GDC Narrative Review
Dragon Quest XI: Echoes of an Elusive Age
Game Narrative Review
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Your name: Travis Pynn
Your school: Sheridan College
Your email: tpynn77@gmail.com
Month/Year you submitted this review: December 2019
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Game Title: Dragon Quest XI: Echoes of an Elusive Age
Platform: PS4, 3DS, Steam
Genre: JRPG
Release Date: July 29, 2017 (Japan), September 4, 2018 (Worldwide)
Developer: Square Enix
Publisher: Square Enix
Game Writer/Creative Director/Narrative Designer: Yuji Horii
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Breakdown (Act 1 / Act 2 / Act 3)
Overview
“It seems that grief and tragedy have followed you since birth. Cruel fate’s dark plan has stalked you to the corners of the earth.
And yet you’ve weathered every blow, prevailed against all strife. You’ve brushed with death a thousand times, yet still you have your life!
It is the will of Yggdrasil that you are still alive. It is your fate to save this world – for this, you must survive.
Bright Luminary, let the light shine on the world again!”
Dragon Quest XI: Echoes of an Elusive Age is the latest entry in the franchise created in 1986 by world-renowned JRPG developer Square Enix. The above passage, taken from a significant turning point in the game’s story, conveys the flavour of its classical narrative rather eloquently. It focuses on a young man who embarks on a personal journey after learning that he may be a reincarnation of the “Luminary”, the legendary hero who once saved the world of Erdrea from a terrible evil.
After meeting some unlikely allies, he learns of the existence of the “Lord of Shadows”, a malicious being threatening to plunge Erdrea into eternal chaos and strife. He realizes that his duty as the Luminary is to reach the World Tree, Yggdrasil, which floats at the center of the world and recover the sacred Sword of Light – the key to defeating the Lord of Shadows. Through a series of terrible events, however, the Lord of Shadows comes out on top. The World Tree itself falls from the sky, the hero’s companions are lost to him, and Erdrea falls victim to a calamitous darkness.
The true journey in Dragon Quest XI’s 80+ hour story is not discovering hidden power or defeating an evil overlord. It is instead the hero’s determination to pick up the pieces of a shattered world and restore it to what it once was, as exemplified in the quotation above. This change in perspective allows the game to deliver an engaging and inspirational experience with a fresh take on the time-honoured “save the world” narrative trope.
Characters
Because there are so many characters in Dragon Quest XI’s lengthy story, only those that are necessary for giving context to this narrative review will be detailed in this section. Many characters not listed here are still interesting and important in their own ways. Also note that the protagonist is named by the player, but for the purposes of this review he will be referred to as “the Hero”.
Main Party
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The Hero – Prince of the fallen kingdom of Dundrasil, and reincarnation of the legendary Luminary, he is the silent protagonist of the game. Raised in a small mountain village with an adopted family, he discovers his Luminary powers after a shocking event occurs during his coming-of-age ceremony. This moment kicks off his quest to learn the truth about himself and his lineage, which ultimately ties into the fate of the world.
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Erik – A thief who joins the Hero after their fateful encounter in the dungeons of Heliodor. He and his sister Mia were raised as Vikings, though they were mostly treated as slaves. One day, he finds a beautiful gold necklace and gives it to Mia, which gives her the power to turn anything she touches into gold. The power goes to her head, however, and the necklace’s curse turns her whole body into solid gold. Wracked with guilt, Erik eventually encounters the Seer, who tells him he will find forgiveness if he seeks out and helps the Luminary. Therefore, even though he hides his past from the party, he believes in the Hero and remains the player’s most faithful and erstwhile companion throughout the game.
“Let’s do this. I believe in you. I believe in the Luminary. I don’t have much choice, do I?” -
Veronica & Serena – Twin sisters who grew up in the sacred city of Arboria. They are descendants of Serenica, the sage who aided the Luminary of Legend, Erdwin, on his quest. Their personalities complement each other nicely – Serena is laid back and friendly, while Veronica is usually intense and confrontational. Their personalities also match their roles in the group, with Serena being the party’s main healer, and Veronica filling the position of the high-damaging mage. Their sole task in life is to find the new Luminary (i.e. the Hero), and both guide and protect him on his journey to almighty Yggdrasil at the center of the world, much like their ancestor once did.
“Bold Luminary, Yggdrasil’s chosen, long have we waited to greet you.We of Arboria swear to protect you. While we live, none shall defeat you.” -
Sylvando – An effeminate and flamboyant entertainer who provides the group with assistance, inspiration, and comic relief. Despite beginning with several red flags of perpetrating a harmful stereotype, he is actually one of the most interesting and complex characters in the game. He was once a knight but decided to pursue his true passion of bringing joy to people after seeing the circus for the first time. His father, a famous warrior who trains knights from all kingdoms of the world, did not approve of his decision. They got into a huge fight before Sylvando left, and he expresses great fear over meeting with his father again.
“Don’t worry, darling! I’m with you all the way! We’re going to bring smiles and sunshine back to the world if it’s the last thing we do!” -
Jade – King Carnelian’s daughter, the lost princess of Heliodor. Because of the close relations between Heliodor and Dundrasil (and the early death of her birth mother), she viewed the Hero’s mother as her own and was ecstatic to hear of the birth of her “baby brother”. During the fall of Dundrasil, the infant Hero is placed in her care while fleeing the castle, but she drops him in the river after being attacked by monsters. This incident haunts her as she grows up, believing that the supposed death of the Luminary is her fault. That guilt drives her to become stronger, eventually maturing her into a powerful martial artist. When the two finally meet again as adults, Jade vows to protect the Hero for as long as need be, as atonement for her previous failure.
“I’m glad I caught you…I couldn’t have forgiven myself if…if it happened again.” -
Rab – Former king of Dundrasil, and the Hero’s grandfather. After the deaths of his daughter Eleanor and son-in-law Irwin during the fall of Dundrasil, he wandered the land of Erdrea with Jade, yearning to find out why Dundrasil was destroyed. With King Carnelian spreading rumours that the Hero is a spawn of evil who will bring ruin to Erdrea, the pair refuse to return to Heliodor until they get to the bottom of the mystery. During his travels, he learns of Mordegon’s existence, the supposed Dark One who would throw Erdrea into chaos and turmoil. He explains the dire situation to the Hero after they are reunited in the ruins of Dundrasil, and accompanies him on his quest.
“These two young souls died, and I survived…I came to believe there must have been a reason for that – that someone had a purpose in mind for me…” -
Hendrik – A man from the lost kingdom of Zwaardsrust, now serving as a knight of Heliodor in the service of King Carnelian. He is fiercely loyal, and never questions his king’s orders, thus making him an antagonist for the first act of the game. He reconciles with the Hero after learning the truth about Mordegon’s possession of King Carnelian, and vows to protect him until the Lord of Shadows has been defeated.
“I swore an oath! I am the Luminary’s sword! His shield! His unswerving companion!”
Antagonists
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Mordegon – A dark incarnation of the wizard Morcant, he claims to be the “Lord of Shadows” and is the main antagonist for the majority of the game. After orchestrating the fall of both Zwaardsrust and Dundrasil with his army of monsters, he possesses the body of King Carnelian after failing to kill the infant Hero. Eventually, with the help of Jasper, he steals the Hero’s Luminary powers as well as the sacred Sword of Light, causing the fall of Yggdrasil and the deaths of countless people. Mordegon is interesting in that he is one of the series’ few villains who actually succeeds in his main goal.
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Jasper – Hendrik’s fellow knight and childhood friend, who always tried (and always failed) to surpass him. Living his whole life in Hendrik’s shadow, he didn’t turn down any offer to make himself stronger. Aware of King Carnelian’s possession, he pledged his service to Mordegon for dark power, vowing to destroy the Luminary and prove himself better than Hendrik once and for all.
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Calasmos – The true “Dark One” who fought against Erdwin and his companions. Although he was defeated, he could not be destroyed without the power of the Luminary (thanks to Morcant’s betrayal). Thus, Serenica and Drustan sealed his body in a floating prison that would later become known as Erdwin’s Lantern, but his soul remained on Erdrea as a dark spirit.
Other Important Characters
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The Heroes of Old – The companions who defeated Calasmos many ages ago. The original Luminary of Legend Erdwin, who was killed before he could deal the finishing blow to Calasmos. The sage Serenica, who was both Erdwin’s protector and lover. The warrior Drustan, who sealed Calasmos away with Serenica and founded the kingdom of Zwaardsrust. And finally, the wizard Morcant who betrayed Erdwin in the end because of the promise of power from Calasmos. Morcant’s soul was rent in two afterwards – one aspect became Mordegon, while the remaining good part of him became the Seer.
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King Carnelian – The current king of Heliodor. He was good friends with the Drasilian royal family, and once believed in the power of the Luminary more than anybody. All that changed, however, the night Dundrasil was ravaged by monsters and Mordegon took control of his body. He now spreads rumours across the land, dubbing the Hero “Darkspawn” and warning others of his threat.
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Eleanor and Irwin – The king and queen of Dundrasil, and the Hero’s birth parents. Eleanor was Rab’s daughter, while Irwin married into the family. They were kind souls who both tragically perished during the fall of Dundrasil.
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Queen Marina – The mermaid queen of Nautica, the underwater city. After the fall of Yggdrasil, she rescues the Hero and temporarily transforms him into a fish to hide him from Mordegon’s prying eyes.
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Gemma – The Hero’s childhood friend from the mountain village of Cobblestone. She shows strong feelings towards the Hero and is distraught when she learns of his journey to leave the village.
Breakdown
Featuring well over 80 hours’ worth of content, Dragon Quest XI’s story has a lot to unpack. Instead of detailing every plot point, this breakdown will analyze the overall narrative structure, strong characterization, and other storytelling techniques that are at work to create an engaging and impactful experience for the player, using specific examples from the game.
Narrative Structure & Storytelling Techniques
Dragon Quest XI’s story follows a very linear structure and can be easily broken down into three distinct acts, each of which will be summarized and analyzed further below. The first two acts make up the main story of the game, while the third is hidden behind the guise of “post-game content”, when in reality it is just as important (if not more so) to the overarching narrative of the game.
Story progression is told through voiced cutscenes, each one playing when reaching new areas or triggering relevant events and dialogue. Almost every one of the game’s 100+ cutscenes has a three-fold purpose: establish what is currently happening in the context of the location or world, help develop the characters in even the most subtle ways, and then give clues on where the player should be going next. This formula seems restrictive and repetitive in theory, but Dragon Quest XI handles it in a way that feels natural. The player is almost always given a reason for not only why they should be doing what they’re doing next, but why they should want to kick off the next section of the story. By mixing in side-quests, dungeon-crawling, and exploration, the player is also free to progress the narrative at their own pace.
For example, when the party first gets access to Sylvando’s ship, their destination is the ruins of Zwaardsrust. But with the ability to sail, a greater portion of the world is now opened up for the player to discover on their own if they so choose. And if the player ever feels lost or forgets where they should be going, there is an option to talk with their fellow party members at any time to get hints and reminders of what they should be doing next. In addition, these small blurbs of dialogue continue to reinforce the other characters’ personalities, and their relationships with the Hero and each other. The player is constantly put into a narrative-induced flow state which isn’t broken between story beats. All of these elements put together make the linear structure of the game work incredibly well.
Characterization
In almost all cases, the characters of Dragon Quest XI are strong and well-written. Their personalities are all distinct and entertaining in their own way, ensuring that they each have a purpose. The story’s development provides context for the characters to slowly open up to the player – instead of receiving their entire backstory and purpose for joining upfront, the player starts to gradually understand their motivations through the progression of the narrative.
For example, when first arriving at the waterfront city of Puerto Valor, there is a small cutscene where Sylvando simply states that he’s going to wait outside, but he is clearly very uncomfortable and against the idea of entering the city. The player is left curious as to what the reason could be, and when their ship sails through its gates, Sylvando is seen cowering in fear on the deck. The entire situation is not brought up again until Sylvando’s character arc in the second act of the game, and that kind of foreshadowing assists players in growing with the other characters. It is what helps subvert their expectations of what they think the characters should be, and mold them into what the characters really are.
In battle, the characters also come alive and work to merge the elements of narrative and gameplay. Each character’s fighting style perfectly matches their personality, mannerisms, and archetype outside of combat. This is a very effective way of reinforcing who the characters are, especially when battles are a huge component of the overall gameplay. And it’s not just the main characters – the monsters also have their own unique way of fighting. They have fun animations, and tendencies to do non-combat related things in the middle of a fight, like the squid kids who spend their turn doodling in the sand. These little details personalize even the most minor of characters throughout the game, and overall it brings the world together as a wholistic, living environment rather than just a sum of its parts.
Three-Act Summary and Analysis
Act One
Beginning with an expository cutscene showcasing the fall of Dundrasil, this act of the game works to both introduce all of the main characters, and establish most of their backstories, goals, and personalities. After being dropped in the river, the Hero eventually ends up in Cobblestone, where he is found by an old man and his family. This family raises him as their own, and he grows up happily with his best friend Gemma, oblivious to the true circumstances of his birth. The gameplay begins with the two of them climbing Cobblestone Tor – a coming-of-age ceremony that they overcome together since they were born on the same day.
In this section, Gemma acts as a supporting battle member, but also as the first engaging character that the player can start to feel a connection with. When they reach the summit, a flying monster attacks them and Gemma almost falls off the face of the cliff. Desperate to save his friend’s life, the Hero’s hidden Luminary powers unlock, and the monster is struck down with divine lightning. This scene is powerful because the short events leading up to it already establish to the player the strong bond between these two characters. While Gemma isn’t totally relevant to the rest of the game’s story, her presence sparks the player’s understanding of how the Hero feels and acts around other people.
After learning the truth from his adopted family that he is the reincarnation of the legendary Luminary, the Hero leaves Cobblestone seeking the king of Heliodor at the behest of his mother. When he arrives, King Carnelian arrests him, calling him “Darkspawn” and throwing him in the castle dungeons. It is here that the player meets Erik, their first real party member of the game. Erik doesn’t reveal much of his past, but it becomes clear that he’s with the Hero for the long haul, and the player can see their bond start to develop. On the run, they pass through Cobblestone, finding that it has been completely burned to the ground at the hand of Jasper. Distraught with grief, the Hero experiences a vision of the past – from when he was six years old. In this “vision”, however, nobody recognizes him, and he even sees his younger self.
Immediately, the player can feel that something isn’t right. Eventually he speaks to his adopted grandfather, who recognizes the Hero as a grown-up. He tells the Hero to go to Cobblestone Falls and dig under a specific rock. With that, his grandfather starts to fade, and the vision distorts, returning the player to the ruins of present Cobblestone. When the Hero does what he was told, he finds a box under the rock containing a very old letter from Eleanor and one from his adopted grandfather including these words: “I haven’t the foggiest how you managed it, but I met your future self today.” This is the player’s first clue that strange temporal forces are at work in this game, and it creates a small feeling of uneasiness which persists through the rest of the story.
Through their adventures, the duo eventually meets Veronica and Serena, who tell the Hero that they are there to protect him on his journey to Yggdrasil. Their goal is to find an artifact known as the Rainbough – a golden branch from Yggdrasil itself, as they believe it will help them discover the means to reach the floating World Tree. After ascertaining the Rainbough’s location, they encounter Sylvando, who befriends the party and grants access to the wider world with his ship. On the next continent, the party meet Rab and Jade, who had won the Rainbough in a tournament. This section marks a fairly significant turning point in the game’s narrative in a couple of ways. First, it marks the discovery of the antagonist, Mordegon. Second, because of Rab and Jade’s preestablished personal connection to the Hero, it is the first time the player really gets significant insight into his past.
Eventually, after overcoming many trials and collecting seven magical orbs (classic), the party finally make it to the World Tree. But the story is far from over, as Jasper and Mordegon show up to effortlessly dispatch the party. Mordegon steals the Hero’s Luminary powers, allowing him to take the Sword of Light, which he transforms into an evil blade. He shatters the heart of Yggdrasil, causing it to fall to the earth, and Erdrea is thrown into turmoil. This scene is powerful and turns the classic and predictable narrative up until this point on its head. In these very traditional stories, the player would usually never expect the villain to actually succeed in their main goal, and they are left shocked and curious as to how the world will recover from the catastrophe.
Act Two
If the first act’s purpose is to introduce and establish characters, the second act’s purpose is to break those characters down into their most vulnerable components and create lasting impressions of them onto the player. In this section of the story, when the world is all but destroyed, the tonal shift is palpable.
Beginning with the Hero by himself, he wakes up six months later in the underwater city of Nautica. Queen Marina explains all that has happened since the fall of Yggdrasil and implores him to bring light back to the world (as detailed in “Overview”). It’s not all inspirational though, as Nautica is under siege by Mordegon’s servants of darkness, and with its breach, the mood returns to that of sadness. The Hero then heads back to the ruins of Cobblestone, which has since been fortified into a holdout called the Last Bastion.
Upon arriving, the despair permeating the air dissipates for a beautiful moment when Gemma is seen again, alive and well. After believing her dead for so many hours of gameplay, and losing all your other companions, seeing her again is extremely emotional and impactful. As it turns out, the Last Bastion is watched over and protected by none other than Sir Hendrik, the knight of Heliodor who mercilessly hunted the Hero down over the entire first act of the game. He had stopped Jasper from murdering the residents of Cobblestone, instead keeping them (relatively) safely locked up in Heliodor, at his king’s orders.
Through an awkward forced alliance, Hendrik slowly opens up to the Hero, admitting he was wrong for doing what he did. The pair learn that Mordegon has employed seven Spectral Sentinels across the land, each in possession of one of the magical orbs. Defeating these minions of darkness and recovering the orbs will cause light to return to the area which they ruled over. Thus, Hendrik and the Hero set out on a journey to find his lost companions and restore light to the world of Erdrea, just as Queen Marina instructed.
This portion of the game is the bulk of what makes its delivery so impressive. Slowly but surely, the player explores the broken remains of the once-grand world they enjoyed in the first act, finding and helping their lost allies along the way. Erik’s arc in the second act is particularly impactful, especially since the player learns very little about him during the first part of the game. He is found on the ship stealing food, and the party discover that he has amnesia – he only remembers his name. When they find that the snowy kingdom of Sniflheim is being tormented with a curse called “Gold Fever”, which unsuspectingly turns people to solid gold, Erik has a panic attack as memories start flooding back to him. Through this section of story, the player discovers the sad tale of what happened with him and his sister, Mia. And finally, after so many hours of time spent together with Erik, the Hero saves Mia from her curse, and Erik finds forgiveness just as the Seer foretold. With his memories back and his resolve strengthened, Erik once again vows to help the Hero until Mordegon is defeated for good. Each of your former companions has a part of the story dedicated to them in this act, exploring the deepest parts of their psyche and making the player connect with them in ways they never thought possible.
The most heartbreaking and shocking part of this act comes when the player reaches Arboria again and learns of Veronica’s untimely death. The party discover that she had sacrificed herself to save everyone during the fall of Yggdrasil, placing the last of her remaining faith in the Luminary and all her friends. With Serena in shambles, and no “just kidding!” moment in sight, the player is forced to realize that none of the characters in this game are safe behind ‘plot armour’. With that fear, and the resolve to avenge Veronica, the remaining party set out to forge a new Sword of Light, just like the heroes of old once did. Following the echoes of that elusive age, they acquire the means to defeat the Lord of Shadows and return peace to the world once again. The finale of the act plays out like one would expect – Mordegon is slain, the party celebrate their victory, and the credits roll. But the player is left with a major feeling of “…that’s it?”
Despite all the time spent on their adventure, the ending feels bittersweet and somewhat unresolved. The world was saved, but at what cost? There are also a few peculiar events that occur beforehand that hint at something more going on, like when Erdwin’s Lantern is falling towards the desert city. The people are panicked, but Mordegon swoops in and destroys the lantern for no apparent reason (the party at this point still know nothing about Calasmos). These strange red herring-like events encourage the player to reload their save after the finale and see what the “post-game” has to offer.
Act Three
This portion is a black sheep, and some players may not even experience it because of the premature credit roll at the end of act two. However, many of the most interesting narrative decisions, twists, and breakthroughs occur in the third act of the game. These events tie up all the loose ends from the previous acts, and even establish Dragon Quest XI’s place in the chronological timeline of the entire series.
After an introductory scene of the party in Arboria paying respects to Veronica’s grave, they venture to a new area where they learn of a way to “bring people back”. Upon discovering that what this really means is going back in time to change the past, the party is initially ecstatic. They can save Veronica and all the people who suffered at the hands of Mordegon! They can save the world the proper way. But their joy disappears upon learning the intricacies of the situation.
All of Erdrea’s memories are collected and contained in a magical artifact called the “Time Sphere”. To shatter this sphere would be to return to the time of the last intact memory, but there is a catch. In the mysterious Timekeeper’s words: “The sphere can be shattered but once, and by a single hand.” Only the power of the Luminary can break the sphere using the Sword of Light, and there is no going back. Once done, he will be lost to this time forever, leaving his companions behind. This scene is more closely detailed in “Highlight”, but in short, it is with a heavy heart that the player makes the decision to shatter the Time Sphere.
The Hero successfully goes back and defeats the Lord of Shadows before he can destroy Yggdrasil. However, Mordegon realizes what the Hero has done, and with his dying breath he ominously warns the Hero that he is not the only one who defied the flow of time. It turns out that in the events of act two, Mordegon had destroyed Erdwin’s Lantern to prevent Calasmos from reviving, ensuring his place as the true overlord of Erdrea. Calasmos’ spirit had attached itself to the Hero before he went back in time to make sure that Mordegon was defeated in the new timeline. When that was successful, he was free to reconnect with his body when the lantern fell.
In a finale that is a true echo of the past events, the reformed party now needs to defeat the Dark One, Calasmos, once and for all. With their success, the Hero returns the Sword of Light to Yggdrasil’s heart. In doing so, he meets with the World Tree’s true form, Yggdragon, who explains more about the world and its history, and dubs the Hero with the name of “Erdrick”.
The final scene of the game shows a woman reading a book about the Legend of the Luminary, then waking her son up and saying he’s got a big day ahead of him. This scene is actually a recreation of the opening scene of Dragon Quest III; the hero’s official name in that game is, in fact, Erdrick. This true ending of the game is a bit cryptic and leaves a whole other paper’s worth of material for discussion and analysis, but it is still incredibly significant and satisfying.
Strongest Element
Dragon Quest XI’s strongest narrative element is without a doubt its characters. The game has an uncanny ability to drag players away from their preconceptions of character archetypes to view them in a more realistic and empathetic light. Sure, Erik fits the cocky thief archetype, but he also portrays more tender qualities such as loyalty, kindness, and guilt. Jade is more than just a sexy martial artist, and Rab is more than just a goofy old man.
Every side character is incredibly complex and well-rounded, and they all work together to create a party dynamic that is both engaging and relatable. They are what make the long journey fun; they are what make the journey worth it. And it’s not just the important characters – minor NPCs and even the monsters roaming the world had extensive thought put into their characters. Whether it’s the people in a town who all speak in Haiku or the monsters teaching a class in a secret library, they all have distinct personalities, accents, and mannerisms that vibrantly bring the world and its story to life.
Unsuccessful Element
Paradoxically to the strongest narrative element in the game being its rich, well-written and complex cast of supporting characters, the least successful element is the main character himself. Dragon Quest XI’s reliance on its roots carried it far, but its choice in keeping to the tradition of the silent protagonist (which is supposed to be a self-insert for the player) was to its detriment.
Everything about the Hero – his appearance, gender, backstory, upbringing, even fighting style – was so carefully crafted and predetermined that it’s actually on par with the depth of the other characters. Everything that the player would expect to be able to choose, change, or customize if they wanted to view themselves as the main character of this story has already been decided for them.
The result of this fusion is a protagonist who is bland, uninteresting, and who not only rarely offers anything to the game’s narrative, but often actively detracts from it. In one of the most emotional and heartbreaking scenes of the game, Serena is grieving the death of her dear sister Veronica, who sacrificed herself to save everyone. Despite being the only other person present in the scene, our protagonist does nothing but watch her with a mostly blank expression while saying absolutely nothing. In another example, there is a scene during the second act where the Hero recovers his Luminary powers by saving the tormented souls of his deceased parents. The player learns so much about the Hero and his parents during this bittersweet scene, yet he keeps the same blank expression and almost all the talking is done by Rab.
Through the above examples and many other offences, this immersion-breaking behaviour actually ends up creating a rift between the player and the Hero, which is the complete opposite effect of the intended purpose of a silent protagonist. The Hero is not the player. He is the Luminary, and he should have had a voice and personality as well-developed as the rest of his character.
Highlight
The single most powerful moment in Dragon Quest XI’s narrative is when the Hero (and subsequently, the player) must make the decision to shatter the Time Sphere and return himself to the time before Yggdrasil fell. In this scene, when you approach the Sphere your party members physically stop you from going any further. These people – friends who you’ve spent countless hours with – form a human wall and beg you not to go through with this decision. The reason this is such a big deal is because many of the most emotional and character-developing events occur during the second act of the game. Yes, the player can go back in time and defeat Mordegon before he can destroy Yggdrasil. Yes, they can save Veronica and get their whole party back. But there lies the issue – it’s not their party.
The Erik of the past never saved his sister and found forgiveness.
The Sylvando of the past never had to face his father and extinguish his fear.
The Serena of the past never experienced the pain of losing a loved one and the personal growth which accompanied it.
One by one, the player’s party overcame their demons; they went to hell and back together. They saved the world. To return to that fateful day essentially means erasing many of their most precious memories and accomplishments – as the Timekeeper says, “To lose time is to lose much.” The catch is: this dilemma is never explicitly laid out to the player. All they are told is that the Luminary is the only one who can return to the past. It’s up to the player themselves to come to the realization that leaving their current companions behind means so much more than just physically leaving them. It’s up to them to understand exactly why their party members are so against the decision, and that makes it all the more powerful.
This single decision tests the bonds that the player has made (not the Hero) with the other characters. When almost all of the other “choices” given throughout the game are mostly arbitrary dialogue alterations, this one feels meaningful. It legitimately feels like a difficult decision, and that’s what makes it so beautifully impactful.
Critical Reception
Heidi Kemps from GameSpot gives the game a 9/10, claiming that it is “proof that traditions and tropes don't have to feel worn-out and dull, as this gorgeous adventure will challenge your skills, tug at your heartstrings, and keep you eagerly playing further and further into its lengthy quest.” She continues by praising the characterization of the game’s various personalities to help with narrative engagement, and she commends its exceptional ability to present a gameplay formula that’s been around for decades. “Dragon Quest XI is one of the best modern examples of this; its beautiful presentation, both visual- and story-wise, combines with a tried-and-true gameplay formula for a journey that’s full of heart and soul.”
Reviewer Mollie L. Patterson from Electronic Gaming Monthly rates it with 4/5 stars. She appraises the game’s strong cast of characters who fit into recognizable tropes at the beginning but develop into so much more. In particular, she commends the strong writing for Sylvando’s character, who initially shows red flags of perpetrating Japan’s shameful “’wacky-homosexual’ stereotype”. In reality, his character arc takes him in a much deeper direction, and he is also well-respected by the rest of the party. Mollie’s review also agrees with the argument that the protagonist is the most unsuccessful part of the game’s narrative, claiming that “In scene after scene, the narrative happens around the hero, or to the hero, but never with the hero.”
Game Informer’s Kimberley Wallace scores Dragon Quest XI with an 8.25/10. Her review highlights that while the franchise shows its age, it’s also a “…great reminder of what made RPGs fun in the first place.” She compliments the game’s ability to “…[stay] true to the series’ sense of adventure”, yet still create an engaging experience. However, she also recognizes the hindrance of relying too much on traditional roots and ends the review by saying “It’s about time the series took some risks.”
Lessons
One important lesson that Dragon Quest XI really drives home is that the content of a narrative is often less important than its delivery. The game’s story is not wildly revolutionary or original, but it is expressed in a way that’s creative, heartfelt, and full of charm. Using other tools of narrative design to one’s advantage can greatly help to keep players engaged in a plot they’ve most certainly seen done before. Dragon Quest XI makes the world feel alive through its strong characterization of all characters, including minor NPCs and even monsters.
Secondly, linear structures allow for a much more carefully crafted narrative experience. By not falling victim to the now-popular trap of “open-world exploration”, the designers were able to tell their story exactly how they wanted it to be told. The game also demonstrates that a linear narrative progression does not mean completely taking away the player’s freedom, as there are plenty of things to do and explore between story beats. Things like crafting, gambling, side quests, and world discovery all work to give the player a break and progress the narrative at their own pace.
A final lesson learned from Dragon Quest XI is that following tradition or convention can be both an opportunity and a detriment. One of the game’s greatest strengths lies in its formula – a formula that’s worked for the series since the ‘80s. It helps make both the story and gameplay easier to recognize, understand, and follow. They also expanded on the formula, using it as an opportunity to try new things. However, with the damaging example of its silent main character, reliance on the formula held the game back – there comes a point when the past must be abandoned. If an element of the game is actively degrading the quality of the narrative, there is no reason to hold on to it simply because of tradition. It is up to the designers to impartially analyze which parts are working, and which aren’t.
Summation
Dragon Quest XI doesn’t do much that’s new, and that’s part of what makes it beautiful. It follows the same narrative structure as many of its predecessors, and of hundreds of other roleplaying games, but still easily hooks players into its captivating world. The characters are deep and engaging. The world is vast and lively. The tone fluctuates between playful and serious. All put together, the game delivers an incredibly clichéd narrative in an incredibly clever and appealing way, and it teaches others that it’s okay to do so. And although the player’s character is a bland medium for exploring the masterfully crafted world of Erdrea, Dragon Quest XI resolves as an unforgettable journey, nonetheless.
Citations
Kemps, Heidi. “Dragon Quest XI Review.” GameSpot, 26 September, 2019,
www.gamespot.com/reviews/dragon-quest-xi-review-nintendo-switch-definitive-/1900-6416969/
Patterson, Mollie L. “Dragon Quest XI: Echoes of an Elusive Age review.” 28 August, 2018,
https://egmnow.com/dragon-quest-xi-echoes-of-an-elusive-age-review/
Wallace, Kimberley. “Dragon Quest XI: Echoes of an Elusive Age.” Game Informer, 28 August, 2018,
www.gameinformer.com/review/dragon-quest-xi-echoes-of-an-elusive-age/relying-on-the-past