Video Summary
Dying or routing the game in specific ways can move your bloodstain between Iudex/Champion Gundyr arenas due to shared location data.
Many bosses have unique death animations when killed by a riposte or in specific states (Iudex, Dancer, Vordt, Nameless King, etc.).
You can use environmental NPCs (a distant giant) to cheese certain enemies like Hodrick by baiting friendly fire.
Only one item in DS3 spawns reinforced: a blessed red & white shield +1 on a hanging corpse — base version unattainable.
Small enemy behaviors and model details (red-eyed Deacon, crystal sage face, mimics' stances) reveal lore and gameplay variety, plus exploitable tactics (throwing knives, ripostes).
The game internally treats the Cemetery of Ash and the Untended Graves as the same location, so how you arrive (dying vs. passing illusory walls) determines where your bloodstain is placed.
Many bosses have special death animations when killed by a riposte or when defeated in particular attack states—e.g., parrying Iudex in phase two or riposting the Dancer after poise damage to the head.
A blessed red-and-white shield +1 hangs from a corpse and is the sole reinforced spawn; because of that spawn method it's impossible to find a base (non-reinforced) version legitimately.
Bait Hodrick into the line of fire of the distant giant's arrows; if you retreat far enough he will stand still and get shot, letting the giant kill or heavily damage him.
Examples include a non-hostile red-eyed Deacon who mutters, the crystal sage's partially intact face (suggesting will-devouring crystals), and Velka's brooch symbol matching earlier games' masks in concept art.
Dying to Iudex Gundyr causes you to leave your bloodstain in his arena, but if you manage to beat him, the Dancer, and Oceiros without dying, you can find your bloodstain in Champion Gundyr's arena.
The game considers the Cemetery of Ash and the Untended Graves to be the same location.
Iudex Gundyr can be parried in his second phase, resulting in a unique death animation if killed this way.
After defeating Vordt, you can see a large expanse of the game's world from his cliff.
You can use the giant nearby to cheese Hodrick by baiting him into getting shot by an arrow.
The Curse-rotted Greatwood has bizarre attacks, and defeating him in a specific state grants a unique death animation.
There’s only one item that spawns somewhat reinforced in Dark Souls 3, unlike Dark Souls 2.
Velka’s statue features a low-quality model, but concept art reveals details about the brooch.
The Deacon with red eyes is docile and mutters quietly when players are near.
The Bow Skeletons in the Catacombs can use their arrows in melee attacks.
"The Wretch is a favorite of mine in these dungeons, especially in this first one."
The Wretch, an unusual character in Dark Souls 3, dramatically clings to walls and does not react to players even when hit. This adds an odd charm to the game, creating unique encounters in the environment.
When delving beneath the dungeons to the Profaned Capital, players will encounter the Abominations of Sin, described as "big, disgusting babies." These creatures are marked by grotesque growths on their faces, reminiscent of Manus's hand from Dark Souls 1.
"Using a throwing knife when they stand to do this attack will immediately stagger them and leave them open for a riposte."
An effective tactic against the Abominations of Sin is to use a throwing knife during their attack, which staggers them, creating a chance for a riposte.
Before reaching the Abominations, players will navigate a room filled with respawning rats and a giant prisoner. Interestingly, there is a limit to how many rats can spawn at once, similar to the reanimated corpses found in the graveyard near the cathedral.
"This area reminds me a lot of the small ridge just after fighting the Havel Knight in Archdragon Peak."
A favorite area in the game is a secluded poison swamp often overlooked by players who rush to Yhorm. This area contains few items, such as the Eleonora drop and the Cursebite Ring, which is considered relatively useless.
Despite its lack of significant rewards, the presence of poison swamp elements adds to the game's atmosphere and experience, showing Miyazaki's penchant for including such environments.
"The bell here used to bring in the storm and Nameless King with it was likely modeled after a traditional Russian Orthodox bell."
The design of the bell related to the Nameless King hints at deeper lore connections, with Cyrillic inscriptions present on the bell, including the recognizable word ‘благо’ meaning 'good.'
These details suggest a broader cultural influence in the game's design, enhancing the narrative layer of Dark Souls 3.
"The Nameless King also has a unique death animation when dying to a riposte."
Various bosses throughout the game have unique death animations based on how they are defeated. The Nameless King and Champion Gundyr both exhibit distinct animations when killed with a riposte, adding an extra layer of satisfaction for skilled players.
Small interactions and questlines, like those involving Hawkwood and other NPCs, reveal additional dialogue and lore, enriching the overall experience.
"There are two types of mimics in this game."
Dark Souls 3 introduces different kinds of mimics. The more common ones attack with a bipedal stance, akin to mimics from the first game, while others crouch down and lunge at players like those in Dark Souls 2.
Interestingly, the crouching mimics allow players a brief opportunity to escape when approached, a gameplay mechanic that encourages players to engage with the game's unique surprise elements.
"If you only deal damage to the Dragonslayer Armor using Pestilent Mist, you can skip its second phase entirely."
Unique mechanics exist for bosses in the game, such as the Dragonslayer Armor, which can be treated with specific attacks for varied outcomes.
Players can also interact with the environment, as seen in the Twin Princes fight, where standing still upon entering the fog alters the boss's teleportation behavior, revealing the game’s intricate design.
"The tunnel you go down to enter the Ringed City is the same place that Frampt or Kaathe comes out of in Dark Souls 1."
The connection between locations across Dark Souls titles serves to evoke nostalgia and create a sense of continuity within the lore.
Characters like Lapp act as hopeful figures in the desolate world, providing guidance and support, which markedly contrasts the game’s bleak themes. The inclusion of recurring settings and character interactions deepens the immersion and emotional connection for players.
"You can reverse your hollowing from the dark sigils or revive the Judicator Argo boss fight."
In "Dark Souls 3," players can reverse their hollowing by using dark sigils or choose to revive the Judicator Argo boss fight.
This mechanic is crucial for progressing in Lapp’s questline, highlighting its significance in the game’s narrative.
"Before touching Filianore's shell, you can see her breathing, but after touching it, it seems like you kill her."
The statues in Filianore’s Cathedral are identical to those found in Pontiff Sulyvahn’s arena, showcasing the game's thematic continuity.
Interacting with Filianore’s shell triggers a change; she appears to die and becomes more hollow, indicating the weight of player actions on the game world.
"The cutscene that plays before Gael's fight has a clear reference to Artorias's cutscene from Dark Souls 1."
Gael's battle begins with a cutscene that thematically mirrors Artorias’s, yet contrasts the two characters.
While Artorias is portrayed as a noble, powerful knight, Gael is depicted as a lowly slave knight, thus altering the dynamics of the confrontation.
"Using a weapon that has decent range, if you hit Gael's head with enough poise damage, you can stagger and riposte him."
Players can stagger Gael by inflicting sufficient poise damage to his head, enabling a riposte for a critical hit.
Successfully executing a riposte during this fight leads to unique interactions and reinforces the combat system's depth.
"I really love the area this fight takes place in; it’s the end of the world, and it's just you and him, fighting on top of a mountain of ash."
The arena where Gael’s fight occurs is notable for its atmospheric design, set in what feels like the end of the world.
It includes not just Gael but also elements like the Ringed Knight and Shira, enriching the battle experience with more than just the boss fight itself.
This design choice sets Gael's confrontation apart, making it memorable in the game's context.
