I actually had that problem in the first few minutes of the game. I didn't see the narrow passageway by the first bonfire and was running around confused for a little while. I didn't expect to go through a house to progress. A lot of the level design is logically inconsistent like that. matthewmatosis's critique (spoilers)
explains some of the major consistency problems.
Anyway, I just finished this title today, which is a first for me in this series. I could never quite stand the simple, slow, and deliberate nature of the combat. Once you initiate an action there's nothing you can do until the action completes, which can be a couple seconds. So, knowing that you or the enemy will die well before it happens is fairly common. "Oh, that hit didn't connect, I guess I'm dead then. I'm going to be stunned for too long from my missed swing, and that guy is going to swing at me which is going to stun me and then that other guy will finish me off." --YOU DIED-- "Yes... yes I'm aware."
Why isn't there additional input during these actions that I can perform? For instance, there was one time when I had to roll to avoid an attack, and I knew that the roll was going to put me just a wee slight bit too far off the edge of a cliff. I performed the roll because I would have died anyway, but while the roll was executing I was attempting to move in the opposite direction to maybe slow my roll. But no, you have no control over any action once it is initiated, so I finished my roll and ever so gently slid to my death.
These games are revered and marketed for being difficult, but no one talks about the insane degree of simplicity and lack of interactivity when you're in the throes of combat, which is in my opinion the far more important detail. Devil May Cry 3 is also difficult, but the difficulty comes from your inability to control your character to its full potential. Once you master your character, nothing can touch you and you can take on any challenges that the game tries to throw at you. In this series its the opposite, controlling your character to its full potential is almost immediate, and the danger is in the unknown about what the enemies or the world can do.
Of course it does make a lot more sense that the mechanics are this way thematically. DMC3 can give you a power trip, and Dark Souls 2 is generally about despair and powerlessness. But, some depth to the combat could be the difference from "this is going to be close" and "well I'm dead" like I described above.
I don't think these games are for me, but I can appreciate how they break archetypes and tropes of video games. Though it seems like as the series progresses it's starting to fall into other traps. I'm afraid it might be all downhill from here. The popularity of the series now affords it no room for the creativity that sparked it. The background lore in this title affirms that the most with all of the fanservice. Miyazaki stepping down might be synonymous with Sakaguchi stepping down from Final Fantasy or Kojima's desperate attempts to step down from Metal Gear. Games built for fans of a great game rather than for the spirit of making great games.