Bloodbark

Bloodbark casts the player as a lumber worker sent to harvest a rare and valuable resource: the red wood of the Bloodbark trees. The job sounds routine, with only a week to complete the task and leave. But the visual detail of the trees bleeding, though explained as normal, creates immediate unease. The tools are provided, the orders are clear, and the goal is simple—cut down as many trees as possible. However, it doesn’t take long before the environment begins to behave in ways that suggest the forest is not a passive setting.

Awareness in the Woods

As progress is made, the trees show signs of awareness. Sounds shift, visuals distort, and unseen forces begin to react. The player is not only being watched—they’re being judged. Actions carry weight, and the consequences aren’t just narrative but mechanical. Some events trigger based on the player’s pace or hesitation. The game doesn’t rely on standard horror pacing; instead, it builds unease through subtle changes and small punishments for thoughtless behavior. Each tree cut down deepens the tension, through what is lost and what is provoked.

Multiple Outcomes and Hidden Content

With two endings and a range of achievements, Bloodbark invites players to reflect on their actions. Many achievements are tied to specific interactions, while others require exploration of the environment and attention to visual cues. A second playthrough reveals hidden layers, with references to other works by Eduardo Valdés-Hevia embedded throughout the game. These additions enrich the experience without distracting from the main objective. It’s a focused game with short runtime, but what it reveals through play and subtle shifts leaves a lasting impression.