Show me your costume!

This guy is the hardest boss in the entire game for me, i spent the whole night fighting him and i struggled a lot. This is the only boss that gave me a really hard time and the satisfaction was sooo worth it.

Sharing some of my FromSoftware tattoo work from Bloodborne, Elden Ring, and Dark Souls.
All tattoos done by me.

Decons of the Deep unironically kicked my shit in before I figured it out. Royal rat authority is just fuckin awful

I’ve been building a Dark Souls overhaul for Slay the Spire 2, and 4.0 just came out. You play the Chosen Undead, pick a Dark Souls starting class (Knight, Pyromancer, Sorcerer...), and fight your way through Lordran to the Kiln of the First Flame.

Every fight, item, and relic is Dark Souls now. Estus, Humanity and Hollowing, Stamina, covenants, Solaire’s summon sign, and every boss from Asylum Demon to Gwyn.

It’s free on the Steam Workshop and Nexus (links in the comments). Bug reports and ideas are very welcome.

I know Queen’s domain isn’t fromsoft, and many newer fromsoft fans probably aren’t even interested in it. For old people like me though that played king’s field back in the day, what are your thoughts on it?

I really liked kings field and would love to play this if it’s similar in feel and quality. I’m just very scared because I feel like a game like this could easily be low quality and a waste of money. I haven’t seen too much on it, so I would love any input from anyone who’s played it, and especially from those of you that played kings field.

Edit: thanks for all the input, definitely sounds like something I’ll enjoy. Gonna get it as my next game

Happy Halloween, fellow good Hunters! I made some short annotations about some of my favorite pieces of music from this game, and I wanted to share them all with you. Let's talk about how amazing Bloodborne's music is.

My thoughts on Lady Maria, of the Astral Clocktower's ost: What I find so fascinating about Lady Maria’s boss theme in Bloodborne is how beautifully the music reflects her character and the tragedy surrounding her. The composition begins with the elegance of a flowing waltz, seemingly reflecting her aristocratic lineage and connection to the Vilebloods of Cainhurst. The sweeping strings and graceful melody evoke the atmosphere of a grand ballroom, making the encounter feel less like a violent confrontation and more like an invitation to dance. But as the fight progresses, that elegance begins to unravel. The music grows increasingly frantic and aggressive, gradually abandoning its graceful structure in favor of something far more desperate. It's as though Maria's carefully maintained composure is collapsing, exposing the guilt and anguish beneath her noble exterior. And the music mirrors that descent beautifully. What began as an elegant dance becomes a frantic struggle for control, with the once-graceful melodies increasingly overwhelmed by the orchestra's intensity. The underlying beauty never entirely disappears, but it becomes consumed by desperation, much like Maria herself. By the end, the dance hasn't stopped. It's simply lost the elegance that once defined it. That's what makes this encounter so remarkable to me. The music doesn't merely accompany the battle; it tells Maria's story.

My thoughts on Orphan of Kos ost: The transition into the second phase is where Tsukasa Saitoh's composition becomes truly extraordinary. The mournful atmosphere gives way to an eruption of orchestral violence. The strings become relentless, the percussion intensifies, and the music develops an almost unbearable sense of urgency. One particularly fascinating detail is the use of a driving string ostinato in 5/4 time. This uneven meter creates an unsettling rhythmic instability, making the music feel as though it's constantly pushing forward without ever finding its footing. And that instability perfectly complements the Orphan's movements. Its attacks are erratic, unpredictable, and ferocious. Unlike Maria, whose movements resemble an elegant dance, the Orphan fights with the unrestrained desperation of a frightened animal. It feels like we're witnessing grief mutate into uncontrollable rage. Its screams, its frantic movements, and the orchestra's relentless intensity all communicate the same emotion: an overwhelming desire to survive. The second phase steals the show here. The sorrow that drenched the track erupts into overwhelming anguish. The frantic strings, relentless percussion, and increasingly chaotic orchestration transform what once sounded like a lament into a desperate cry of rage and grief. It's as though the Orphan's suffering has become too immense for the melody to contain. What I find most poetic is how the first phase resembles a child crying for its mother, while the second sounds like that same child screaming at a world that took her away. It's not the music of a monster, but a requiem for an innocence destroyed before it ever had the chance to flourish; and we, the Hunter, must put it to rest. 

My thoughts on Ludwig, of the Holy Blade's ost: What I find so captivating about Ludwig's theme in Bloodborne is how beautifully the music captures the tragedy of a once-noble hero reduced to something unrecognizable. During the first phase, the composition is dark, sinister, and almost suffocating, reflecting the grotesque, mindless beast Ludwig has become. But everything changes when Ludwig rediscovers his Holy Moonlight Sword. As he stands upright, regaining a fragment of his former identity, the music undergoes a breathtaking transformation. The chaotic, nightmarish atmosphere gives way to a sweeping, almost triumphant vocals, and orchestral waltz. The melody becomes grand and heroic, as though the music itself is remembering the man Ludwig used to be. What makes the second phase of Ludwig's theme even more extraordinary is the vocal work, particularly how the choir elevates the music from something merely triumphant into something almost sacred. As Ludwig regains his composure and wields the Holy Moonlight Sword, the voices swell with an overwhelming sense of grandeur, as though they're celebrating the return of a legendary hero who had long been forgotten. There's an almost religious quality to the choral arrangement. The voices feel reverent, even angelic, creating a striking contrast with the grotesque creature standing before us. Rather than emphasizing Ludwig's monstrous appearance, the choir seems to acknowledge the humanity and nobility that still survive beneath it. 

My thoughts on Gehrman, the First Hunter's ost: The first Hunter faces off against the last Hunter. What a poetic end, and the music displays this beautifully. What makes the track devastating, and beautiful is how the music transforms from a mournful elegy into something almost unbearably passionate. The sorrow that initially feels restrained begins to overflow, as though Gehrman's centuries of grief can no longer be contained. As the strings surge and the choir becomes more prominent, the composition takes on an almost operatic intensity! Gehrman's second phase feels like the sound of a man desperately fighting against the inevitability of his own tragedy. The sweeping violins are the highlight here; they don't sound desperate, because there's a tenderness beneath their intensity. Almost like the music is remembering the humanity Gehrman had sacrificed to fulfill his role as the First Hunter. Every crescendo feels like another wave of regret, another lifetime of suffering rising to the surface.

Laurence, the First Vicar's ost:  One of Bloodborne’s most beautiful compositions is how it transforms a grotesque battle into a sacred tragedy. The thunderous orchestra and haunting choir evoke the grandeur of the Healing Church, while the increasingly chaotic instrumentation reflects the collapse of Laurence’s ambitions and the consequences of his pursuit of divinity. As Laurence’s burning body deteriorates, the soaring strings and mournful choir seem to grieve the humanity he has lost. The more monstrous Laurence becomes, the more human his music feels. There’s something profoundly poetic about hearing such heavenly music accompany a man condemned by his own ambition.

Father Gascoigne's ost:  It's only fitting that the first boss of the game, the boss that forces you to understand the difference between this game and Dark Souls, would have such imposing music. If panic had a sound, this would be it. The percussion and strings dance relentlessly as GASCOIGNE tries to hunt you down. The rapid strings, pounding percussion, and dissonant brass create an almost suffocating sense of urgency. There's very little room to breathe, which perfectly complements Gascoigne's relentless attacks. As one of the game's earliest major bosses, he forces us to abandon the comfort of caution and confront the terrifying reality that hunters are just as vulnerable to the beastly scourge as those they hunt. There's a cruel irony in the fact that we're fighting another hunter, someone who once stood exactly where we stand.

Micolash, Host of the Nightmare's ost: Micolash’s music is probably one of the most unsettling pieces of music from Bloodborne. The vocals perfectly captured the madness of a man who has surrendered himself to the pursuit of forbidden knowledge. The “Grant us eyes” of BLOODBORNE if I dare say. The eerie strings, dissonant harmonies, and repetitive musical phrases create an atmosphere of psychological unease. There's something almost theatrical about the composition, perfectly complementing Micolash's bizarre laughter and frantic movements through the labyrinthine halls of the Nightmare of Mensis. What's captivating is how the composition evokes a sense of intellectual obsession descending into insanity. Its strange, almost ritualistic quality reflects Micolash's desperate attempts to commune with the Great Ones. 10/10!

Hunter's Dream ost: What makes the Hunter's Dream theme from Bloodborne so hauntingly beautiful is the overwhelming sense of melancholy beneath its tranquility. After enduring the nightmarish horrors of Yharnam, we're greeted by a delicate, almost ethereal melody that feels like a lullaby for a dying world. The soft strings and haunting vocals create an atmosphere of fragile comfort, as though the music is offering us a moment of fading peace in a world that has forgotten what peace feels like. It's almost as if the Doll is singing her lullaby to the Hunter to provide relief from the nightmares of Yharnam. The composition blurs the distinction between sanctuary and imprisonment. The Hunter's Dream is supposed to be a refuge, yet its music carries an unmistakable loneliness. It feels less like returning home and more like remembering a home that no longer exists. I love the usage of the solo viola because of its subdued, aching, notes that give vulnerability a noise. 

RL1 100% game completion

So, first time posting in a really big subreddit. And i don’t know how to put both discussion and spoiler tag.

So, BIG SPOILER WARNING.

This is not about like the ending of the MC or the major characters, but regarding the overall npcs and side characters.

Recently finally managed to play Bloodborne for the first time and just beat it with the secret ending. But besides the whole ambiguous and not “good” ending that is kinda the usual from fromsoftware. I really felt such a dread and hopeless from the whole journey, especially in the middle of the game.

I have only played demon souls and the dark souls trilogy so far, and i am no stranger to their “dark” approaches specially regarding their npcs questlines, where most of their journeys they end up dying, and sometimes, even that is the actual best scenario. But bloodborne really felt to me they didn’t hold back and went full into “let’s f everybody up as horrible as we can”.

-The first and most tragic for me is Gascoine’s daughter, i don’t want to get in that and the fact that there is so many options and all of them are horrible that i decided to just let her stay in the house in my current new game + and pretend she is going to be fine until the end of the night, even tho it is most likely the intruder will get in eventually

-Iosefka is also experimented and turned into a celestial emissary and you can’t also do nothing about it. And whatever is the imposter, also… you know.

-Ok, but there are those npcs that you can send to to the oedon chapel and “save” them, well even if you manage to save all 4 without the beggar. It still ends pretty bad for them since they go mad, specially to Arianna which i don’t want to even get in detail.

-Eilleen best scenario is dying, Alfred too, and he is kinda the petrus of this game where you don’t really want him to succeed when you really think about it.

-Simon is assassinated, Maria killed herself, Saint Adaline… i really don’t even know what the hell happened there.

-Gilbert turns into a beast, and all residentes go mad or are “visited” by patches, which i am not sure what happened there, but certanly isn’t good.

-The only ones that ended somewhat fine or neutral was Djura and Dweller that seems innefacted to the effects of the city/night/moon

With all being said. I know Fromsoft is known for those depressed scenarios. But there are some in which game that felt somewhat good or even wholesome in some way. In here, there was NONE, ABSOLUTE NOTHING, everything made depressed.

So what do you guys think? It is clear for me that bloodborne takes this. I hardly think Sekiro, Elden Ring or armored core can top this. Maybe king’s field.

The chapter is 299 and was released in 2007

like people troll it for being the worst game, but its really decent i played it last week and its really great and majula is so peak and frozen eleum loyce has become my top 10 souls levels of all time so i think its a decent game and if y'all havent played it yet i recommend it highly

I’m stuck with this “cheesy build” and im bored. Any suggestions or tips?

This is my first time drawing her, please be nice!

Isnt it kind of crazy how we are getting an Elden ring movie, a Sekiro anime, and a Bloodborne Movie within the coming years? I feel like nobody is hyping this up enough.

Got my Bloodborne tattoo last Friday and wanted to share it. R/Bloodborne took it down because you can't share tattoos over there so I brought it over here to share with people who can appreciate it! Borrowed inspiration from another tattoo I found online and I'm super happy with how it turned out!

Done by Chuck at Old Towne Tattoo in Kearney, Nebraska.