The videogame Blasphemous builds a Dark Souls-like game out of a dark and horrific view of Catholicism.
, Assassin’s Creed). Depending on who you ask, that thematic thrust might not be wrong, per se, but it sure is dull when you have the major players all hitting that same beat., instead of telling a story about religion, presents a world that could very well be knitted together from the nightmares of the tortured faithful.
You play a mysterious figure wearing a massive iron maiden-like mask who goes around killing creatures hiding away in mysterious castles, surreal dreamscapes, and wastelands in order to restore a cursed world to its former glory. Many of them carry crosses, while others are bishops with rotting flesh or even look like nightmare versions of sculptures created by Michelangelo, the stone on the forehead falling away to reveal pulsating red meat.
The non-linear world template proves to be fertile soil for religious terror. As someone who was raised Christian in the South, the creatures ingo beyond grotesque. The heavy use of religious symbols combined with animations suggesting these beings are in pain gives way to paradoxical feelings of pity and disgust, granting the satisfying combat a queasy edge.
Everything—the challenging boss fights, the lore-riddled bleakscape of Cvstodia, the confusing navigation, the constant death traps around every corner—is filled with just enough religious imagery, torturous frustration, and inescapable melancholy so thathomage.
Even the execution animations and brutal combat the game’s marketing has relied on to grab players’ attention don’t feel particularly gratuitous when compared to famous religious paintings such as Caravaggio’s, half the things that Virgil and Dante see in hell, or even much of the Bible. To calla moving, incredibly important piece of religious art might be overselling its accomplishments.
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