Dark Souls, FromSoftware’s dark fantasy masterpiece, is a seemingly impenetrable work from an interpretive and thematic standpoint. First, famously, much of its worldbuilding and story can be reached only by careful attention to environmental set pieces, optional character interactions, and item descriptions. Second, and more of an obstacle for our present analytical purpose, Dark Souls is a game which seems to be about death, decay, and annihilation—but which is simultaneously a game starring a prophecy-driven character who survives death, and in which souls are demonstrable realities.
But would-be Souls scholars should not despair. As for the subtlety and density of its worldbuilding, this is no rarity in the wider world of art. While it’s nowhere near as complex as a Modernist novel, I would contend that Dark Souls is similarly rewarding to careful study as are, for instance, the works of Virginia Woolf and James Joyce. So, obviously I don’t consider the difficulty of accessing its story to be an insurmountable detriment. And as for the seeming thematic contradictions of the game, these are not intractable.
A reading of Dark Souls as being in conversation with the canon of existentialist philosophical thought yields a relatively straightforward path toward interpretation: Dark Souls, especially through its story and gameplay mechanics, is an allegory for the human condition in an entropic universe with no inherent meaning. That might seem vague and insubstantial, but hereafter I intend to provide support for it (and eventually specificity) through careful attention to both the game and the relevant philosophy.