Every town has a save point, an item shop, an armor and weapon shop, the person you talk to for your mission(s), and not much else. But after visiting a few of them, it becomes clear that their individuality is not much deeper than a reskin. Every city is populated with NPCs you can talk to, and each of them has something unique to say. Square EnixĪll of those towns and locations you visit are unique - there’s the desert-themed city, the Polynesian-themed city, the city where everyone speaks in haiku - and beautiful. As with so much of Dragon Quest 11, the scope seems enormous and deep, but turns out to be limited and fairly shallow. You can figure out where you are in the world by the landscape or architecture, or even the way the characters speak. There are dozens of locations that you can visit, each with its own visual style and population of varying-degrees-of-helpful NPCs. Dragon Quest 11 too often extols the virtues of the former at the expense of the latter.ĭragon Quest 11’s world, Erdrea, is rendered in a gentle cel-shaded style that is fantastical, immersive and gorgeous. And while it may seem absurd to complain about getting so much for the price, its length raises a comparison between quantity and quality. It was with the game as a whole - because it’s just a whole lot of game. It’s been a long time since I played a turn-based JRPG, but my trouble with Dragon Quest 11 wasn’t just the usual adjustment period when starting a new game. I’ve had a complicated relationship with Dragon Quest 11: Echoes of an Elusive Age over the last couple of weeks, when I spent about 70 hours playing through it.ĭragon Quest 11 might just be the best example of a Japanese role-playing game I’ve ever played: It’s a great example of the genre, but that doesn’t necessarily make it a great game.
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