Bloodborne: Perfect Movement Makes for Perfect Gameplay

When Designing Games, we think about the elements that make up how our games play. We think about the way our game mechanics shape how the game is played. And we think about the perspective the player engages the game from. Often, this perspective dictates how we picture the game playing, as we'll relate its movement to another game and iterate upon it. But something that’s quite hard to design altogether is the movement itself. Strategy and Racing games aside, if we want to create a game that is truly memorable, the game needs to feel great, in order for it to feel great, it needs refinement in the movement. I believe this refined movement is what sets apart action and platformer games from being good to being great. Many games have controls that feel ok, almost like they’re serving a purpose. I've no doubt its hard to articulate and describe such refined movement. But I find it’s rare that a game has truly great controls; controls that make the gameplay even more special because the game just feels great to play. There's a reason why the original Super Mario Bros. is so adored, it’s the movement, it’s that perfect jump that the player immediately can become attuned to and the speed of Mario's run that can be used to control his jump.

Abzu is a great recent title that (for me at least) was all the more special because the controls felt so right, so smooth and just generally satisfying to control. It didn’t matter that the gameplay wasn't fleshed out with mountains of puzzles and mechanics; because there’s fluidity to the movement of your character that makes playing Abzu engaging, despite not really offering a great deal of engagement other than striking visuals. The movement in Abzu feels natural; it helps that you swim for the majority of the game, but much like in actual swimming, you'll move with you head first and the rest of your body follows. It certainly helps that the animations are also beautiful and are tweened perfectly to the direction of your movement; but Giant Squid truly captured the feeling of swimming. When I look at such games, it makes me think of the divide between something rigid and forced, to something like Abzu. It makes it easier for me to visualize this movement with a scale. At one end of the scale you have square and grid based movement, like chess, where you're movements are planned out, and there are predetermined destinations. And at the other end you've actual human movement, the movement we ourselves use day to day, where the majority of us fortunate have absolute control of our movement, no game replicates this of course as they're all limited to user input, but last year, there was a game that in my opinion got damn close; Bloodborne.

Bloodborne not only has subtleties to its movement that can allow for an almost seamless transition from slow walking, to walking, to running, to sprinting, to a running leap. It has seamless transitions between practically every interaction the player can use. The player can freely attack, before using their switch on their Trick-Weapon to change their short ranged Saw Blade to a far reaching heavy one. The dodge can be used at any time to interrupt any movement, and bail out of the way of danger. Often if the player is quick they can even interrupt an enemy movement also. All of these interactions feel great when playing Bloodborne, but whilst the animations are fantastic, it is the responsiveness and the weight of the controls that contributes most to this interaction. 

Any slight touch of the movement will jerk your hunter forward, and similarly, if you’re running at full pelt towards an enemy; a slight tap of the attack button will cause your hunter to swing with the motion and momentum carried from the run. This movement is capped off with perfectly timed delay as your hunter continues to move forward ever so slightly, in slowing themselves down. Through this and the stunning animations; the player can feel every footstep. This fluidity is perfectly harmonious with pace of the game. Unlike the Souls games, Bloodborne is fast paced, and encourages the player to react and play quickly. The game does not feature a block button, which makes the responsiveness of the dodge button all the more vital. This combines to create gameplay that feels fast and aggressive, where the player lives and dies on their ability to maintain the offensive. After all, the player is the Hunter and you’re enemies are the Hunted. The enemies are faster too and they do a lot of damage in a short amount of time; so the onus is on the player to take the fight to enemies, and get the drop on them, not the other way around. The game further encourages this aggressive play style by rewarding the player with health. If a player takes damage, they can regain most of it by immediately retaliating with their own attack.

There’s a rhythm to the play that elevates it further, each player, once they’ve played long enough, will eventually hit a euphoria moment where they become one with the game. Suddenly, the player is no longer dodging hits, but they’re staggering enemies with a shotgun blast before they’ve even had a chance to swing their sword. This confidence will show the player that rather than attacking one enemy at a time, they can engage with an entire mob and juggle enemies to wipe them all out single handedly. At these moments, the game feels less like Dark Souls, and more like Beat ‘em Up or even a Rhythm Game, like Guitar Hero. The player learns visual cues from enemy movement that appear like notes on a screen, and tapping them in time creates some of the most masterful gameplay in any game, let alone action games. It transcends sword fighting to something more akin to a dance, where each party dodges and trades blows with each other.

Part of this freedom and fluidity is down to the level design too. Most of them are built with flats and slopes, but nearly all offer larger more open areas than its Souls counterparts. At first, it’s difficult not to feel like these open areas are overwhelming, but overtime, you realize and learn to exploit this space – it’s not for the enemies to surprise you (well not all the time) but it’s so that the player can dodge and move around the enemies freely. The space compels you to move through it. The geometry and layout of the levels, is typically fairly simple as a consequence, leaving the player to concentrate on the beasts they’re fighting and not where their feet are moving. 

Lastly, and possibly most impressively; the game features arguably one of the best cameras in any videogame. It does help that the game is continuously full of gorgeous gothic vistas; but there is brilliance in the nuance of it being able to regularly frame and fill the screen with action; despite the player never losing control of it. The camera can naturally create drama at practically every moment of gameplay. Similarly to the 2006 film, Children of Men, the camera chooses to shoot the action as if it’s another entity entirely, one that is merely following the player. Every time the player moves forward, there’s a slight delay before the camera begins to tail the player; this allows the camera to frame a larger image for the player, but this also makes the camera feel detached like it’s just along for the ride. A player can move to the right or left of the screen, but if the camera isnt touched, it continues to frame the image ahead, and the player can move almost out of focus, almost off the screen entirely, before it catches up and continues to frame the action. This doesn’t sound like it’s particularly, useful or helpful; but it actually helps to transform every conflict into a performance. As such, when the player locks on to an enemy, this is amplified further, as the camera (despite focusing on the enemy) manages to frame both enemy and player for engagements that feel epic and powerful, giving meaning to every fight.

Review: Uncharted 4: A Thief's End - A Fitting End

When playing Uncharted 4, I’m in constant awe of my surroundings. It’s one of the great feats of Naughty Dog’s latest venture, that the game can feel both grounded and magical. I’m currently in the process of trying to beat the game at the highest difficulty and hunt down all the treasures, as I try to Platinum the game. And as I scour my treasures, the beauty of the game still strikes me. It’s not just that it’s an incredibly good looking game, but just seeing the content of the game again is still exciting. I know I will have to play the game a couple more times for the platinum, be it through treasures I’ve missed or other goals, and usually for me, once I acquire that platinum I’ve grinded for; I’m happy to put the game down and never return to it. But I feel like Uncharted 4 gives me something that many games (especially the others in its own series) don’t, and its a reason I'll come back for 4ths, 5ths, 6ths and so on. There’s a feeling of adventure that the game gives you, this comes through 2 aspects its Story and its Gameplay. The story is told expertly and it makes you feel like you’re part of the journey instead of simply playing the role of someone on the journey. And many of the game’s finest moments are only partly scripted, giving the player the sense of real-time action. 

In the next two paragraphs, I will be discussing parts of the story which could be considered Spoilers, particularly in the second paragraph. After which, I will be discussing the Gameplay without spoilers. 

As seen literally everywhere prior to the game’s release; the game introduces a new character, Sam. Sam is Nate’s long lost, thought dead, brother; and he drives most of the story and the dialogue between characters. And it’s impressive that we, as the player, immediately like him and his characteristics, as he seamlessly fits into the exchanges with arguably fan favorites – Victor ‘Sully’ Sullivan and Elena Fisher. Our first moment with Sam, has him breaking us (as a young Nathan) out of an orphanage for some crazy rooftop antics (or more appropriately, Acrobatics). We then travel forward in time and discover Nate has locked himself in a prison to gain access to ruins beneath it. During the inevitable breakout, the player falls from a rooftop and is surrounded by guards. Sam out of nowhere comes to the rescue; as he dives from above tackling several guards. Just as the player is home free, Sam is shot in the back and falls to his presumed death. Now back, worn by time and a derision of the cell he was in for so long; he’s now free and even a little reckless, as his younger years still consume him. We tell him of our adventures, and the player is free to pick what to tell him first. This (as far as I can tell) has no bearing on the game whatsoever. But what it does give is the opportunity for the player to share one of their own experiences, allowing the player to create a bond between themselves as Nate and Sam.

In the next section of the game, we are told the story of how Sam escapes the prison and debt he owes for doing so. It’s the first moment in the game where there’s a bit more of a shoot out other than the trivial opening sequence. It’s quite grand and explosive. But because we play it (and here’s a big spoiler) we solidify the moment as being the truth, but as we later find out; he lied. This is the first moment of great storytelling in the game. Having played all of the games, the player would be expecting a betrayal of some sort, and it usually comes in the form of a fellow protagonist turned antagonist; but Uncharted 4 has many moments where it upsets the expectations and changes them. Because we play this moment, we have no reason not to believe it’s the truth, simply because we play it and even if we suspect that Sam is lying (purely based on it being an Uncharted game), it’s not for this reason. It’s a big moment, because even though Sam doesn’t outright sabotage Drake (as Flynn does in Uncharted 2); it feels more personal because he’s Nate’s brother. He’s our brother. The banter and rapport they shared, we shared as well. But we forgive him, and we still want to help. This is another triumph of the story in Uncharted 4.

This narrative structure is a perfect complement to the gameplay. As outlined above, the game sets the stakes high, so it makes the game's fantastic set-pieces all the more epic. Furthermore, in Uncharted 4, the game relinquishes some extra control into what many games would just have as cutscenes. Indeed, even when the game requires Nathan to fall to a specfic point, the transition back to gameplay is so seamless that many players would barely notice. This is done through, in truth, fairly straight forward platforming; as they come in the form of climbing up something or sliding down something. E.g. theres only one way to go. A great example of this is when the clock tower collapses in Madagascar. Nate swings on the bell and as he jumps off, the bell drops causing most of the platforms to fall, this so happens to include Nate. This moment happens so fast, that a player naturally wouldnt have time to react. Very quickly, he lands on several gears, the same gears he used to climb up the building, without a break, the player is immediately back controlling Nate, though the player wouldn't notice that they ever lost it. The tower continues to fall, and just out of curiosity, on my second playthrough I decided to see what would happen if I did nothing; and sure enough he was crushed or some form of death.

Whilst the set-pieces have always been the stand out moments in Uncharted, the gunplay as always been rather weak. In Uncharted 4, whilst still not perfect (we've definitely played finer 3rd person shooters) the action is on a completely new scale, thanks to the introduction of the spectacular Grappling Hook. The Grappling Hook allows the player to create dramatic Action, like the ones from the Blockbuster Movies its trying to replicate. This happens in quite literally every shoot out, and we’re encouraged to use it quite often. The maps are designed in such a way where using the Grappling Hook nearly always give you an advantage, whether it’s using it to dive away from gunfire, to get higher up to get the drop on enemies or quite literally that – drop on enemies, which never gets old. This is great, as throughout the game I found myself avoiding just dropping into cover, not least because I was always on the look out for another place to swing from but also the game is at its best when you’re on the move. 

Nearly every 3rd person shooter nowadays opts for the chest high walls and cover mechanics where its just an endless shoot out. But in Uncharted 4, you're almost encouraged not to do this, 1. because staying in cover rarely feels safe and 2. because its actually just far more fun to not do so. This for me was oddly reminiscent of another 3^rd person shooter called Vanquish, where you once again where avoiding cover and found most satisfying gameplay on the move. You’re encouraged to try and keep moving as enemies throw grenades, destroy your cover and flank you, all to avoid you staying still. You also run out of ammo fairly easily; guns rarely have a full clip when you pick them up and so you’re encouraged to run into their faces for melee attacks, not least because it’s satisfying, but Nate will usually take this opportunity to disarm an enemy in the process, thus giving you more ammo and playing a badass animation in the process. All in all, this makes the combat the best in the series by far. But the game also improves the climbing from previous entries (also through the use of the grappling hook but also the criminally underused climbing hook (a hook the player uses to dig into the wall and create a manual grip)). The level design in Uncharted 4, allows the players to choose a path at nearly every climbing section. Unlike in previous games, which had very singular and linear pathways, Uncharted 4 adds multiple ways through each section, not only does this help the environments feel more natural, it gives the player lots of reasons to come back and play again. The Uncharted series has always had treasures hidden within its environment, but this time, only the most skilled explorer is going to find all the treasures and journal notes.

Despite my enjoyment of the game, I have some very minor gripes. The puzzles in the game are once again very simplistic, and we’re often told the answers through notes or another character literally just telling us we’ve got it wrong, as opposed to letting us work out the solution. This is a shame, because in a lot of cases, the puzzles appear quite intricate, with beautiful complex structures to solve but everyone of them is practically a formality. In a year, where the phenominal 'The Witness' was released; which has literally hundreds of fantastic puzzles which required a lot of thought and mental fortitude; this was slightly disappointing. And secondly, less of a negative and more of a suggestion of what I would have done. The Journal I feel could have used the touchpad more. I personally would have liked to swipe the pad to flick through pages; this would actually have been fairly easy to implement, as much of the ground work was in place. As always, the Journal is a lovely addition to the game; with detailed scribbles, notes and sketches. This time, the journal even managed to add some well written humour, which made me laugh everytime. But as the touchpad was used to open the Journal regardless, I would have liked to have been able to flick through it with greater control.

Uncharted 4, is ultimately a fitting send off for the series. I'm sure we'll see a return at some point in the future, whether it would be from Naughty Dog or someone else. And I'd like to take this opportunity to thank Naughty Dog for 4 fantastic games, each managing to improve on the last and all of which I've thoroughly enjoyed. I greatly look forward to whatever comes next.

(Pro) Evolution … Fantasy Football – Does Fantasy Football change the “beautiful game”?

It’s been a while since I’ve posted something. I wanted to talk about The Witness which until recently was my game of the year. But I couldn’t quite put to words how great I thought the game was, without just ultimately writing a review of it. So I decided to write about something else, something that would take time until it was complete in order to tell the full story. This year, I’ve got quite interested in alternate reality games; games where normal everyday scenarios become a game through scoring points and competing in extra activities to earn bonuses. These can be internal games (something I feel I’ve always done in my life, create challenges just for me – like mathematical equations etc.) or external games (where we compete with multiple people and post our achievements). I would love to incorporate more of these in my life, such fitness games, trying to push myself further and regularly. But at the minute, there’s only one prominent Alternate Reality Game in my life and it’s just come to an end, at least till the end of august. I am of course talking about Fantasy Football. 

This week, the final premier league fixtures were played out. Many games in which were supposed to be big games or season defining games, such as Man City and Man United playing out for that final Champions League place. But in truth, most of season was sowed up a few weeks back, with consistent Leicester City incredibly winning the league, at the capitulation of Tottenham Hotspur. And as the relegation battle, which usually comes down to the final day, was also over as Sunderland secured safety mid-week in a win over Everton, relegating their arch-rivals Newcastle; as well as Norwich, at the same time. All in all, there wasn’t a great deal to play for on the final day. 

Or was there? 

Whilst my own supported team Liverpool had very little to play for other than an outside chance at finishing higher; my team, which I manage in Fantasy Football, Everyone Into Position (named after an Oceansize Album) - had something thoroughly underwhelming yet no less exciting to play for – a third straight win of my Fantasy Football League. I did it, which is almost as incredible as Leicester City, as at one stage I was dead last and about 150 points behind the leader. Quite an insurmountable total at the time, considering a single goal from a striker nets roughly 4 points. I played a very cunning move at one stage which propelled me to the top, which I’m about to outline now. But I also want to talk about how Fantasy Football, as both enhanced and ruined Football for me. 

Liverpool, under the new guidance of Jurgen Klopp, were still finding their feet with some remarkable performances here and there, but far too inconsistent to keep putting in my team. It was time to use the ‘Wild Card’ and transform this season. The Wild Card is a feature which allows a player once a season to change their entire team with no penalty of point reduction. I used this as an opportunity to start reinforcing my team with players from Leicester City, who I realized probably before anyone else in my league; that they were going to be in the title fight till the end. Tottenham and West Ham too were playing very well, and not as expensive as some players, so it was also time to put them in as well. And lastly, the man plagued by injuries, but is almost guaranteed to score whenever he plays; Sergio Aguero. He was expensive, so I used the rest of my allotted money to fill the team with semi-effective players; players I wasn’t expecting to get points from, but ones I expected to play even just picking up a few points. 

It worked, and I started gaining ground, even if remaining in last place. Fantasy Football is of course based predominantly on luck, as anything (which it often does) can happen. Typically, there is bound to be at least one upset per weekend, but it is far too risky to try and anticipate which game will have an upset. It is far easier to recognize which teams are playing well (such as the ones outlined above) and bet on them to grind out points, which I did. So whilst occasionally the people above me got an influx of points, eventually I was never too far away, based on this expectation of certain teams. 

Now, as I’d already mentioned, 150 points was a huge ground to make up. And I managed to claw it back to roughly 40 – 50 points. But I had an ace up my sleeve, as it were. In some weeks, teams played twice due to fixture congestion and relocation from cup games. It so happened that there was a week coming up where no less than 10 teams would play an additional game. I had slightly given up hope prior to this, but I slowly started to weave in players from the 10 teams that would play twice. Even if just on bench. It was extremely crafty, as I had recognized that the other players in my league had already used their “Bench Boost”, a one off use where a player gets the points from the bench, as well as from the team. Combined with the fact that they were going to play twice; even if they all only got 4-6 points each (which they didn’t, they had more) it would net me a minimum of 20 points alone. I ended that week with about 160-170 points, I was in the lead and never lost it.

So why, after such a victory, would I think Fantasy Football ruined Football for me? Basically, when watching games, my attention would divert more towards the need to win in fantasy football, particularly after I gained this lead. Whilst it is incredibly satisfying to be on top for a week, it’s possible to lose it all very quickly. I was constantly looking over my shoulder, this lead me to making silly moves towards the end; which could have cost me. I also would check the teams my fellow players would put out as soon as they were available. I was consumed. Instead of just enjoying the games, I would watch a single player, praying that he would score a goal or not (if they were in another team). Watching the time tick away knowing that clean sheets where in reach and praying that other teams would lose theirs. In all the drama of the Fantasy Football, I lost the interest in the sport itself and focused more on my team. 

This could be argued that it evolves football, makes it something more enjoyable, as something more substantial is riding on it, other than your own expectations for your team. There was no money involved. No beers at the pub. Nothing. Purely the bragging rights for a few months before it all starts again. Fantasy Football changes the game, literally. It no longer becomes about following one team, but you follow the league as a whole. In order to win your league, you need to understand the best players from every team, and who’s about to hit form and who’s about to lose it. So in many ways, this elevates the spectacle of watching Football as a whole, as I watch most games when they are available to me. But there were far too many games this year where I found myself not really watching the game, not enjoying it. Just trying to be mindful of how it would affect my league.

This is not to say that there weren’t any times where I found myself enjoying games. I just enjoyed them a lot more once my team had got the points on the board, this player scored that goal etc. The security of already having the points. This is especially true for my own team, as even when Liverpool returned to form; I still couldn’t bring myself to put the players in, because I didn’t want my enjoyment of them, tainted by needing certain players to score goals. Pretty bizarre in truth, it sounds like an addiction, but arguably a healthy one. As it was good to discuss tactics and laugh about how the season is going. And, I did gain great amusement in both winning towards the end, but also losing so significantly at the start of the year. 

In the end, I closed out the season by trying to make my team as closest to my nearest rival as possible. This would ensure that any points he got, I too would get and thus stopping him from overtaking me. This led me to the unspeakable act of putting a Manchester United player into my team. Something I hadn’t done to that point. But sometimes you’ve just got to evolve.

'Depressed' Souls; Prepare for Optimism

A few years ago, I was struggling in a particularly difficult time of my life. I had no money, which consequently meant I saw less of my friends and did few activities outside my house (such as going to the cinema or whatever). Looking back now, I realize I was deeply depressed. I had worked my ass off for several months for different companies; without getting paid. I was expected to work because "I wanted to make games"; which in my foolish honestly; made sense to me at the time. Even when I did acquire paid work, I finished the contracts only to not get paid. I realized that getting a job in Games Design was going to be exceptionally difficult. It seems that every job required you to have several years experience and no one was willing to take a chance. This meant I spent a few months working every day on my portfolio, which I'd now changed to focus more on Environment Art. Which seemed to be a more obtainable goal. I gave myself a deadline of 5 working days to complete each Environment that I would design. I would work from 9 til 5, in order to maintain my body clock to "work mode"; which I still have today.

During this time, I would enjoy several game streams as I became more aware of Twitch, and the personalties on it. There were several casters who I took a liking to; Ellohime, Spamfish, Excessive Profanity and ManVsGame. At this time, Dark Souls 2 had been released; a game I was really looking forward to, but couldn't quite justify buying it. So instead I watched these streamers play it; particularly ManVsGame; whom I would actually tune into every morning, to watch. What surprised me was that; these weren't the best gamers on the planet; they were simply great at providing an entertaining broadcast, through engaging with the chat and being sharp and witty should they overcome, one of the many challenges in the games they were playing. Dark Souls 2 is a game that is notoriously difficult. Not quite as difficult as the other games in the series but hard, nonetheless. Knowing this, watching ManVsGame fail repeatedly at various bosses, made me feel like I was in the fight with him. I would cheer and applaud if he beat a boss, despite no one hearing me. And bosses became tedious to me, as well as him, when he fought them in vain, losing consecutively (often up to 10 or so times). This allowed me to experience Dark Souls 2 not just as if I was playing, but also with a community. I got to experience the game I was dying to play, with all the highs and lows, and I got to feel part of a community; despite feeling very lonely. This however was merely the first step towards recovery; as a week or so later (possibly with one eye closed and trying not to think about what I was doing); I bought Dark Souls 2.

Dark Souls 2 is not one of my favourite games. I prefer Dark souls 1, I think Bloodborne is one of the finest games ever made and Demon's Souls, well, it’s... ok, it’s not as good as Dark Souls 2. But for me, Dark Souls 2 is one of the most important games I've ever played. Not because of any design choice made, or the quality of the game; but because it helped me overcome my severe depression. It taught me that perseverance would pay off in the end.

In the Souls series, there’s a set format for how to play the game. The player must be patient; this is to ensure that the player is more defensive and learns to anticipate; this is particularly important early on and consequently players cannot hope to progress without adapting their playing style. Secondly, the player will learn they are never truly alone. Yes, the player will need to overcome most challenges alone and they are usually the only person standing against it. But messages are left across the ground to help and advice other players. Phantoms (presented as Ghosts but are in fact other players) walk the same paths as you, trying to overcome the same challenges. Bloodstains are left upon death, so that players know death is around the corner if they’re not careful. But also, and perhaps most importantly, the players can summon help at nearly anytime. And in Dark Souls, the community of gamers is often more than happy to help a player achieve progress in the game. Lastly, the player must (as the tagline suggests) Prepare to Die. This is not a simple wink at the difficulty of the game. But the sooner the player learns that dying in the game, doesn’t mean failure as long as they learn something in the process; the better. This is because, theoretically if the player can reach the spot they died previously and overcome whatever befell them; they typically will be in a better position than when they died. This is because, the player will have learnt several steps already and should be able to reach the distance in less time, taking less damage, and using fewer resources. Not to mention that the ‘Souls’ regained after having been dropped, will be increased due to them being added to the Souls acquired after death. In fact, I think it’s fair to say because of this; the Souls have very little value during active Gameplay and combat; most gamers, will no doubt see them as really important. In truth it is far more important that the player can learn to use the skills they’ve already got to overcome obstacles, rather than trying to build on something that they’ve not yet achieved (see how this is starting to tie back?).

This setup is, in my opinion, a rather optimistic style of games design, once the player learns it of course. It’s one of the many reasons the Souls series has such a great cult following, aside from trying to unravel the mysteries of the stories and helping each other through fights. The challenges presented always seem great and yet are always achievable. This is because, Games are inherently optimistic as they can always be completed. And The Souls series is no different; whilst difficult, everyone knows can be beaten. Despite what some people may say or think, outside of the very first death; the game never kills you for you to learn something. In fact, the game never presents a challenge, which you can’t overcome with perseverance, skill and adaptability. This is because, From Software actually want you to reach the end, they want the player to overcome their game. Why wouldn’t they want this? The only difference between this and most games is that they want the player to feel like they’ve earned it.

Dark souls 2 presents a format of mini challenges that culminate in greater challenge; a boss. These mini challenges are simply several steps that the player must overcome to reach the boss. The bosses are always the hardest enemies the player will have fought up until that point. They of course, have varying degrees of difficulty but the biggest difficulty the player needs to overcome is the desperation of needing to defeat the boss. These challenges, great and small, combine in to something that often feels only faintly achievable. But with each small step overcome, the optimism of the player rises. This makes the game surprisingly therapeutic, but also rewarding. Bizarrely, as the game progressed, any death just made me more determined to finish the game. It seemed to me that; my hope of success was almost more exciting than success itself.

To relate back, depression is defined as “feelings of severe despondency and dejection”. Games however, are naturally the opposite of this; they’re designed to encourage the player to be optimistic and more importantly feel involved; the game doesn’t progress without the player. And as I’ve already outlined; Dark Souls 2 did this in abundance for me; but not only that, it helped me lift myself out of the dark place that had become my life. The optimism I felt playing Dark Souls 2, actually carried on into my life. I would leave the game and tell people I’d beaten this or that boss; even if they had no idea what that meant. This is because I was achieving something; ‘I’ had done it. And just as I became determined to beat Dark Souls 2, I became more determined to pull myself out of the dark place, I was in.

And sure enough, a few months later, I got the job I have had for 2 years now. Coincidentally, I’m also now playing Dark Souls 2: Scholar of the First Sin, as I look towards a new job and new challenges. 

Prepare for Optimism.