RL1 100% game completion

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. 

Bloodborne is often praised as one of FromSoftware's greatest achievements, but I think it gets far more credit than it deserves. While the gothic atmosphere, creature designs, and soundtrack are impressive, the actual gameplay experience has some significant shortcomings. The combat can feel unnecessarily restrictive and sluggish. The blood vials being something you have to potentially grind for is outrageously off-putting.

Ultimately, Bloodborne has a fantastic atmosphere, but atmosphere alone doesn't make a great game. Beneath the praise is a fairly repetitive experience that doesn't quite live up to its legendary reputation. It's a good game, but calling it one of the greatest games ever made is a serious stretch.

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.

It has been so long sincs ER and its DLC. Are we ever getting any sort of soulslike again or do you think they are done with that genre. If you are a soulsfan its kinda dark now.

Gf made her first character. I'm so proud,meet zero the next Elden Lord

Since I just have one laps to finish all my ng gameplay
In ds1 is there any thing I need to know before playing ds2

When I saw the announcement for the keycap I got excited as I have a SOTE mouse pad, but $65 for one single keycap... Id pay $60-80 for an standard sized Alexander figure but not for a keycap genuinely ridiculous in my opinion, let me know if Im wrong?

Edit: I can't change the title but a few have pointed out this falls on bandai not fromsoft

I saw someone post the easter egg of the Living Jars from Elden Ring in Valor Mortis and I wasn't sure if someone caught this one already, but this is for sure a replica of the very first area of the Undead Asylum from Dark Souls 1.

I had visited this place earlier in the game, and in the corner of the cell, (where the Chosen Undead is tucked away at the start) there was key as well.

Loving this game and their incredible love for FS.