What From Software Games Taught Me About Writing
One piece of writing advice I have always been given is “Read more to be a better writer.” And that’s partially true, because it’s not about how much you read; instead it’s about learning to read like a writer, observing the craft. Now, we have so many storytelling mediums beyond the prose fiction itself: television, movies, drama, and video games. And it’s that last one I want to talk about, specifically the dark fantasy games created by From Software.
In this blog post, I’ll be talking about what From Software games have taught me about writing. First, I’ll go over what it means to read like a writer. Then, I’ll discuss what I have learned about writing by applying it to how I study narrative presentation in games like Bloodborne and Elden Ring.
Step 1: Read Like a Writer
A lot of people quote that classic bit of writing advice arguing that to be a better writer means you need to read more. And that’s true, but reading voraciously doesn’t really improve your writing craft unless you learn to read like a writer. And what that means is you should learn to examine how other writers, particularly those in the genres you write, construct their stories, how they approach character and dialogue, and how they worldbuild. That means holding everything you read up to a metaphorical microscope and inspecting every part to see how each functions and how they function together.
But you can also apply this to any media you consume. How does a television series present episodic stories while having an overarching arc that carries interest and engagement through an entire season? How do movies begin and end scenes? How do video games present the illusion of a massive world filled with history, culture, and inhabitants with their own agency?
Step 2: Lore Through Fragments
When I think of what From Software games taught me about writing, the first thing that comes to mind is the illusion of a world with a vast and deep history, a history suggested by the fragments of lore we find in item descriptions or in notes scattered about the game.
As any Soulsborne fan knows, players in a From Software game assemble the story from fragments—item descriptions, snatches of dialogue, and clues hidden in plain sight. The lore becomes a puzzle, rewarding attentive exploration. For writers, scattering lore in fragments can make your world feel deep and mysterious. Use diaries, overheard conversations, and even visual motifs to drop hints throughout your work, letting readers assemble their own personal interpretation of your narrative.
So, as an example, in Bloodborne, after defeating the Cleric Beast who guards the locked entrance to the Cathedral Ward, we gain access to an item called the Hunter Chief Emblem. Its description reads:
A cloth emblem that belonged to the captain of the Church hunters long ago. Opens the main gate that leads to the round plaza of the Great Cathedral.
The main gate is shut tight on nights of the hunt, and could only be opened from the other side with this emblem. In other words, the captain's return, and this emblem, determined the end of the hunt.
This tells us that the hunt we have joined is a regular tradition, something that has been plaguing the city of Yharnam for a long time. We also learn that the Cathedral Ward was sealed off to protect those therein from the beasts plaguing the city, and only when the Captain of the Hunt waved this cloth in the air was the hunt declared over. So, in two sentences we learn that the plague of beasts has been a problem for the residents for a long time, that the Church walled itself off from the afflicted, and that it sent out hunters who functioned like an army. We get a sense of history, of tradition, and of power dynamics, learning the Church directs the Hunters and that the Church is willing to protect itself while allowing others to suffer.
Step 3: Environmental Storytelling
On a similar note to presenting worldbuilding through fragments, one of From Software’s hallmark techniques is environmental storytelling—the world itself tells the story with the fragments of what remains. Crumbling ruins and forgotten artifacts hint at histories and tragedies never fully explained.
In Elden Ring, each set of ruins holds a secret. Perhaps it’s a teleporter to another location, perhaps a talisman or weapon hidden behind a sealed door. Even the capitol city of Leyndell holds a tomb beneath the sewers where the Three Fingers of the Outer God of the Frenzied Flame wait to burn the flesh of one who may become the new Lord of Frenzied Flame. Why are these things placed there? The mystery and speculation drive players to explore, to research, and to contemplate the meaning.
For writers, this means using setting, props, and background details to convey narrative. Instead of heavy exposition, show the history of your story’s world through what characters see and touch. Consider every object and location as a storytelling opportunity. But just like a skirt, keep it long enough to cover what must be covered and short enough to arouse curiosity.
In summery, From Software’s storytelling is a masterclass in ambiguity, atmosphere, and trust. Playing and analyzing their games has taught me to embrace mystery, build my worlds through detail, scatter my lore, and give readers agency to interpret my work based on how they piece together the bits of lore given them. And that is scary! However, if you’d like to see how I use this type of storytelling, check out my A Tale of Two Crowns trilogy!
