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Review: Bloodborne


Jack Gardner

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Since the release of Demon’s Souls in 2009, From Software has made a name for itself creating dense worlds of macabre horror and adventure. Bloodborne follows in the footsteps of Dark Souls and Dark Souls II in tone and difficulty, while the gameplay has evolved considerably along with a slight departure from what has become From Software’s signature medieval aesthetic. It is a hard journey that opposes insane gods, raving demons, and everything in between. 

 

Bloodborne was reviewed on PlayStation 4.

 

For those who can properly gird themselves for the difficulties that lie ahead, Bloodborne will prove to be a satisfying gameplay experience. From Software decided to almost entirely remove blocking from their combat formula, retooling encounters to revolve around precise dodging and regenerating health by attacking. This system works very well and encourages a more aggressive attitude toward fighting that many who were shield-reliant in previous From Software titles might find difficult to embrace.

 

Firearms replace shields as the dominant off-hand piece of equipment. While the implementation of guns might seem like it would break combat, it does just the opposite. A limited quantity of ammo means that players need to use their shots carefully. Timing shots perfectly can stun enemies and open them up to powerful visceral attacks, which both look cool and do immense amounts of damage. Each main weapon can be altered on the fly to become a two-handed tool of destruction. On top of that, players can equip an additional weapon on each hand to switch to in the midst of combat. All of this contributes to a very fluid experience that scales depending on the player’s skill. At its worst fighting feels like ineffectual flailing, but at its best it can feel like a surgical dance, floating just outside of enemy’s reach before going in for the kill at the perfect moment.

 

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Tied in with combat is the leveling system, which uses blood echoes collected from killing enemies to advance a player’s stats. In a major shift for the series, all of these stats are actually understandable and it is easy to see how they affect combat. This avoids problems from previous From Software games where players had to puzzle over what Poise, Attunement, or Resistance actually meant within the context of gameplay.

 

That isn’t to say that the combat system is perfect. There are times when hit detection can be confusing, why can my two-handed weapon go through some parts of walls, but not others? Why did that attack hit me, despite not visually touching me? I could rarely use my gun effectively, though I’m pretty sure that was due to my lack of skill rather than any problem with Bloodborne. Additionally, most enemies that are appropriate to the player’s level can easily kill in two to four hits, which can make it tricky to navigate through areas with a large number of enemies. The reliance on timing works against players during these long stretches as one poorly timed move can mean death or serious injury.

 

In Dark Souls and Dark Souls II, players would receive a certain amount of health-regenerating Estus Flasks each time they revived. Bloodborne takes a different approach. As players kill enemies, they obtain blood vials which can be used to heal injuries. Players can only carry twenty at any one time, though excess blood vials will be stored for use when the player next revives. This works rather well during the early stages of Bloodborne, when blood vials are given out by almost every enemy. However, later on, blood vials become scarce, which can be particularly bothersome when attempting to take on a particularly ferocious boss.

 

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I’m a bit torn on blood vials. On the one hand, I like that the design encourages players who have been defeated so many times that they’ve run out of blood vials to grind for more, which also allows players to build up more blood echoes and level up. I think that’s some pretty solid, subtle game design. On the other hand, grinding blood vials seems to be the most efficient in earlier areas. So, if you become stuck on a late-game boss, backtracking to those early areas won’t help you level. It’ll just feel like a chore with the only payoff being another attempt at the ‘roided up monstrosity that has already utterly wrecked you a dozen times. A bit more consistency with the doling out of blood vials might have smoothed the overall gameplay experience. The lack of a decent way to obtain blood vials later on in the game just seems like a way to artificially inflate the difficulty (rest assured, I can already hear the chorus of you all saying “git gud, son”).

 

Bloodborne is a blast, one of the few truly “next-gen” feeling exclusives on the PlayStation 4. Completing it gave me a genuine sense of accomplishment. That being said, I think it is time to have a discussion about the philosophy behind Bloodborne, something that comes out in both the gameplay and story.

 

While I thoroughly enjoyed Bloodborne, I developed a growing feeling of unease about my actions and the underlying themes of what I was playing. Bloodborne is, at heart, a game of Darwinian Nihilism. There are no moral questions regarding the inhabitants of Bloodborne’s world, almost everything is out to kill the player and the player fights back in order to survive. This plays into the core gameplay loop of killing and becoming more powerful. Through a cosmic loophole, the player is able to bypass the natural law of “survival of the fittest” in order to accumulate enough power to become the fittest in any given scenario. Ultimately, this escalation of power topples even entities that humans revere as gods. There is no real triumph here, only the momentary relief that comes with the knowledge that you have killed something that posed a considerable threat. The ending, whichever one you get, makes it clear that this has all happened before and it will happen again because that is the way this particular universe functions. The core struggle in Bloodborne is just trying to get by in a world your character is unwillingly thrust into; a world that neither knows who you are nor cares; a world where there is always a bigger fish. Rest is an illusion that lowers your guard, there is only the struggle to continue on for as long as possible.

 

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One might be tricked into thinking that the gods in Bloodborne serve as some kind of metaphor for religion in the real world, but I think it is less a commentary about that than it is an extension of the broader nihilistic concepts at play in the rest of the game. The deities are completely self-interested and their interest seems wholly detrimental to humans, but they are also not truly divine. Though hard to kill, they are wholly mortal creatures that simply exist either entirely or in part on different planes of existence.

 

Given Hidetaka Miyazaki’s role as the director of Demon’s Souls, Dark Souls, and Bloodborne (he oversaw the development of Dark Souls II, but did not direct), perhaps Miyazaki has taken on the role of an auteur at the company where he is currently president. Maybe the games he has directed have been his message to the world, a cry that all of our ideologies, morality, and beliefs are all just noise, the ravings of madmen behind closed doors. We’re each the protagonist in our own Bloodborne story, just trying to survive, but constantly encountering new challenges and problems. And those problems, like the enemies in Bloodborne, can sometimes be seen from a long way off, both other times they leap out from the unseen darkness with murderous intent.

 

Bloodborne is a power fantasy. Lately that term seems to have taken on a not-so-great meaning, but against the background of From Software’s larger point, that fantasy shines. It stands out because Yahrnam operates on that power fantasy. The “power” is simply that of survival and it is the only thing a character trapped in a world such as Bloodborne’s can do, even though everything in Bloodborne implies that survival is ultimately pointless.

 

While I disagree with its outlook on life and the grand scheme of the universe, Bloodborne still manages to resonate with me. Art imitates life, and the world of Bloodborne imitates our own. Life can be unfair, beautiful, insane. Living means that travesty occurs unexpectedly and misjudged moments can mean the difference between success and failure. Of course, in life there are all kinds of different problems that we all have to deal with: broken bones, taxes, familial squabbles; but Bloodborne simplifies life into a gothic fantasy where those problems can be solved through combat and catastrophe only postpones victory.

 

 

Conclusion:

 

Arguably the finest From Software game to date, I like Bloodborne quite a bit. The world it holds is beautiful and ugly and weird. The gameplay is almost flawless in its execution. However, if one looks under the surface, I think the underlying message of Bloodborne is sad and, to me, rings hollow. However, I think the conveyance of that message and the way it is worked into every aspect of design makes Bloodborne a very thematically resonant piece of art. That’s something I can respect, even if I don’t necessarily agree with it.

 

Bloodborne is now available exclusively for PlayStation 4

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