-
There are a lot of memorable moments in Dark
Souls, but there’s one very specific part
-
that stuck out for me.
-
After arriving in Firelink Shrine, you venture
into the Undead Berg, fight the Taurus Demon
-
on the bridge, narrowly avoid getting roasted
alive by a dragon, find your way to the Undead
-
Parish, fight past giant soldiers in the church,
take this random elevator down, and arrive
-
all the way back at…
-
Firelink Shrine.
-
It’s at this moment you realise that the
world of Dark Souls is very different to most
-
other games.
-
It’s not a linear series of zones - but
a complex, maze-like world that branches off
-
into different areas, then loops back around
on itself through shortcuts and elevators.
-
It seems to snap together like a fancy 3D
jigsaw puzzle, and exploring this world feels
-
like navigating a Metroid map, or a Zelda
dungeon.
-
Which is why I’m dedicating this special
spin-off episode of Boss Keys to the world
-
of Dark Souls 1.
-
I’m going to be looking at how this world
is put together, the advantages and disadvantages
-
of non-linear world design, and how Dark Souls
has even more in common with Zelda than you
-
might think.
-
So, buckle up and come with me, Mark Brown,
on a journey to the fantasy kingdom of Lordran.
-
To start, we should identify the basic structure
of Dark Souls.
-
And I think this game fits quite neatly into
five distinct acts.
-
There’s the intro, in the Undead Asylum,
where we learn the ropes and defeat the first
-
boss: the Asylum Demon.
-
Then, for act two, we’re in Lordran proper
and must ring the two bells of awakening.
-
One can be found after we fight the Bell Gargoyles
on top of the Undead Parish, and the other
-
is behind Quelaag, down in Blighttown.
-
You can do these in either order, but most
first time players will do the church first.
-
Then, for act three, it’s off to Sen’s
Fortress - which is a sort of nightmare funhouse.
-
And then we head to Anor Londo, where we fight
Ornstein and Smough, and receive the Lordvessel.
-
Now, in act four, the game tasks you with
retrieving the four Lord Souls.
-
These are collected by defeating bosses who
are found in new areas - but ones that are
-
just off from places you may have visited
before: there’s Gravelord Nito in the Valley
-
of the Giants, Seath the Scaleless in Duke’s
Archives, the Four Kings in New Londo Ruins,
-
and The Bed of Chaos in Lost Izaleth.
-
These often have other bosses along the way,
like Sif and Pinwheel, and all of this can
-
be done in absolutely any order you like.
-
When you’ve got all four, it’s on to the
final area and the last boss, Gwyn: Lord of
-
Cinder, for act five.
-
So, I think this works really nicely.
-
Acts 1, 3, and 5 are very linear and have
a sense of forward momentum to them.
-
While acts 2 and 4 are more open, and branching.
-
It’s an accordion like structure that is
actually… very familiar.
-
You see, the basic outline of Dark Souls is
near identical to the basic outline… of
-
Zelda: A Link to the Past.
-
In that game there’s an intro, and then
some early dungeons that can be done out of order.
-
Then the path constricts for Hyrule Castle,
but then branches out widely as you re-explore
-
old areas, now with access to the dark world,
to tackle the tougher dungeons in largely
-
whatever order you like.
-
Then the path constricts one final time for
the battle against Ganon.
-
Perhaps it’s not surprising, given how Souls
creator Hidetaka Miyazaki has spoken about
-
his admiration for the Zelda series, but I
think it’s a very interesting parallel nonetheless.
-
But then again, while this does describe the
path that most players take - this isn’t
-
a completely accurate portrayal of how Dark
Souls is laid out.
-
You can actually do lots of stuff out of order.
-
You can kill Pinwheel at any time after arriving
in Lordran, you can kill Sif and the Four
-
Kings before ever visiting Anor Londo, and
you can kill the Ceaseless Discharge as soon
-
as you’ve finished off Quelaag.
-
And you can skip some of these bosses entirely.
-
If you take a secret route to Blighttown through
Darkroot Basin, you can skip the Capra Demon
-
and the Gaping Dragon.
-
If you help out Solaire you can skip the Demon
Firesage and the Centipede Demon.
-
And if you choose the Master Key as your initial
gift, you can even dodge the Taurus Demon.
-
There sure a lot of Demons in this game.
-
They should have called it Demon’s Sou...oh wait.
-
Uh, plus, there are also four entirely optional
bosses - Moonlight butterfly, Stray Demon, Crossbreed
-
Priscila, and Dark Sun Gwyndolin - that have
no impact on the structure of the game whatsoever.
-
They just give you cool goodies.
-
So the structure of Dark Souls really looks
more like… this.
-
Not quite as attractive, is it? But it’s
a good visual reminder that Dark Souls is
-
a game with lots of branching paths.
-
Like, when you get to the Undead Parish you
can explore the church, or go fight the Moonlight
-
Butterfly in Darkroot Garden, or fight this
hydra in Darkroot Basin, or go off into the
-
Lower Undead Berg and explore from there.
-
And right from the very beginning of the game,
in Firelink Shrine, the player is expected
-
to travel up to the Undead Berg but you can,
instead, head to the Catacombs, or New Londo Ruins.
-
All of this gives Dark Souls a very liberating
and adventurous feeling.
-
You rarely get the sense that you’re on
a predetermined path - but, instead, you’lre
-
making your own decisions and following your
curiosity through the world.
-
And while some of these areas are complete
dead ends in terms of overall game progression,
-
there are often items in these late game areas
that you can get early if you’re brave enough.
-
Even a low level player can find the useful
Fire Keeper Soul in New Londo Ruins.
-
And then run out of there in fear.
-
That’s because the area is filled with ghosts
that can’t be killed with conventional weapons.
-
Likewise, the catacombs are filled with regenerating
skeletons who will probably kill you if you’re
-
at a low level.
-
But getting killed is a good way to create
a lasting memory in the player’s brain.
-
If you go into the Catacombs and get wrecked
by skeletons, you’ll spend the next 10 hours
-
of the game thinking about coming back to
tackle that area when you’re at a higher level.
-
Which is handy - because that’s where one
of the four lords is hiding.
-
Now, as i said before, Lordran doesn’t just branch
out but it also loops back on itself, with
-
connecting points between many of the game’s
locations.
-
Knock down this ladder, for example, and you
not only get to rest at an old bonfire - but
-
can quickly skip all of this stuff to quickly
get from the Undead Berg to the bridge to
-
the Undead Parish.
-
And then look at Firelink shrine.
-
While it initially connects to Undead Berg,
the Catacombs, and New Londo Ruins - later
-
in the game it will also connect up to the
Undead Parish and the Lower Undead Berg.
-
This is achieved through doors that only open
from one side.
-
So, when you first move through this aqueduct
just off Firelink Shrine, you’ll find a
-
locked door.
-
But later in the game, you’ll permanently
open it from the other side.
-
This means you’re not overwhelmed with options
and branching paths at the beginning - but
-
as the game goes on, the world becomes steadily
more complex.
-
So keeping the connected world of Dark Souls
in your head is a difficult job, especially
-
because the game has no map screen whatsoever
- perhaps a throwback to NES games
-
like Metroid 1 and the first Zelda.
-
But there’s a quiet satisfaction in being
able to navigate this complex kingdom through
-
memory alone.
-
Whether that’s figuring out the best way
to get between two areas, or remembering the
-
location of, say, Andre the Blacksmith, or
the shopkeeper who sells Purging Stones - and
-
then knowing how to get there efficiently
and safely
-
This sort of spatial memory is reminiscent
of games like Resident Evil, where a big part
-
of the challenge is creating efficient pathways
between areas in the Spencer Mansion.
-
That sensation is largely gone in the other
Souls games, where you can simply fast travel
-
between areas, or wrap back to some central
hub to find all the shops and upgrade stations.
-
I much prefer the way it’s done in Dark
Souls 1 because not being able to warp around
-
also creates a pretty strong feeling of isolation
and, I suppose you could say, homesickness,
-
when you venture deep into certain areas.
-
Going further and further into the Catacombs
or Blighttown, feels legitimately unnerving
-
as you’re moving further and further away
from safety and familiarity - and if you want
-
to return to the surface, you’ll have to
literally climb back out.
-
You can’t just warp.
-
I feel like you also gain a much better understanding
of the world by exploring on foot.
-
And what a world it is.
-
The extremely vertical nature of Lordran lends
itself to an initial sensation of going deeper
-
and deeper.
-
The game practically trolls you, giving you
a place called The Depths that isn’t even
-
close to being the lowest point in the game.
-
That area drops down to Blighttown, which
drops down to Demon Ruins, and down to Lost
-
Izaleth.
-
This give the world a real sense of history. Stuff built on top of other stuff. Strata.
-
And then, in stark contrast, Sen’s Fortress
and Anor Londo, are are all about climbing
-
up, higher and higher, which has a very different
feeling.
-
You get a sense of ascension.
-
Rising action.
-
It makes you feel heroic.
-
Miyazaki has said “After ringing the bells
and overcoming the traps of Sen's Fortress
-
I really wanted to player to feel ‘Yes!
-
I've made it’.”
-
It’s worth noting, however, that Dark Souls
does not ever suffer from a sense of samey-ness
-
- despite the fact that all of the game’s
areas must link up to one another.
-
Each zone still feels distinct - visually,
and often from a gameplay perspective as well.
-
You’ve got the pitch black Tomb of the Giants.
-
The twisting staircases in Duke’s Archives.
-
The hazy pathways of Darkroot Garden.
-
Traps in Sen’s Fortress.
-
Pitfalls in The Depths.
-
Invisible pathways that kinda suck to be honest
in the Crystal Caves.
-
And then Anor Londo - which is clean, pristine,
untouched, and completely different to everything
-
you’ve seen before.
-
Now, choice, non-linearity, branching paths,
and interconnectivity makes for fascinating
-
world design, but it does pose two significant
problems that any game of this sort has to overcome.
-
One, is direction.
-
If the game isn’t super linear and straightforward,
and maybe requires some backtracking, how
-
does the player know where to go?
-
And, I mean, Dark Souls is a famously obtuse
game.
-
There are no waypoints, no compass, no map
screen with a big red X on it.
-
You just have to find things for yourself.
-
For the first major quest, ringing the two
bells of awakening, the execution is… mixed.
-
The first bell is very easy to find.
-
The route to the Undead Parish is largely
straightforward, and the top of a church is
-
a natural place to find a bell.
-
But the second - which is deep down in the
ground, is more tricky to discover.
-
So, the bloke at Firelink Shrine does give
you some help.
-
He’ll say “There are actually two Bells
of Awakening.
-
One's up above, in the Undead Church.
-
The other is far, far below, in the ruins
at the base of Blighttown.”
-
But the route to Blighttown is hard to find.
-
The main path has you find this key in a location
that you never need to visit, and then open
-
this rather random door on the bridge with
the dragon.
-
Look, if you want to seer a door into the
player’s memory, make it like the crest
-
door in Darkroot Garden, or the massive locked
door at Sen’s Fortress, where Siegmeyer
-
talks about how it’s locked up tight.
-
Those doors are hard to forget, whereas this
tiny wooden door is easy to miss.
-
There is, at least, another route, but this
requires finding a semi-hidden cave in the
-
ramp down to Darkroot Basin and then dashing
through the very difficult Valley of Drakes.
-
Having two routes is good.
-
And of course, forcing the player to actually
explore, read the item descriptions, and venture
-
out into unknown areas is also fun.
-
But I’d say this is a tad too obtuse and
may send players running to a walkthrough.
-
A similar thing happens after finishing Anor
Londo, when you are given a very brief, vague,
-
and non-repeatable cutscene showing three
orange fog gates disappearing throughout the world.
-
Basically, in three random areas throughout
Lordran, there are now zones that you can
-
get to, so you can go off and fight the Four
Lords.
-
I hope you’re in an exploring mood.
-
Luckily, there are probably lots of places
you visited earlier in the game, but ran away
-
from with your tail between your legs, like
New Londo Ruins, the Demon Ruins, and Catacombs.
-
And because you’ve got nothing better to
do, and because beating Ornstein and Smough
-
will make anyone more confident to explore
scary locations, you’ll find yourself back
-
in these areas - and then naturally stumbling
upon the next sections of the game, and the
-
four lords.
-
But at the same time, I do think some cryptic
clues, purchasable hints, and that sort of
-
thing could be good.
-
Wandering around looking for the next area
is only fun until you give up and check a
-
walkthrough, at which point the game’s sense
of mystery just falls away entirely.
-
Anyway.
-
At this point in the game, you’ll have unlocked
something very special.
-
Just like classic Zelda games, you are eventually
given the ability to fast travel, as you can
-
use the Lordvessel to warp between bonfires.
-
In some ways this is good.
-
As you barrel towards the end of the game,
you maybe don’t want to be revisiting old
-
locations and backtracking through finished
areas.
-
You just want to get on with things
-
But I actually think that this is where Dark
Souls can lose some of its magic.
-
Where the first half of the game felt like
an actual world, where I had to think critically
-
about how I would traverse it… the second
half felt like a bunch of disconnected levels.
-
In some ways, the fast travel almost feels
like it was stuck on at the last minute, because
-
the game already has a good way to get around
quickly: the Valley of Drakes.
-
This is an underground network of paths and
bridges that connects New Londo Ruins, Blighttown,
-
Deeproot Basin, and a path that will take
you to Firelink Shrine.
-
The difficulty of the enemies means it’s
largely inaccessible to new players, but experienced
-
players can use it to speed between areas.
-
However, by the time you’re strong enough
to fight these drakes, you’ll have unlocked
-
fast travel - making the area pretty much
useless outside of one trip to collect a few
-
scattered goodies.
-
The designers could also have introduced some
more shortcuts and connection points, such
-
as some speedy way to get from Anor Londo
to the main world.
-
This fast travel also removes a key part of
Metroidvanias, which is the thrill of revisiting
-
old spaces with new abilities and skills.
-
Now, on my first playthrough, I did have to
re traverse Blighttown because the warpable
-
bonfire near Quelaag is hidden behind an illusionary
wall, and I completely missed it.
-
So I needed to backtrack on foot to get down
to the Demon Ruins.
-
And you know what?
-
Beasting my way through an area that once
gave me real trouble was a pretty brilliant
-
feeling that can otherwise be lost in Dark
Souls’s second half.
-
I should note, however, that this can also
be accomplished by having old bosses return
-
as normal enemies.
-
Taking down Capra Demons in two hits, and
the Taurus Demon in four strikes feels pretty good.
-
At least not every bonfire is a warp point,
which still allows for some navigation of
-
the world, and also strategy as to which bonfires
you spend humanity on for kindling.
-
Okay.
-
So the other challenge designers have to overcome
when making non-linear games is dealing with
-
difficulty curves.
-
In Dark Souls, the Four Lords and their respective
areas are roughly the same level of difficulty.
-
Which means you can happily tackle them in
any order - but it also means your character
-
will keep levelling up to the point where
the lords you tackle last will be pushovers.
-
But I, mean, what are the other options here?
-
You could make the bosses have different difficulty
levels but then the player may randomly stumble
-
up on the hardest boss first and get frustrated,
and this basically just creates a largely
-
linear and expected path through what is supposed
to be a completely non-linear act in the game
-
You could theoretically scale the bosses in
relation to the player’s current level.
-
I talked about how Uncharted: Lost Legacy
does something like this in its non-linear
-
Western Ghats chapter, where no matter which
order you climb the three towers, you’ll
-
always face this puzzle in harder and harder
variants, because Naughty Dog magically swaps
-
in the correct puzzle before you get to it.
-
Maybe something like this could work for Dark
Souls.
-
But whatever the case, the actual game keeps
the difficulty curve of this act quite flat:
-
though some areas are arguably a bit tougher
than others.
-
And while this absolutely allows for open
exploration and player choice, in my experience
-
I quickly lost sync with the game’s challenge
and was rampaging through Lost Izaleth like a boss.
-
So this video is mostly about the global level
design of Lordran.
-
About structure and non-linearity and direction.
-
But I do want to touch on more local design
for a spell.
-
I think the defining design philosophy of
Dark Souls is that the designers just want
-
to mess with you at every opportunity.
-
Look at Undead Berg.
-
This enemy snipes you from afar, forcing you
to either be defensive or aggressive.
-
But too aggressive will see you walking into
a trap, as this dude bursts out from behind
-
a wall.
-
Then there’s a section where you have to
dart along a bridge and into a building to
-
avoid firebombs, but then you’re right in
the middle of multiple guys.
-
Then there’s a building where an enemy is
hiding behind a corner.
-
A flaming trap rolling down a staircase.
-
An enemy that can shoot you from atop a tower.
-
It’s a nightmare!
-
The ideal way to play Dark Souls is to move
slowly and carefully, and fight enemies in
-
one-on-one bouts where you have lots of room
to move.
-
But the level design and enemy placement does
everything to mess with this, using thin walkways,
-
archers and spell casters, traps, narrow corridors,
and more.
-
The other consideration that the Dark Souls
designers have to consider is the placement
-
of bonfires.
-
From is quite generous in the early game.
-
but makes you wait longer and longer as you
get deeper into the game.
-
Having zero in New Londo Ruins is a bit of
a bummer, and only having one at the very
-
top of Sen’s Fortress makes the whole ordeal
even more perilous and tense.
-
The world is also dotted with secrets.
-
Pretty much every push to explore will reward
you with some new item, and the glowing white
-
markers challenge you to make tricky jumps,
or lure you into an ambush.
-
One of the biggest secrets though are the
illusory walls.
-
These look like normal walls but then fade
away when you hit them.
-
They actually work a lot like the bombable
walls in Zelda 1, in that they are genuine
-
secrets and not clearly signposted “secrets”.
-
But we’ve come a long way since 1986.
-
So you don’t have to waste bombs - but at
the same time, the fact that hitting walls
-
degrades your weapons will stop you from having
to hit every wall you see.
-
Also, everything is optional.
-
You don’t need to whack a single illusory
wall to finish the game.
-
And the clever note system in the game means
other players will be able to point out these
-
walls, though often with some good-natured
trolling.
-
These walls generally hide bonfires and treasures,
but also an entire area; The Great Hollow,
-
and its nearby Ash Lake.
-
To be honest, one of the most remarkable things
about Dark Souls is that it is happy to hide
-
huge amounts of content in areas that some
players will just never find.
-
Take the Painted World of Ariamis, which is
one of the most intriguing areas of the game
-
but to get there you need to roll off a moving
elevator, make a difficult jump, and roll
-
up in a ball in a bird’s nest.
-
This lets you fight a secret boss, get a special
item, and then present it to a painting on
-
the other side of the world.
-
I mean ultimately you’ll just find out about
it on the internet - but still, it’s cool,
-
and lends the world a sense of mystery and
surprise.
-
So the world of Dark Souls 1 is pretty special.
-
Branching paths let you explore by following
your curiosity.
-
Non-linearity lets you create your own adventure,
and is perfect for second playthroughs and
-
speedruns.
-
The interconnected pathways encourage you
to memorise the geography
-
and architecture of the world.
-
The lack of fast travel makes every journey
feel more perilous.
-
And the game’s accordion structure offers
both moments of exploration and moments of
-
forward propulsion.
-
But this sort of world design creates interesting
problems for designers when it comes to difficulty
-
curves and direction: and Dark Souls isn’t
perfect in either regard.
-
Plus, the late game switch to fast travel
takes away from one of the game’s most interesting
-
factors.
-
Instead of trying to perfect this structure
in future games, though, From Software largely
-
ditched this sort of interconnected world
design in the Dark Souls sequels, and Bloodborne.
-
I mean, these games do still thrill with their
level design.
-
The sequels are arguably more complex from
a local perspective, as an area like Yarnham
-
is a loopy, branching maze-like miniature
Lordran - even if the overall world map is
-
more linear.
-
And there are also lots of shortcuts that
take you back to Bonfires and Lamps, which
-
provides that warm and fuzzy feeling of knowing
where you are.
-
Plus, there are still many optional bosses,
moments of non-linearity, and opportunities
-
for backtracking.
-
But it’s never been quite the same as Dark
Souls 1.
-
It’s not like using your brain to figure
out the quickest way to get from Darkroot
-
Garden to New Londo Ruins.
-
Or stumbling down some random cave and accidentally
skipping two boss fights.
-
Or taking an elevator from the Undead Parish,
and suddenly finding yourself back in Firelink Shrine.
-
So here’s hoping that, one day, From Software
might revisit this very special flavour of
-
world design that it showed, in Lordran.
-
Hey! Thanks for watching.
-
This is a one-off episode so please
don’t expect future videos on the world
-
design of Demon's Souls or Dark Souls 3 or Bloodborne or whatever.
-
Never say never, but it’s not something
I’m planning right now.
-
Instead, I’ll be tackling a different franchise
for Boss Keys season 2.
-
I’ll see you then. Thanks so much to my Patrons for making this sort of content possible.