PM fans infodumping in the comments about the lore of the piece
@@Acertaintouhoufan isn't that the same thing? Because he has no context fans feel the need to infodump in the comments on the lore. If he has the context and explains it, there would be no need for fans to try to correct him
Agreed. Some things are better with context. But granted, you'll have to either tough it through the challenges it throws at you, or listen to a story compilation to learn about it. Which, understandably so, some people might not be up for.
That’s the schtick of Jesse’s channel in a nutshell, reacting to stuff he’s never heard from gamers he’s never played.
LIIIIMBUS COMPANYYYYYY!!!
Vergilius. Slap them stupid