Dragon’s Dogma, Dark Arisen (PS3) – A Bright Spot for Capcom

I’ve written some things about Capcom’s inability to continue the development of its major franchises. At the same time, newer series the company has created constantly appear to be  foundering (is this a screaming endorsement or what?). I’m wondering if it all comes down to development resources, particularly that we’re now in the era of the quarter-billion dollar game. Whatever the reason for Capcom’s woes, Dragon’s Dogma represents another major launch of an original title.

First off, I want to couch any positive review with some warnings that there are some huge problems with Dragon’s Dogma. Surprisingly, they don’t detract from the parts of the game that actually work well, but given the huge amounts of investment that must have been involved in the development, the number and magnitude of flaws is downright perplexing. The long and short of it is that the combat system is very good, but pretty much everything else is bad (or worse). Given that this is a PS-Plus free download for the month of November (complete with “Dark Arisen” DLC pack), I’m assuming Capcom wants to take the risk that more people playing Dragon’s Dogma will allow enough critical mass support to go forward and develop a sequel. Given the raw materials are here for a good game, I’d like to see that.

Look and Feel

Dragon’s Dogma is obviously cast in the mold of Bioware’s 2009 release, Dragon Age: Origins. The comparisons, like similar loading screens, equipment menu layouts, menu selection sound effects, and the entirely-expressionless protagonist, are simply too numerous for it to be anything other than a coincidence. Dragon Age did some things really well, but ultimately I didn’t like the combat system that much and thought it felt flat. The free-roaming world has lush colors and wilderness detail, although it’s not up to the level of Skyrim.

The story and characters are certifiably terrible. Basically at the beginning of the game a big dragon shows up and attacks your village. In the ensuing battle your heart is stolen, but you miraculously survive. Despite the complete lack of emotion expressed by the main character, and the minimal concern that this has happened among your friends and fellow townsfolk, you’re supposed to pick up that your main purpose now is to enact revenge on the dragon. This theme would better be hashed out if your character wasn’t completely mute like a 90’s Squaresoft game though. The main character thus becomes, the “Arisen,” one of many in a cycle of recurring villains and heroes that reappear to threaten, and then respectively save the world. I’m not through the story completely yet, but that’s pretty much it. Story quests do little in answering questions as to why the world is the way it is, or what factions are at play. It’s a far-cry from the narrative conflict between the Stormcloaks and Imperials in Bethesda’s Skyrim, or the million and one ethical dilemmas of Dragon Age. There is no other backstory or pathos. There are no mythology books to pour over, nor a guide giving you any more than the meager bits of story incompetently fed to you by NPCs. Major love interests can be ignored entirely (I wouldn’t even know they existed if it wasn’t for online walkthroughs). To make matters worse, the rest of your party consists of literally soulless beings who offer combat advice, but no narrative content.

With the sheer amount of effort that went into creating a very lush adventure sandbox, and then how that effort was entirely wasted on the complete lack of interesting content. Most side-quests take the form of reading a bulletin board, which generally asks you to kill a certain amount of enemies. Well, you were probably going to do this anyways, as the encounters aren’t randomized and you’re forced to do a lot of walking. There is a fast travel system that is a not explained that well and a little frustrating (although from what I’ve read online, it was improved significantly through patches and upgrades). These aren’t really quests though. NPC quests on the other hand are poorly designed. More often than not, the solution to finding where a certain item is, or where a certain person is hiding comes down to dumb luck. Because there aren’t usually any usable clues on where to proceed next, progressing in a quest usually occurs by finding a random person with a blinking icon over their head. Why would some random guy in the market know what’s going on the castle? The clues don’t even logically follow each other. The “detective” or deductive reasoning aspects are thus reduced to just tedious time-wasters. Another dumb decision is the extreme number of doors you can’t enter. I get it, you didn’t want to have to put stuff in 500 houses. I’m cool with that. But when you go to one of these doors and try to open it, the message often reads “The door is closed.” Yeah, obviously it’s closed, now tell me why I can’t go in. What it should say is that you can’t enter. It’s a pain trying to figure out which ones you CAN actually enter, because that’s seemingly random. Outside combat, music is uninspiring. 

Another big NES-style boner comes from the beautiful, yet constant and frustrating progression between night and day (this could arguably be a criticism of real life if you think about it). This is a classic criticism 1987 game Castlevania II, Simon’s Quest. With 25 years, Capcom definitely had fair warning here. Night and day are a cool concept, and the difference in Dragon’s Dogma between the two is not insignificant. Monsters are usually more powerful at night, and certain NPCs, flora, and fauna will manifest itself at certain times. Also, it’s dark at night, and having a lantern with you is not an adequate substitute for natural daylight. Alright, so this is maybe like those old Ultima games, or like Skyrim or something. Sure. The big difference is that there is no option to wait, or camp until morning, other than going to an inn. There aren’t a lot of inns though, so you’re basically stuck waiting until it’s morning again. Please, Ultima figured out how to avoid this in the 80’s. Obvious fixes other than an option to camp; make the nights shorter, or make then less frequent.

One standout area for Dragon’s Dogma, however, is the character creation system. There is no choosing alternate races, but the choices you’re given are maybe more substantive, as there is some impact on how you perform in combat and what you can carry.

Combat

Dragon’s Dogma’s combat innovations dwarf it’s other flaws. In particular, the combat takes oft-repeated premises and recasts them into a more coherent form. In particular, for a third-person action-style RPG, Dragon’s Dogma has strategic elements that make the standard fighter, rogue, mage dynamic more interesting. Each class doesn’t just have different skills, the upgrade systems impact other aspects of mobility and durability. Getting ambushed in a canyon or having the high ground can be huge disadvantages or advantages respectively. Flanking makes sense and works well, which adds a layer of validity to the genre a lot of other games don’t have. It’s an RPG, but less reliant on using stats and numbers and replacing it with more free-form control.

One aspect that heightens this experience relates to the fact that each enemy you face has a high degree of interaction with your party. This isn’t just stun, but also how groups of enemies function together. For example, one aspect of having a fighter as a pawn is allowing it to grab and pin smaller enemies down in a hold. Airborn enemies are required to be shot out of the sky. In other words, rather than just having stats, a mage, fighter, or rogue all fundamentally offer different playing experiences.

I really like that Dragon’s Dogma took the approach that it wanted fewer enemies, with a very rich interaction possible, rather than having too many enemies. I’d like to see more enemies, but the content that is in here is rich. The contributions of the AI, or “pawn” party members also makes this memorable. The team members don’t just use enemy knowledge in combat to attack, they offer advice and observations to the main character as aid. It feels like real teamwork.

Probably the best thing about combat in Dragon’s Dogma though is the “bigness.” Dragon’s Dogma creates encounters with massive monsters that are exciting, but also unscripted. Action games frequently restrict gargantuan battles to being overly scripted and rote. The best example of this is the gold-standard in mythological brutality, God of War. Awesome acrobatic feats are reduced to cinematic gloss and memorized button combinations. Dragon’s Dogma lets you mount an Ogre or Cyclops and cling onto the arms while slicing it with a dagger. Attacking the weapon arm of a Cyclops can knock the club out of its hand, and, naturally, the snake tale of a Chimera can be severed, thus preventing it from poisoning the party. Hit the weak points, or, more importantly, don’t. You don’t really have to in order to win. There isn’t a single-way to beat theses enemies, just options. This freedom is what separates the large, boss-style encounters from other games. Again, this only can be supported by having great interactivity programmed. Critically, the combat experience is more satisfying when a huge monster isn’t just beaten, but is slowly worn down and weakened over the course of a long battle with a prepared party. 

The most unfortunate aspect about this is that the actual genius of the combat system isn’t revealed until you’re several hours into the endeavor. The combat in Dragon’s Dogma feels quite lame until you make it to Gran Soren, a key story location. After this though, the difficulty is raised significantly. If there were a point where I was ready to give up, it was right here.

Forced Sharing in an Online World

So many games have tried to take the MMORPG format and cast it back into a single-player format. I think the most notable of these is Final Fantasy XII, in which you took the drivers seat in creating an automated party based on a series of simple programming commands. Although FFXII worked well on paper, the system was too complex and ultimately frustrating to tweak. Dragon’s Dogma on the other hand has this aspect figured out pretty well.

Your own “pawn” serves as a customization member of your party. You can upgrade his skills and equipment accordingly. But you’re aided with two other random pawns as well. This is a novel approach, and I think it adds something unique and refreshing to the gameplay. Because two of the four “pawns” in your party aren’t your own, they is necessarily some forced interaction with the other Dragon’s Dogma community. You can either fill the remaining two slots with pawns you encounter in game, or enter an area known as the rift and use a more refined search technique. These pawns won’t level with you; they’ve been leveled and sculpted by other players.

The process is managed by restricting the level to which you can recruit certain pawns, making a rotation of supporting cast members necessary as you level and progress. It also creates party flexibility without having to start from scratch. A system is in place to force players to leave comments and rank pawns accordingly after they leave your party. I find this to be a perfect element of online gameplay.

Final Thoughts

A tutorial, particularly showing you some of the nuanced aspects of the game, like the NPC “affinity” system, or better battle guidance for beginners would be obvious improvements. But Dragon’s Dogma has the guts to be a winner. Now if only Capcom could hire some writers.

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