The close link with commercialism gives rise to the idea of superficiality and the lack of seriousness. The contemporary meaning of the term emerges in the 1960s, when the music and movie industries together begin to have wide-ranging societal effects with the increase of leisure time. Correspondingly, high culture embodies noble interests of the social elite and the dominant class. Popular culture, or pop culture, is generally taken to be something that expresses the preferences of the masses.1 The etymological roots of the term stem from the middle of the 19th century when it had an openly pejorative tone: popular culture represents something uncivilized things that simple, lowbrow and uneducated people amuse themselves with. We argue that, in Bloodborne, the settings, the abjection, the Gothic horror, and the destabilization of the natural order all validate it as a Lovecraftian game. Furthermore, this study aims to acknowledge which types of images are chosen and how it may be related to Gothic fiction. This paper also aims to make a brief contribution regarding the use of imagetic resources that intensify, mitigate and reshape the literary scenarios in digital game media. We intend to identify and interpret the adaptations of literary content in this game in order to analyse typical traits of the Lovecraftian style and show how they might be adapted to a video game scenario. ![]() Lovecraft in Bloodborne (2015) from Fromsoftware studios. This article investigates the manifestations of Gothic literature and, more specifically, Beyond the Wall of Sleep (1919) by H.P. Recently, Lovecraftian literature has been on the rise, as many different games are being based on its storyworld. Many well-known games allow players to enjoy a series of events intrinsically connected to plot and machinations based on famous names in literature. ![]() Throughout history, literature has been intimately connected with other forms of art.
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