Former Dragon Quest Producer Cites 'Safe' Game Development as Reason for Square Enix Departure

Ryutaro Ichimura, a former key figure in the production of the renowned Dragon Quest series, recently disclosed the underlying reasons for his departure from Square Enix. His decision to leave the established company and venture into independent game development was significantly influenced by what he perceived as a growing trend within Square Enix: a strong inclination towards producing 'safe' and derivative titles. This strategic shift, according to Ichimura, prioritized commercial predictability over the innovative spirit that once defined some of the industry's most beloved games. He expressed a yearning for the pioneering approach that fostered the unique evolution of classic series, contrasting it with the current landscape where risk aversion appears to dominate development choices.

During a recent broadcast of ReHacQ, Ichimura elaborated on his perspective, highlighting the contrast between past and present development philosophies at Square Enix. He recounted how the early iterations of Dragon Quest were characterized by a relentless pursuit of novelty and mechanical advancement. For instance, Dragon Quest 2 introduced a three-character party, Dragon Quest 3 pioneered job changes, and Dragon Quest 4 experimented with AI-driven party members. Each installment pushed boundaries, evolving both gameplay mechanics and leveraging the cutting-edge hardware available at the time. This era, in Ichimura's view, was marked by a commitment to pushing the franchise forward through genuine innovation, rather than relying on established formulas.

Ichimura's critique extended to more recent Dragon Quest spin-offs, such as 'Builders,' a construction-focused title reminiscent of Minecraft, and 'Walk,' a location-based mobile game inspired by Pokémon Go. He candidly described these as 'copycat projects,' suggesting that Square Enix intentionally mirrored popular game concepts to secure guaranteed commercial successes, particularly in markets where Dragon Quest's popularity had not reached its full potential. While some might argue that games like Dragon Quest Builders offer sufficient unique elements to differentiate themselves, Ichimura's sentiment underscores a broader concern within the gaming community regarding the increasing homogeneity of big-budget titles. The rising costs of game production and a corresponding hesitancy among players to invest in unproven concepts contribute to a cycle where developers are incentivized to play it safe, potentially stifling the very creativity that drives the industry forward.

Ultimately, Ichimura's critique, while perhaps sharp in its assessment of specific titles, resonates with a fundamental concern about the evolving landscape of game development. The financial pressures and audience expectations often push studios towards less adventurous endeavors. While Square Enix has, at times, ventured into more experimental projects like Foamstars, Harvestella, and The DioField Chronicle, and even the ambitious but critically divisive Forspoken, these efforts sometimes lack the marketing support or innovative spark needed to break new ground. This creates a challenging paradox for creators: how to balance the need for commercial viability with the desire to foster true innovation in an industry where the stakes are increasingly high. Ichimura's insights offer a valuable perspective on the tension between artistic vision and market demands within the realm of large-scale game production.