These Hidden Bloodborne Enemies Are The Best Part
She’s watching me, I think. Her eyes, like her wrists, are obscured by gauze wraps, but I pickpocketed a corpse while exploring Bloodborne’s ruthless, forsaken Cainhurst Castle, and now she’s floating toward me.
She’s unhappy. I can tell from the way blood spurts from her neck like rain from a storm cloud. I’ve been an impolite visitor. So I let her scream for a second before I unfurl my trick weapon and end her—goodbye to another one of developer FromSoftware’s most impressive enemies, the Bound Widow.
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I only ever feel truly scared while playing a horror game because of this feeling, the sense that I’ve identified myself in a river of preprogrammed blood, trickling from some undead woman haunting people as aggressively as she herself is haunted.
I understand these women. I have good reason: in her 1980 book Powers of Horror, Bulgarian-French philosopher Julia Kristeva writes that patriarchy forces “the feminine” to become “synonymous with a radical evil that is to be suppressed.” FromSoftware’s Bound Widows, unmistakably soft in their dresses and snow-colored hair, bleeding from their necks and useless hands, are products of this radical evil. In the game, I’m forced to take them down. In life, I know I’m one of them.
That’s why, no matter how many times I play Bloodborne, I try to find and admire them. If I didn’t, I’d feel indicted by surrealist poet Rimbaud when he writes, “How little you care about the wretched women, and the machinations and my embarrassment.” “When I am the girl who can tie your hands—then I will stifle you.” It’s easier for me, as a woman, to cry when we’re together.
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