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Description

I thought to draw this after completing Bloodborne again; every time I follow through with a Bloodborne playthrough, I begin thoroughly enjoying the setting, gameplay, and visual style, but the longer I go through the game, the more the tragedy of it sets in, until, once I've completed all of it, what is left in me is a sense of dejected, desolate catharsis.

This game affects me a great deal, as do all of the other Miyazaki games. I can't touch Dark Souls III these days due to how viscerally upset it makes me, and I consider that a virtue.

Anyhow, this seemed like a perfect opportunity to draw the final image in Bloodborne, that being of the Orphan of Kos, newly born into the World, staring directionlessly at the Ocean, his mother's corpse right behind. His is such a profound isolation that not only does he not know anything else, but it cannot even be expressed in words, hence the Orphan of Kos's extreme desperate violence and fury at the World into which he was born.
The end painting, that being an impressionistic rendering of a jagged, inhospitable naval scene, grew to resemble the paintings of J.M.W. Turner a great deal. I've yet to study him significantly, but now might be the time.

Description

I thought to draw this after completing Bloodborne again; every time I follow through with a Bloodborne playthrough, I begin thoroughly enjoying the setting, gameplay, and visual style, but the longer I go through the game, the more the tragedy of it sets in, until, once I've completed all of it, what is left in me is a sense of dejected, desolate catharsis.

This game affects me a great deal, as do all of the other Miyazaki games. I can't touch Dark Souls III these days due to how viscerally upset it makes me, and I consider that a virtue.

Anyhow, this seemed like a perfect opportunity to draw the final image in Bloodborne, that being of the Orphan of Kos, newly born into the World, staring directionlessly at the Ocean, his mother's corpse right behind. His is such a profound isolation that not only does he not know anything else, but it cannot even be expressed in words, hence the Orphan of Kos's extreme desperate violence and fury at the World into which he was born.
The end painting, that being an impressionistic rendering of a jagged, inhospitable naval scene, grew to resemble the paintings of J.M.W. Turner a great deal. I've yet to study him significantly, but now might be the time.