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Super underrated thing in Ultrakill is how whenever you see a new layer's open landscape for the first time, that first moment is free of enemies, letting the calm version of the level's track set the tone of the layer. The clean versions in these levels are all united in that their breakcore elements are completely absent, allowing for just the raw atmosphere of the instrumentals to shine through. Each one is unique however, so it feels only right to explain them all individually. Spoilers for Ultrakill below the cut.

LIMBO

For anyone that's never read the Divine Comedy, this moment is a bit of a shock to the system. Hell is a place of fire and brimstone; devils and lakes of blood, no? So why is it so... nice? There's birds chirping, calm piano music playing, trees, a fountain; it seems wrong. And then you see the projector walls; the lack of a building behind the door; the transparency of the trees; the speakers playing the ambience. It's all fake, and the calm music only serves to make it all more sinister. It's a great tone-setter for what had previously only been a corridor shooter, and indicates there's more surprises in store.

LUST

After the series of interconnected rooms that was Limbo, Lust doesn't play its hand immediately, lulling you into a false sense of familiarity with a familiarly-designed techbase. It's only after ascending the shaft and using the bouncepad that you truly see Lust for what it is, and Cold Winds' opening notes perfectly convey the wonder and scale as you ascend into the air, this seemingly endless city stretching into the distance. It's majestic; and it's the first moment Ultrakill really shows what it's capable of (a moment very much improved by the recent Ultra-Revamp to remove the 2D skybox)

GLUTTONY

Gluttony opens to a room of writhing flesh, with the echoing, discordant notes of Guts playing. It's disgusting, it's unsettling, and after the battle with King Minos' corpse, it allows the player to properly think on the horror of what happened to the King of Lust, as well as the supposed Angel that killed him. This is the supposed palace of Gabriel, Judge of Hell. It perfectly sets up the twist reveal of Glory later in the level, and the eventual battle with Gabriel in 3-2 by putting the player on edge.

GREED

After a climatic battle with Gabriel and the subsequent plot developments, Greed pulls out another massive shakeup, opening to a massive desert cast in the shadow of a distant pyramid. The influences of Ancient Egypt are obvious from the first moments, and Dune Eternal's intentionally choir-sounding opening drone perfectly reflects that. The entire level is oozing desert atmosphere, as is the whole layer. After the weight and disgust of Gluttony, it's nice to have a change of pace.

WRATH

Wrath holds off on truly showing the extent of the layer until its second level, and thanks to that deliberate restraint, this moment is much stronger as a result. The flooded facility in First was already indicative of something going on; but this? This is an endless ocean of damned souls, and He is the Light in my Darkness's quiet harpsichord proves appropriately somber to accompany this moment. It is dark, and depressing, and really hammers home the true existential horror of Ultrakill's world; Mankind really is dead, and this is the consequence.

HERESY

Heresy waits to reveal the city of Dis until halfway through the level, and my god is it a powerful reveal. The slowed fall as the red fog slowly recedes to reveal the massive hanging landscape... it's a twisted reflection of Lust's intro, and the music damn well knows how important this moment is. The muted guitars of Altars of Apostasy are powerful, and really act as a wakeup call: we're well and truly in the Belly of the Beast now. This is Hell Proper, and if there was ever a time to turn back, it's long since gone. My literal only complaint with this moment is that I wish the level text were here instead of in the opening corridor; THIS is the moment that deserves to claim the layer of Heresy, bar none.

VIOLENCE

Violence is an unique layer in that technically every level has its own Moment™, but 7-2 is by far the most impactful to the layer as a whole. After our rematch with Gabriel and the subsequent dissolution of Heaven's Council; the Labyrinth and its Minotaur; and the serenity of the opening rooms being shattered by an intruding Gutterman, we ascend the stairs to see... a literal warzone. This entire place has been scorched black by endless conflict; rivers of blood flow through gaping holes in the landscape; the now-familiar pristine white architecture of the Labyrinth is shattered and burned at every turn, with entire rooms once-buried now open to the skies. This place bears striking resemblance to the London Blitz, which is no doubt intentional considering the Final War's roots in the World Wars. The frantic piano notes of Hear! The Siren Song; Call of Death really hammer home the endless war that has ravaged this circle of hell, as the song is constantly shifting time signature to keep itself feeling unpredictable.

I love this game and its Soundtrack, man. There is so much genuienly care and effort put into every little detail that I can't help but gush about *checks notes* the first 10 seconds of specific levels. That said @hakitadev HAKITA! MOVE THE LEVEL TEXT OF 6-1 TO THE REVEAL OF DIS, AND MY LIFE IS YOURS

#ultrakill #v1 ultrakill #limbo ultrakill #lust ultrakill #gluttony ultrakill #greed ultrakill #wrath ultrakill #heresy ultrakill #violence ultrakill #I wish I had more to talk about but Fraud and Treachery are still in the works so we end on Violence #Ultrakill's OST is so fucking good man #Hakita and his team absolutely know how to take advantage of these calm moments to set the tone and it's wonderful #It's been a long time since I've gone back and experienced the atmosphere of these levels without blowing straight through them #And I gotta say it is worth it because it still goes hard on the millionth playthrough

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Not to gush more bout the Gluttony later, but I like how the enemy arrangements start to get more coordinated, most noticeable in the (iconic) bridge arena: