I believe that considering Dragon Quest, as MudkipTheGodly does, as the Ur-JRPG is a fundamental mistake, which distorts greatly the interpretation that one can have of the game. An approach that makes Dragon Quest a precursor of the genre neglects the earlier titles, with their already well-defined mechanics and even years ago, while giving a teleological value to the progression of JRPGs. To the modern eye, Dragon Quest and Final Fantasy may represent the essence of the genre, but this sidesteps the question of what characterises a JRPG and how it defines itself in relation to other adventure game traditions.
I have already mentioned this in my review of Hydlide (1984), but JRPGs are tributary to an old history, largely connected with the Western tradition of role-playing games. Its emergence is linked to the Wizardry and Ultima series, which largely fuelled the Japanese passion for dungeon crawlers. Many games have been inspired by this approach and Hydlide is one of these titles, serving as a transition for Japanese game design. A year before the release of Dragon Quest, Enix had already released their first RPG, Chikyuu Senshi Rayieza (1985), whose mechanics may seem archaic, but are inherited from the turn-based tradition initiated by the West. The same year, Cosmic Soldier (1985) also offered a formula very close to Wizardry, but with the possibility of recruiting opponents during the fighting by talking to them. The Screamer (1985) was inspired by the same series. As for Ultima, there are many games modelled on it, such as Seiken Densetsu (1983) – not the Square series – or Ken to Mahou (1983), illustrating a real vitality for the genre in Japan, especially on PC.
My argument is that Dragon Quest came within a context that was already punctuated by role-playing games. Its uniqueness, however, lies in the approach of Yuji Horii, who had made his mark on investigative games, notably Portopia Renzoku Satsujin Jiken (1983) and Karuizawa Yūkai Annai (1985), the latter featuring some Ultima-like sequences. A joint interview with Rika Suzuki reveals Horii's emphasis on story and guided progression in an adventure game. He stands in opposition to the very cryptic and overwhelming approach of Western RPGs, where the difficulty is very high and the levels are extremely long, often with no short term goals provided to the player. This philosophy infuses the development of Dragon Quest, which, like Hydlide, attempts to offer an adventure that is accessible to neophytes. Similarly, disliking the command system in text-based adventure games, he proposed a menu system for possible actions: this has become the hallmark of JRPGs – the idea is not new, but he provides a strong synthesis of it. It seems to me that these elements must be kept in mind to understand the flow of this first title.
The player is the descendant of the hero Roto, who once saved the continent of Alefgard from destruction. The appearance of the Dragonlord has led many adventurers to follow in his footsteps, but it is up to the descendant to triumph over this evil and save Laura, the daughter of King Lars, who has been kidnapped by the Dragonlord to be his wife. The story doesn't take much longer to present its stakes and the player is dropped into the vast world of Alefgard. While the land may seem vast, progression is limited by the enemies, who grow exponentially more powerful the further the protagonist gets from Ladatorm Castle. Unlike Hydlide, it is not possible to freely explore the entire map, since encounters are random: venturing too far is like signing one's death warrant, especially since running away from battles to progress is not a very viable option.
On the other hand, the progression of the main quest is conditioned by the resolution of small mysteries that the player must solve. Talking to different NPCs reveals crucial information to locate an object or perform an action. The player is strongly encouraged to take note of all relevant information so that they can retrieve it when the time comes, whether it is the whereabouts of an item or its use. Since the clues take the form of rumours circulating throughout the kingdom, the game forces the player to go back and forth between different locations – which also allows them to gain experience along the way – to access secrets hidden in places they have already visited. Several critics have criticised the linear nature of the title, claiming that it hides behind a veneer of freedom. It seems to me that this is a misunderstanding, considering Horii's interview. The goal is not the same as in Metroid (1986), where it is indeed possible to explore quite freely. Here, the placement of clues creates a natural sense of progression, which keeps the player interested in the immediate future.
For Horii, the combat system fulfils the same function. Even when the player is lost, they can fight enemies to pass the time. This system is unfortunately quite rudimentary. While the hero can attack or use magic, defending himself is not possible, and there is little use for items in general – except in very specific cases. Compared to the novelties of earlier games and the formula popularised by Wizardry, this is a step backwards. All encounters look the same: attacking with the weapon is generally good enough and only magic-users change this approach a little, whereby spells can be used to silence them. While this makes the experience very accessible, such an approach creates an extreme redundancy in the gameplay loop, especially since the experience grind is mandatory and tedious in its length. It is indeed possible to increase the hero's power through equipment, but it is equally necessary to reach level 20 to have a concrete chance of clearing the last dungeon and facing the Dragonlord.
This is where the title shows its weaknesses. By virtue of simplifying its design, it loses what made the charm of previous games, which could keep the player's interest for a longer period of time because of their brutal nature. Horii wanted to shift the focus to exploration and puzzle solving, but these are only minor parts of the game time. The dungeons are enjoyable sections, making good use of the darkness mechanic, but they are a far cry from the extremely complex and trap-filled floors found in Wizardry. In some ways, this may be for the better, but it makes for consistently too short experiences. Encounters with unique enemies remain memorable, but can be counted on two fingers – this includes Merkido's guardian or Domdora's hidden fight.
Nevertheless, the game manages to charm with its atmosphere. Although it is based on the western fantasy setting, Dragon Quest brings a freshness through its humour. Akira Toriyama's design still works, with expressive and easily recognisable enemies. The game also has a cheerful soundtrack, with baroque and classical accents. As a side note, the composer, Kōichi Sugiyama, is known for his far-right nationalism and historical revisionism: on this point, it is difficult to have a clear answer on where to stand. Just as Wagner is an antisemite whose work is culturally important, Sugiyama popularised erudite music in video game soundtracks. The money he made working on the franchise was reinvested in far-right propaganda, and no matter what ethical solution one chooses, this is something to keep in mind. Incidentally, Dragon Quest's soundtrack accompanies the game's sense of heroic and faux-naive exploration. The Overworld theme has a contemplative and romantic quality, which is underlined by the symphonic version with strings that swell freely in complex layers. This very innocent side is contrasted by the Castle theme, composed in a very baroque and serious style. These emotional outbursts give character to a game that may seem simplistic in its narration. As such, the discovery of the city of Domdora has a tragic feel to it, although the game never really conveys this explicitly.
Dragon Quest certainly set new standards, although it was not the earliest precursor to JRPGs. Its success in Japan, thanks to its accessibility, made it a classic title, widely imitated thereafter. However, it is a title that suffers from certain design choices. While exploring and discovering the world, through puzzles and discussions, is still very enjoyable, the game breaks its own rhythm through the experience grind. The title is far from unpleasant and has some really clever moments, where the player can feel a real sense of accomplishment, when a secret is discovered. But these euphoria are too scattered and drowned in a rather ponderous monotony. Nevertheless, it is still easy to recommend the title to someone who would like to discover some early JRPGs without having to deal with a title that is impossible to finish, due to a decidedly too intense difficulty.
I have already mentioned this in my review of Hydlide (1984), but JRPGs are tributary to an old history, largely connected with the Western tradition of role-playing games. Its emergence is linked to the Wizardry and Ultima series, which largely fuelled the Japanese passion for dungeon crawlers. Many games have been inspired by this approach and Hydlide is one of these titles, serving as a transition for Japanese game design. A year before the release of Dragon Quest, Enix had already released their first RPG, Chikyuu Senshi Rayieza (1985), whose mechanics may seem archaic, but are inherited from the turn-based tradition initiated by the West. The same year, Cosmic Soldier (1985) also offered a formula very close to Wizardry, but with the possibility of recruiting opponents during the fighting by talking to them. The Screamer (1985) was inspired by the same series. As for Ultima, there are many games modelled on it, such as Seiken Densetsu (1983) – not the Square series – or Ken to Mahou (1983), illustrating a real vitality for the genre in Japan, especially on PC.
My argument is that Dragon Quest came within a context that was already punctuated by role-playing games. Its uniqueness, however, lies in the approach of Yuji Horii, who had made his mark on investigative games, notably Portopia Renzoku Satsujin Jiken (1983) and Karuizawa Yūkai Annai (1985), the latter featuring some Ultima-like sequences. A joint interview with Rika Suzuki reveals Horii's emphasis on story and guided progression in an adventure game. He stands in opposition to the very cryptic and overwhelming approach of Western RPGs, where the difficulty is very high and the levels are extremely long, often with no short term goals provided to the player. This philosophy infuses the development of Dragon Quest, which, like Hydlide, attempts to offer an adventure that is accessible to neophytes. Similarly, disliking the command system in text-based adventure games, he proposed a menu system for possible actions: this has become the hallmark of JRPGs – the idea is not new, but he provides a strong synthesis of it. It seems to me that these elements must be kept in mind to understand the flow of this first title.
The player is the descendant of the hero Roto, who once saved the continent of Alefgard from destruction. The appearance of the Dragonlord has led many adventurers to follow in his footsteps, but it is up to the descendant to triumph over this evil and save Laura, the daughter of King Lars, who has been kidnapped by the Dragonlord to be his wife. The story doesn't take much longer to present its stakes and the player is dropped into the vast world of Alefgard. While the land may seem vast, progression is limited by the enemies, who grow exponentially more powerful the further the protagonist gets from Ladatorm Castle. Unlike Hydlide, it is not possible to freely explore the entire map, since encounters are random: venturing too far is like signing one's death warrant, especially since running away from battles to progress is not a very viable option.
On the other hand, the progression of the main quest is conditioned by the resolution of small mysteries that the player must solve. Talking to different NPCs reveals crucial information to locate an object or perform an action. The player is strongly encouraged to take note of all relevant information so that they can retrieve it when the time comes, whether it is the whereabouts of an item or its use. Since the clues take the form of rumours circulating throughout the kingdom, the game forces the player to go back and forth between different locations – which also allows them to gain experience along the way – to access secrets hidden in places they have already visited. Several critics have criticised the linear nature of the title, claiming that it hides behind a veneer of freedom. It seems to me that this is a misunderstanding, considering Horii's interview. The goal is not the same as in Metroid (1986), where it is indeed possible to explore quite freely. Here, the placement of clues creates a natural sense of progression, which keeps the player interested in the immediate future.
For Horii, the combat system fulfils the same function. Even when the player is lost, they can fight enemies to pass the time. This system is unfortunately quite rudimentary. While the hero can attack or use magic, defending himself is not possible, and there is little use for items in general – except in very specific cases. Compared to the novelties of earlier games and the formula popularised by Wizardry, this is a step backwards. All encounters look the same: attacking with the weapon is generally good enough and only magic-users change this approach a little, whereby spells can be used to silence them. While this makes the experience very accessible, such an approach creates an extreme redundancy in the gameplay loop, especially since the experience grind is mandatory and tedious in its length. It is indeed possible to increase the hero's power through equipment, but it is equally necessary to reach level 20 to have a concrete chance of clearing the last dungeon and facing the Dragonlord.
This is where the title shows its weaknesses. By virtue of simplifying its design, it loses what made the charm of previous games, which could keep the player's interest for a longer period of time because of their brutal nature. Horii wanted to shift the focus to exploration and puzzle solving, but these are only minor parts of the game time. The dungeons are enjoyable sections, making good use of the darkness mechanic, but they are a far cry from the extremely complex and trap-filled floors found in Wizardry. In some ways, this may be for the better, but it makes for consistently too short experiences. Encounters with unique enemies remain memorable, but can be counted on two fingers – this includes Merkido's guardian or Domdora's hidden fight.
Nevertheless, the game manages to charm with its atmosphere. Although it is based on the western fantasy setting, Dragon Quest brings a freshness through its humour. Akira Toriyama's design still works, with expressive and easily recognisable enemies. The game also has a cheerful soundtrack, with baroque and classical accents. As a side note, the composer, Kōichi Sugiyama, is known for his far-right nationalism and historical revisionism: on this point, it is difficult to have a clear answer on where to stand. Just as Wagner is an antisemite whose work is culturally important, Sugiyama popularised erudite music in video game soundtracks. The money he made working on the franchise was reinvested in far-right propaganda, and no matter what ethical solution one chooses, this is something to keep in mind. Incidentally, Dragon Quest's soundtrack accompanies the game's sense of heroic and faux-naive exploration. The Overworld theme has a contemplative and romantic quality, which is underlined by the symphonic version with strings that swell freely in complex layers. This very innocent side is contrasted by the Castle theme, composed in a very baroque and serious style. These emotional outbursts give character to a game that may seem simplistic in its narration. As such, the discovery of the city of Domdora has a tragic feel to it, although the game never really conveys this explicitly.
Dragon Quest certainly set new standards, although it was not the earliest precursor to JRPGs. Its success in Japan, thanks to its accessibility, made it a classic title, widely imitated thereafter. However, it is a title that suffers from certain design choices. While exploring and discovering the world, through puzzles and discussions, is still very enjoyable, the game breaks its own rhythm through the experience grind. The title is far from unpleasant and has some really clever moments, where the player can feel a real sense of accomplishment, when a secret is discovered. But these euphoria are too scattered and drowned in a rather ponderous monotony. Nevertheless, it is still easy to recommend the title to someone who would like to discover some early JRPGs without having to deal with a title that is impossible to finish, due to a decidedly too intense difficulty.
Boom_le_Hedgehog
1 year ago