This is a partial documentation at best; nevertheless, I’d like to share what some casual research has yielded for possible points of inspiration for Bloodborne’s environmental concept artists.
Probably the most inarguable association I’ve found so far. You can see at least a couple of buildings around Central Yharnam modeled on the one depicted in the concept art. Below that is a photo of the Richardson Olmstead Complex. Despite all of the alterations the Bloodborne version makes, the building’s general shape has been preserved, and the towers are unmistakably indebted.
Above is the bridge that links the Upper Cathedral Ward’s manor to the Lumenflower Gardens; below is a painting of the Rialto Bridge. You can find photos of it, but I thought this moonlit picture was especially complementary. Perhaps the largest difference here is the portico; Bloodborne’s moves away from a rusticated single-arched design to one that is tripartite but still vaguely Italian, with a scrolled pediment and allusion to Venetian windows. Thanks go to Richard Pilbeam for providing the screenshot (and several more).
Here’s where the associations become largely a matter of style or hopeful guesswork. Above you see the triumphal archway that leads to your encounter with the Cleric Beast; and below is Philadelphia City Hall. I’m not saying that the latter explicitly informed the former – just that the arch has the general look of Second Empire designs, and that City Hall’s facade was a convenient comparative point. What throws me off the most about the main (seemingly broken) pediment for Bloodborne’s arch is that all of it is shallow relief sculpture; the tympanum, very unusually, has next to no recession. Makes me wonder if the designers copied a design and didn’t bother volumizing it.
We’re more or less going on silhouettes now. The screenshot is a view from, I believe, the cliffside close to the Cathedral District; the two photos are both of Prague churches, the first St. Vitus Cathedral and the second Church of Our Lady before Týn. What I’m paying attention to here are the towers’ tops. Compare St. Vitus’ main tower’s twin-cupola dome to the building in the lower-left (not extreme left), also sporting miniature onion domes on the corners. And compare Týn Church’s agglomerated spires with that of the closest structure in the screenshot. Again, guesswork, but it‘s the best I can do for now.
This is nothing but a formal comparison. You might think that the rotund structure on the left with arched windows and conical roof set against a gabled wall is an arbitrary design, but it’s in fact the standard design for the exteriors of Romanesque churches’ apses. The photographed church is San Piero a Grado. Bloodborne’s variant is merely taller, turning the form into more of a tower.
And we’re ending on another formal comparison. The screenshot shows a scene from the lower stretches of Old Yharnam, while the photograph shows a gabled side of St. Marien Church in Greifswald. Emphases here are on the steep and significant roofs whose gables are lined with elongated, pointed-arch windows – or blind niches containing actual windows here and there – with angular mock turrets interrupting the gables’ sloping roofline. This is a generally Geman and Flemish type of design and interpretation of Gothic principles; you won’t find it in, say, Italy or England during concurrent periods.
The Rialto Bridge (Italian: Ponte di Rialto; Venetian: Ponte de Rialto) is one of the four bridges spanning the Grand Canal in Venice, Italy. It is the oldest bridge across the canal, and was the dividing line for the districts of San Marco and San Polo. The present stone bridge, a single span designed by Antonio da Ponte, was finally completed in 1591. It is similar to the wooden bridge it succeeded. Two inclined ramps lead up to a central portico. On either side of the portico, the covered ramps carry rows of shops. The engineering of the bridge was considered so audacious that architect Vincenzo Scamozzi predicted future ruin. The bridge has defied its critics to become one of the architectural icons of Venice. Today, the Bridge is one of the top tourism attractions in Venice.
Antonietta Brandeis (also known as Antonie Brandeisova and Antonio Brandeis) (1848–1926), was a Czech-born Italian landscape, genre and portrait painter, as well as a painter of religious subjects for altarpieces. But she is most remembered for her cityscapes(vedute) of Venice.
Alec’s favourite movie of all time is The Hunger Games, he feels as though he can relate to Katniss, and everytime he watches it, Magnus has to comfort him when Rue dies.
When Will talks to Nico about adopting, Nico’s on board but before he meets the kid, he totally freaks and gets insecure. Apollo and Hades make a surprise appearance to check on them and see the kid, and Apollo takes Nico outside and calms him down, reassuring him he’ll be a perfect father.
When Alec and Magnus fight together, Alec draws the alliance rune on them both so that Magnus can use his strength freely without having to ask.
Nico loves it when Will plays his guitar. The main reason why is because when Will looks down on his guitar, his hair falls on his forehead and his lashes cast shadows on his cheek and his concentration level is intense with a little happy smirk and Nico loves it, just seeing his boyfriend happy.
Alec comes home from the Institute one day to find Magnus wrapped up in one of his old sweaters, crying. When Alec asks him what’s wrong, he tells Alec that he dreamt he died and Alec spends the whole evening comforting Magnus, “You can’t dwell on the future, Magnus. You have to live and enjoy the now.”
Nico is the world’s biggest hoodie thief. Like, he steals Will’s stuff all the time and they’re so big they practically drown him and Jason and Percy fuss over him because he’s so cute.
Alec loves the smell of books. The soft, brittle touch of the pages against his fingers give him comfort. So for his birthday, Magnus creates a library in his office, combining both his and Alec’s favourite books, and now while he’s working, Alec sits quietly in the corner, reading a book, and Magnus finds comfort in his presence.
Will likes to fall asleep to Nico speaking to him in Italian.
Alec likes to fall asleep to Magnus reading to him.
Will learned Italian just so that he could buy tickets for him and Nico to go to Italy for a vacation. Will proposed to him in Venice where they were taking a tour along the Grand Canal in a gondola, under the Rialto Bridge.
Alec is the only person who know the real, actual reason why Magnus was banned from Peru, his birthday and his birth name.
Nico goes to Piper, Hazel and Annabeth for relationship advice but eventually everyone gets involved because it’s solangelo, and solangelo cannot break up.
Alec keeps a journal. One day Magnus finds the journal and reads it, and he didn’t realize he hurt Alec so much when he broke up with him, and by the fact that he doesn’t trust Alec as much as he used to, which is also hurting Alec. Magnus feels guilty and tries to make it up to Alec, but Alec insists that he was wrong by seeing Camille and they both forgive each other for everything.
Will and Nico are totally immature. Like, they’d all be gathered for a meeting in the big house and Will would crack an inside joke and Nico would fall off the chair laughing. Or Will has a high pitched sneeze that Nico makes fun of all the time. Or Will would constantly bring up the time the toaster oven popped the bread slices out and Nico screamed louder than the Aphrodite girls did over loboutins. Everyone gets annoyed but they’re happy Nico is happy because gods-damnit, Nico deserves to be happy.
For Alec and Magnus’ tenth anniversary, they both get tattoos of the wedded union runes. When Clary and Isabelle sees it, they freak and that’s how the Malec engagement was discovered.
Nico calls Will “Weel” because of his natural accent and Will finds it annoying. So in retaliation, he began to call Nico “Greek Neeks” and “Death boy” which gets Nico angry and according to Will, with a stupid grin on his face, “Angry Nico = hot Nico = Italian Nico = happy Will.”