Bloodborne - Analysis

Author: Ign Staff
Date: 2020-03-03 01:15:14
Bloodborne tells the story of a night in the city of Yharnam: a night of hunting. Everything indicates that something is very wrong in this city, a mysterious disease that takes over its people and turns them into beasts. And the beasts are hunted. Tonight, good people dig into their homes and pray as characters known as hunters wander the streets, annihilating beasts, easing the burden of the inhabitants of the city. -This Bloodborne analysis is in progress. A game with such a long duration and the need to thoroughly test its multiplayer mode make us delay its final score. That is why we have not placed your final note on the final file. We will do it in a few hours. But these are our almost definitive conclusions-

The same can be applied to the characters we talked with throughout this adventure. While the madness seizes some inhabitants and brings out their murderous instincts, they light fires in the streets and burn crucified compatriots, like wicker men, there are people who throw parties at their homes and laugh at those who stay outside. There are those who smell strange smells in us that identify us as foreigners and kick us out of their doors. In Bloodborne everyone knows that there is something that is terribly wrong in Yharnam , but they turn their backs on them and wait for someone else to solve the problem.

While touring the streets of this depressing city, I could do nothing but remember Nadsokor, the City of Beggars, invented by Michael Moorcock for the Elric saga by Melniboné. In that city the cripple is exalted and the deformity is venerated. Its inhabitants are all beggars, beggars, selfish and miserable people who only seek their own benefit at the expense of the evil of others . There is not a single loophole of goodness or redemption in that place. In Bloodborne we do find some candid and good soul, but in the end it is even more implacable, because we see how that innocence is uprooted. Worst of all, we are supposed to be there to save that city, but at no time do they give us just one reason to make it not "because it's what it touches." We have no past and it is not that the story is too clear, very much in the line of From Software, which prefers not to go into details since most of the characters we meet and that modify the world are optional. In fact, we can move forward without establishing any kind of relationship with the characters that we find along the way. The initial concept is barely developed since Bloodborne does not know what the player is going to do. With this foggy and depressing scenario I asked myself a single question while playing: do I really want to save this filth pit?

Because it is understandable that a city full of terrified people deserves to be saved, but From Software it seems that Bloodborne has lost perspective and is only interested in showing dark, scary and bloody things and obsessing with the player's restless restlessness in your armchair After a few hours of play you even get bored of some of the things you see on the screen. When the first dungeons are unlocked, places that have nothing to do (apparently) with Yharnam, it would seem that you could change scenarios, but it is still the same dog with another collar. In a game so obsessed because everything has a hidden meaning, these places, which can be repeated and take several forms and that are designed to play cooperative and competitive games, seem out of place, an unconnected addition but that looks and feels exactly Same as the rest of the game. Not even when our trip takes us to other places (often quite randomly and without knowing why) does the tone change. Sometimes, we will even end up in one of the optional sections of the game, facing one of the many non-mandatory bosses and getting rewards such as the use of runes and Chalice Dungeons

Bloodborne does not fully empathize with the player and this is because he takes too many things for granted. Take for granted that you have played Dark Souls or Demon Souls , that you know that you have to go back and again to the sites to see what has changed and what new dialogues are available, that you understand that the scenarios are very small and that they are full of corridors and recesses full of secrets, sometimes in seemingly inaccessible places that invite you to tour the areas from top to bottom; that you understand the weapon improvement system, the leveling up, the dynamics of the Echoes of Blood (which, by the way, can be recovered if they kill us, we amend the error of the impressions, since then we did not see it), and even that you already know the controls. Bloodborne is the sequel to the Souls saga, only with another name, and does not bother trying to establish ties with the player because he assumes that they already exist. Of course, this does not surprise us, since according to Miyazaki himself, the mirror in which they have looked has been Demon's Souls.

Yes, From Software knows how to create disturbing atmospheres, it has an excellent scenario design, full of secrets and that twist on themselves; He has the ability to create suggestive worlds that invite exploration and he knows how to create genuine sensations of terror, but with Bloodborne he has not gotten that excellent design has gone hand in hand with the rhythm. He doesn't bother explaining anything because he assumes you already know how everything is going. It's okay to discover things, push the player to experiment, but the problem is that in Bloodborne you are too alone. It forces you to do things in a certain way, but it does not tell you and constantly makes the player doubt their decisions, whether in deciding whether to send some survivors to a gloomy chapel or an infernal clinic or something as basic as level ups It is possible that this feeling of helplessness is sought, but it is still unique. Some will like it more and others less, but the reality is that in Bloodborne we are, again, alone against death.