Let's focus purely on gameplay.
Whether it's about numerical value additions, equipment, or combat mechanics like rolling, shields, and backstabs—there's nothing truly groundbreaking compared to other Action or RPG games. What truly sets Dark Souls apart is how all these elements, when integrated with its map design and boss encounters, come together to create a unique and level-driven experience.
Everything is designed to push players through levels, defeat powerful enemies that come their way, and ultimately give them a sense of pride and accomplishment.
With the memory capsule, it took me nearly an entire day to sketch out the concept draft. And even then, it's not a complete draft—only the core elements of the game without diving into extensive details, such as the plot.
There are still aspects to be refined before moving forward, but it will do for now.
[Fast forward to Dark Souls meeting]
When I entered the conference room, the team was already seated, discussing quietly. As I stepped inside, the room fell silent.
"I believe most of you have a rough idea about the purpose of today's meeting. Yes, it's for our new game."
"I won't waste time with pleasantries. Let me introduce the project. The theme is set in a Western-based fantasy story."
"The art style will differ significantly from our previous games."
"We're going for a deep, dark, naturalistic aesthetic. The overall feel will draw heavily on Western European architecture. Different regions and areas, namely Flange Fortress, Undead Town, and Cold Valley, will each carry their own cultural influences, incorporating elements such as Baroque and Romanesque styles."
I switched on the remote, and the slides behind me converged to show various sketches and art of the game areas.
If the story of Dark Souls is its skeleton and the gameplay is its soul, then the artistic expression is undeniably its skin.
This is the first aspect players will interact with, so we've invested heavily in creating top-tier CG, that was showcased at the exhibition.
Meticulously crafted medieval armor and weapons are combined with a dark art style, all set against the backdrop of classic Western European architecture. The art style we've revealed has struck a chord with players.
I proceeded to explain the systems in Dark Souls.
For instance, in the combat system, alongside mechanics like invincible rolls, shield counters, backstabs, and durability—common in most action games—we've made subtle but significant adjustments.
Moreover, we've added special mechanics.
Each weapon will have unique combat abilities, and thanks to the advanced technology available in our world, I've been able to push the game's visual fidelity even further.
Of course, while these details enhance the experience, they're not the main focus.
"In the early stages, we'll concentrate on art assets. Qin Yi, I also want to make sure that the game's action mechanics are executed to perfection."
I looked at Qin Yi as I said this.
He and the others nodded in agreement.
While Dark Souls may not be classified as a traditional action game, but rather a level-driven one, the importance of action mechanics is undeniable. They remain a core part of the player's experience.
In any action game, there are hard requirements for effects.
When it comes to action feedback. It's easy to explain. It's all about impact and fluidity.
Take, for example, the famous Old Roll Dameon from my previous life, whose sense of impact felt like cutting through the air. As an ARPG, it had many great features; however, the combat experience was lacking, which caused some players to quit.
One of the most common ways to create a sense of impact, besides using sound effects, is through a freeze frame. To explain it: imagine swinging a weapon at a monster. If it takes 60 frames from start to finish, the animation will pause for a few frames when the weapon hits the enemy, simulating the sensation of cutting into flesh. This creates that satisfying feeling of impact.
Games like Monster Hunter, God of War, and Street Fighter have mastered this technique.
However, for a game like Dark Souls, creating the right sense of impact is necessary—avoiding the feeling that you're just cutting through the air, which requires careful tuning of various parameters.
Of course, this technique isn't suitable for all games. In fast-paced games like Ninja Gaiden, where combat is swift and smooth, and similarly, in Devil May Cry, which is quite flashy, the flow would be disrupted by such pauses.
These adjustments require constant refinement from the team. Relying solely on myself to handle everything would be impractical.
And it's not like I won't make more action games in the future.
So the team will need to keep experimenting and optimizing. I had this idea while working on Escape.
During the two months spent developing JellyMan and Three Kingdoms, Qin Yi focused on improving the game's action feedback. Although the results weren't significant, they were gratifying.
As for other parts of the game, outsourcing made it easier to produce art resources.
For example, the design of map levels is more complex. In Dark Souls, different areas are interconnected, which adds a mix of curiosity and mystery.
A player might be in Area A, move to Area B, and then discover a path in Area B that loops back to Area A. Later, upon reaching Area C, they may find yet another route back to Area A.
This design is Metroid-style. It was adapted to a true 3D environment in Dark Souls, compared to the 2D horizontal layouts of the past.
With some exploration and deciphering, this is also a unique feature in Dark Souls.
In the previous iteration of Dark Souls 3, many players who had experienced the first Dark Souls felt dissatisfied, believing that Dark Souls 3 didn't live up to its predecessor, primarily because of the changes in map design.
For new players, however, this design can be seen as a form of mercy.
Even with that in mind, after hearing my explanation of the game's details, Ruan, who is responsible for the map level, still seemed confused.
"There's no minimap in the game?" Ruan Ningxue asked, her face reflecting evident confusion as she picked up on one of the core points I didn't mention.
"Exactly. This is a level design game. The game itself will push the player. This way, players won't get lost and can truly appreciate the intricacies of the game's world. Have you noticed how today's games are minimizing their UIs, or even attempting to eliminate them altogether?"
"The reason is simple: to enhance player immersion. Think about the Dark Souls context. It's a world filled with despair. By not providing a minimap, we're increasing the player's sense of immersion. When players stumble across hidden areas, it gives them a real sense of excitement," I explained with a smile.
The absence of a minimap is one of the key characteristics of the Souls series.
Although Elden Ring later introduced a map, players must first collect fragments to gradually uncover it.
Worried about getting lost? Well, die a few more times, and soon enough, you'll know the way by heart from running back and forth.
This is all for the players!
They've paid for the game, after all. If we're not striving to make it as immersive as possible, then what are we doing?