INDEX
Unresolved Criticisms Plaguing the Genre
While Like a Dragon: Infinite Wealth excels in both story and gameplay, there are some criticisms. One of them is the excessively lengthy cutscenes. This is a common critique not limited to this game but extends to globally acclaimed works by Hideo Kojima and the Final Fantasy series. The recurring criticism questions the necessity of prolonged non-interactive story segments, often expressing sentiments like, “Why do we have to endure endless non-playable story sequences when games and movies are fundamentally different?” Such criticisms might be mitigated if game developers approached movie production in games with a more conscious focus on narrative deconstruction and reconstruction, akin to cinematic art.
In Like a Dragon: Infinite Wealth, the majority of the cutscenes consist of dialogues among characters and maintain a consistent explanatory tone. Similar to many Japanese films and dramas, the frustrating aspect lies in the script’s attempt to explain everything through character dialogue, which hampers the imaginative drive fostered by intentional leaps and omissions. The poetic sensibility necessary for artistic representation is already adequately realized in the interactive elements typical of games, and the interest of game creators in exploring the expressiveness of movies placed outside this realm may be relatively diminished. However, it is peculiar that even after nearly 30 years since the onset of the expansion of large-scale games in the late 1990s, the critical approach to cutscenes, especially in major Japanese-made games, has not evolved significantly.
It may be a nostalgic hobby for the author born in 1980, but it’s worth noting that the games mentioned at the beginning, such as the 1992 release of Final Fantasy V and the one released the previous year, Final Fantasy IV, were more consciously aware of the possibilities and limitations of storytelling in games. The simple pixel art depicting a miniature world offered limited expressions, and scenes where long-lost lovers joyfully embraced upon reunion were rudimentary and pseudo-like puppetry. However, these limitations left room for players to supplement the lack of representation with their imagination, creating a strong sense of being present in those moments. Imagination serves as a bridge connecting the virtual world of the game to the reality of the player.
Today’s mainstream games, created with meticulous detail, often leave little room for whitespace. Alternatively, whitespace in intricately designed spaces is often perceived merely as flaws or omissions. Like a Dragon: Infinite Wealth, which aspires to realistic human drama, is compelled to choose a realistic approach even in its movie parts, limiting its expressive potential. This challenge is not unique to the Like a Dragon” series.
The experience of wandering through the meticulously crafted, expansive city of Hawaii in Like a Dragon: Infinite Wealth is enjoyable. Conversations with companions occur at various spots, and the serendipity of events and mini-games starting from unexpected encounters is reminiscent of the curiosity and joy when exploring an unknown city. Additionally, while the story reflecting contemporary issues in Japan is entertainingly caricatured, it is approaching actual historical events. However, the refinement of the movie parts, which still tend to earnestly mimic the style of movies or theater, seems to be a work in progress.
With the success of award-winning games like The Legend of Zelda: Breath of the Wild and Elden Ring, along with the established popularity of esports title Street Fighter 6, Japanese games are regaining their former momentum. Their success in mainstream international genres and trends like open-world and esports is rooted in the unique grammar each has invented and carefully cultivated. Even in the realm of Like a Dragon, a walking simulator set in the marginal underworld and contemporary city, there exists its own grammar, one that can be further refined and enriched.
