Dark Souls : Beyond the Grave - Volume 2 E-Book

Damien Mecheri

• Herausgeber: Third Editions
• Kategorie: Lebensstil
• Serie: Dark Souls. Beyond the Grave
• Sprache: Englisch
• Veröffentlichungsjahr: 2019

Seitenzahl: 666

Beschreibung

We thought we had gone through the topic in the first volume, those two games opened new pists of reflexions.

The in-depth analysis of Hidetaka Miyazaki's Dark Souls saga continues with this volume 2, decoding the Bloodborne and Dark Souls III episodes.

An indinspensale ebook for all the fans of the game Dark Souls !

EXTRACT

"The project, christened Project Beast, began soon after the Astorias of the Abyss DLC was released in August 2012. At the time, FromSoftware was also beginning to build Dark Souls II, its cash cow. Miyazaki kept his distance from this sequel, which was handed off to Tomohiro Shibuya and Yui Tanimura, with support from the FromSoftware president and creator of King’s Field, Naotoshi Zin, who supervised the game system.
On his end, Hidetaka Miyazaki formed a trusted team of regular collaborators, such as lead programmer Jun Itô (who had already filled this role for Demon’s Souls and Dark Souls), composer and lead sound designer Tsukasa Saitô (Armored Core games), and most of his regular artists: Daisuke Satake, Masanori Waragai and Hiroshi Nakamura. The success of Demon’s Souls, and the even greater success of Dark Souls, allowed FromSoftware to grow its ranks significantly. In total, no fewer than fifty programmers participated in the project, along with around twenty game system designers and fifty people working on visual creation (animation, scenery, characters, etc.). Thanks to financial support from Sony, many Japanese, Chinese and Taiwanese studios were sub-contracted during the production to help with graphics and visuals."

ABOUT THE AUTHORS

Passionate about films and video games, Damien Mecheri joined the writers team of Gameplay RPG in 2004, writing several articles for the second special edition on the Final Fantasy saga. He continued his work with the team in another publication called Background, before continuing the online adventure in 2008 with the site Gameweb.fr. Since 2011, he has come aboard Third Éditions with Mehdi El Kanafi and Nicolas Courcier, the publisher’s two founders. Damien is also the author of the book Video Game Music: a History of Gaming Music. For Third Éditions, he is actively working on the “Level Up” and “Année jeu vidéo” collections. He has also written or co-written several works from the same publisher: The Legend of Final Fantasy X, Welcome to Silent Hill: a journey into Hell, The Works of Fumito Ueda: a Different Perspective on Video Games and, of course, the first volume of Dark Souls: Beyond the Grave.

Curious by nature, a dreamer against the grain and a chronic ranter, Sylvain Romieu is also a passionate traveler of the real and the unreal, the world and the virtual universes, always in search of enriching discoveries and varied cultures. A developer by trade, he took up his modest pen several years ago to study the characteristics and richness of the marvelously creative world of video games. He writes for a French video game site called Chroniques-Ludiques, particularly on the topic of RPGs, his preferred genre.

Leseprobe

Dark Souls. Beyond the Grave. Volume 2by Damien Mecheri and Sylvain Romieu edited by Third Éditions 32, rue d’Alsace-Lorraine, 31000 Toulouse [email protected]

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All rights reserved. Any reproduction or transmission, even partial, in any form, is forbidden without the written consent of the copyright holder.

Any copy or reproduction, by any means, constitutes a copyright infringement subject to the penalties authorized by French Law No. 57-298 of March 11, 1957 pertaining to copyright protection.

The Third Éditions logo is a registered trademark of Third Éditions, registered in France and in other countries.

Edited by: Nicolas Courcier and Mehdi El Kanafi Editorial assistants: Damien Mecheri and Clovis Salvat Texts by: Damien Mecheri and Sylvain Romieu Proofreading: Thomas Savary, Claire Choisy, Yves Choisy and Jean-Baptiste Guglielmi (copy preparation); Zoé Sofer and Jérémy Daguisé (proofs). Translated from French by: Elise Kruidenier (ITC Traductions) Illustrations: Hubert Griffe Layout: Émilie Truong Cover assembly: Frédéric Tomé Classic cover: Jan-Philipp Eckert Collector’s edition cover: Hubert Griffe

This book aims to provide information and pay homage to the great Dark Souls video game series. In this unique collection, the authors retrace a chapter in the history of the Dark Souls video games, by identifying the inspirations, background and contents of these games through original reflection and analysis.

Dark Souls is a registered trademark of Bandai Namco. Bloodborne is a registered trademark of Sony Interactive Entertainment. All rights reserved. The classic cover art is inspired by artwork from games in the Dark Souls series. The Collector’s edition cover art was inspired by artwork from the Bloodborne game series.

English edition, copyright 2018, Third Éditions.

All rights reserved.

ISBN 978-2-37784-038-0

FOREWORD

IT MAY SEEM glaringly obvious that the Souls series was very influential on the video game world and its consumers, but we would do well to remember that this was not always the case. Only in hindsight did many of us grasp its full impact. It wasn’t so much that Demon’s Souls and Dark Souls were poorly received at the outset. In fact, they were relatively well received by critics and the public alike. However, they were considered niche games intended for players who were looking for despair and a good butt-kicking. But the Souls games have always been more than that. If they were simply very good games, we would surely not still be writing books about them today.

We should not feel too ashamed of our delayed full appreciation, since one of the greatest feats of the series was its bold cryptic approach, at a time when all other games were working towards ever-greater clarity and immediacy. When Demon’s Souls was released in 2009, and the first Dark Souls in 2011, we were simply not capable of fully grasping all of their many facets or of discovering all of their secrets. First, we needed to watch as players from around the world took to the Internet to pool their extensive research and begin to give form to the story of the first Dark Souls. Then, we had to witness its success, and see the number of studios–independent and giant alike–sing the praises of the game, or draw inspiration from it directly or indirectly, in order to acknowledge the great impact it has had on the whole industry. Finally, we saw the game commended by the speedrun and streaming community, and knew that we were dealing with a potentially immortal game, which will take its place beside the traditional Zelda or Castlevania games popular in GDQs1 and other similar events.

Today, of course, it’s become a little ridiculous to say that the Souls games have had an effect on video games. The lapalissade principle has set in: everyone sees this as obvious, and there’s really no use in stating it. In just a few years, the series went from a strange, vaguely sadistic and obscure entity to a hip piece of pop culture. Now, even if you don’t play the game, it’s still good form to recognize the importance of the Souls games and the impressive way in which they have percolated throughout the medium. For those who have been fans of the series from the beginning, it’s certainly good to see, but it’s perhaps also a little unfair to other games. In our lives, we are all constantly missing out on a great number of things. There are no doubt dozens of dormant Dark Souls equivalents waiting to be discovered in a variety of cultural arenas, and our first judgments are sometimes so powerful that they prevent us from fully appreciating the things that contain more than they appear to at first glance. This is a rather frightening idea: the Souls games quickly gained public recognition, but other games may not.

Perhaps it is out of guilt, or pride–and surely a little bit of both–that we strive to not miss out on any of the different ways that Dark Souls manifests its impact on video games. Even if this sometimes means that we get a little off track. We look for (and always find, if we really want to) references, homages and direct inspiration, even in places where they don’t actually exist. At this point, finding Dark Souls references everywhere is practically a meme.2Dark Souls is brought up at every turn, when playing Thumper,3 or even during a game of Zelda: Breath of the Wild, as players quickly forget the immense legacy that the original Zelda games left for Dark Souls. This doesn’t do justice to the FromSoftware series either, or to the games that strive to present themselves as its offshoots. It simplifies the very complex relationships of influence and-to top it all off-we risk missing out on new experiences that have more going for them than a basic and vague resemblance to the Souls games.

In the same vein, the father of the series, Hidetaka Miyazaki, confided to the Japanese magazine Famitsu that his goal is not to create new games similar to Dark Souls,4 In some ways, we do want him to be able to free himself from his own games: this could only lead to good things. He could just work on producing games he himself likes, and we could hope for new formulas and striking new universes. We must work to remember that video games (FromSoftware’s or others) can also take us by surprise, and we should be mindful of what they may offer. This is the best lesson we can take away from the minor neglect we were guilty of towards the Souls series.

In the meantime, maybe it is worth turning our focus back to the series itself, even at the risk of spotting Dark Souls’ influence all over, since it is always interesting to dig a bit and ask some questions. Maybe, instead of wondering what legacy Dark Souls has left for video games, we can let its effects distill naturally over time and begin by considering what Dark Souls did for Dark Souls. In other words, we can try to analyze and study the more or less subtle permutations of the series within its own scope.

What consequences did the staggering success have on the series, which started out as a single game that even FromSoftware saw as doomed from the beginning? How did Dark Souls III handle the end of the narrative and game cycle? How did Bloodborne assimilate a formula now familiar to us all, and turn it into an entirely different universe? The latter two games are all the more interesting to analyze because they signal a return–after the embryo of Demon’s Souls, the first Dark Souls, and particularly the orphan Dark Souls II–to a creation of Hidetaka Miyazaki, who in the meantime had been promoted to CEO of FromSoftware.

And this turn of events worked out well for us, since Damien and Sylvain now propose to dissect these two monuments of the cycle now known as “Soulsbourne.”

Kevin “Moguri” Cicurel

After several years spent working as a specialized videogame journalist for magazines such as Gameplay RPG, Role Playing Game and Consoles +, and reporting for the Nolife TV channel, Moguri constantly wonders if he has successfully transformed his passion into a job, or if it’s the other way around.

1 GDQs (AGDQs or SGDQs for Awesome/Summer Games Done Quick) are American charitable events where a number of players work one after the other to finish various games in record time, while raising funds for organizations such as Doctors Without Borders or the Prevent Cancer Foundation.

2 This is especially the case on the @xmeetsdarksouls Twitter account: although it is increasingly moving away from its original concept, it still compiles excessive comparisons with Dark Souls.

3 A musical game developed by Drool, released in October 2016, and often called “the Dark Souls of rhythm games,” due to its difficulty and oppressive environment.

4 Translated from Japanese: http://gematsu.com/2017/03/dark-souls-iii-director-not-concerned-whether-not-next-game-resembles-dark-souls.

PREFACE

COVERING Bloodborne in a book entitled Dark Souls: Beyond the Grave may seem a little odd. Anyone who has taken on the FromSoftware Gothic masterpiece will have noticed clear similarities with the Souls games. The kinship is undeniable: not only do the works have similar traits, they also share the same DNA: that of Hidetaka Miyazaki, of course–the meticulous and obsessive designer, who pushes his teams to give all they have and makes sure he never rests on his laurels.

In Bloodborne, the designer retained the essence of the Souls games, while setting it apart with thoroughly redesigned battle mechanics, and a similar yet very different atmosphere. With Dark Souls III, on the other hand, he preferred to come full circle and reach an apotheosis, an end to his dark fantasy series, even if that meant sticking with old ideas.

In the first Dark Souls: Beyond the Grave book, we discussed Demon’s Souls in a similar way: it served as a mold for the subsequent series. We felt that Bloodborne was just as essential to our analysis here. It took the major elements from the Souls games and transformed them, and serves as a fascinating reflection of the series’ evolution. It allows us to shine light on the constituent elements of the series and better understand the exceptional success of these works, as well as the impact they had on players who were looking for new, challenging experiences, both from a gameplay and artistic standpoint.

Bloodborne and Dark Souls III also marked a leap towards a new generation of consoles. The new machines’ performance freed the talents of the different artists working on the project, while the greater budget allocated to FromSoftware definitively put the series into the “AAA” production category. These logistical and material upheavals were underscored by FromSoftware’s general use of subcontractor studios, with an evident impact on the technical style of the games, although they did not suffer any real artistic compromise.

In this second volume on the fascinating Souls and Bloodborne games, we invite you to continue exploring their cryptic stories, and to deepen the study of their aesthetic approaches and their gaming philosophy.

For clarity’s sake, Bloodborne and Dark Souls III will first be discussed separately, in two distinct “books,” which will focus on the behind-the-scenes development, story analysis, the themes, and the soundtrack for each game. The third and final “book” is devoted to decoding the two games, both in relation to the series itself, and from the perspective of related topics that were not covered in the first volume, from artistic influences and marketing, to a look at how the games have evolved.

Bloodborne and Dark Souls III are both different and complementary. It is rewarding to see what they reveal about FromSoftware’s creations and Miyazaki’s process, as well as the overall videogame market and the nature of the medium. We thought we had covered these topics from all angles in the first volume, but these two additional games opened up new avenues for reflection. We hope that this work will pique your curiosity and your thirst for knowledge, and demonstrate once again how much the Souls games and Bloodborne, these dense, terrifying and melancholic action-RPGs, have unprecedented richness, with unparalleled meticulousness equal only to the level of trust they place in players.

The Authors

Damien Mecheri

Passionate about films and video games, Damien joined the writers team of Gameplay RPG in 2004, writing several articles for the second special edition on the Final Fantasy saga. He continued his work with the team in another publication called Background, before continuing the online adventure in 2008 with the site Gameweb.fr. Since 2011, he has come aboard Third Éditions with Mehdi El Kanafi and Nicolas Courcier, the publisher’s two founders. Damien is also the author of the book Video Game Music: a History of Gaming Music. For Third Éditions, he is actively working on the “Level Up” and “Année jeu vidéo” collections. He has also written or co-written several works from the same publisher: The Legend of Final Fantasy X, Welcome to Silent Hill: a journey into Hell, The Works of Fumito Ueda: a Different Perspective on Video Games and, of course, the first volume of Dark Souls: Beyond the Grave,

Sylvain Romieu

Curious by nature, a dreamer against the grain and a chronic ranter, Romieu is also a passionate traveler of the real and the unreal, the world and the virtual universes, always in search of enriching discoveries and varied cultures. A developer by trade, he took up his modest pen several years ago to study the characteristics and richness of the marvelously creative world of video games. He writes for a French video game site called Chroniques-Ludiques, particularly on the topic of RPGs, his preferred genre.

BOOK I

BLOODBORNE

CHAPTER ONE

CREATION

DURING the summer of 2 012, as FromSoftware was polishing up the Artorias of the Abyss DLC for the first Dark Souls, the development studio was contacted by Sony. Sony had learned its lesson from Demon’s Souls; the long-lasting success of the FromSoftware work was phenomenal. With the hope of forging a similarly fruitful partnership, Sony once again offered the studio an exclusive contract. In IGN’s “making of” video, Masami Yamamoto (head of external development for Sony Japan Studio) provides some context: “Usually, developers come to us with their ideas to start a new project. Bloodborne was a bit of a special case, as we had a strong desire to work with Miyazaki-san, we brought the idea to FromSoftware.”

From the start, however, it was never a question of making a Demon’s Souls 2.1 Although it may have been tempting to capitalize on an already successful game, the pull towards innovation was greater.

Project Beast

FromSoftware and Sony agreed on one important thing: the game would be designed for the next generation of consoles: namely, for PlayStation 4. Hidetaka Miyazaki was unreservedly assigned to head the project. In it, he saw an opportunity to design a game along the same lines as the Souls games, but in a different world, directly inspired by Gothic novels–with Bram Stoker’s Dracula in mind–and the unnerving themes from H. P. Lovecraft’s stories. For years, Miyazaki had dreamed of creating an environment inspired by Gothic and Victorian architecture. He felt, however, that this level of detail could only be achieved using superior technology, an advantage promised by PlayStation 4.

The concept of the game had been kicking around in his head for some time, as he told IGN in 2015: “The game mechanics, or the Gothic theme for example, those were some areas or concepts that were always brewing, and one of the areas that I always wanted to achieve in my career.” However, he also recognized the great weight on his shoulders, following the success of Demon’s Souls and Dark Souls. He knew that fans were just waiting for him to trip up.

The project, christened Project Beast, began soon after the Astorias of the Abyss DLC was released in August 2012. At the time, FromSoftware was also beginning to build Dark Souls II, its cash cow. Miyazaki kept his distance from this sequel, which was handed off to Tomohiro Shibuya and Yui Tanimura, with support from the FromSoftware president and creator of King’s Field, Naotoshi Zin, who supervised the game system.

On his end, Hidetaka Miyazaki formed a trusted team of regular collaborators, such as lead programmer Jun Itô (who had already filled this role for Demon’s Souls and Dark Souls), composer and lead sound designer Tsukasa Saitô (Armored Core games), and most of his regular artists: Daisuke Satake, Masanori Waragai and Hiroshi Nakamura. The success of Demon’s Souls, and the even greater success of Dark Souls, allowed FromSoftware to grow its ranks significantly. In total, no fewer than fifty programmers participated in the project, along with around twenty game system designers and fifty people working on visual creation (animation, scenery, characters, etc.). Thanks to financial support from Sony, many Japanese, Chinese and Taiwanese studios were sub-contracted during the production to help with graphics and visuals.

All in all, a particularly large team worked on Project Beast to make it a major PlayStation 4 exclusive. It relied heavily on the Souls community as a foundation for success, with the hope of attracting new players to the new and exciting game world. Maintaining a close eye on every detail of his work, Hidetaka Miyazaki had to work twice as hard to lead such a large team, in particular when his status within the company radically changed.

Previously majority-owned by shareholder Transcosmos, FromSoftware was bought out in April 2014 by Kadokawa Corporation, which acquired eighty percent of FromSoftware stock. This led to some major upheavals in the studio, particularly with the nomination of Hidetaka Miyazaki as company president. The promotion rewarded his total investment in the company since being hired in 2004, along with the financial boon he had brought the studio through the sale of the Souls games. However, though Miyazaki was happy with the new position, his top priority was to continue as a creator: there was no way he was going to leave his role as creative director. His conditions were accepted, and he therefore maintained his role as head of Project Beast, while naming Kazuhiro Hamatani (Ninja Blade, Metal Wolf Chaos) as lead game designer in order to reduce his workload. Miyazaki was appointed president on May 21, 2014, the official date that FromSoftware was purchased, at a time when the first rumors of Project Beast were reaching the public. The initial images showed significant common features with Souls, in particular a wall of fog that must be crossed to reach a boss.

In June 2014, at E3, FromSoftware officially announced the game and its true title, Bloodborne. It was presented in a computer-animated trailer, later used in the title screen of the final game. A few days later, another trailer was leaked with gameplay elements, which left the Internet teeming with excitement.2 Although it is bloodier and more dynamic than its Souls predecessors, Bloodborne is nonetheless their direct descendant, also sharing their horror imagery.

On the Hunt for Nightmares

In the beginning, the Bloodborne project revolved around two major concepts: “exploring the unknown” and “fighting for one’s life.” At first glance, these themes could define any one of the Souls games, but the new game lent them new meaning. Miyazaki’s goal was to produce more energetic battles, requiring players to take a more aggressive stance than in the Souls games. Equipment weight would no longer be taken into account, to encourage rolling and dodging. Armor was therefore replaced with clothing: the character became lighter and faster, but this also reinforced the player’s feeling of vulnerability. The shield also no longer played much of a role.3

To make up for this lack of protection, Bloodborne introduced guns. Miyazaki explained this difficult choice in 2015 to 4Gamer: “When I thought about how we could express this idea of more active battles in the game, I thought that guns could be effective. However, I didn’t want to turn the game into a shooter. I wanted the guns to show their true usefulness in close quarters combat.” By allowing players to interrupt enemy attacks at the right time with a well-placed shot, and then following up with a devastating (“visceral”) counter-attack, guns act as a replacement for the Souls shield by serving as a “parry.” This option must be used sparingly, however, due to the limited number of bullets available, which means that in spite of the guns, Bloodborne does not qualify as a “shooter.”

Bloodborne adopts the same philosophy as the other FromSoftware games: players are thrown into a hostile environment laden with formidable challenges, and triumphing over the game’s abominations gives players the same feelings of elation.

From Miyazaki’s perspective, the interest lies in the way players make the experience their own. The choice of weapons and items is in line with the role-playing and customization logic. Bloodborne offers fewer weapons than Souls, which was intentional on Miyazaki’s part. In 2015, he explained the following to PlayStation Blog: “In a way, the variety is still there, but it’s absorbed down on a customization level, rather than in the quantity of actual weapons.”4 There are nevertheless many similarities between Bloodborne and the Souls games: Blood Vials stand in for the Estus Flask for healing, with a return to consumable items as in Demon’s Souls and Dark Souls II; “blood echoes” are similar to souls, allowing players to level up by speaking with the Plain Doll at Hunter’s Dream, whose role also mirrors that of the Maiden in Black in Demon’s Souls, or the Emerald Herald from Dark Souls II.

Insight points replace Dark Souls’ humanity points: they are used in the same way to interact online, with notable differences unique to the Bloodborne universe.

With the support of Sony’s studios and experience, FromSoftware worked to define each piece of the battle mechanics to offer an experience that best reflects the feeling of “fighting for one’s life.” Pushing players to melee fight increases difficulty. To reward the fortitude of players during fights, the team came up with a system that would allow players to regain health over a short time after being hit by attacking the enemy. Miyazaki returned to this point in the official guide: “The regain system was something we came up with to encourage the sense that you’re fighting a life-and-death struggle, one of the themes supporting this game’s battle system. It changes the concept of your defense to something proactive, and it invites you to take a more fatalistic approach to fighting, encouraging that to-the-death feel. That was both the inspiration for, and the aim of, the regain system.”

Miyazaki never saw difficulty as an aim in itself, but rather a method for producing the ever-important sense of achievement, which he had emphasized since the time of Demon’s Souls. During an interview for PlayStation LifeStyle in October 2014, producer Masaaki Yamagiwa was quick to remind players that the key to success lies in strategy and patience: “We want to make sure that our message gets across that when you play the game, it doesn’t require super reflexes or super finger movements. As long as you study the situation and learn the AIs, you can overcome the enemies.” This was an obvious marketing pitch to reassure potential players, but also a reflection of the subtle approach to difficulty.

As in the Souls games, Miyazaki wanted to make sure that enemies inspire fear in Bloodborne players. The feeling of a fight to the death is heightened by the blood splattering that punctuates the fights. This was a risky aesthetic choice, since the creative director was anxious to keep this profusion of blood from becoming ridiculous. The attention paid to the art direction and frightening approach to the universe prevented this from happening.

Mazesof terror

Hidetaka Miyazaki explained the appeal of horror to PlayStation Blog: “Whether it be nature or society, it’s often a harsh and unkind environment–so that translates into my games.” However, he tempered this statement by explaining that his interest in Lovecraftian horror above all supports the game’s underlying approach: “It’s not like horror is something we specifically go for, but it’s important to have that sense of fear and terror because it directly ties into the player overcoming that and enhancing their sense of achievement.”5

The Bloodborne universe, as we’ve seen, draws from Lovecraft’s works and Gothic literature, which led the FromSoftware teams to go to Romania and the Czech Republic to draw inspiration from local architecture. There are also some Victorian touches to the medieval decor, such as the characteristic street lamps. With these elements, Miyazaki did not so much want to evoke 19th century London as the cities farther from the capital, by mixing architecture from old Gothic cities with that of the small towns that could have existed during the Victorian era. PS4 allowed the designers to achieve a high level of detail, as lead programmer Jun Itô explained in the making of: “I don’t think the basic process for creating a game has changed much, but the memory storage and the number of CPU cores had much bigger increases during the transition from PS3 to PS4 versus the transition from PS2 to PS3.” With his team of programmers, he focused on textures and the appearance of clothing: “We spent a lot of CPU power on simulating fabric, so all our time and effort as programmers will be rewarded if players feel the world has a softness to it.”

The characters’ appearance is also directly tied to the Victorian era through a number of clothing details. “While creating these designs, I thought about how to bring these hunters to life in different ways, through their unique expertise and personal preferences,” explained artist Tetsu Takahashi in the making of, highlighting the importance of endowing each piece of the game with visual attributes that are both easily identifiable and coherent.

To immerse players in this universe, the designers aimed to bring together the most successful exploration aspects of Demon’s Souls and Dark Souls. From the former, Bloodborne maintained the “hub” concept (here, Hunter’s Dream) that can be accessed at any time using warp points spread out through the level; from the latter, it kept the idea of a world where areas are interconnected and shortcuts can be unlocked between them. When all is said and done, this element is less pronounced than in Dark Souls, due to the many levels of reality in Bloodborne: dream, main world, nightmare, etc.

As meticulous as ever about the creation of his levels, Miyazaki himself drew all of the maps for the game’s areas.6 His method of design and supervision had not changed: he wanted to make sure that the smallest details were in place, and that they lived up to his visual criteria, between sophistication and elegance. In 2015, he explained FromSoftware’s current philosophy to 4Gamer.net: “When it comes to game design, our style is to not have a ‘lead designer,’ but instead have the director work directly with the individual designers.”7 Most of his team members were now used to working with him and knew his approach, particularly those in the art department who learned to decode the keywords he would give them to spark their creativity.

This time, Miyazaki chose to convey the fear of the unknown found in i terrifying stories. This objective inspired the concept artists, like Tetsu Takahashi: “I tried to depict the fear or panic people feel when faced with the unknown or something they don’t understand. [...] Also, I tried to depict the darkness that is born from a damaged psyche.”

A Sprawling Story

Miyazaki’s cryptic method of narration–which requires decoding through close attention to item descriptions, listening to each character and observing the scenery-reaches its full potential here. In the official Bloodborne guide, he admits to his penchant for difficult-to-decode stories: “I kind of have a virtual pendulum in my mind. Generally, every other game I make is inscrutable and interpretive, then the next one is easier to understand. Armored Core 4 was my first game as a director. That was really hard to understand, but then my next one, For Answer, was a lot more approachable. Then Demon’s Souls was inscrutable, Dark Souls more approachable, and now we have Bloodborne.”

His top priority is to leave players great leeway for interpretation: he loves to read the different theories and analyses floating around online. Although he writes the full stories himself, he asks for input from his team.8 When development begins, he creates a forum in which he lays out all of his ideas, which are then discussed.9

Bloodborne revolves around intellectual transcendence and the repression of impulses, as he specifies in the game’s official guide: “The urge to transform into a beast is in conflict with the basic sense of humanity we all have. That humanity serves as a kind of shackle, keeping the transformation in its place. The stronger the shackle keeping that urge to transform in place, the larger the recoil once that shackle is finally broken.” The Bloodborne creator sometimes draws inspiration from his new daily reality, as he mentioned humorously in 2015 to The Guardian: “Now I’m president, I get to meet a lot of other company presidents. They’re such weird people. I’m fascinated by them. I use some of them as enemy characters in our games.”

However, although he maintains full creative freedom, Miyazaki sometimes removes elements from the final game judged by his team to be much too dark, or crazy. He does not hesitate to acknowledge FromSoftware members who have developed ideas that impressed players. In the official guide, for instance, he notes that designer Masaru Yamamura implemented the Plain Doll’s responses to players’ gestures.

A Shared Experience

While the free online mode in PS3 led him to imagine the revolutionary asynchronous multiplayer model in Demon’s Souls, Miyazaki had to rack his brains to come up with a new idea for Bloodborne. The online functionalities were certainly very similar to the Souls games (messages on the ground left by other players, the ability to invade or be invaded, factions, etc.), but the Chalice Dungeons represent a noteworthy new addition.

Inspired by PlayStation 4’s “Share Play” feature, and by the increasing buzz among the Souls community,10 Miyazaki came up with the concept for these dungeons that can be randomly generated and shared among players. The goal is to give players the constant pleasure of rediscovering the game. With access to “unlimited content,” Miyazaki hopes that players will share as much information as possible and help one another to complete the dungeons. For him, the idea was not so much to draw inspiration from rogue-likes (with random dungeons as one of their traditional characteristics), but rather to encourage discussion between players. As with the online mode of Dark Souls II being developed at the same time, FromSoftware responded to the numerous requests from fans by facilitating connections between players in Bloodborne.

Victory and Extensions

The final months of the design process were devoted to multiple test sessions to root out bugs, while an entire team worked to balance the level of difficulty. The FromSoftware and Sony teams did what they could to optimize the game, while aiming for an average of thirty frames per second. Their goal was to achieve the best compromise between the smoothness required by the fights and the many elements that needed to be displayed. Although Miyazaki has said that the PS4 proved to be easy to program, allowing for the design of complex architectures and highly detailed animations, the final result was not as perfect as was hoped.

In its worldwide release from March 24-27, 2015,11Bloodborne suffered very long loading times and occasional drops in frame rate, a problem that had already affected Dark Souls at times. FromSoftware quickly did what it could to release patches, a situation that frustrated Miyazaki, but which he believed necessary: “I’m sure users would prefer it if we released something free of imperfections from the get-go, and that’s a perfectly reasonable expectation to have, but realistically speaking, I think patches are a necessary thing.”

Despite these problems, the game received almost unanimous positive reviews from critics and the public alike. Over one million copies sold in less than a month, and sales broke the two-million mark during the summer of 2015: a big success, surpassing the already high expectations of Sony and reaching the same heights as the Souls games. Bloodborne thus established itself as one of the major PS4 exclusives, but also as one of the most popular games for the new generation of consoles. And for the first time in the history of the series, the game was dubbed into several languages (English, French, Spanish, Japanese, etc.), while the previous episodes had only been produced in English.

Soon, a DLC was in production, taking advantage of this success and giving players an extension of the Bloodborne world. According to producer Masaaki Yamagiwa, two DLCs were originally planned, but FromSoftware soon decided to meld them into one single adventure, to be called The Old Hunters. Miyazaki wanted to take the opportunity to clear up some confusion about the plot, by suggesting some origins for the Plain Doll and the Hunter’s Dream, along with the story of one of the Great Ones referenced in the game, Kos.

Based on player feedback that there were not enough weapons in the original game, the FromSoftware team also decided to supplement the DLC with over ten new weapons with varied characteristics. The Old Hunters was created with great care, introducing three additional areas and five new bosses. Thanks to support from Sony, the DLC had a high enough budget to record new music with an orchestra, so that it wouldn’t clash with the Bloodborne soundtrack.12

The Old Hunters was released on November 24, 2015, and was greeted with praise similar to that of the original game. This was in spite of some criticism regarding the difficulty of one boss (a tad too difficult), and the scarcity of items used to optimize the new weapons.13 These reservations were minor compared to the positive aura surrounding Bloodborne. Hidetaka Miyazaki had prevailed: he had successfully completed an original work without the name “Souls,” but with the same spirit as these other games. This victory confirmed what was said of him in the “making of” by Masami Yamamoto (head of external development for Japan Studio): “ [Miyazaki-san] creates games which resonate with people regardless of the fact that they were made in Japan or that there are cultural differences between Japan and other countries.”

1 In one of the alpha versions of Bloodborne, a bug allowed players to battle Gascoigne. He would use the expression “Umbasa” in one of his dialogues, an intriguing direct reference to Demons Souls.

2 The leaked video also showed elements that eventually changed during production: the presence of new weapons and the location of Ebrietas, who was then located in the Grand Cathedral, where players fight Amelia in the final game.

3 The description of the wooden shield makes intentions obvious: “A crude wooden shield used by the masses who have arisen to join the hunt. Hunters do not normally employ shields, ineffectual against the strength of the beasts. Shields are nice, but not if they engender passivity.”

4 Game mechanics and control vary greatly depending on the weapons, all of which can be used in two ways by toggling using the L1 button, to produce different hits and damage.

5 An interview from IGN in 2015 also highlights the fact that the Souls creator was not just interested in morbid worlds: “I’ve always had an interest in doing something colorful or heartwarming, but no one believes me,” he said with a smile. However, in the official guide, he admits that he’s “a little jealous of people who are scared of the dark.”

6 With the exception of the Chalice Dungeons.

7 That said, in reality, there is always a “lead designer” in essential departments: sound, graphics, game system, etc. The difference here was that Miyazaki himself gave the directions to each department, coordinating and checking everything.

8 The same goes for item names, which he loves to choose himself: “I consider things like word origins, how it sounds in expressions, regional considerations, the whole thing.” He remains receptive to suggestions from his team and from Frognation, the company charged with English localization since Demons Souls.

9 As an anecdote, his favorite characters include the scholars such as Freke the Sage from Demons Souls, and Iosefka and Willem from Bloodborne; he has expressed his disappointment that the latter are not very popular.

10 The series creator confided the following in PlayStation Blog. “I’ll go online and enjoy reading what [the players] have to say.” He even says that he’s happy every time people ask why he decided to make difficult games. The thing that surprised him most were the speedruns, an approach that he had not planned for at all when designing the games.

11 The release date had initially been set for February 6,2015, but in November 2014, the date was pushed back by a month and a half in order to fix some details and problems noticed by players during closed alpha testing, which took place in three-hour test sessions on October 1, 3 and 5, 2014.

12 The soundtrack for the first Dark Souls’ DLC, Artorias of the Abyss, was not recorded with real instruments as in the original game. For more information on Bloodborne’s music and a behind-the-scenes look at its creation, check out the chapter on this topic.

13 The patch 1.09 fixed this problem, allowing players to exchange a Blood Rock for sixty insight points.

CHAPTER TWO

UNIVERSE

Introduction to new themes

Demon’s Souls and Dark Souls explored the themes of death and souls, and Bloodborne strayed little from this approach, building its universe and story around other themes just as rich in symbolism: blood, madness, the moon, and the hunt (and by extension, bestiality), this time at the heart of the plot. The plot is complex, much more so than that of the Souls games, tackling a wide array of subjects, such as species evolution and different planes of existence, while also touching on the unquenchable desire to create life. This complexity is heightened by the use of proper nouns with strange spellings, such as “Byrgenwerth” and “Pthumeru,” and above all by the lack of precision regarding many of the essential elements in the Bloodborne universe. Ironing out the story therefore requires more conjecture and interpretation than the Souls games did. No matter! Hidetaka Miyazaki’s singular narration invites us to do just that. Hints are tucked away in every nook and cranny, within every description and the shortest dialogue, in the attire worn by the characters, and even sometimes in their voices or gestures, along with the music and the placement of items. Bloodborne brilliantly builds on the narrative legacy of the Souls games, transcending them with its new themes.

The Universe’s Principles

Before presenting the story behind Bloodborne, it’s worth taking some time to look at the universe’s guiding principles, which are quite different from the genre’s classics.

Humans and Great Ones

First, we need to start by distinguishing the different types of beings found in Bloodborne. Humans are the game’s primary species, or at least serve as its focal point. The story revolves around the human city of Yharnam and its surrounding areas. Other far-off lands are referenced in the game, without much detail–we don’t often meet humans from these parts.

Besides the residents of Yharnam, the game also refers to the Pthumerians, subjects of a lost ancient kingdom. Vestiges of their mysterious civilization were discovered long ago within the labyrinths buried beneath Yharnam. Archaeological research has shown that the Pthumerians possess strange powers, derived from divine entities known as the “Great Ones.”

The Great Ones are Bloodborne’s gods,1 or at least are viewed as such by humans, who are fascinated by the immortality and power of these mysterious superior beings. Their occult power is difficult and dangerous to wield: anyone who comes into contact with it for too long will lose their mind. The Great Ones are scornful of humans, but envy them for their fertility: any child born to a Great One is stillborn. There are actually several species of Great Ones, some of whom are met by the player. For instance, the Amygdalas are a relatively common type of Great One. Their shape is unusual: that of a giant spider crossed with an anthropomorphic skeleton. These beings live in another plane of existence, which generally remains invisible and inaccessible. However, this unseen dimension interferes with that of the humans on rare occasions: when the moon turns red, an event we will discuss in further detail. Other Great Ones appear to be unique individuals, through their shape or habits, such as the Moon Presence, Kos, or Formless Oedon.

Planes of Existence

There are several different planes of existence in the Bloodborne universe. Although most of these planes remain independent, some intertwine at times, leading to unexpected apparitions or changes in the mental or physical state of the residents in one of these planes. For example, as we noted above, the red Blood Moon reveals the many Amygdalas; they can be found peacefully perched atop the buildings around the city of Yharnam. When players accrue more than forty Insight points, they can see these monstrosities squatting on the city’s roofs, long before the Blood Moon appears. This detail proves that the other plane exists, invisible to most mortals.

There are other planes of existence, such as the Cosmos. Several Great Ones draw some of their powers from the Cosmos, or even originate there. Ebrietas, for instance, is known as the Daughter of the Cosmos. When the One Reborn boss appears, summoned by the bells rung by the magicians from the ramparts, we can quickly spot a nebula with a starry backdrop. According to the description of the Choir Bell “that projects an arcane sound across planes of existence,” it is possible to establish communication with these planes using carillons: we can call other players, invade them, or as in the example of the One Reborn, summon a superior being.

We will note a final, distinct type of plane of existence: that of dreams and nightmares, where the most powerful Great Ones live.

Dreams and Nightmares

There are levels that take place within dreams and nightmares, where some universal laws from the real world seem not to apply. The Hunter’s Dream, the Hunter’s Nightmare (in The Old Hunters DLC) and the Nightmare of Mensis are the three known dream- or nightmare-like locations in Bloodborne. In these twisted, phantasmagorical reflections of previously visited locations, the normal laws of physics apply, so that players can explore them like other real worlds. Yet some details remind us that this is a dream world. For example, once the area’s boss has been defeated, the normal “Prey Slaughtered” is replaced by “Nightmare Slain.” Furthermore, dreams do not contain the chronological indications of the game’s main quest: the progression that begins with twilight, then the small moon at nightfall, then the majestic full moon, and finally the blood-red moon. Dreams and nightmares are also associated with the moon, but the moon’s light is constant, no matter the stage of the game, as if time stands still. A final, unusual characteristic of dreams and nightmares is that they were created by Great Ones: the Hunter’s Dream was made by the Moon Presence; Kos created the Hunter’s Nightmare, and the Nightmare of Mensis ends when Mergo’s Wet Nurse is defeated. Some Great Ones, such as the Amygdalas, are not present in dreams, perhaps due to a hierarchy between the different Great Ones. Players must still face one of these beings in an ethereal, surreal location, the Nightmare Frontier. We will come back to each of these dreams and nightmares, along with their creators, in our presentation of the game’s story, but it is worth noting that these surreal locations belong to the Great Ones, while the real world is essentially occupied by human beings.

It seems likely that these different planes of existence, including dreams and nightmares, are built in layers one on top of the next. There are some hints throughout the adventure that suggest this. Our primary clue is that from some areas, you can glimpse parts of different locations. For instance, from the Fishing Hamlet, you can view the tops of the Yharnam buildings emerging from the depths of the ocean. But the city has never been flooded–it is simply located in the lower layer, in the Yharnam plane of existence. Above the Fishing Hamlet (in the Hunter’s Nightmare created by Kos), there is the location called the Nightmare Frontier. From here, it is possible to spot the masts of ships clashing far below, from the dizzying heights upon which the Frontier floats: of course, these are the ships from the Fishing Hamlet. Finally, the outline of the Nightmare of Mensis castle appears far off, above in the fog of the Nightmare Frontier. This vertical structure is more obvious when sounds2 are heard, deeply disturbing certain residents of these worlds. The noise made by a neighbor directly above or below will be much more noticeable (and irritating in the long term) than a far-off racket.

Blood and Insight

Before diving head first into the fascinating Bloodborne universe, there are a couple of final concepts to cover: Blood and Insight. Humans use Blood or Insight to attain the “eldritch Truth,” a superior stage in their evolution, equivalent to that of the Pthumerians. However, Blood and Insight have opposing properties. Blood stirs up beasthood, and by extension, physical power and skill, while Insight inflames the spirit and knowledge, thus intellectual abilities. When a human takes on too much Blood, their level of Insight goes down, and they transform into a “blood-starved beast.” On the other hand, gaining too much Insight brings them to the status of a Lumenwood or a Celestial, similar to the occult power of the Great Ones, which unfortunately may lead to madness. Humans must be moderate in their consumption of Blood and Insight. However, many have tried to attain the power of the Great Ones, and players will cross swords with a number of the resulting beasts and celestials throughout the adventure.

Backstory

Although a chronological approach would start with the ancient Pthumerian civilization, and then follow the series of events that caused it to fall, we prefer to retrace the game’s story from the viewpoint of the city of Yharnam. The first events recounted in Bloodborne are indeed related to the city of Yharnam, or rather to its surroundings. The story begins with a strange discovery made by researchers from Byrgenwerth...

Byrgenwerth, Back to the Discovery

Byrgenwerth College was a major site of higher learning not far from central Yharnam, between the edges of the Forbidden Woods and the shores of Moonside Lake. Scholars at the college conducted productive research, which put the school on the map. One day, archaeologists from Byrgenwerth discovered the vestiges of an ancient civilization below Yharnam: the Pthumerians. The exploration of the first underground labyrinths, and then the catacombs, would change the fate of Yharnam’s inhabitants forever. Their destiny rested on the shoulders of three individuals, with fates as different as they were tragic.

Willem, Laurence and Gehrman were all originally at Byrgenwerth College. Respectively representing wisdom, strength and agility, the three very different companions shared one common goal: the archaeological study of the people of Pthumeru. Who were these people? How did they live? And what caused this fascinating civilization to fall? These questions remained unanswered, until a new discovery blew everything else away. Some remains led them to believe that the Pthumerians were actually superhuman beings. This unexpected revelation presented humans with the possibility that they, too, could attain a higher level of being, and Pthumeru became the focus of study at Byrgenwerth.

Continued excavation led the scholars to discover the existence of the Great Ones, superior beings worshipped by the people of Pthumeru–the Pthumerians even called themselves the “Guardians of the Great Ones.” Archaeologists eventually found an ancient blood sample (known as the “Old Blood”) containing the Great Ones’ power. This blood was researched meticulously in the hope of discovering how to raise the current human species to the same level as the Pthumerians. This transcendence was given the name “eldritch Truth.”

Following this incredible archaeological discovery, some hostile creatures, beasts, began to appear. Gehrman, who was well versed in combat (unlike his associates), took it upon himself to eradicate this menace. He became the First Hunter, isolating himself from the scholarly world of Byrgenwerth. In Yharnam, Gehrman set up in the Workshop, where he trained other hunters in his special techniques and fight moves to employ against the savage violence of their enemies. However, Willem was the first to draw the connection between the appearance of the beasts and the research conducted on the old blood. He felt that these creatures presented too great a danger, and that the research should be halted. This led to the long disagreement between Willem and Laurence, who remained convinced of the merits of studying the blood.

When looking for sources of information on the Great Ones other than this insidious ruby-colored substance, Willem and his disciples focused their research on sites other than the Pthumerian crypts, outside of Yharnam. Their curiosity and hard work led them to a fishing hamlet, where they discovered the remains of a Great One that was different from those worshipped by the Pthumerians, and hitherto unknown by the Byrgenwerth researchers. This Great One, known as Kos, was closely tied to the ocean, where its strength seemed to originate. The fishermen began worshipping this Great One, and over time started losing touch with reality: the hamlet grew more isolated and its inhabitants began morphing into deformed creatures, as pale as the moon.

No one knows exactly what took place between Willem and the fishermen, but the accusations of the hamlet’s priest suggest that Willem committed sacrilege towards Kos (or “Mother Kos,” as the villagers call it), which was pregnant. The Great Ones were never able to reproduce, however, and all of their offspring were stillborn. On every newborn cadaver, one third of an umbilical cord remained, which soon became known as the “Cord of the Eye.”

It seems that Willem stole the cord from Kos. This discovery would radically change the researcher’s approach to his study of the human species and its fate. The cord was exactly what he had been looking for since he had given up experimenting on the Old Blood: it represented a new means of attaining the eldritch Truth. He thus discovered “Insight,” which considerably increased his own wisdom and intelligence, allowing him to near the power of the Great Ones. The One Third of Umbilical Cord gave him “eyes on the inside,” and provided him with a superhuman mind.

Armed with this discovery, Willem returned to see Byrgenwerth. During his absence, Laurence had continued to supervise the research and experiments conducted on the Old Blood. The beasts multiplying throughout Yharnam had begun to pose a serious problem for the city’s residents. The scholars of Byrgenwerth feared the blood as much as it fascinated them. One of them pilfered a sample and fled to Cainhurst Castle, where he founded the clan of the Vilebloods, composed of nobles who became vampires–immortal, bloodthirsty monsters that had never before existed in this world. With everything that was happening, the population’s fears continued to grow.

“Fear the old blood.” Before becoming the characteristic saying of Byrgenwerth, this sentence was voiced by the man who became known as Master Willem. His work on the eyes and Insight, which seemed to be more effective and safer than the blood research, made him the college’s uncontested authority. However, Laurence felt differently. Although he had maintained deep respect for his former friend Willem, he decided to leave Byrgenwerth and recommence his studies on the Old Blood. In Yharnam, he founded a new institution: the Healing Church.

The Foundation of the Healing Church

The Healing Church was founded with the same ambitions as those associated with Oedon,3 known as “The Formless.” This new institution and the Great One in question shared the same mission. One of the churches built was named the Oedon Chapel, which attests to the close ties that the Healing Church maintained with blood. In the Yharnam Cathedral Ward, the priests began to distribute free therapeutic blood that could be ministered to those who were ill. This blood was different from the Old Blood, which contaminated humans: it was created by Laurence following changes to the original blood, and showed incredible healing powers, giving those who took it a highly unexpected vital force. Invalids began flocking to the doors of the Healing Church, begging for blood to ease their sufferings. The Church grew quickly and began to take on a new structure, with the creation of the ranks of Vicar, Blood Saint and Church Hunter.

Laurence became the First Vicar, some kind of quasi-supervisor known for their gold pendant with Willem’s famous adage engraved on it: “Fear the old blood.” In spite of his attachment to the blood, Laurence had not forgotten the warning of his old friend from Byrgenwerth.

The Blood Saints, for their part, served as living sources of the Blood Ministration: the women continually provided the blood used by the Healing Church. The first of the Blood Saints was named Adeline, held prisoner in the Church’s laboratories. She was kept tied to a chair, with a syringe constantly implanted in her arm to withdraw her precious blood, which would then be sent to Yharnam to heal illnesses. The horrifying experiments conducted by the priests were kept secret, and the laboratories were set up far from the old city, not far from the miserable Fishing Hamlet, where Willem robbed Kos of the Cord of the Eye. Due to the danger presented by the Old Blood, a new formula had to be developed. A curious interaction was discovered between the blood and the Celestial Water, which came from the ocean where Kos had arisen. The water contained unique properties from this Great One, in particular Insight. The laboratories were then supervised by the benevolent Maria, who was admired by her experiment subjects. Sadly, the research conducted on this new blood had catastrophic effects. The heads of the unfortunate test subjects blew up like balloons, and they eventually went totally mad. By adjusting the dose, she managed to produce a relatively stable mixture. As the first survivor to truly produce blood, Adeline was declared a saint. But this miracle came at the cost of hundreds of horribly mutilated victims, including Saint Adeline herself, with her giant, misshapen head. Ironically for Laurence and his Healing Church, this new formula of blood and Kos’s Celestial Water resulted from research that was actually very similar to the work done by Willem on the eyes and Insight.

Experiments were conducted in the laboratories on other people, which led them to transform into new creatures. Although these individuals remained human-like and two-legged, they were no longer human beings due to their blueish skin, and above all the monstrosity of their bodies and limbs. Their heads were frightfully deformed: some even looked like a cluster of thick, short branches, which earned them the name “Lumenwood.”4 They drew their power from the Cosmos, and were the first “phantasms” to appear since the fall of Pthumeru. Described as the confidants5 or messengers6 of the Great Ones, the Lumenwood were the first form of humanity to be elevated towards the dark powers of the Great Ones,7 in contrast to the beasts, who formed due to the blood’s impact on the primitive part of the bestiality inherent to every human being.

Even though the laboratory research produced a formula that balanced Blood and Insight, to produce a fluid perfect for the Blood Ministration, it was not used in most cases. The laboratories were abandoned after the premature death of Maria, and because it was impossible to produce enough high-quality blood for all of the Yharnam invalids. Added to this, only Saint Adeline had remained sane. The Healing Church decided to halt its research due to the cost (in experiments subjects, and Celestial Water) and limited quality of blood produced. The church resolved to use less rich,8 yet more dangerous blood, which was likely to cause patients to transform into beasts. These beasts therefore continued to multiply throughout the streets of Yharnam.

Laurence, the First Vicar of the Healing Church, put together a team of Pursuers to slow the proliferation of beasts. The hunters of the Healing Church, also known as the Holy Blades, swapped the traditional lightweight hunting items used formerly by Gehrman for heavy arms and armor, which offered them better protection and greater effectiveness against the beasts. These specific items were designed and produced by the Healing Church Workshop, created for the occasion.

Thus assembled and better equipped than simple hunters, these new paladins, led by the charismatic Ludwig, soon restored order in the darkest corners of the city. The weakest of the invalids who had become dependent on the Blood Ministration and succumbed to beasthood were eliminated. The Healing Church built up its power day by day. This relative peace did not last, however, because a merciless curse would soon strike the city: the Beastly Scourge.

The Beastly Scourge

The Beastly Scourge began with the appearance of the Ashen Blood, a monstrous poison that affected many of Yharnam’s inhabitants. The epidemic’s victims swarmed to the doors of the Healing Church to receive the Blood Ministration,9 which was in fact poor-quality blood, as we have already seen. Soon, almost the entire population was under the power of this blood, which of course meant that the number of beast transformations also skyrocketed.

The number of beasts grew so high that the Church Hunters, who were greatly undermanned, had to recruit many Pursuers, primarily from the population. The recruits were inexperienced and weakened, and even with weapons they were not especially effective against the beasts. Worse still, most of these recruits eventually lost their minds, and many were lost to the Hunter’s Nightmare.10 The Healing Church was well aware of this chaotic situation, but kept this a secret,11 continuing to extend its reach by dispensing the Blood Ministration to as many people as it could.

Yharnam’s inhabitants were not the first to face the Beastly Scourge. As archaeological evidence would show in the land of Loran, the Pthumerians were also afflicted by this scourge following peculiar medical experiments similar to the Healing Church’s Blood Ministration. This similarity suggests a cyclical rise and fall of human civilizations.

Exactly why the Pthumerians disappeared remains a mystery. Nevertheless, the vestiges of the ancient people suggest to believe that they went down an almost identical path to that of the Yharnamites: discovery of the power of the Great Ones, desire for the eldritch Truth, experimental medications, appearance of the Beastly Scourge, and later on (we’ll come back to this), the attempt of a Great One to have a child with a human. The major steps of rise and fall can be found in both civilizations, and Pthumeru’s ruins did not bode well for Yharnam, which would never recover from the Beastly Scourge and eventually succumbs totally to confusion and madness.

The Occult Rituals of the School of Mensis

Although the Healing Church was always opposed to the philosophy of Byrgenwerth, and even prohibited entry to Byrgenwerth College from the city’s districts, some of the church’s members did not share this point of view. This was why certain scholarly priests, followed by some researchers from Byrgenwerth, decided to join the School of Mensis.