Deus vox youtube full#
Deus vox youtube tv#

With the season’s main arc fully underway, Vox Machina heads to Whitestone to put an end to the Briarwoods’ evil schemes. If not for Keyleth’s light-summoning spell to weaken their intruders, they may have succumbed. It’s a thrilling, chilling sequence that sees the team narrowly avoid defeat. The ghosts’ design is undeniably creepy and they seem to have the upper hand as they burst into the keep, dealing significant necrotic damage to most team members. She sends a horde of ghosts after the confined team, which leads to some pretty brutal deaths of the men guarding them. But Delilah isn’t one to forgive and forget, especially once she realizes the group has stolen her book. The show’s fourth episode sees Vox Machina on lockdown after seemingly spoiling Uriel’s feast. This fight, although short, also shows that the team has a lot of growing to do if they hope to conquer their foes. Delilah’s ability to easily deflect and dodge attacks and Sylus’ cursed sword, which slices and dices poor Grog, show how powerful the duo is.

Vox Machina soon realizes how severely outmatched they are compared to Delilah’s magic and Sylus’ vampiric speed and strength. Sadly, the rogue is caught and a fight ensues. During a banquet at Sovereign Uriel’s palace, Percy tells his allies of their wickedness, leading Vax to sneak off and search their room. Our countdown includes Scanlan's Distraction, the Dragon Fight - Round 2, the fight against the silver-tongued Professor Anders, and more! Which action sequence had you on the edge of your seat? Head to the comments and let us know.ĭelilah and Sylus Briarwood are the main villains of the season, and they do not mess around.

Deus vox youtube full#

If you haven’t watched the full season, beware of spoilers ahead. For this list, we’ll be looking at the most thrilling, action-packed moments in the first season of Amazon’s D&D-inspired show. Josh Jones is a writer and musician based in Durham, NC.“The Legend of Vox Machina' has gotten off to a terrific start, partially due to these incredible action scenes. Hear 9 Hours of Hans Zimmer Soundtracks: Dunkirk, Interstellar, Inception, The Dark Knight & Much MoreĪll of the Music from Martin Scorsese’s Movies: Listen to a 326-Track, 20-Hour Playlist Why Marvel and Other Hollywood Films Have Such Bland Music: Every Frame a Painting Explains the Perils of the “Temp Score” Vox and Ludwig show the “dies irae” phenomenon in film to be a slow cultural evolution from the ornate, sacred pomp of medieval Catholic rites to the ornate, secular pomp of Hollywood film production, by way of classical composers who seized on the theme’s “sense of dread” but remained at least ambivalent about happy endings on the day of wrath.

Deus vox youtube tv#

Later came Franz Liszt’s 1849 Totentanz (Dance of the Dead) and Giuseppe Verdi’s 1874 Messa da Requiem, a very recognizable piece of music that has made its appearance in no small number of movies, TV shows, commercials, and temp scores. He sums up the net effect as creating a “sense of dread,” bestowed upon modernity by hundreds of years of Christian theology as expressed in music.įilm composers were only the latest to pick up the cultural thread of fear and threat in “Dies Irae.” Their work stands on the shoulders of Mozart and later composers like Hector Berlioz, who lifted the melody in his 1830 Symphonie fantastique to tell a story of obsessive love and murder, and a nightmare of a witch’s sabbath. Ludwig also brings his musicological expertise to bear in Vox’s exploration of “dies irae” references. The oldest example in Ludwig’s compilation comes from a 1927 score written by Gottfried Huppertz for Fritz Lang’s silent Metropolis. The “dies irae” has permeated narrative cinema for almost as long as film has existed. For almost 800 years, these four notes have signified all of the above for Catholic Europe, as well as, Vox notes, soundtracking the supposed future day when “God will judge the living and the dead and send them to heaven or hell.”

What about Harry Potter and the Chamber of Secrets, Close Encounters of the Third Kind, or Home Alone? Both Vox and Ludwig show how the “dies irae” theme appears over and over, cueing us to peril or tragedy ahead, orienting us to the terror and unease we see onscreen.