Chances are, if you are a video game enthusiast, you likely don't need me to tell you what a looping path is. If you're a video game developer, the notion of explaining such a fundamental part of environmental design may seem laughable. Many exploration, adventure, and role-playing titles utilize this technique in order to create satisfying gameplay loops out of their game worlds, rather than just their gameplay mechanics and systems. It is one of the textbook ways to perpetuate a feeling of momentum within a video game world, making sure traversal does not become tedious by slicing off chunks of backtracking.
However, playing Salt and Sanctuary for the first time on the Nintendo Switch has spurred me to discuss this design element, as that game in particular is one of the most impressive examples of looping path design I have seen in recent memory. For those unfamiliar with the term, a looping path is when an environment is designed to loop back upon itself via the opening of a one-way door, sometimes due to a newly introduced mechanic that opens up a previously unseen route, or simply through the unlocking of gates or triggering of environmental alterations. This creates an inherent feeling of efficiency, the satisfaction of having progressed to a certain point that can now be quickly accessed thanks to player effort. In my experience, some of my absolute favorite games of all time have utilized this design philosophy: SteamWorld Dig 1 and 2, Xeodrifter, and of course, Role-playing games from Atlus like Etrian Odyssey and Tokyo Mirage Sessions.
Again, for those unfamiliar with Salt and Sanctuary, the Ska Studios title takes a great deal of inspiration from games in the Metroidvania genre as well as the action combat Soulsborne titles developed by FromSoftware. While Dark Souls, the second of From's efforts, was non-linear and interconnected in design, it is nowhere near as effective in its usage of looping paths as Salt and Sanctuary. Perhaps in an attempt to make up for the lack of three dimensions, Ska Studios instead uses looping design in a multi-layered fashion in order to improve the sense of progression within its brutal game world. In its opening area alone, there are three shortcuts that loop back to the entrance of the dungeon-like Festering Banquet, quickly leading back to the opening safe-zone sanctuary. However, two of these loops actually overlap with one another and use a combination of one-way doors and locks in order to open, which are paired with specific tasks in order to give the player a tangible objective. This design helps not only ground the player in a sense of place and enhances their feeling of accomplishment and expedience, but it also informs the specific objectives the developers have in mind for the player. Each of the Festering Banquet's three looping paths is accessed through their own respective doors, which in turn makes this dungeon-like area feel more labyrinthine.
Because of this, one might wonder if players can truly find their way in this title. Luckily, many developers have used the time honored tradition of "going right," and Salt and Sanctuary is no different. Though many members of the Fighting Game Community- specifically, Smash Bros. fans- are familiar with the term "directional influence," it takes on another meaning when used in reference to game design. Directional influence can be achieved in many ways: framing the action in windows or positioning important landmarks in high places makes them more noticeable, but the aesthetic design of an area or object can also affect their importance in the eyes of a player. The dueling peaks in Breath of the Wild are a massive landmark, and the player has no reason to think there isn't something exciting up there. In a labyrinthine environment meant to confuse the player, however, the insistent push in a certain direction can help them gauge their progress, as well as their eventual goal. From the start of Salt and Sanctuary's sandy shores, the player is urged to move towards a goal that is further to the right. Even when having to double back in order to find the proper tools to progress, the player is still given access to corridors that reveal locked doors and shortcuts that put them in this direction.
So when players have made it to the edge of the island, with only a tunnel sending them down and to the left, there is no other choice but to reverse the process and uncover even more of the game's claustrophobic corridors. Even if there are several shoulders where they might explore further, the level design continues to move them along a critical path, another term that might sound familiar. However, some genres don't have a critical path in the traditional sense, and must therefore rely on the subliminal tactic that is directional influence. To clarify, there are some games that pride themselves on being confusing and convoluted, from an environmental standpoint. The best-designed examples, however, evoke this sort of feeling while also ensuring the player never truly feels lost.
However, playing Salt and Sanctuary for the first time on the Nintendo Switch has spurred me to discuss this design element, as that game in particular is one of the most impressive examples of looping path design I have seen in recent memory. For those unfamiliar with the term, a looping path is when an environment is designed to loop back upon itself via the opening of a one-way door, sometimes due to a newly introduced mechanic that opens up a previously unseen route, or simply through the unlocking of gates or triggering of environmental alterations. This creates an inherent feeling of efficiency, the satisfaction of having progressed to a certain point that can now be quickly accessed thanks to player effort. In my experience, some of my absolute favorite games of all time have utilized this design philosophy: SteamWorld Dig 1 and 2, Xeodrifter, and of course, Role-playing games from Atlus like Etrian Odyssey and Tokyo Mirage Sessions.
Again, for those unfamiliar with Salt and Sanctuary, the Ska Studios title takes a great deal of inspiration from games in the Metroidvania genre as well as the action combat Soulsborne titles developed by FromSoftware. While Dark Souls, the second of From's efforts, was non-linear and interconnected in design, it is nowhere near as effective in its usage of looping paths as Salt and Sanctuary. Perhaps in an attempt to make up for the lack of three dimensions, Ska Studios instead uses looping design in a multi-layered fashion in order to improve the sense of progression within its brutal game world. In its opening area alone, there are three shortcuts that loop back to the entrance of the dungeon-like Festering Banquet, quickly leading back to the opening safe-zone sanctuary. However, two of these loops actually overlap with one another and use a combination of one-way doors and locks in order to open, which are paired with specific tasks in order to give the player a tangible objective. This design helps not only ground the player in a sense of place and enhances their feeling of accomplishment and expedience, but it also informs the specific objectives the developers have in mind for the player. Each of the Festering Banquet's three looping paths is accessed through their own respective doors, which in turn makes this dungeon-like area feel more labyrinthine.
Because of this, one might wonder if players can truly find their way in this title. Luckily, many developers have used the time honored tradition of "going right," and Salt and Sanctuary is no different. Though many members of the Fighting Game Community- specifically, Smash Bros. fans- are familiar with the term "directional influence," it takes on another meaning when used in reference to game design. Directional influence can be achieved in many ways: framing the action in windows or positioning important landmarks in high places makes them more noticeable, but the aesthetic design of an area or object can also affect their importance in the eyes of a player. The dueling peaks in Breath of the Wild are a massive landmark, and the player has no reason to think there isn't something exciting up there. In a labyrinthine environment meant to confuse the player, however, the insistent push in a certain direction can help them gauge their progress, as well as their eventual goal. From the start of Salt and Sanctuary's sandy shores, the player is urged to move towards a goal that is further to the right. Even when having to double back in order to find the proper tools to progress, the player is still given access to corridors that reveal locked doors and shortcuts that put them in this direction.So when players have made it to the edge of the island, with only a tunnel sending them down and to the left, there is no other choice but to reverse the process and uncover even more of the game's claustrophobic corridors. Even if there are several shoulders where they might explore further, the level design continues to move them along a critical path, another term that might sound familiar. However, some genres don't have a critical path in the traditional sense, and must therefore rely on the subliminal tactic that is directional influence. To clarify, there are some games that pride themselves on being confusing and convoluted, from an environmental standpoint. The best-designed examples, however, evoke this sort of feeling while also ensuring the player never truly feels lost.
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