Dragon Quest XI is an important game. No, not because it’s currently topping the Japanese sales charts, but because it’s a damn fine RPG – a return to a familiar world and mechanics that have been refined over thirty years. Dragon Quest XI explores the importance of reflecting on the past with the presentation and other features unique to the Nintendo 3DS version put to use to support this theme. It’s an adventure that works effectively to re-examine the history of Dragon Quest and deliver a new but nostalgic tale filled with memorable characters and moments.

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The story follows a traditional structure, linking together short vignettes to create several plot arcs. These vignettes have become a staple of the series: they range from lighthearted episodes to tiny tragedies and while some are definitely stronger than others they help to introduce the characters and explore their histories while contributing to the cohesive themes of re-examining the past and overcoming despair.

The first act does a good job of introducing the characters and establishing the conflict. We first see the hero as a baby, fleeing the country and ending up in the care of villagers. Sixteen years pass and he becomes aware of the power signified by the crest on his hand: to some it signifies hope, while the leader of a neighbouring kingdom believes it will bring misfortune. This declaration casts some doubt for players too, as the hero is chased off the continent for basically being the antichrist. Of course, there are those who believe in the hero, and the episodic structure of the story introduces each of these companions in turn. The second act slows down as the characters search for a set of magic orbs, but it also hosts some of the strongest vignettes. In particular, there’s an emotional tale about a mermaid that’s a standout for the series.

Overall, the plot of Dragon Quest XI doesn’t come close to turning the whole hero’s journey formula on its head, but it does reexamine several common tropes in the genre. It part this is because of the strong cast characters: a likable crew of companions who all develop over the course of the story. They all draw from familiar tropes: the rebellious princess, the pervy old sage, the cold but kind-hearted thief and so on. The game avoids cheap twists and instead examines their history to uncover a hidden side of them. The party members also open up to each other in a way that feels natural. There’s more to them than meets the eye, but it’s difficult to explain exactly why without running through the plot and spoiling many moments in the game. Lacking an English release yet, it’s safe to say that it’s a title that many are interested in but few have played. If you’re part of those few people who have actually finished the title and don’t mind all the spoilers, the next section is for you. If not, skip over that spoiler tag and keep on reading.

Spoilers The final act begins with the fall of the Tree of Life that looms over the continent. The villains have seemingly won and from this moment, there’s a sense that things will be very different. I mean the hero turns into a fish for a few months! Lotozetasia isn’t quite the alien landscape of Final Fantasy VI, though; it has become a “world of ruin”, but one that hasn’t changed too much. After the initial despair at seeing how the fall of the tree has devastated the landscape, the hero is reunited with his family of villagers thought to be dead earlier in the game. This plays to the cycle of death and rebirth that’s central to the game. Many moments in this final act are shocking at first, but they involve the characters overcoming despair – whether that’s through getting the gang back together to tackle the final boss or donning a Mardi Gras costume and going on parade. Despite the backtracking, the third act might be the strongest segment, as it leads to a lot of strong character moments. With her snappy comebacks and wisdom beyond her years, Veronica was my favourite character, so I was very shocked when she was unceremoniously killed off between acts with a heroic sacrifice that is only seen in flashbacks. It’s a very effective moment that’s more than just motivation for her sister Serena, whose set of skills expands as she draws from her sister’s power. The final act also introduces an unlikely final party member (until you notice the weapon that no-one else can equip), Hendrik, who first appears as one of the knights in pursuit of the hero. Hendrik’s arc of redemption shows the multi-faceted nature of the cast and he has interesting personal ties to the villainous kingdom the characters spend the whole game fighting. A flamboyant circus performer might seem like a strange party member, but Sylvando was also a standout, serving as an entertaining team mum. The series has always been very conservative when it comes to design, something which extends to the games’ politics. Some characters could have been handled a lot better (there are several supporting characters who play to negative homosexual stereotypes), but the fact that there’s an (arguably) trans DQ character whose biggest character moment involves effectively coming out to her family really took me by surprise. That said, the game’s reliance on RPG tropes sees it falling back to typical gender roles and sexing up characters who didn’t need to be. At times it felt like a game designed by old men who need to pass on the torch, at other times it felt sort of progressive in a “these mechanics haven’t changed from the 80s” kind of way.

The world of Dragon Quest XI is one where the heroes can view and explore memories. Often these appear as playable sequences used for problem-solving. For example early on this ability is used to see that a missing character was transformed into a dog. As the game progresses, it uses this device to tell more personal stories, although this isn’t a time travel tale like Dragon Quest VII. Even as a participant in the past, events happen outside of your control; it’s difficult to accept at times because, this being Dragon Quest, it tends to revel in tragic things happening. Dragon Quest XI stresses the importance of exploring memories to determine the true course of events, something supported by the way it calls back to past adventures. Of course, whether that’s intentional or just a continuation of the series’ conservative design is arguable but I felt that the familiar creatures and plot beats served as more than just nostalgic navel-gazing.

This 3DS version of Dragon Quest XI also invokes memories of past adventures through its presentation, with an optional 2D mode that gives this quest even more of a retro feel than usual. Initially the 2D and 3D modes appear simultaneously across both of the console’s screens. Simply moving between the slide pad and d-pad instantly swaps between the two views. It’s a cute idea, but the limitations of this format are quickly revealed. The way a 2D and a 3D RPG is designed is very different; the starting village feels awfully claustrophobic when rendered in three dimensions, and the 2D cutscenes drag on for too long as the characters emote on the other screen. The game struggles to find a satisfying compromise so it’s for the best that it lets you pick between the two modes after the prologue. The differences from this point on are more stark; the developers have effectively designed two worlds for the two styles, which can be swapped by speaking to a priest.

There are some advantages to different versions – as some early quests explain, the 2D mode allows players to easily see items tucked away at the top of buildings. But these advantages are mostly superficial and the game even reverts back to the 3D style when doing things like forging weapons, which creates an odd inconsistency. However, the two styles do give a different sense to the scenario. Seeing a sinister castle loom in the difference or witnessing the cast shed tears during an emotional cutscene adds a lot to the experience, one that I preferred over the flat 2D representation. But at the same time some must prefer the level of abstraction used in those older RPGs, using their imagination to overcome the limitations of the format. It’s worth noting that Dragon Quest XI also allows players to place other restrictions on their experience like the inability to use stores or escape from battles. Since the series appeals to different generations of players, the two styles create an immediate sense of familiarity. The stand-alone nature of the story might make it approachable to newcomers, but thematically it builds off the assumption that players are already familiar with Dragon Quest and its associated tropes.

For better or worse, the sounds of the game also help to create an instant sense of familiarity. Although the reused sound effects are expected, there’s no distinction between the music for the three versions. It must be odd to hear weak synth trumpets blaring from the Playstation 4. Once against the soundtrack is stretched thin; the short score simply can’t support a 50-hour title without becoming boring. It’s easy to dismiss this lack of variation as lazy and at times it absolutely is. Songs from throughout the series are recycled with little thought given to how they fit a particular scene. But at the same time, Sugiyama’s composition style is the one thing that has stayed consistent throughout the series. Keeping to his orchestral roots, he essentially composes chamber music for an orchestra and then adapts it to sequenced tunes, creating the musical style of the series – one that has impacted the sound of the genre in general. At times Dragon Quest XI sounds uninspired, but it never sounds inauthentic.

The combat in Dragon Quest XI is classical, but I didn’t find it dull. Whether you strike an enemy on the field in 3D or run into a random encounter in 2D, fights play out in the usual turn-based way. At this point I’m not sure if I’d call it an abstraction or just how it’s accepted that combat works in this universe. It’s assumed and expected, but thankfully it still works well. XI expands on the skill points used in the last few titles, which are now spent to unlock new skills and stat boosts that are laid out on a grid. This allows you to customize each character in a number of ways. Is Rou the kind of guy who would support the party with spells or would he dive in with a more claws-on approach? Just as there is more to each character than it initially seems, their roles in battle are adaptable and their potential builds increase exponentially as you explore their motivations and learn more about them.

In a similar sense, the characters gradually acquire more team-based moves as they party explores and grow closer to each other. These powerful skills can be used if certain characters are in a “zone” state. Getting into the zone happens randomly when characters take damage and boosts their stats until a few turns pass or they bust out a special move. It happens frequently enough to never feel frustrating and the variety of team techniques had me thinking more carefully about party composition. Battles are basic and familiar, but they effectively represent the simplest themes behind the game. Most fights won’t provide a great deal of challenge, but the difficulty increases significantly in the final act, mostly because it messes with the party composition before bringing everyone together.

That said, frequent pit stops make it trivial to keep the characters’ HP and MP topped up for free. Even dungeons are littered with campsites where the party can stop, save and recharge, robbing the game of the resource management that was so integral to earlier titles. But the campfires are a welcome sight, providing a place for relaxing and reflection. In addition to the return of party chat where the characters chime in with comments on recent events (or where to go next), Dragon Quest XI has conversations at camp. It’s always a nice sight to see everyone warming up by the campfire after tackling a tough dungeon.

Campsites also serve as a place to forge equipment. By combining materials and playing a surprisingly enjoyable minigame, the gang’s gear can be crafted and improved. The game gives out materials and recipes very generously, cutting out a lot of the tedium I experienced in Dragon Quest IX. The side quests scattered all over the world are also an improvement. Sure, there are still some annoying requirements like defeating an enemy with an ability that can only be used if certain members are randomly in a zone, but overall they work as welcome, if inessential, tiny narratives.

Similarly, the landscapes themselves are more geographically diverse than earlier quests. The creative staff said they were inspired by a trip to Peru, which is definitely evident in the way the maps make use of elevation for a change. The party might scale a mountain or climb on a bee to soar above the creatures below. Each region has a distinct identity, varying from a Japanese hot spring village to a Middle-Eastern city. The 3DS version of Dragon Quest XI lacks the detail that makes the environments of the PS4 version feel so alive, which is perhaps why the presentation doubles down on nostalgia instead.

Most nostalgic of all is the 3DS version of Dragon Quest XI’s unique Streetpass mode. After visiting a village of cute “Yocchi” creatures, players can collect, customise and swap them to progress through simple side-scrolling dungeons. These guys can be found all over the world so this mode is perfectly playable even if there’s no-one nearby. Teaming up to take down monsters in the “Labyrinth Beyond Time” is all very Streetpass Quest, right down to the irritating coloured barriers. It’s not all that enjoyable, but it is rewarding because the labyrinth is littered with treasures. These include the main draw – adventure logs that transport the party to the previous ten Dragon Quests for short and weirdly canonical episodes. These familiar scenarios keep close to the look and sound of the original titles, even if it means downgrading the party to Famicom graphics. My experience with the series is still limited so this attempt to capture players’ sense of nostalgia didn’t work on me, but appreciate the effort put in. Since part of the game involves exploring shared memories, it’s interesting to see the games themselves treated in a similar sense, so this mode fits well with the key theme of revisiting the past.