As a joke, during Father’s Day, I asked my Twitter followers who their favorite Father in a FromSoftware title was. The catalog is rife with them, in a way that — outside of the Keepers — totally outmatches any maternal influence that can be found in them. Again, outside of the keeper, the Maternal influence is kept just out of reach. A myth; one that is deified to the point that it is outside of our realm of knowledge. But it is the Father in a FromSoftware game that has universally catalyzed the inciting incidents that draw our protagonists into their world and cause our character to become witness to the tragedy that these inciting incidents create. Where the Mother, in general, is unknowable; the Father is tangible, and brought down to earth. A Father in a FromSoftware game is a tragic character who will, somehow, betray their children and in so doing, create the conditions for their destruction.
But, what is the role of a Father for those who identify as one in their families? As a Cis-Het Woman without Children of her own, I asked Souls-Fathers what they thought and as well as did a little digging. A father’s role is always in flux and their responsibilities are mutable depending on needs and context. However, in general, those who identify as the Father in a Family unit, serve as the first male-identifying role model in a child’s life and serve as the model for how relationships between others who identify as male should work. A father figure also shows us what a relationship between parents should be: supportive and an equal partnership, especially when it comes to parenting. Without a Father-Figure a lot of these models are lost for very young children, when they are at their most observant. (Applebury) (Gross)
So, when a Father-figure betrays their children or their family, in any way, it is deeply shocking. Depending on the severity of that betrayal, it is even shocking on a societal level. As the Social Construct and more importantly to that, the social pact you gain by entering into the Social Construct of Fatherhood, is sacrosanct. The Father figure becomes a guardian and a guide to children; anything other than that is anathema. Which brings us back to the Fathers shown in FromSoftware’s catalog of games. Each of these fathers betray, knowingly or not, their families. But this betrayal is symbolic of their sin against the world itself. Choosing power, position, or obsession over your family is the jenga piece that leads to World’s End.
Consumed by His Crown
John Alfred Forester is a tragedy of happenstance. By accounts, he was a great man and a wonderful king, who normally revealed with his subjects. But Verdite’s collapse was precipitous and sudden, much like the death of John Alfred’s wife and Lyle Forester’s mother. And yet, John Alfred wasn’t immune to his own corruption at the hands of Seath, the White Dragon of the Darkness. At the conclusion of King’s Field II(J), Seath saw an opportunity and a power vacuum with the defeat of Guyra and seized control of John Alfred, horrifyingly imprisoning his soul within his own body.
Lyle Forester was spirited away, his death faked, so that his corrupted father wouldn’t come after the one threat to Seath-as-John-Alfred’s supremacy. John Alfred’s betrayal of Fatherhood came without him realizing it. The tragedy of John Alfred is an allegory of how the nature of a Throne and being a Monarch changes a person and how Power steals a Father from his Son, robbing that Son of a relationship with that Father. In the end, Lyle is forced to murder his Father’s body to free his soul and ultimately replace him; a terrible thing to ask of a young man who probably only wished to know his Father.
The Misogynistic Narcissist
Where John Alfred is as much of a victim as he is a betrayer of Fatherhood, there is Ashiya Doman, the Villain. A powerful onmyouji in his own right, he was nonetheless bested by Abe no Seimei, who would become the Emperor’s Onmyouji. This spurred or pushed forward Doman’s abject need to be admired and known as the most powerful onmyouji. Seimei’s talent in the mystic arts was taken as a direct challenge to himself.
Doman became so obsessed with Abe no Seimei, so obsessed with proving himself better and “making her whore herself before him, (Kuon, 2003)” that Doman sacrificed his fatherly instinct upon the altar of power. His daughters became prisoners to his mad journey and ultimately became sacrificed to the Mulberry Trees, one after another. All because Doman was promised the secret to the Kuon Ritual, that he would not just be changed but he would become powerful and immortal. To Doman, by the time the Fujiwara Compound is engulfed with the madness of the Mulberry Trees, his daughters are nothing more than tools to acquire the power he desires. Doman’s students are thought of by him as even less.
This betrayal of his Daughters, in a game that plays with the trepidation of sex and relationships between people, he utterly fails to offer a healthy model for how these relationships are created. And yet, Doman goes even further in his betrayal of Fatherhood by merging his daughters nonconsensually, as part of the Kuon Ritual. Doman’s hatred and obsession with Seimei, portrayed as female-presenting, unlike her Historical rendering, highlights Doman’s misogyny. Unfortunately, this was the only point of reference for both Kureha and Utsuki to form their own relationships.
This is prescient in the moment of the Doryou and Kureha’s ‘boss fight.’ While clothed, their positions, literally connected together, suggest a pair of people in mid-coitus but it is at once codependent and toxic. Anyone who gets near the pair is attacked. Eventually, if left to their own devices, the pair simply leave, to ‘live’ in their own misery alone. In the end, his Daughters, having reached Kuon, gain both their revenge and independence and destroy their Father using the very ritual that he was convinced would give Doman what he sought.
The Emotionally Distant
King Allant XII is an eerily dark mirror to King John Alfred Forester. His story follows similar narrative beats, but the game asks us to observe rather than play a direct-part like in King’s Field III(J). Because of this similarity to King’s Field III(J)’s story, the differences — from the Allant’s culpability for the downfall of Boletaria to the ultimate end of Ostrava (Prince Ariona Allant of Boletaria)’s quest for truth are rendered in sharp relief.
Unlike John Alfred, who is introduced to the player as the hero of King’s Field I(J) and therefore has a connection with the player character, Allant is introduced to us by the Narrator of Demon’s Souls; an elderly woman’s voice. In fact, Allant’s name is the first name you hear. However, Allant is a spectre, someone who other people speak about over the course of the game and is a fulcrum upon which the Demon’s have been released. As one progresses over the course of the game two narratives start to weave: Allant as the Leader of the Demons and Allant as the Kind King and Father, told to us by Ostrava.
Towards the end of the game, it turns out that both narratives are true, to a point. Allant did present himself as a pragmatic and kind King and Father. Indeed, Ostrava adored his father and overlooked his flaws. Allant is in truth, revealed to be distant and aloof from his own son, having kept Ostrava in the dark about Allant’s misgivings about life and his plan to rouse the Old One. Unfortunately, Ostrava is not Lyle Forester and does not have Lyle’s competence. Ostrava is privileged and the subject of needing our assistance to complete his quest multiple times. And, when Ostrava does complete his quest, he lacks the courage Lyle Forester had to murder the ideal Demonic image of his Father and retreats. Despondent on a stair with his built-up image of his father shattered; Ostrava’s quest ends in his suicide.
Allant betrays his son in quite a few ways, many small that build up towards his grand betrayal that seals his fate. Allant’s aloofness from Ostrava caused him to not guide Ostrava properly, and Allant became a figure to be revered rather than a human to learn from. In that way, the strength that Ostrava idolized in his father doesn’t pass down with the lessons Allant may have taught and one could surmise that Allant was uninterested in being a father to Ostrava after a time. This could explain Ostrava’s lack of competence and leadership ability, his impractical weapons and armor, and lack of fortitude. Ostrava seemed to have been an accessory discarded rather than an heir, a betrayal and disservice to Ostrava and is never treated as an adult, much less an equal and even less so a successor. Ostrava is in the dark of Allant’s plan and Allant’s depression that would be the engine for many of Allant’s decisions.
In this story, Allant’s betrayal of Ostrava and moreover Fatherhood via disinterest, made it very easy to choose oblivion not just for himself, but for the world entirely. And this choice for oblivion robbed Ostrava not just of the image of the Father he thought he knew, but both the World he wanted to protect and the Man he could have become without any input from Ostrava himself. In betraying Fatherhood, Allant revealed that he was ready to betray humanity in choosing the Abyss and Oblivion over Life. It is a cruel narrative line that Ostrava chooses a very similar fate for himself that Allant also chooses for himself and the world.
The Tragedy of Addiction
Bloodborne’s Father Gascoigne is introduced to us first, by his young daughters. She takes comfort in our presence, or rather, our scent and asks us to find her mother. Viola, the girl’s mother, has gone off to find their father and explains that her mother has forgotten a particular music box. It plays “one of daddy’s favorite songs, (Bloodborne 2015).” When Gascoigne forgets them, and himself, they play the music for him, snapping him out of his potential blood-drunk rage. It’s simply presented as something that happens on occasion with a startling calm and delivered with the innocence of a child, that it should alarm the player.
In a twitter conversation with Dave Rudden, he writes that Viola and her girls approach Gascogine like one would a “wild animal, proffering the music box and hoping it works (Rudden, Twitter).” Rudden further describes his own conversations with others pointing out statements by another that drew comparisons with Gascogine’s story-arc with that of domestic violence. Gascoigne chose the Blood over his family, ultimately, and was more and more blood-drunk and violent as time went on. Viola and her girls considered it normal, and it was normal — so normalized this relationship was in Yharnam — to have a strategy for dealing with a “violent, substance-abusing husband.” None of them realized that this was in and of itself, a form of emotional abuse.
Viola bears the brunt of the storm that occurs within Gascogine on the night of the hunt. Having forgotten her music box, her tried and true strategy, she is murdered and her body tossed aside like a doll atop a building. The youngest girl who sends us to find them both, is ultimately eaten by a boar. The young girl’s older sister’s sanity breaks, clutching the young girl’s hair ribbon like a totem, and perhaps revealing her jealousy over the attention and gift her Father, perhaps, gave the younger sister. Whatever the case, the family is shattered much like the families of domestic abuse victims. Despite doing so for misguided good intentions, Gascoigne becomes a tragic villain who chose power and strength over the family and because of this the world shatters as a result.
Obsessions over Legacy
Gwyn. Of all of the fathers on this list, it’s he who needs very little introduction. Like the previous fathers on this list who choose, some without knowing the consequences, their thrones over their families; Gwyn makes this choice with clear eyes. Gwyn did not know however, that ironically and paradoxically, by making this choice he was dooming himself and the world itself to a cycle “full of sound and fury, signifying nothing (Shakespeare, Macbeth 5:5 16–27).”
When the Lord of Light made his choice of his Crown, he tossed his family aside, rendering them as nothing more than tools for his ultimate prize. What mattered to Gwyn wasn’t just his throne and becoming the undisputed monarch, and Lord of Cinder, but it was also his enduring legacy.
This legacy was one that he sought to establish and did so with near maniacal zeal. But Gwyn’s legacy was built on ash. The maniacal zeal in which Gwyn sought to establish his Legacy turned to desperation and terror as it became apparent that the Age of Dark would not be denied no matter how much Gwyn sought to deny the truth. Gwyn’s Legacy became everything and for Gwyn, everything and anything must be done to make sure that it would endure and be undisputed. To this end, Gwyn sold off Filianore, symbolically marrying her to the Dark Soul, and promising her that he would return to her. A promise he knew was a lie and that he would break and one that I posit that Filianore knew deep down her father would break as well.
The Nameless King, in his defiance of his father’s mad quest for Legacy and forever Kingdom, stood against him and lost his entire identity as a result. His tragedy is simple: because he stood against Gwyn’s plans for Legacy, and called its truth into question, The Nameless King would lose all semblance of self from within and without. He would become nothing but the man who stood against and ultimately failed against the might of Gwyn’s Legacy and propaganda machine run by the Nameless King’s own sibling, thereby becoming a twisted testament to that Legacy.
Gwyndolin themself, suffers a similar fate to The Nameless King. So caught up in the desire for approval by Gwyn, Gwyn uses their powers to assert that legacy amongst the Human Populace. In so doing, Gwyndolin became the dogmatic mouthpiece for whatever Gwyn wanted that legacy to be: the Way of White and weaver of illusions in service to the “truth.” In part, Gwyndolin would use Gwynevere’s visage, manipulated to be pleasing to the human adherents, to steer them towards the purpose of Gwyn’s legacy. Gwyndolin would remain within Anor Londo, much like Filianore in the Ringed City, a standard bearer for a failed legacy and waiting for something that would never come. Though they attempted to create their own legacy with Yorshika, it was far, far too late for Gwyndolin as Aldrich would arrive to subsume even Gwyndolin’s lonely kingdom.
None of Gwyn’s children are allowed to become their own people, even going so far as to dictate — in Gwyndolin’s case — how they would be raised. Gwyn didn’t foster or guide his children towards their own destinies, so obsessed was he with the notions of his own legacy as a Lord of Cinder. So obsessed with this notion, in fact, Gwyn did not notice that he was destroying the legacy that he already had: his family. No wonder, all of his work and effort would be for naught in the end.
Obsessions over Lunacy
Obsession is the cornerstone of Oceiros’ story, just as it is with Gwyn’s. Like Gwyn’s obsession with his legacy, Oceiros was obsessed too with notions of bloodline and prestige; as described in A Mandate of Fading Embers (CoaL: Prince Lothric). Their bloodline was convinced that they were monarchs because their bloodline was divinely anointed as better, different, or special. This set the stage for Oceiros’ downward spiral and his abandonment of his children: Lorian, Lothric, Presumably Gertrude, and Ocelotte.
Oceiros’ obsession with proving he was a divine instrument meant to rule, drove him to discover the worship of Seath, the Paledrake and the White Dragon of Darkness. Here, Oceiros became infatuated with Moonlight as an ontological principle. As described in Lethe and Alethia, Light is time and time is memory. However, that Light is depicted as golden sunlight (Repair). Which begs the question of what Moonlight actually is in the Dark Souls universe: illusion, a false memory, a Mandela effect. Thus, where the Golden Sorceries of Light restore true memories and point to ourselves; Moonlight does the opposite — it causes one to lose oneself to lunacy.
Moonlight never revealed itself to Oceiros (Moonlight Sword), despite Oceiros’ fervent search. As it turns out, an ontological concept like Moonlight is as mercurial and cruel as they come. Oceiros would never grasp the secret of Moonlight, despite the King’s instruction by Big Hat Logan’s writings on the divine works of Seath (White Dragon’s Breath) nor would it reveal itself to him even after Oceiros became akin to Seath by transforming himself into a half-formed Dragon. In this very act metamorphosis, Oceiros outwardly became something other than human. Ironically, as it happens so often in FromSoftware games, Oceiros was missing a crucial component to understanding Moonlight and that is the importance of Sunlight. In willfully becoming a monster, it shows that Oceiros has thrown away his Family along with his Humanity.
Gertrude, presuming her to be a daughter of Oceiros, was left to fend for herself. Her visage, whether she encouraged it or not, became the standard for those who allied themselves with the Angels to rally around (Winged Knight). As a result of the heresy that Gertrude was accused of, she was locked away in a cage; hanging terrifyingly from one of the highest points in Lothric. Oceiros, was nowhere to be seen to defend or even clear up the issue, an eerie echo of what Gwyn did to Filianore.
Lothric and Lorian, were left to rule by themselves as the de-facto Kings of Lothric. Oceiros’ obsessions consumed him and kept him in his toxic garden, with Prince Lothric bearing the heavy burden of expectation himself since birth (Lothric’s Holy Sword; Prayer Set). It explains why Prince Lothric and Lorian were so close, even going so far as to call the pair co-dependent on one another. All they had, in their world full of terror and demons both internal and external, was one another. This is cruelly illustrated by the state that Lorian was in when the protagonist first meets them: the once strong Knight, who defeated the Dragon Prince, was left disabled and mute; his soul inseparable — by choice — from his younger brother (Lorian’s Greatsword).
Oceiros’ abandonment perhaps even set the stage for Lothric and Lorian’s eventual rejection of the mantle of Lord of Cinder (Soul of the Twin Princes). Their secret being that a piece of their souls settled far away, just outside of the Ringed City, within a dead and rotten archtree holding the corpse of Firelink Shrine, in an ironic twist of fate.
Ocelotte provides the final meaningful case of Oceiros abandoning his family, causing not just the spiraling of his sanity but also the final damnation of the world itself. In the final-game, it is left to the player to decide if Ocelotte was merely a figment of a lunatic. A created child of dragons that he cared for, while summarily rejecting the children and the Human family he did have. In cut content audio files, as Oceiros enters his second phase, the sound of a child being smashed against the ground can be heard. In this, one can conclude that Oceiros symbolically accidentally murders the last of his family, even after rejecting the rest of his children, finally destroying whatever semblance of self Oceiros had left (Oceiros, Sir Fist).
The Manipulator
It’s difficult to say if Owl (Ukonzaemon Usui) ever saw himself as a Father. Owl only ever had one goal in mind and that goal was conquest at all costs. It didn’t matter whose lives he had to sacrifice at the altar of this goal or what lie he had to tell to further it. Using Fatherhood as a costume, then, seems to serve this purpose well in how he groomed Sekiro to become a cog in the wheel of Owl’s plan. Most tellingly, Owl’s first action when they met on the battlefield, is to cut Wolf across the Cheek and in response, the circumspect cub grasped the sharp edge of Owl’s sword. This relationship is not built on love or filial piety, it is based in violence and blood.
Sekiro becomes something of a fail-safe for Owl and it is Owl that puts him through his “relentless training(Sekiro, 2019).” Part of this training, however, is purposely incorrect. Owl instills in Wolf that, “As your Father, my word is absolute. Your master’s is a close second (Sekiro 2019).” Nicknamed the Iron Code by the game, this places Owl on top of even any master that Sekiro gains; in this case, Kuro. In truth, no one’s word is supposed to be placed above the Master in codes of ethics that Shinobi and Samurai lived by and this should render Owl even more suspect.
Owl’s plans were laid and were years in the making; hinging upon making the Dragon’s Heritage his own. The Hiruma Estate is sacked, with the family that served here murdered while Owl hid behind bandits and thieves who carried out this work. It was meant to pull Kuro away from his family and the protections he enjoyed. Though when Sekiro was given the Dragon’s Blessing, Owl pivoted in his plans and promoted Sekiro from pawn to something more.
Exploiting vulnerabilities held by Ashina Genichiro, Kuro is kidnapped while Owl knew full-well what would happen after. Sekiro is roused, and many of Ashina’s generals and military officers are systematically routed as a result of Sekiro feeling honor bound to rescue the child. This allowed for the invasion of Oda Nobunaga’s forces, who Owl was also working with, to enter Ashina undeterred; bringing fire and destruction in its wake.
Yet, for all of his great planning, Owl is never able to account for everything. In the Shura ending, where Owl is at his most victorious, his manipulation and systematic molding of Sekiro works too well. In this ending, Sekiro has no choice of his own; going against his will and what he knows is right and follows the Iron Code, as Owl has instilled. Everything that Sekiro is, the man he could become is all but lost to the whims of a ‘Father’ who cared not one bit about him. In a way, it is an echo of the children of Gwyn, particularly The Nameless King, who’s entire personality and legacy is subsumed beneath the whims of a Father that only wished to use him. Owl doesn’t realize that this choice consumes Sekiro and destroys the man he is, and accidentally turns him into a Shura. Just as Owl celebrates his victory, all the years of grooming, quite literally stab Owl in the back.
The other endings see Sekiro actualize himself, and realize that he has been fooled into believing a false-code of ethics. Sekiro chooses to serve his master, which begins the present-time boss fight with his own father. In this fight, Owl still attempts to manipulate and groom his ‘insubordinate’ child, yelling out a bullet-point list every time he defeats Sekiro into the ground as though disciplining a child.
This is to say little that Owl made Sekiro believe that in all branches, Owl had died in the Hiruma Estate massacre. Sekiro’s choice between what his ‘Father’ has asked him to believe to what Sekiro’s soul knows what is right, is done flat-footed and under the pressure of swordpoint.
Quite a bit like Ashiya Doman and Gwyn, Owl considers Sekiro to be nothing more than a tool towards Owl’s goal of domination over the country. Hoping that Oda Nobunaga would make Owl his vassal, at least until Owl would betray him too. Owl’s betrayal of Fatherhood begins at the very beginning, as a betrayal of the very concept of it: by making a mockery of it. He rescues a child from starvation, only seeking to survive, and only wears the concept of fatherhood as a costume; grooming that child not as a son but as a killing tool. Sekiro is raised not as a person, but as an extension of the violence that Owl hoped to bring upon Ashina and just another potential pawn to use. It makes perfect sense that this sharp blade would turn upon Owl, no matter the choice, in the end.
Fromsoftware’s catalogue of games, are replete with the failures of Kings, Monarchs, Patriarchs, and would-be heroes. Even those characters whom I did not go into here, like Siegmeyer and Stockpile Thomas could have made a simple choice: to own up to the truth, to put their children ahead of themselves. Instead, each of these Fathers sentence their children to death, to bring blood upon their hands, and/or ignominy. Their failure to live up to their children, to be a father, and thus live up to the lofty heights symbolized in their Crowns, ushers in the curses, blood, and fog that dooms their worlds.
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Rudden, Dave (d_ruddenwrites). “ You meet a lot of blood-drunk hunters over the course of the game, but Gascoigne is the only one where you meet his family, a family that is used to working around and coming up with solutions for the father’s mood swings. The matter of fact way in which (1). https://twitter.com/d_ruddenwrites/status/1409914695423778820“ 29 Jun 2021 12:40 PM EST. Tweet.
Rudden, Dave (d_ruddenwrites). “the kid talks about how her and her mother have a strategy for when Daddy ‘forgets’ them, and how Viola is used to going out on nights of the hunt and essentially approaching Gascoigne the way one might a wild animal, proffering the music box and hoping it works. https://twitter.com/d_ruddenwrites/status/1409914963783737348“ 29 Jun 2021 12:41 PM EST. Tweet.
Rudden, Dave (d_ruddenwrites). “Someone else in the thread made the parallel w/ domestic violence — an abusive, violent, substance-abusing husband with eroding bouts of calm — and others argued that we couldn’t just assume he was that way at home just because he was, you know, a professional serial killer. (3) https://twitter.com/d_ruddenwrites/status/1409915959184330761“ 29 Jun 2021 12:45 PM EST. Tweet.
Rudden, Dave (d_ruddenwrites). “ Like, I don’t even know if From understood the situation they set up there, but it’s clear they didn’t get that the protagonist of it isn’t Gascoigne — it’s Viola. Gascoigne might be a tragic character, but he’s a tragic villain. https://twitter.com/d_ruddenwrites/status/1409916527848067081“ 29 Jun 2021 12:47 PM EST. Tweet.
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