Hidetaka Miyazaki is credited with directing some of the greatest and most influential games in history, such as Elden Ring and the Dark Souls series. The vast sense of discovery, deeply engaging combat, and challenging bosses of these games have earned them a massive fanbase.
However, Miyazaki’s games are also known for being rather dark and dreary, which is mostly seen in their worlds, but sometimes their themes as well. Particularly, the 2015 cult-classic masterpiece Bloodborne, which featured a rather harrowing scene with a baby, for which Miyazaki offers a compelling explanation.
Bloodborne‘s Crying Baby Is Dark And Creepy
In an interview with Future Press, Miyazaki shed light on the emotional depths he explores in Bloodborne. The conversation revolved around a certain disturbing scene that had a crying baby trapped within a nightmare.
Far darker than anything else from Miyazaki’s previous works, the scene could strike a chord with players who are also parents. When asked about whether these dark themes affected him personally, Miyazaki said:
Mmm, I think I’m safe on that at least. But it’s certainly true that this game is a lot drearier than my previous ones. I think it’s because, whenever I’m crafting a fantasy story, I always wind up mixing in some of the other things I look up to.
Many players reported that the baby’s crying can be heard outside Castle Cainhurst, finding the audio effect “creepy” and “unsettling”. The leading theory for it is that the baby is a manifestation of the birth of a Great One’s surrogate offspring, potentially Mergo.
Hidetaka Miyazaki Says Beauty Is Borne From Misery
To help the interviewer, and by extension the players, understand the inclusion of this scene, Miyazaki spoke a bit about his creative process when approaching the themes his games explore:
It’s these things that provide the creative energy I use, after all. The beauty of a heartfelt prayer, for examples. That’s the kind of thing that provides inspiration to me. So the things you see in Bloodborne – the dismalness, the lack of salvation, the insanity and so on – I suppose I look up to those, too in my own way. There’s something beautiful in there that I feel.
The key takeaway here is that Miyazaki doesn’t shy away from darkness. He finds a peculiar kind of beauty in despair, hopelessness, and even madness. These elements, often tied together with a flicker of hope or perseverance, are the very essence of what makes his games last in the player’s head for a long time.
When asked about the chances of the baby being Mergo, Miyazaki coyly skirted the question, saying, “I don’t know where that came from. But in the world of Bloodborne, babies that are treated as “special” in one way or the other are offered as lures to the Great Ones. The Great Ones have all lost their children because of their positions, and as a result, they’re attracted to these special babies.“
The interview offered an interesting look into Miyazaki’s philosophies while touching on more serious themes for his games. Some may expect him to be affected by them, but surprisingly, he finds inspiration in them instead. This ability to unearth beauty in the unconventional allows him to create worlds and lore that resonate so deeply with players.
The deep exploration of such themes also extends beyond Miyazaki’s games, compelling players to ruminate on them. One thing’s for certain, though. Miyazaki’s games don’t simply entertain, they’re works of art that prompt deep thought.
