Like a Dragon series director Ryosuke Horii brilliantly explained why sidequests are essential to RPGs, comparing them to how a restaurant earns a Michelin star: “A great main dish alone isn’t enough.” Speaking at the Game Developers Conference in San Francisco, Horii emphasized that striking the right balance between a compelling main storyline and memorable side content is key to an RPG’s success.

Fans of the Like a Dragon series often have very different reasons for loving these games. For some, it’s the dynamic brawling combat; for others, it might be the quirky, Pokémon-style turn-based battles, karaoke, gambling, or managing a resort island. However, there’s one common thread among most players: the series’ unique and memorable sidequests. Despite each Like a Dragon title offering a deep, dramatic main story, it’s often the lighter, humorous, and emotionally engaging side missions that resonate the most with players.

The distinctive balance of serious drama and whimsical side activities in Like a Dragon isn’t accidental—it’s a deliberate design choice by developer Ryu Ga Gotoku Studio. Although adding numerous minigames and side activities is standard practice for open-world RPGs, Horii outlined his studio’s approach so clearly that it begs the question why other RPG developers rarely replicate it.

“Having a good main story doesn’t automatically mean your game will be enjoyable as a whole,” said Horii. “In narrative-driven games, the main story is like the main course at a restaurant. But a great main dish alone won’t win you a Michelin star. It’s the combination of excellent service, atmosphere, appetizers, and everything else that makes the main dish truly stand out.”

A prime example can be seen in Square Enix’s recent RPGs, such as Final Fantasy VII Remake, which seemingly prioritize visuals and main story at the expense of side content. Though it offers a stunningly detailed depiction of Midgar, its sidequests are largely mundane fetch quests or uninspired combat challenges. These quests add little narrative depth or character development, standing in stark contrast to Like a Dragon games, where reused environments are consistently enriched by humorous and touching human stories.

Similarly, Ubisoft’s recent Assassin’s Creed Shadows falls into the same trap. While heavily emphasizing combat and stealth mechanics, the game provides few memorable sidequests. Apart from one quirky melon-dressed character, its side content mostly revolves around repetitive assassination missions. This highlights a missed opportunity to deepen world-building and enrich player engagement through memorable storytelling.

Of course, not every game needs the same approach. Assassin’s Creed, for instance, primarily focuses on combat and stealth. Nevertheless, the franchise has increasingly incorporated RPG elements, making Like a Dragon’s approach to sidequests even more relevant as an example worth considering.

Horii explains that the success of Like a Dragon’s storytelling is rooted in how their development team collaborates. “The stronger your scenario writing team is, the greater the risk that they’ll overemphasize the narrative,” he said. “But if gameplay considerations dominate, the story quality suffers. When too much of the game’s content is predefined and the story is just filled in later, it becomes predictable and emotionally flat.”

These guidelines seem straightforward, yet many RPGs fail to apply them effectively. Horii emphasized the importance of balancing serious and humorous content, stating: “When the main story gets heavy, we add lighter sidequests, and vice versa. This helps balance the emotional rhythm and makes the entire experience satisfying.”

Ultimately, Like a Dragon proves that memorable storytelling in RPGs doesn’t require massive budgets or prolonged development cycles—sometimes, it’s simply about maintaining a thoughtful balance between drama and humor.

Source: PC Gamer