Rethinking Demon’s Souls with the Bluepoint Games is PS5’s most acclaimed launch game, and of course. Austin Studios did a great job of bringing the Demon’s Souls interpretation to Sony’s new console and offering a remake of the cult classic with mod-cons such as full-featured photo modes and two different graphic options-and Of course, the graphic to die. Still, it’s tempting to note some of Bluepoint’s having a creative license to change when recreating Demon’s Souls and asking if some elements of the original design were lost in the translation.
Demon’s Soul has made a difficult start. Initially marketed as a “forgetting” competitor, it struggled in the early stages of development. This is where Armored Core 4 and Answer Director Hidetaka Miyazaki were brought to steer the ship, ensuring Demon’s Souls reach its final release. After the first show, I remembered that former SIE president Shuhei Yoshida called it “incredibly bad.” Sony has never released the original release of Demon’s Souls outside of Asia.
Details from the developers are still lacking after 10 years, and the only information we have about the conditions under which Demon’s Souls was developed is just a few of the interviews with key staff. However, there is a clear story of the conflict and we are struggling to meet our internal expectations with Sony Japan. The struggle can be seen as what we are presented in the game itself. Broken archstones are full of cut content, frustrating swamps, and battles of “cheap” bosses, fighting like a dragon god. The dragon god was imagined more like a set piece than a quick and easy boss. However, the conditions and resources assigned to the game also reflect the world that FromSoftware was trying to represent.
Everything about the Kingdom of Boletaria in Demon’s Souls has shown us a country that we felt might have once existed in the Dark Ages. The design is purely practical, with glamorous and fantasy stuff pushed to the edges and lost deep in the ditch of your country. It can be seen in the form of the Temple of the Storm, or Flamelurker’s Lair, and around the Boletarian Palace.
In the Blue Point remake, everything is filled with a magnificent brush, significantly changing the elements of the original design. For example, in the first release of the game, Flamelurker’s hideout was an old monument dedicated to worship, studded with dragon bones, and had a very natural feel to its palette and design. In Bluepoint’s reimagination of Demon’s Souls, instead, there are flames erupting from every corner of the monument, with a clear “boss ring” in the center, all adorned with the fiery skull of a dragon. I feel that what came before that was in conflict with environmental design. These are no longer old ruins, but are lost in time and history, but instead are centered around the player’s journey, in return for being lost in the winding tunnels of Stonefang. It’s no longer about world history, but now especially about your journey to this place, and instead serves as a visual reward.
Other redesigned elements can be seen in the form of the level of the Boletarian Palace. These elements throw away the more practical and dark ages look instead of the more magnificent Gothic architecture. This was revealed by Bluepoint artist Adam Rehmann when he unveiled the concept of leveling over at Artstation, but there’s something to say about the dirty, empty look of the original game. What if the Undeadberg of Dark Souls looked more glamorous than that, and if it was more spectacular than before? Did it mitigate the impact of the first look at Anor Rondo’s stunning architecture? The aesthetic that this creates with Bluepoint’s Demon’s Souls will make Dark Souls 3 and Bloodborne more exciting. Bluepoints may have tried to recreate Boletaria’s visual identity, but did they end up chasing the aesthetics of the games that followed?
Enemies, NPCs, and bosses have also been redesigned here. In most cases, these are purely small aesthetic changes that add prosperity and detail to existing designs. The iconic (and terrible-named) Fat Official wore glamorous and important looking gear and grinned as if they knew how frustrating they were to encounter in Demon’s Souls. It is a feature. In the remake, this ornate design has been changed to a wart-riding man, sporting belly windows and infested with warts. Simply put, this is one revision of a not-so-good design.
There are several other areas where some of that original spirit may have been lost. The “swamp of sadness” in Blue Point’s reimagination has been criticized for its draw distance and changes in the amount of light present on the screen. In the original, navigating the swamp felt like a claustrophobic nightmare and guided the way only in the light of torches. From the time you depart at the beginning of the level, you can see almost everything in a clear path and direction to go. ,Also. You can also see the black phantom lurking in the swamp from a great distance. It slows down the impact.
Of course, there are many other examples where Bluepoint has had a positive impact and goes beyond what originally existed. The Tower of Latria is still a joy to pass through, and there are moments in the Temple of the Storm that are actually looking up in different ways. In many respects, the design change acts as a push-pull to see if you can really successfully bring out the spirit and mood of the original game’s intent. The Storm King set-piece battle is far ahead of its 2009 counterpart, and the same is true for the Fool’s Idol Boss Battle and the Prison Area of Hope. There is a clear line between those that have changed significantly and those that remain true to the source material.
The 2009 release saw an incredibly minimalist soundtrack, thanks to Shunsuke Kida, who recently tweeted to support Bluepoint’s reorganization and orchestration in the reimagination of Demon’s Souls. However, one of the greatest strengths of the original game was that the use of sound was generally restricted. This includes the soundtrack when you reach the encounter with the boss. This suppressed score is a game, like when you duel with Gull Vinland in the Valley of the Dirty, as the maiden Astria, surrounded by a river of plague-stricken babies, begs for peace. Made some of the most influential moments in. The sparse instrumentation and repetition of the track soaks the level in a dark atmosphere. Music expresses a character’s sadness, much like the character’s words and actions.
Blue Point’s reimagination instead deviates from the original pace and solemnity of the original game and is struck by a gorgeous orchestra. The truck changes from a quiet bailout of fate to something that sounds like the last stand of the army. The pace of the march and the sick chorus bomb. While isolated, the tracks and the rest of the soundtrack sound incredible, but in context, it feels like Bluepoint is chasing the legacy of the series that the original game ultimately produced.
Despite the above changes, it should be noted that the core of the experience of playing Demon’s Souls certainly remains intact, some areas are better for it and some areas are worse. The original masterpiece showed a change in the way the game was played and the way of thinking, and it was not an easy task to reproduce it. The Blue Point remake will end up in a very different entity than the original title.
It works great as a tool for people to experience Demon’s Souls for the first time, but it also casts doubt on preserving the original Demon’s Souls experience, a game whose servers have been shut down for four years now. I own a PS3 and want to experience the original title correctly, but I couldn’t. A small community of fans keeps the game running on a private server and also runs the game on the PlayStation 3 emulator. Blue Point has put a lot of love and effort into creating this beautiful remake, but that’s not a mistake. Similarly, memories of such historically important games must survive.