Bloodborne Background Lore

While waiting for the Elden Ring DLC to be released, I decided to try my hand at Bloodborne, a gorgeous and atmospheric gothic action adventure game that somehow manages to withhold even more of its story from the player than Elden Ring. I haven’t seen a concise and accurate summary of Bloodborne’s background lore, so I thought I’d take a shot at creating one.

Before anything, it’s important to establish that Bloodborne is loosely based on H.P. Lovecraft’s Cthulhu mythos, whose premise is as follows:

The earth is billions of years old, and it has supported multiple civilizations that rose and fell without leaving any trace of themselves behind. One of these civilizations was that of the Great Ones, whose fungal bodies allowed them to benefit from long lives and peaceful societies. The Great Ones developed technology that assisted them in communicating across time and thereby making contact with other civilizations on the planet, including humans. Because the Great Ones are so physically and mentally inhuman, however, these connections are flawed. Sometimes human communication with Great Ones invokes fear, and sometimes it invokes madness that results in aberrant behavior. 

In order to facilitate more productive communication, the Great Ones created dream spaces that exist alongside the waking world as separate dimensions. In Homestuck terms, these dimensions are “dream bubbles” that function as self-contained terrariums. In other words, a dream bubble preserves a certain place at a specific moment for the educational benefit of whoever accesses it, kind of like an interactive movie. Time doesn’t flow inside the dream; it repeats. This means that you can trap someone in a dream and use it as a type of prison. In the most famous example, this is what the Great Ones did with Cthulhu, a priest of malevolent cosmic elder gods that would destroy organic life on earth if the planet came to their attention.

Using this mythos as an inspiration, the world of Bloodborne has been shaped by three broad categories of Great Ones.

The first is a group of Great Ones who have tried to communicate with humans. Humans have taken blood from the immortal physical bodies of these creatures. In small doses, the administration of this blood cures illness and prolongs life. In larger doses, the blood induces physical transformation. A coalition of surgeon-scholars called “the Healing Church” has established itself as a religious organization in the city of Yharnam so that they may perform “blood ministration” on the populace, whom they’re using as test subjects in their experiments to bring humans physically and mentally closer to the Great Ones.

The second group of Great Ones eschews this sort of direct contact and communion between Great Ones and humans. Their motives have little to do with the welfare of human beings, but they’ve nevertheless acted in opposition to whatever is going on in Yharnam. One of these Great Ones, called “the Moon Presence,” has created a dream bubble for the ostensible purpose of training hunters to kill the humans maddened and transformed by blood ministration. This is the “Hunter’s Dream” that serves as the central hub of Bloodborne.

The third faction is a loosely federated group of spiderlike Great Ones called Amygdala, who have created their own set of dream bubbles. Some of these dream bubbles are maintained in cooperation with humans seeking eternal life in a timeless space, while some were created seemingly for the purpose of feeding from the human souls trapped inside them. I believe the version of Yharnam that the player-character navigates exists within a dream bubble created by Amygdala. 

Essentially, the world of Bloodborne is a dream inside a connected network of dreams that can be accessed by the player-character as they dream. While the Hunter’s Dream exists as a sanctuary for would-be hunters, the dream that contains Yharnam is something like a training simulation. Your character can only wake from these interconnected dreams (meaning: finish the game) by completing the task they are given as they fall asleep during Bloodborne’s opening cutscene: “Seek Paleblood to transcend the hunt.”

It’s not entirely clear what “Paleblood” refers to, but the game offers two primary interpretations.

The first interpretation is that Paleblood is the blood of the Great Ones that caused the scourge of beasts in Yharnam. Once the player-character understands the full extent of the effects of Paleblood on human physiology and society by witnessing the downfall of Yharnam, they are qualified to become a hunter in the waking world. At the end of Bloodborne, the player-character’s mentor Gherman offers a choice. He can release them from the Hunter’s Dream, or they can best him in combat in order to earn the (highly dubious) honor of replacing him as its warden.

The second interpretation is that the term “Paleblood” refers to the human-adjacent children of the Great Ones, who cannot produce offspring on their own and must rely on human hosts. The conditions for the creation of Paleblood children are unclear, and various factions of the Healing Church have undertaken ghastly experiments on the population of Yharnam in order to pursue this knowledge.

If the player locates and consumes three umbilical cords from unsuccessful Paleblood pregnancies, it’s possible for them to be reborn as a Paleblood squid baby (and future Great One) within the Hunter’s Dream. According to the interpretation suggested by this ending, the Hunter’s Dream was created by the Moon Presence in order to select and nurture potential candidates capable of becoming its child.

The game’s title, Bloodborne, therefore refers to the player-character’s ultimate goal. Either they will be reborn as a fully-fledged Hunter after awakening from the bloody chaos of the Hunter’s Dream, or they will be reborn as a Great One after inheriting the Paleblood of their “parent,” the Moon Presence. 

The story of Bloodborne (such as it is) focuses on the player-character’s journey through the city of Yharnam and its outlying areas as they fight the humans who have been transformed into monsters by the blood of Great Ones. The game’s DLC, called “The Old Hunters,” provides additional background information concerning the origins and establishment of the Healing Church through dream encounters with the key figures in its history.

For an excellent synopsis of the story presented by the DLC, I recommend this article: https://www.eurogamer.net/bloodborne-whats-going-on-in-the-old-hunters

For a deeper dive into Bloodborne‘s story presented in well-organized chapters that arrange the aspects of the plot in chronological order, I’d recommend checking out this fan-created wiki, which can be read like a novel: http://soulslore.wikidot.com/bb-plot

Essay about Evergrace on Sidequest

My summer replay of Elden Ring triggered memories of an obscure PlayStation 2 game from 2000 called Evergrace. When I went online to see if anyone else had made the connection between Elden Ring and Evergrace, I was surprised to find that I seem to be one of the few people who remember this game. I did some deep digging and ended up writing an essay for Sidequest about why Evergrace is a forgotten FromSoft classic worthy of critical attention. Here’s an except:

Even in this brief description of the setting of Evergrace, FromSoft fans will notice various seeds of worldbuilding that have since sprouted into more developed forms in later titles, from the Darksign marking the Chosen Undead player-character in Dark Souls to the queen imprisoned in the towering Erdtree in Elden Ring. As I read about Evergrace, I was fascinated by the earlier forms of signature FromSoft leitmotifs that appear in the game, just as I was intrigued by its challenging elements of gameplay that would later evolve into the characteristic trademark of the Soulslike genre of video games.

You can read the full essay on Sidequest here:
https://sidequest.zone/2023/09/25/evergrace-a-forgotten-fromsoft-classic/

I’d love to write a substantial academic article about Evergrace, but I’m hindered by the fact that I can’t actually play the game without investing in a desktop computer that can run a PlayStation 2 emulator. Hopefully this essay presents a strong argument for textual documentation of classic titles, as well as freely accessible video game archives.  

The Potentate of Jarburg

About halfway through Elden Ring, I realized that the player’s character is the villain of the story.

At some point before the story begins, a manifest symbol of divine order called the “Elden Ring” was shattered by nefarious means, and the rulers of the land fought over its shards. Whether because of the battles or because of the nature of the shattering itself, everything is now in ruins.

As an outcast “Tarnished” warrior who has returned to the magical Lands Between, your job is to retrieve the shards of the Elden Ring from the fallen rulers and thereby restore the Golden Order of the once-great civilization. At least, that’s what you’re led to believe.

If you pay attention, you’ll notice that the society enabled by the Golden Order wasn’t so great. The ruling class built its civilization by subjugating other cultures in fantastically horrific ways. This isn’t subtext, exactly, but neither is it surtext – it’s simply the story told by the environment of the game.

You may think that perhaps, if you repair the Elden Ring and become the new Elden Lord, you’ll do better. You’ll burn the ruined vestiges of the old order and create a more just and fair society. The game defies this hope at every turn, however. For every kindness you attempt, you cause only more suffering.     

In more prosaic terms, almost every sidequest in Elden Ring ends badly.

The kind and modest Sorcerer Thops, who has developed a brilliant form of defensive magic, asks you to spare a key to the Academy of Raya Lucaria if you happen to find one. Should you do so, he is unprepared to face the dangers of the battleground the school has become, and he is slaughtered at his desk.

The gentle and noble Irina has fled from the besieged Castle Morne, and she asks you to deliver a letter to her father, beseeching him to join her instead of perishing in a hopeless battle. When you find Irina’s father, you learn that the castle was overtaken by the slaves he abused. Irina is slaughtered in your absence. This drives her father mad, and you are forced to kill him.

Meanwhile, Preceptor Seluvis, a member of the only group of good guys you encounter in Elden Ring, asks you to deliver a healing potion to one of your former companions. What this potion does is to turn her into a mindless “puppet.” This is an act of revenge against the woman’s adoptive father, with whom Seluvis has a feud that he never bothers to explain. It’s strongly implied that Seluvis uses his puppets as sex dolls, but this unsavory magic is necessary is help another female character. In order to save her from endless torture, you must agree to collude with Seluvis.

The only pure and wholesome place in Elden Ring is Jarburg, an isolated village filled with flowers and animate Living Jars. Living Jars are magical war machines that were abandoned because they happen to be extraordinarily bad at fighting. Should you visit Jarburg, you will be greeted by Jar Bairn, a young Living Jar who asks if you will become the Potentate of Jarburg. Jar Bairn will happily chat with you, and he has more lines than almost anyone else in the game. Aside from enjoying a few rounds of idle conversation, there’s nothing to do in Jarburg. There are no battles or treasures or quests, just Living Jars lazing about in the grass and tending to the flowers.

So the player will leave Jarburg – if they ever bother to find the village at all – and probably never return.

Instead, you’ll continue through the game, murdering and pillaging and destroying everything you encounter. Elden Ring doesn’t give you much of a choice. If you don’t kill something, it’s only because it succeeded in killing you first. You have to survive by any means necessary, even if that means leaving a trail of blood in your wake. In order to become the new Elden Lord, you must be utterly ruthless.

Along the way, you’ll bear witness to the atrocities committed by the former rulers of the Lands Between. You’ll gradually understand why this violence was necessary, and you’ll begin to realize that your own choices are limited. There is no happy end to this story, not for you or for anyone else.

So why finish the game, then? The former rulers are no longer in any position to subjugate anyone, and the formerly enslaved peoples are now free. Castles will crumble, and ancient cities will be forgotten, but the dead will finally be allowed to rest. Why not simply lay down your sword and allow the Lands Between to heal?

I am very bad at Elden Ring, which is an extremely difficult and punishing game. To make matters worse, no one in the game offers you real or meaningful guidance. On top of that, all of the guides available online are fragmentary, disconnected, and clearly written in haste. The artist Frankiesbugs is a veteran of the Soulsborne games, and she’s been patiently helping me find my way forward as we slowly navigate the Lands Between. Mostly we’ve been making silly jokes about the game’s shitty wizards and their appalling sense of fashion, but we wanted to try to create something a bit more serious that reflects the deeper themes of Elden Ring.

This collaborative comic is a tribute to a masterpiece of the medium that forces you to ask difficult questions with no easy answers. I have to admit that I may not ever finish Elden Ring, but maybe that’s okay. It wouldn’t be so bad to be the Potentate of Jarburg.

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You can follow Frankiesbugs on Twitter (here), on Tumblr (here), and on Instagram (here). If you like this comic, you can leave Frankiesbugs a tip on Ko-fi (here) and browse her creepy-cute Plague Doctor merch on Redbubble (here). If you’re interested in stylish gothic horror with a heart, please check out Frankiesbugs’s ongoing comic Necrobirth, which you can read on Tapas (here), on Webtoon (here), or on Tumblr (here).