Dragon Quest III HD-2D Remake: Difference between revisions

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==Update history==
==Update history==
===May 23rd, 2025===
===May 23rd, 2025===
*The movement speed when travelling by boat or using Ramia has been increased
*The movement speed when travelling by boat or using [[Ramia]] has been increased
*Adjustments have been made to avoid boat travel speed being reset by opening the menu or getting into a battle while travelling by boat
*Adjustments have been made to avoid boat travel speed being reset by opening the menu or getting into a battle while travelling by boat
*A feature has been added whereby pressing the menu button while flying with Ramia allows the player to switch between automatic and manual flight modes
*A feature has been added whereby pressing the menu button while flying with [[Ramia]] allows the player to switch between automatic and manual flight modes
*Ramia's low altitude flight now moves more quickly, similar to the Super Famicom version
*[[Ramia]]'s low altitude flight now moves more quickly, similar to the {{Super Famicom}} version
{{Clear}}
{{Clear}}
*Critical hit rates for the Hero and Martial Artist have been doubled
*[[Critical Hit]] rates for the {{Hero 3}} and [[Martial Artist]] have been doubled
*[[Falcon Slash]] has been buffed from 70% damage per strike to 75%  
*[[Falcon Slash]] has been buffed from 70% damage per strike to 75%  
*[[Gigaslash]] has been buffed from 225~275 damage to its traditional 350~410
*[[Gigaslash]] has been buffed from 225~275 damage to its traditional 350~410
*[[Cutting Edge]] has been buffed from 220% damage to 300%
*[[Cutting Edge]] has been buffed from 220% damage to 300%
*[[Monster Pile-On]] has been nerfed, only dealing full damage when all 121 rescue monsters have been found. It also now performs 3~5 strikes per use instead of being fixed at 4
*[[Monster Pile-On]] has been nerfed, only dealing full damage when all 121 rescue {{MFamilies}}s have been found. It also now performs 3~5 strikes per use instead of being fixed at 4
*[[Wild Side]] now costs 30 MP to use
*[[Wild Side]] now costs 30 {{MP}} to use
*[[Priest]]s can now equip the [[Duplic Hat]]
*[[Priest]]s can now equip the [[Duplic Hat]]


*A limit has been placed on the number of times that some monsters can perform certain actions within one turn
*A limit has been placed on the number of times that some {{MFamilies}}s can perform certain actions within one turn
*Some monsters have been adjusted so that they no longer use [[Defending Champion]] in the next turn after they become the last remaining monster
*Some {{MFamilies}}s have been adjusted so that they no longer use [[Defending Champion]] in the next turn after they become the last remaining monster
*The status-ailment resistance of boss monsters has been increased for Draconian Quest difficulty.
*The status-ailment resistance of boss {{MFamilies}}s has been increased for Draconian Quest difficulty.
*Adjustments have been made to make it more difficult for both enemies and party members to be successively afflicted with the same status ailments
*Adjustments have been made to make it more difficult for both enemies and {{Party 3}} members to be successively afflicted with the same status ailments
*[[Metal chimaera]]s and [[hardy hand]]s now yield more experience points when defeated
*[[Metal chimaera]]s and [[hardy hand]]s now yield more experience points when defeated
*Defence has been lowered for all monsters except for [[Metal slime family|metal slimes]]
*{{Defence}} has been lowered for all {{MFamilies}}s except for [[Metal slime family|metal slimes]]
*Minor adjustments have been made to the way that damage is dealt
*Minor adjustments have been made to the way that damage is dealt
{{Clear}}
{{Clear}}
*Once the Mini Medal Manor in the Aliahan well has been visited, it will be added to the list of Zoom destinations
*Once the Mini Medal Manor in the [[Aliahan]] well has been visited, it will be added to the list of [[Zoom]] destinations
*A new “short-cut button” feature has been added that allows spells and abilities to be assigned to specific buttons. For more information, please refer to Traveller's Tips in-game.
*A new “short-cut button” feature has been added that allows spells and abilities to be assigned to specific buttons. For more information, please refer to Traveller's Tips in-game.
*In the Temple of Trials, the number of [[Elfin Elixir]]s required to advance has been lowered from 25 to 10
*In the Temple of Trials, the number of [[Elfin elixir]]s required to advance has been lowered from 25 to 10
*A treasure chest has been added to the Temple of Trials, allowing players to acquire one more [[Gringham Whip]]
*A [[treasure chest]] has been added to the [[Temple of Trials]], allowing players to acquire one more [[Gringham whip]]
*Fixed a bug whereby levelling up after using the [[Seed of Life]] or [[Seed of Magic]] items would cause the status increase value to be calculated twice
*Fixed a bug whereby levelling up after using the [[Seed of life]] or [[Seed of magic]] items would cause the status increase value to be calculated twice
*Adjustments have been made so that if trophies and achievements have not been acquired correctly, selecting Misc. > Info in the menu allows some of them to be reacquired
*Adjustments have been made so that if trophies and achievements have not been acquired correctly, selecting Misc. > Info in the menu allows some of them to be reacquired
*Miscellaneous fixes for minor bugs
*Miscellaneous fixes for minor bugs
*The gold golem has been renamed to [[gold digger]] to distinguish it from the recurring monster of the same name, in preparation of the latter's appearance in ''[[Dragon Quest I & II HD-2D Remake]]''.
*The gold golem has been renamed to [[gold digger]] to distinguish it from the [[Gold golem (Recurring) |recurring monster]] of the same name, in preparation of the latter's appearance in ''[[Dragon Quest I & II HD-2D Remake]]''.


===Nintendo Switch 2 update===
===Nintendo Switch 2 update===
On July 31st 2025 Square Enix released a patch that updates the Nintendo Switch version of the game to run smoother on the Nintendo Switch 2, with the option for players to prioritize frame rate or graphic fidelity at their leisure.
On July 31st 2025 Square Enix released a patch that updates the [[Nintendo Switch]] version of the game to run smoother on the Nintendo Switch 2, with the option for players to prioritize frame rate or graphic fidelity at their leisure.
 
===August 30th, 2025===
*Minor bugs have been fixed.
*The wisdom stat's maximum influence on attack spell power was raised from +30% to +60% and also increases the damage range by the same amount. For example the [[Zapple]] spell has a base power 80 and range of 10, with high {{Wisdom}} now raising the base power to 128 and the range to 16.


==Development==
==Development==
Remaking ''Dragon Quest III'' was proposed by producer Masaaki Hayasaka, who noted that while the title was available for smart phones, the Nintendo Switch, and PlayStation 4 etc, these were just ports of the Super Famicom remake made back in 1996 and did not take advantage of modern hardware. The first remake proposal was to develop the game entirely in 3D, but this approach was canned due to the many difficulties of adapting a 2D game into the third dimension; the countless adjustments that would have to be made would have led to the remake feeling too detached from the original. Concurrent to this snag in development was the break out success of [https://en.wikipedia.org/wiki/Octopath_Traveler Octopath Traveler], which pioneered what is now known as the HD-2D style. Hayasaka then proposed remaking ''Dragon Quest III'' in the same style, to which Horii readily agreed<ref>早坂: HD-2D版が登場する前も Nintendo SwitchやPS4、スマホなどで『DQIII』を遊べましたが、それらは1996年に発売されたスーパーファミコン(以下SFC)酸の移植作でした。つまり、 最新技術によるリメイクが長らく行なわれていなかったんです。そんななかで、『オクトパストラベラー』(※1)でHD-2Dの手法が生まれて、「これを活用すれば、映像をアップデートした『DQIII』を作れるのでは」ということで企画が立ち上がりました。
Remaking ''Dragon Quest III'' was proposed by producer Masaaki Hayasaka, who noted that while the title was available for [[Cell phone|smart phones]], the [[Nintendo Switch]], and {{PlayStation 4}} etc, these were just ports of the {{Super Famicom}} remake made back in 1996 and did not take advantage of modern hardware. The first remake proposal was to develop the game entirely in 3D, but this approach was canned due to the many difficulties of adapting a 2D game into the third dimension; the countless adjustments that would have to be made would have led to the remake feeling too detached from the original. Concurrent to this snag in development was the break out success of [https://en.wikipedia.org/wiki/Octopath_Traveler Octopath Traveler], which pioneered what is now known as the HD-2D style. Hayasaka then proposed remaking ''Dragon Quest III'' in the same style, to which Horii readily agreed<ref>早坂: HD-2D版が登場する前も Nintendo SwitchやPS4、スマホなどで『DQIII』を遊べましたが、それらは1996年に発売されたスーパーファミコン(以下SFC)酸の移植作でした。つまり、 最新技術によるリメイクが長らく行なわれていなかったんです。そんななかで、『オクトパストラベラー』(※1)でHD-2Dの手法が生まれて、「これを活用すれば、映像をアップデートした『DQIII』を作れるのでは」ということで企画が立ち上がりました。
堀井: 僕としても、 最新のゲーム機の性能を存分に活かした『DQIII』を遊びたいと思っていたので、リメイクの提案には「ぜひやろう!」と返事をしたんです。堀井: 3Dでリメイクする案もありましたが、 2Dだったものをいきなり3Dにすると、調整が必要な部分が増えて、ゲーム性が変わってしまうんです。でもHD-2Dであれば2Dの味が残るので、 最新の映像でファミリーコンピュータ(以下FC) 版と同じ感触の冒険ができていいな、と思いましたね。ドラゴンクエストIII そして伝説へ… レジェンダリーガイドブック ISNB 978-4-08-779822-7 page 394</ref>.
堀井: 僕としても、 最新のゲーム機の性能を存分に活かした『DQIII』を遊びたいと思っていたので、リメイクの提案には「ぜひやろう!」と返事をしたんです。堀井: 3Dでリメイクする案もありましたが、 2Dだったものをいきなり3Dにすると、調整が必要な部分が増えて、ゲーム性が変わってしまうんです。でもHD-2Dであれば2Dの味が残るので、 最新の映像でファミリーコンピュータ(以下FC) 版と同じ感触の冒険ができていいな、と思いましたね。ドラゴンクエストIII そして伝説へ… レジェンダリーガイドブック ISNB 978-4-08-779822-7 page 394</ref>.


With the presentation decided upon the goal of the project was to respect the original while still adding new elements to enrich the play experience. One example of this was changing the look of each town and castle now that they were not bound to the same tile sprites as they were in the Famicom and Super Famicom versions. As the world of ''Dragon Quest III'' is based on the real world, Hayasaka placed emphasis on reflecting the real life cultures each locale was derived from without altering the classic feeling too much. When Horii compared the HD remake and the Famicom version side by side, he noted the two had a similar atmosphere despite the latter's more primitive graphics, which Hayasaka took as a great personal success<ref>早坂: FC版では、どの町も同じマップチップ (マップを構成するパーツ) が使われているため雰囲気が似ていましたが、HD-2Dになったおかげで間ごとにヨーロッパらしさや日本らしさ、アジアらしさといったちがいを表現できました。『DQIII』のワールドマップは現実世界をモチーフにしているので、実際のイメージを再現できたのは大きな魅になったと思います。
With the presentation decided upon the goal of the project was to respect the original while still adding new elements to enrich the play experience. One example of this was changing the look of each town and castle now that they were not bound to the same tile sprites as they were in the {{Famicom}} and {{Super Famicom}} versions. As the world of ''Dragon Quest III'' is based on the real world, Hayasaka placed emphasis on reflecting the real life cultures each locale was derived from without altering the classic feeling too much. When [[Yuji Horii|Horii]] compared the HD remake and the Famicom version side by side, he noted the two had a similar atmosphere despite the latter's more primitive graphics, which Hayasaka took as a great personal success<ref>早坂: FC版では、どの町も同じマップチップ (マップを構成するパーツ) が使われているため雰囲気が似ていましたが、HD-2Dになったおかげで間ごとにヨーロッパらしさや日本らしさ、アジアらしさといったちがいを表現できました。『DQIII』のワールドマップは現実世界をモチーフにしているので、実際のイメージを再現できたのは大きな魅になったと思います。
堀井: 今回、思い出は時間とともに美しくなることを実感しましたね。HD-2D版を遊んで、「映像はもう少しチープだったけど、FC版のグラフィックもこんな雰囲気だったな」と思ったのですが、実際に見くらべたら「こんなに簡素だったっけ!?」と(笑)。
堀井: 今回、思い出は時間とともに美しくなることを実感しましたね。HD-2D版を遊んで、「映像はもう少しチープだったけど、FC版のグラフィックもこんな雰囲気だったな」と思ったのですが、実際に見くらべたら「こんなに簡素だったっけ!?」と(笑)。
早坂: 改めて「こんなにちがうの!?」と驚きました。ただ、そんなふうに感じるということは、FC版を遊んだ当時に脳内に思い浮かべたイメージとHD-2Dの映像がそんなにズレていないとも言えるので、制作者としては大成功です。ドラゴンクエストIII そして伝説へ… レジェンダリーガイドブック ISNB 978-4-08-779822-7 page 394</ref>. This attention to detail extended to the overworld representations of each town and castle as well, something that actually caused a dispute during development. Each locale was given a unique, miniaturized representation on the world map instead of sharing the same sprite tiles as in prior versions, and Hayasaka wanted the player to be able to enter each from any side. The planner contested this and insisted it wasn't realistic enough for a modern game, to which Hayasaka countered that such a feature would be better for difficulty balance as a party in a critical state wouldn't run the risk of being wiped out by monsters when walking towards an entrance on the opposite side of the town. Neither would compromise and Horii settled things by agreeing with Hayasaka<ref>早坂: その仕様は、プランナーと結構もめまして・・・・・・。もし特定の出入口からしか入れなかったら、ボロボロの状態はんたいがわ いりぐちでフィールドを歩いて帰ってきたときに、反対側の入口までまわりこむ途中で敵と遭遇して全滅してしまうかもしれない。そうならないように、町のシンボルのどこかに触れればすぐに入れるようにしてほしい、とプランナーに頼んだのですが、「いえ、最新のゲームとして、これくらいのディテールは必要です!」と説得されまして・・・・・・。
早坂: 改めて「こんなにちがうの!?」と驚きました。ただ、そんなふうに感じるということは、FC版を遊んだ当時に脳内に思い浮かべたイメージとHD-2Dの映像がそんなにズレていないとも言えるので、制作者としては大成功です。ドラゴンクエストIII そして伝説へ… レジェンダリーガイドブック ISNB 978-4-08-779822-7 page 394</ref>. This attention to detail extended to the overworld representations of each town and castle as well, something that actually caused a dispute during development. Each locale was given a unique, miniaturized representation on the [[World Map]] instead of sharing the same sprite tiles as in prior versions, and Hayasaka wanted the player to be able to enter each from any side. The planner contested this and insisted it wasn't realistic enough for a modern game, to which Hayasaka countered that such a feature would be better for difficulty balance as a {{Party 3}} in a critical state wouldn't run the risk of being wiped out by {{MFamilies}}s when walking towards an entrance on the opposite side of the town. Neither would compromise and [[Yuji Horii|Horii]] settled things by agreeing with Hayasaka<ref>早坂: その仕様は、プランナーと結構もめまして・・・・・・。もし特定の出入口からしか入れなかったら、ボロボロの状態はんたいがわ いりぐちでフィールドを歩いて帰ってきたときに、反対側の入口までまわりこむ途中で敵と遭遇して全滅してしまうかもしれない。そうならないように、町のシンボルのどこかに触れればすぐに入れるようにしてほしい、とプランナーに頼んだのですが、「いえ、最新のゲームとして、これくらいのディテールは必要です!」と説得されまして・・・・・・。
堀井: お互いゆずらなかったんだよね?
堀井: お互いゆずらなかったんだよね?
早坂: はい、めっちゃぶつかりました(笑)。 最終的に堀井さんに決めていただいて、いまの形になったんです。
早坂: はい、めっちゃぶつかりました(笑)。 最終的に堀井さんに決めていただいて、いまの形になったんです。
堀井: 町ごとに外観を変えるほどのこだわりを持っているということは、入口の位置もちゃんと対応させたいにちがいないと感じて、OKしました。ドラゴンクエストIII そして伝説へ… レジェンダリーガイドブック ISNB 978-4-08-779822-7 page 394</ref>.
堀井: 町ごとに外観を変えるほどのこだわりを持っているということは、入口の位置もちゃんと対応させたいにちがいないと感じて、OKしました。ドラゴンクエストIII そして伝説へ… レジェンダリーガイドブック ISNB 978-4-08-779822-7 page 394</ref>.


As the original game was known for having a high degree of customization at the time of it's release through the vocations system, this feature was embellished by granting players the ability to personalize the appearances of their characters directly. These specifications will also persist when a character changes vocations, something Hayasaka proposed due to the awkwardness of a male Warrior suddenly becoming an old man once he changed vocations into a Mage and vice-versa. Voice acting for the party was also deemed a necessity in the modern era, with Horii supervising the proper intonations for spells when their names are shouted in battle.
As the original game was known for having a high degree of customization at the time of it's release through the vocations system, this feature was embellished by granting players the ability to personalize the appearances of their characters directly. These specifications will also persist when a character changes vocations, something Hayasaka proposed due to the awkwardness of a male [[Warrior]] suddenly becoming an old man once he changed vocations into a [[Mage]] and vice-versa. Voice acting for the {{Party 3}} was also deemed a necessity in the modern era, with [[Yuji Horii|Horii]] supervising the proper intonations for spells when their names are shouted in battle.


Scenario-wise, Horii deemed that the original ''Dragon Quest III'' had a complete story and thus the new additions would focus on Ortega instead of the protagonist. As one of the core elements of the title was the Hero following their in father's footsteps and slowly catching up with him as the adventure progresses, these new scenario additions would strengthen that theme in a way that didn't disrupt the flow of the overarching story. Particular emphasis was given to scene of Ortega fighting an unknown monster at the volcanic rim of [[Mt. Necrogond]], added in the Super Famicom version, with several of the new scenes showing Ortega's journey leading up to that moment and the unknown monster being fleshed out into the [[Garbgoyle]] villain.
Scenario-wise, [[Yuji Horii|Horii]] deemed that the original ''Dragon Quest III'' had a complete story and thus the new additions would focus on [[Ortega]] instead of the protagonist. As one of the core elements of the title was the {{Hero 3}} following their in [[Ortega|father's]] footsteps and slowly catching up with him as the adventure progresses, these new scenario additions would strengthen that theme in a way that didn't disrupt the flow of the overarching story. Particular emphasis was given to scene of [[Ortega]] fighting an unknown [[Garboyle|monster]] at the volcanic rim of [[Mt. Necrogond]], added in the {{Super Famicom}} version, with several of the new scenes showing [[Ortega]]'s journey leading up to that moment and the unknown [[Garboyle|monster]] being fleshed out into the [[Garboyle]] villain.


To further emphasis the theme of familial legacy was the creation of the [[Auroral Helm]] item, the upgraded form of [[Ortega's Helm]]. While the Super Famicom remake had included Ortega's Helm as a durable piece of head protection, it was outclassed by the [[mythril helm]] and [[great helm]] items available later in the game, both of which could be equipped by the Hero. The [[GameBoy Color]] port released in 2000 addressed this by giving Ortega's Helm resistances to status ailments, but it was still a sub-optimal choice by the end of the game. Horii noted that many players held a sentimental attachment to the helmet regardless of it's comparative weakness and would equip it even into the confrontation against the final boss despite being a handicap. As it was revealed in the 25th anniversary expo that Ortega's Helm would become [[Erdrick's Helmet]] it was decided to incorporate this into the HD remake. As a bonus, Ortega's dialogue will change if the player wears the Auroral helm while speaking to him in the depths of [[Zoma's Citadel]]<ref>早坂: オルテガのかぶとを今作のかぶとのなかで一番強くしたい、との思いから追加しました。 SFC版ではもっと強いかぶとがあるので、それを装備して最終決戦に向かうプレイヤーも多かったのですが、やはり最後は父親から受け継いだ品を身に着けてほしくて。 「DQ」シリーズ25周年記念で開催された「ドラゴンクエスト展」にて、「オルテガのかぶとが、のちにロトのかぶとになった」という設定を明かしていたので、それを取り入れました。
To further emphasis the theme of familial legacy was the creation of the [[Auroral Helm]] item, the upgraded form of [[Ortega's Helm]]. While the {{Super Famicom}} remake had included Ortega's Helm as a durable piece of head protection, it was outclassed by the [[mythril helm]] and [[great helm]] items available later in the game, both of which could be equipped by the {{Hero 3}}. The {{Game Boy Color}} port released in 2000 addressed this by giving [[Ortega's Helm]] resistances to status ailments, but it was still a sub-optimal choice by the end of the game. [[Yuji Horii|Horii]] noted that many players held a sentimental attachment to the helmet regardless of it's comparative weakness and would equip it even into the confrontation against the [[Zoma|final boss]] despite being a handicap. As it was revealed in the 25th anniversary expo that [[Ortega's Helm]] would become [[Erdrick's Helmet]] it was decided to incorporate this into the HD remake. As a bonus, [[Ortega]]'s dialogue will change if the player wears the [[Auroral Helm]] while speaking to him in the depths of [[Zoma's Citadel]]<ref>早坂: オルテガのかぶとを今作のかぶとのなかで一番強くしたい、との思いから追加しました。 SFC版ではもっと強いかぶとがあるので、それを装備して最終決戦に向かうプレイヤーも多かったのですが、やはり最後は父親から受け継いだ品を身に着けてほしくて。 「DQ」シリーズ25周年記念で開催された「ドラゴンクエスト展」にて、「オルテガのかぶとが、のちにロトのかぶとになった」という設定を明かしていたので、それを取り入れました。
堀井:「思い入れのある父親のかぶとをかぶって最後の敵を倒したい」と思うプレイヤーも結構いるでしょうから、今回は性能を上げて装備しやすくしたんです。
堀井:「思い入れのある父親のかぶとをかぶって最後の敵を倒したい」と思うプレイヤーも結構いるでしょうから、今回は性能を上げて装備しやすくしたんです。
早坂: しかも、今回はオルテガとの再会シーンの展開が分岐するのですが、その条件としてもかぶとを活用しました。 ひかりのかぶとを装備していると、 最後のオルテガの反応が変わるんですよ。あのシーンのセリフは、もちろん外の部分はできるだけ変えない方針でした。
早坂: しかも、今回はオルテガとの再会シーンの展開が分岐するのですが、その条件としてもかぶとを活用しました。 ひかりのかぶとを装備していると、 最後のオルテガの反応が変わるんですよ。あのシーンのセリフは、もちろん外の部分はできるだけ変えない方針でした。
堀井: とてもせつない感じになっていると思いますよ。ドラゴンクエストIII そして伝説へ… レジェンダリーガイドブック ISNB 978-4-08-779822-7 page 396</ref>.  
堀井: とてもせつない感じになっていると思いますよ。ドラゴンクエストIII そして伝説へ… レジェンダリーガイドブック ISNB 978-4-08-779822-7 page 396</ref>.  


When it came to modernizing the battle system it was decided from the beginning to include skills, which had become a staple of the series since their inclusion in ''[[Dragon Quest V]]'' in 1992. The inclusion of skills required a rebalancing of the monsters' capabilities in battle to establish a good difficulty curve, as well as raising the amount of monsters that could appear in a single battle from 4~5 to 8. The implementation of AI-controlled party members was a carryover from the smart phone port of the Super Famicom remake, but was further refined to be more intelligent. Humorously this new intelligence lead to the AI characters casting [[Whack]] and [[Thwack]] over and over even on enemies who were immune to instant death before the programming was altered, inadvertently recreating [[Kiryl]]'s infamous blunders from the Famicom version of ''[[Dragon Quest IV]]''<ref>早坂: すでにAIが搭載されていたスマホ版をベースにしていますが、さらに賢くなっています。なんなら人間よりも最適な行動を選んでくれるかもしれません。
When it came to modernizing the battle system it was decided from the beginning to include skills, which had become a staple of the series since their inclusion in {{Dragon Quest V}} in 1992. The inclusion of skills required a rebalancing of the {{MFamilies}}s' capabilities in battle to establish a good difficulty curve, as well as raising the amount of {{MFamilies}}s that could appear in a single battle from 4~5 to 8. The implementation of AI-controlled {{Party 3}} members was a carryover from the smart phone port of the {{Super Famicom}} remake, but was further refined to be more intelligent. Humorously this new intelligence lead to the AI characters casting [[Whack]] and [[Thwack]] over and over even on enemies who were immune to instant death before the programming was altered, inadvertently recreating [[Kiryl]]'s infamous blunders from the {{Famicom}} version of {{Dragon Quest IV}}<ref>早坂: すでにAIが搭載されていたスマホ版をベースにしていますが、さらに賢くなっています。なんなら人間よりも最適な行動を選んでくれるかもしれません。
堀井: 自分でターンの最初にコマンドを選ぶのとちがって、AIは順番がまわってきたときに行動を決めるから、ムダがなくて強いんです。ただ、やっぱりボス戦では、自分でコマンドを入れるほうが緊張感があって楽しめますね。
堀井: 自分でターンの最初にコマンドを選ぶのとちがって、AIは順番がまわってきたときに行動を決めるから、ムダがなくて強いんです。ただ、やっぱりボス戦では、自分でコマンドを入れるほうが緊張感があって楽しめますね。
早坂: その点は意識しました。「強敵との戦闘では、自分でコマンドを入力したほうが善戦できる」という感覚は、これまでの「DQ」を踏襲しています。
早坂: その点は意識しました。「強敵との戦闘では、自分でコマンドを入力したほうが善戦できる」という感覚は、これまでの「DQ」を踏襲しています。
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早坂: 今回の開発作業中も、ザキやザラキを覚えるとAIが積極的に使いはじめる状況になったことがありましたね。「DQ」の開発では、毎回この悩みがあるみたいです。ドラゴンクエストIII そして伝説へ… レジェンダリーガイドブック ISNB 978-4-08-779822-7 page 396</ref>.
早坂: 今回の開発作業中も、ザキやザラキを覚えるとAIが積極的に使いはじめる状況になったことがありましたね。「DQ」の開発では、毎回この悩みがあるみたいです。ドラゴンクエストIII そして伝説へ… レジェンダリーガイドブック ISNB 978-4-08-779822-7 page 396</ref>.


The addition of the Monster Wrangler vocation came about due to the age ratings boards of overseas nations being stricter than in Japan. This meant that the traditional mini-game of betting on monster fights to win money needed to be axed due to resembling real life gambling, and it was decided to replace the system with a [[Monster Arena]] styled like the one seen in ''[[Dragon Quest VIII]]'' where the player's team of monsters compete for prizes. This decision was also based on play-tester feedback, who requested that the larger village/castle/dungeon maps of the HD version be given more features to fill in the new space. As such recruitable monsters were deposited in various areas, thus addressing both issues at simultaneously. The Monster Wrangler was added to further enrich the system, rewarding the player in a practical way with the vocation reaching greater potential the more monsters the player recruits<ref>早坂: まず、 海外のレーティング(対象年齢制限)の関係で、原作にあったモンスター格闘場のオッズシステム(魔物同士の戦いにゴールドをベットする仕組み)が使用でき なくなり、そのかわりとして過去の「DQ」シリーズからモンスター・バトルロードを取り入れることになりました。また、HD-2D化によってマップが広くなったため、新しい遊びを追加したい、という要望もあったんです。このふたつを解決するために、新職業でまもの使いを採用すれば「広い世界でモンスターを集めてバトルロードで戦わせる」という形でうまくまとまるのでは、と考えて追加が決まりました。フィールドの隠しエリア (ひみつの場所)も、当初はどのように活用するか決まっていませんでしたが、まもの使いやバトルロードが採用されたことを受けて、はぐれモンスターの隠れ場所になったんです。まもの使いによって、いろいろな要素がうまくはまっていった感覚でした。
The addition of the [[Monster Wrangler]] vocation came about due to the age ratings boards of overseas nations being stricter than in Japan. This meant that the traditional mini-game of betting on {{MFamilies}} fights to win [[Gold|money]] needed to be axed due to resembling real life gambling, and it was decided to replace the system with a [[Monster Arena]] styled like [[Morrie's Place|the one]] seen in {{Dragon Quest VIII]}} where the player's team of {{MFamilies}}s compete for prizes. This decision was also based on play-tester feedback, who requested that the larger village/castle/dungeon maps of the HD version be given more features to fill in the new space. As such recruitable {{MFamilies}}s were deposited in various areas, thus addressing both issues at simultaneously. The [[Monster Wrangler]] was added to further enrich the system, rewarding the player in a practical way with the vocation reaching greater potential the more {{MFamilies}}s the player recruits<ref>早坂: まず、 海外のレーティング(対象年齢制限)の関係で、原作にあったモンスター格闘場のオッズシステム(魔物同士の戦いにゴールドをベットする仕組み)が使用でき なくなり、そのかわりとして過去の「DQ」シリーズからモンスター・バトルロードを取り入れることになりました。また、HD-2D化によってマップが広くなったため、新しい遊びを追加したい、という要望もあったんです。このふたつを解決するために、新職業でまもの使いを採用すれば「広い世界でモンスターを集めてバトルロードで戦わせる」という形でうまくまとまるのでは、と考えて追加が決まりました。フィールドの隠しエリア (ひみつの場所)も、当初はどのように活用するか決まっていませんでしたが、まもの使いやバトルロードが採用されたことを受けて、はぐれモンスターの隠れ場所になったんです。まもの使いによって、いろいろな要素がうまくはまっていった感覚でした。
堀井: 新職業は、プロモーションでしばらく内緒にしていましたが、 PVでちょっとゲーム内の姿が出た瞬間にまもの使いだとバレちゃいましたね。さすが、「DQ」ファンは鋭いです。ドラゴンクエストIII そして伝説へ… レジェンダリーガイドブック ISNB 978-4-08-779822-7 page 396</ref>.
堀井: 新職業は、プロモーションでしばらく内緒にしていましたが、 PVでちょっとゲーム内の姿が出た瞬間にまもの使いだとバレちゃいましたね。さすが、「DQ」ファンは鋭いです。ドラゴンクエストIII そして伝説へ… レジェンダリーガイドブック ISNB 978-4-08-779822-7 page 396</ref>.


The inclusion of the [[Grand Dragon]], the superboss who was added to the GameBoy Color version of ''Dragon Quest III'' in 2000, was a response to feedback from players that noted his absence from the ports of the Super Famicom version and desired to fight him once more. The abode of the Grand Dragon, the [[Temple of Trials]], was created as a means to satisfy players that wanted to continue playing after the credits rolled and those seeking a considerable challenge. As the [[Monster Medal|monster medals]] feature from the GameBoy Color version was decided to not be brought forward for the HD remake, the [[Ice Cave]] bonus dungeon that originally housed the Grand Dragon was replaced with the heavenly Temple of Trials <ref>早坂: クリア後のやりこみ要素として何を入れようかと考えたときに、ゲームボーイカラー(以下GBC)版の隠しボスであるグランドラゴーンが候補にあがりました。この敵はGBC版にしか登場しておらず、「ほかの移植版でも戦いたい」との声が以前から多く寄せられていたんです。そこで、今回のリメイクではグランドラゴーンを登場させることになり、せっかくだからダンジョンのデザインも一新して、 試練の神殿という荘厳な場所になりました。こういったやりこみ要素は「DQ」シリーズではおなじみですから、みなさんに楽しんでもらえるのではないでしょうか。
The inclusion of the [[Grand Dragon]], the superboss who was added to the {{Game Boy Color}} version of ''Dragon Quest III'' in 2000, was a response to feedback from players that noted his absence from the ports of the {{Super Famicom}} version and desired to fight him once more. The abode of the [[Grand Dragon]], the [[Temple of Trials]], was created as a means to satisfy players that wanted to continue playing after the credits rolled and those seeking a considerable challenge. As the [[Monster Medal|monster medals]] feature from the {{Game Boy Color}} version was decided to not be brought forward for the HD remake, the [[Ice Cave]] bonus dungeon that originally housed the [[Grand Dragon]] was replaced with the heavenly [[Temple of Trials]] <ref>早坂: クリア後のやりこみ要素として何を入れようかと考えたときに、ゲームボーイカラー(以下GBC)版の隠しボスであるグランドラゴーンが候補にあがりました。この敵はGBC版にしか登場しておらず、「ほかの移植版でも戦いたい」との声が以前から多く寄せられていたんです。そこで、今回のリメイクではグランドラゴーンを登場させることになり、せっかくだからダンジョンのデザインも一新して、 試練の神殿という荘厳な場所になりました。こういったやりこみ要素は「DQ」シリーズではおなじみですから、みなさんに楽しんでもらえるのではないでしょうか。
堀井: エンディングを迎えても「まだ終わりたくない!」と思う人に添える内容になっているので、遊び人4人で挑戦するとか、いろいろと試してほしいですね。ドラゴンクエストIII そして伝説へ… レジェンダリーガイドブック ISNB 978-4-08-779822-7 page 397</ref>.
堀井: エンディングを迎えても「まだ終わりたくない!」と思う人に添える内容になっているので、遊び人4人で挑戦するとか、いろいろと試してほしいですね。ドラゴンクエストIII そして伝説へ… レジェンダリーガイドブック ISNB 978-4-08-779822-7 page 397</ref>.


''Dragon Quest III HD-2D Remake'' was formally announced during the [https://www.youtube.com/watch?v=gfmOWgfYVjY| series 35th anniversary livestream] on May 26, 2021. Beta footage that dirfers from the final product was shown, along with a debriefing from producer Masaaki Hayasaka. In his typical mischievous fashion Yuji Horii also let it slip that [[Dragon Quest I & II HD-2D Remake|remakes of the first two games]] and that there would be surprises in store for those who played the trio in chronological order, much to the chagrin of his co-host and live English translator.
''Dragon Quest III HD-2D Remake'' was formally announced during the [https://www.youtube.com/watch?v=gfmOWgfYVjY| series 35th anniversary livestream] on May 26, 2021. Beta footage that dirfers from the final product was shown, along with a debriefing from producer Masaaki Hayasaka. In his typical mischievous fashion [[Yuji Horii]] also let it slip that [[Dragon Quest I & II HD-2D Remake|remakes of the first two games]] and that there would be surprises in store for those who played the trio in chronological order, much to the chagrin of his co-host and live English translator.


==Censorship controversy==
==Censorship controversy==
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The removal of gendered language during the character creation process has also been criticized. This was first revealed during June 2024 in the 32nd issue of Weekly Shonen Jump where the Hero and Heroine's full art was revealed, referring to the two as  "looks A" and "looks B" despite the artwork clearly depicting the two as a man and woman respectively. Matching voice actors were cast for their battle dialogue as well, with [[Nobuyuki Hiyama]] and [[Yūko Minaguchi]] for the Japanese dub and Toby Laurence and Jenna Sharpe for the English dub. A trailer shown on August 27th would show this peculiarity extending to the party members as well, where their sex was replaced with "appearance A/B". The change was further criticized when the trailer revealed that the English script still uses proper terms when referring to characters in-dialogue, such as the appearance B [[Thief]] Samantha being referred to as a woman by Healizah when giving her a makeover, making the alteration totally pointless.
The removal of gendered language during the character creation process has also been criticized. This was first revealed during June 2024 in the 32nd issue of Weekly Shonen Jump where the Hero and Heroine's full art was revealed, referring to the two as  "looks A" and "looks B" despite the artwork clearly depicting the two as a man and woman respectively. Matching voice actors were cast for their battle dialogue as well, with [[Nobuyuki Hiyama]] and [[Yūko Minaguchi]] for the Japanese dub and Toby Laurence and Jenna Sharpe for the English dub. A trailer shown on August 27th would show this peculiarity extending to the party members as well, where their sex was replaced with "appearance A/B". The change was further criticized when the trailer revealed that the English script still uses proper terms when referring to characters in-dialogue, such as the appearance B [[Thief]] Samantha being referred to as a woman by Healizah when giving her a makeover, making the alteration totally pointless.


On September 28, an interview between [https://www.youtube.com/watch?v=YP_tD58w6io Denfamico Gamer]'s NAZ CHRIS and Yuji Horii and [[Kazuhiko Torishima]] would be held commemorating the 2024 Tokyo Game Show, with Horii and Torishima representing [https://www.j-wave.co.jp/original/maadspin/ radio station Tokyo M.A.A.D. SPIN] through their radio program "Yubo & Mashirito 's Koso Koso station". The interview pretained to the HD2D remake of ''III'', the ongoing scandal regarding the game's censorship prompting NAZ CHRIS to ask Yuji Horii about the changes directly, specifically for the female Warrior. Horii revealed that the changes were due to the strict age ratings regulations, stating that even just showing too much skin would raise the game's rating and prevent the game from being sold as an all-ages product as ''Dragon Quest'' had been in the past. NAZ CHRIS replied by saying the game is simply a work of fiction for the players to immerse themselves into, to which Horii agreed and stated that he doesn't understand what the problem is either<ref>NAZ CHRIS: あとすごい話題になってた。そのコスチュームとか、当時とそのままなのかどうなのかみたいなのがありましたよね。 また...
On September 28, an interview between [https://www.youtube.com/watch?v=YP_tD58w6io Denfamico Gamer]'s NAZ CHRIS and Yuji Horii and [[Kazuhiko Torishima]] would be held commemorating the 2024 Tokyo Game Show, with [[Yuji Horii|Horii]] and [[Kazuhiko Torishima|Torishima]] representing [https://www.j-wave.co.jp/original/maadspin/ radio station Tokyo M.A.A.D. SPIN] through their radio program "Yubo & Mashirito 's Koso Koso station". The interview pretained to the HD2D remake of ''III'', the ongoing scandal regarding the game's censorship prompting NAZ CHRIS to ask [[Yuji Horii]] about the changes directly, specifically for the female [[Warrior]]. [[Yuji Horii|Horii]] revealed that the changes were due to the strict age ratings regulations, stating that even just showing too much skin would raise the game's rating and prevent the game from being sold as an all-ages product as {{MFamilies}} had been in the past. NAZ CHRIS replied by saying the game is simply a work of fiction for the players to immerse themselves into, to which Horii agreed and stated that he doesn't understand what the problem is either<ref>NAZ CHRIS: あとすごい話題になってた。そのコスチュームとか、当時とそのままなのかどうなのかみたいなのがありましたよね。 また...
堀井: まあね、あのいろいろ規制もあってね。露出しすぎちゃいけないとかね
堀井: まあね、あのいろいろ規制もあってね。露出しすぎちゃいけないとかね
NAZ: あそこまあちょっとあんまり深掘りする気はないんですけど。いいのにだってフィクションだけど、その中にあ、主人公ってあなたが入って冒険するっていうことでいいじゃないと思うんですけど、違うんですかね？
NAZ: あそこまあちょっとあんまり深掘りする気はないんですけど。いいのにだってフィクションだけど、その中にあ、主人公ってあなたが入って冒険するっていうことでいいじゃないと思うんですけど、違うんですかね？
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鳥嶋: まあまあね。
鳥嶋: まあまあね。
堀井: 全年齢じゃなくなってしまうっていうのが
堀井: 全年齢じゃなくなってしまうっていうのが
鳥嶋: ルールがやっぱなんか各国違ったりするんでね。広くろうと思うと、一番厳しいところに合わせざるを得ないとか。でも,</ref>. Torishima followed Horii's statement up by pointing out that ratings regulations vary greatly between different nations. Torishima strongly criticized the forced compliance to these regulations to conduct international business in American and the UK, going so far as to call them an "evil disguised as good", and pointed out that it is simply impossible for there to be content that offends no one due to everyone having different perspectives; Torishima asserts that so long as certain absolute taboos are not broken then creative freedom should be unfettered<ref>NAZ: 当時そんなこと思わなかったですね。
鳥嶋: ルールがやっぱなんか各国違ったりするんでね。広くろうと思うと、一番厳しいところに合わせざるを得ないとか。でも,</ref>. [[Kazuhiko Torishima|Torishima]] followed Horii's statement up by pointing out that ratings regulations vary greatly between different nations. [[Kazuhiko Torishima|Torishima]] strongly criticized the forced compliance to these regulations to conduct international business in American and the UK, going so far as to call them an "evil disguised as good", and pointed out that it is simply impossible for there to be content that offends no one due to everyone having different perspectives; [[Kazuhiko Torishima|Torishima]] asserts that so long as certain absolute taboos are not broken then creative freedom should be unfettered<ref>NAZ: 当時そんなこと思わなかったですね。
鳥嶋: コンプラっていう名のね。やっぱりね、ある種のね。なんだろうな、絶対神と言うべき善の名を借りた悪みたいのがあるよね。あの全員が不快感を覚えないなんてことはないわけだって、株不快はこういうことを覚えるどうこうでもいいわけよ。だって綺麗、汚いとかさ、善悪って人それぞれ感じ方があるわけじゃんで物事はやっぱり。根っこにあるのは、やっぱり絶対やっちゃいけないことだけ。いくつかそれをさえやらなきゃといいじゃないって、そういうのがないわけだから、やっぱりあの欧米英米の方から欧米の方から来てる？</ref>.  
鳥嶋: コンプラっていう名のね。やっぱりね、ある種のね。なんだろうな、絶対神と言うべき善の名を借りた悪みたいのがあるよね。あの全員が不快感を覚えないなんてことはないわけだって、株不快はこういうことを覚えるどうこうでもいいわけよ。だって綺麗、汚いとかさ、善悪って人それぞれ感じ方があるわけじゃんで物事はやっぱり。根っこにあるのは、やっぱり絶対やっちゃいけないことだけ。いくつかそれをさえやらなきゃといいじゃないって、そういうのがないわけだから、やっぱりあの欧米英米の方から欧米の方から来てる？</ref>.  


Torishima drew comparisons between the narrow-mindedness of modern-day age regulations to the religious zealotry of the Puritanical mindset of the past, and highlighted the difficulties of selling Jump magazine in America as an example. The content that was deemed perfectly suitable for eight year old children in Japan was mandated to be marketed as strictly for teenagers and older in America or legal action would be applied<ref>鳥嶋:その宗教的な概念からくるその清教徒の考え方って、アメリカにあるじゃない？彼らのコンプラの考え方って本当ない。狭いうんでだから、向こうでコミックスだけに、全部その年齢で。 あの, 区切ってやらなきゃいけない少年ジャンプの漫画だったらサーティーンアップ13歳以上じゃないと出せない。それは全部見てくれなきゃいけないで、それを訴訟が起きる。そのために保険も入らなきゃいけない。もうこんなね、バカな国とねやるの。</ref> Torishima declared that doing business with America was infuriating and even damaging to Japan itself by forcing the smaller nation to comply to such ridiculous laws, which Horii explained as being the reason for the removal of gendered language during the character creation process. Foreign meddling mandated the censoring of the words men and women and forced Horii to utilize the awkward workaround of appearance A/B, despite everything else in the game acknowledging the common sense differences between the two sexes. Horii wondered aloud who on Earth would ever complain about the use of such common words in the first place<ref>堀井: 主人公もね、男女選べるんだけど、男を女選ぶって書いていけないのねタイプ一タイプ二なのねねえそう男女誰が一体文句言うんだろうと思うんだよね。
[[Kazuhiko Torishima|Torishima]] drew comparisons between the narrow-mindedness of modern-day age regulations to the religious zealotry of the Puritanical mindset of the past, and highlighted the difficulties of selling Jump magazine in America as an example. The content that was deemed perfectly suitable for eight year old children in Japan was mandated to be marketed as strictly for teenagers and older in America or legal action would be applied<ref>鳥嶋:その宗教的な概念からくるその清教徒の考え方って、アメリカにあるじゃない？彼らのコンプラの考え方って本当ない。狭いうんでだから、向こうでコミックスだけに、全部その年齢で。 あの, 区切ってやらなきゃいけない少年ジャンプの漫画だったらサーティーンアップ13歳以上じゃないと出せない。それは全部見てくれなきゃいけないで、それを訴訟が起きる。そのために保険も入らなきゃいけない。もうこんなね、バカな国とねやるの。</ref> [[Kazuhiko Torishima|Torishima]] declared that doing business with America was infuriating and even damaging to Japan itself by forcing the smaller nation to comply to such ridiculous laws, which Horii explained as being the reason for the removal of gendered language during the character creation process. Foreign meddling mandated the censoring of the words men and women and forced [[Yuji Horii|Horii]] to utilize the awkward workaround of appearance A/B, despite everything else in the game acknowledging the common sense differences between the two sexes. [[Yuji Horii|Horii]] wondered aloud who on Earth would ever complain about the use of such common words in the first place<ref>堀井: 主人公もね、男女選べるんだけど、男を女選ぶって書いていけないのねタイプ一タイプ二なのねねえそう男女誰が一体文句言うんだろうと思うんだよね。
鳥嶋: そうそうですね。
鳥嶋: そうそうですね。
堀井: うん, わからない。</ref>.
堀井: うん, わからない。</ref>.
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==External links==
==External links==
*[https://dragonquest.square-enix-games.com/games/en-us/dragon-quest-3-hd2d-remake/ Official website]
*[https://dragonquest.square-enix-games.com/games/en-us/dragon-quest-3-hd2d-remake/ Official English website]
*[https://www.dragonquest.jp/roto-trilogy/dq3/index.html Official Japanese website]


==References==
==References==

Latest revision as of 06:28, 10 September 2025


Dragon Quest III HD-2D Remake is a full remake of Dragon Quest III. It was originally announced as part of the 35th series anniversary celebration on May 27, 2021.

Unlike previous remakes of Dragon Quest III, the HD-2D remake offers a modernized vision of the original title with additional scenarios, voice acting, new vocations, and modern Dragon Quest series features such as battle tactics or faster battle settings. The graphics are completely redone in the "HD-2D" style popularized by previous Square Enix published games such as Octopath Traveler and Triangle Strategy. With the passing of Akira Toriyama on March 1 2024, artist Yoshiya "Fenyo_n" Fujisaki was brought on to the project as the chief illustrator with Naoki Ikushima providing the game's box art.

New features

Presentation changes

  • Re-imagined locations and HD-quality sprites
  • Certain areas have been slightly modified to account for the perspective changing from the classic top-down view to the pop up book style found in other HD2D titles
  • Orchestral soundtrack
  • Increased language support: English, French, German, Italian, Japanese, Korean, European Spanish, and Latin American Spanish
  • Dragon Quest III had not yet been translated into most of these languages prior to this remake
  • Voice acting support: English and Japanese
  • Fully animated monsters with sound effects

Scenario changes

  • Informing the player of the Six Orbs upon obtaining the ship in Portoga
  • Congratulating the slaying of Orochi and speaking of using the orbs to awaken the Everbird, the first time the player is told of Ramia
  • Warning the Hero to not grow complacent after bringing peace to Manoza and specifically telling the player to seek out the boatman's bone and the mountaincleaver sword
  • Cutscenes have been added that embellish Ortega's journey:
  • The Hero's mother asking for Ortega to postpone his mission until their child is older, but being unable to do so
  • Camping with the dwarven blacksmith and reflecting fondly on his beaten-up old helmet, with the dwarf lamenting that he does not have the proper materials to make it last
  • Having a duel with Simão that shows the two travelling as a party for some time
  • Ortega fighting off an attempted siege against Mur by himself despite his wounds, indebting the village to him
  • The battle at Mt. Necrogond sets Ortega against a legion of monsters instead of just a single, non-descript flying monster as seen in the Super Famicom version, dragging the fiend into the mouth of the volcano after intercepting it's ambush
  • In-game dialogue reveals that Ortega journeyed to Rimland and even met with the twin priestesses, as well as rescuing a faerie in the underworld
  • The mother of the Hero has been given more focus and dialogue, reacting to key events
  • The Hero's grandfather has been given a distinct sprite instead of using the stock old man sprite
  • Patty now uses her design from Dragon Quest IX, has been given more dialogue, and has been revealed to have watched over the Hero since childhood like an older sister
  • Simão has been rewritten into a proper character and was one of Ortega's travelling companions
  • Petya is now depicted as a young man instead of a child, showing that much time has passed since Ortega departed Mur
  • Baramos is now fully aware of the Hero's mission to assassinate him and has acted accordingly, deploying powerful henchmen to the following locations to serve as new boss battles:
A new mandatory destination, the Romarian Road, has been added to elaborate upon Robbin''Ood's theft of the Romarian crown
The Romarian Outpost has been closed due to the rising threat of monsters on top of Robbin' 'Oood being at large, with the guards informing the player to seek out the magic key in Ibis

Facility changes

  • The monster arena has been totally revamped to allow players to enter their own recruited monsters instead of relying on the arena's stable
  • T'n'T boards added in the Super Famicom remake have not been reimplemented after their removal in the 2014 android/ios port
  • Saving the game is now done in churches or by speaking to conveniently-placed nuns instead of by speaking to the local King or Queen
  • Patty can now loan characters to different save files. These borrowed buddies cannot change their equipment or level up, but there are no restrictions preventing powerful allies from being sent to a new game file

Character changes

  • The new character Healizah can modify a character's appearance between the four options, along with his or her hair colour and voice upon reaching Alltrades Abbey
  • The Monster Wrangler has been added to the list of vocations, and is freely available from the start of the adventure
  • The Hero's stats has been buffed considerably, with particular emphasis given to MP growth
  • The stat-boosting seeds are now saved to a character instead of a vocation, meaning that if a Gadabout bulks up with 10 seeds of life and changes vocations to a Sage all of the extra HP points are retained instead of being cut in half when a character swaps professions as with the natural stats
  • Characters may now equip two accessories ala Dragon Quest XI

Battle changes

  • Three modes of difficulty are available: Dracky Quest (Easy), Dragon Quest (Normal), and Draconian Quest (Hard). This setting can be changed at any time
  • Faster battle speeds like in the Nintendo 3DS release of DQVIII or in the international releases of DQXI
  • Characters now speak in battle: shouting while attacking, yelling the names of spells while casting, grunting while being struck, etc
  • The camera pulls back to reveal the party while the player is selecting actions for a turn
  • Equipped weapons are visible during this period
  • Many existing pieces of equipment have also been rebalanced
  • The artificial intelligence of the 2014 Android/iOS version has been replaced with a superior A.I.
  • Group-targeting spells will now deal more damage if used against fewer than four enemies, scaling to 110% damage at three, 120% at two, and 130% at one foe
  • The Bang-family of spells has been separated from the Fire element and given a distinct tag in the game's programming
  • New spells have been added: Defizzle, Magic Barrier, Moreheal, Zapple, and Zin
  • Several new skills have been added such as Double-Edged Slash, Mercurial Thrust, Pressure Pointer, and Cop Out [1]
  • All stats caps have been raised from 255 to 999
  • Agility is no longer divided by two to calculate base defence, now determining base evasion instead (while still impacting turn-order)
  • Luck now penetrates a monster's resistance to status ailments in addition to protecting the character from the same, determines how often characters score a Critical Hit, and also has a minor influence on physical damage
  • Resilience now determines base defence power instead of HP growth
  • Stamina has been added to determine HP growth, using the same formula as Resilience did in previous versions
  • Wisdom now increases magic damage by up to 30% instead of each spell being fixed to a static range, in addition to MP growth, and now influences the learning of certain combat skills in addition to spells
  • Boomerangs and whips can now score critical hits like any other weapon
  • Buffs and debuffs applied to a character are now displayed in icon form next to the HP bar


Miscellaneous changes

  • Bestiaries and item guides have been added
  • Characters can now dash instead of walking casually
  • Isis has been renamed to Ibis
  • Zoom can be cast indoors now, and the list of destinations has been expanded to include shrines, dungeons, and other points of interest

Update history

May 23rd, 2025

  • The movement speed when travelling by boat or using Ramia has been increased
  • Adjustments have been made to avoid boat travel speed being reset by opening the menu or getting into a battle while travelling by boat
  • A feature has been added whereby pressing the menu button while flying with Ramia allows the player to switch between automatic and manual flight modes
  • Ramia's low altitude flight now moves more quickly, similar to the Super Famicom version


  • A limit has been placed on the number of times that some monsters can perform certain actions within one turn
  • Some monsters have been adjusted so that they no longer use Defending Champion in the next turn after they become the last remaining monster
  • The status-ailment resistance of boss monsters has been increased for Draconian Quest difficulty.
  • Adjustments have been made to make it more difficult for both enemies and party members to be successively afflicted with the same status ailments
  • Metal chimaeras and hardy hands now yield more experience points when defeated
  • Defence has been lowered for all monsters except for metal slimes
  • Minor adjustments have been made to the way that damage is dealt


  • Once the Mini Medal Manor in the Aliahan well has been visited, it will be added to the list of Zoom destinations
  • A new “short-cut button” feature has been added that allows spells and abilities to be assigned to specific buttons. For more information, please refer to Traveller's Tips in-game.
  • In the Temple of Trials, the number of Elfin elixirs required to advance has been lowered from 25 to 10
  • A treasure chest has been added to the Temple of Trials, allowing players to acquire one more Gringham whip
  • Fixed a bug whereby levelling up after using the Seed of life or Seed of magic items would cause the status increase value to be calculated twice
  • Adjustments have been made so that if trophies and achievements have not been acquired correctly, selecting Misc. > Info in the menu allows some of them to be reacquired
  • Miscellaneous fixes for minor bugs
  • The gold golem has been renamed to gold digger to distinguish it from the recurring monster of the same name, in preparation of the latter's appearance in Dragon Quest I & II HD-2D Remake.

Nintendo Switch 2 update

On July 31st 2025 Square Enix released a patch that updates the Nintendo Switch version of the game to run smoother on the Nintendo Switch 2, with the option for players to prioritize frame rate or graphic fidelity at their leisure.

August 30th, 2025

  • Minor bugs have been fixed.
  • The wisdom stat's maximum influence on attack spell power was raised from +30% to +60% and also increases the damage range by the same amount. For example the Zapple spell has a base power 80 and range of 10, with high Wisdom now raising the base power to 128 and the range to 16.

Development

Remaking Dragon Quest III was proposed by producer Masaaki Hayasaka, who noted that while the title was available for smart phones, the Nintendo Switch, and PlayStation 4 etc, these were just ports of the Super Famicom remake made back in 1996 and did not take advantage of modern hardware. The first remake proposal was to develop the game entirely in 3D, but this approach was canned due to the many difficulties of adapting a 2D game into the third dimension; the countless adjustments that would have to be made would have led to the remake feeling too detached from the original. Concurrent to this snag in development was the break out success of Octopath Traveler, which pioneered what is now known as the HD-2D style. Hayasaka then proposed remaking Dragon Quest III in the same style, to which Horii readily agreed[2].

With the presentation decided upon the goal of the project was to respect the original while still adding new elements to enrich the play experience. One example of this was changing the look of each town and castle now that they were not bound to the same tile sprites as they were in the Famicom and Super Famicom versions. As the world of Dragon Quest III is based on the real world, Hayasaka placed emphasis on reflecting the real life cultures each locale was derived from without altering the classic feeling too much. When Horii compared the HD remake and the Famicom version side by side, he noted the two had a similar atmosphere despite the latter's more primitive graphics, which Hayasaka took as a great personal success[3]. This attention to detail extended to the overworld representations of each town and castle as well, something that actually caused a dispute during development. Each locale was given a unique, miniaturized representation on the World Map instead of sharing the same sprite tiles as in prior versions, and Hayasaka wanted the player to be able to enter each from any side. The planner contested this and insisted it wasn't realistic enough for a modern game, to which Hayasaka countered that such a feature would be better for difficulty balance as a party in a critical state wouldn't run the risk of being wiped out by monsters when walking towards an entrance on the opposite side of the town. Neither would compromise and Horii settled things by agreeing with Hayasaka[4].

As the original game was known for having a high degree of customization at the time of it's release through the vocations system, this feature was embellished by granting players the ability to personalize the appearances of their characters directly. These specifications will also persist when a character changes vocations, something Hayasaka proposed due to the awkwardness of a male Warrior suddenly becoming an old man once he changed vocations into a Mage and vice-versa. Voice acting for the party was also deemed a necessity in the modern era, with Horii supervising the proper intonations for spells when their names are shouted in battle.

Scenario-wise, Horii deemed that the original Dragon Quest III had a complete story and thus the new additions would focus on Ortega instead of the protagonist. As one of the core elements of the title was the Hero following their in father's footsteps and slowly catching up with him as the adventure progresses, these new scenario additions would strengthen that theme in a way that didn't disrupt the flow of the overarching story. Particular emphasis was given to scene of Ortega fighting an unknown monster at the volcanic rim of Mt. Necrogond, added in the Super Famicom version, with several of the new scenes showing Ortega's journey leading up to that moment and the unknown monster being fleshed out into the Garboyle villain.

To further emphasis the theme of familial legacy was the creation of the Auroral Helm item, the upgraded form of Ortega's Helm. While the Super Famicom remake had included Ortega's Helm as a durable piece of head protection, it was outclassed by the mythril helm and great helm items available later in the game, both of which could be equipped by the Hero. The Game Boy Color port released in 2000 addressed this by giving Ortega's Helm resistances to status ailments, but it was still a sub-optimal choice by the end of the game. Horii noted that many players held a sentimental attachment to the helmet regardless of it's comparative weakness and would equip it even into the confrontation against the final boss despite being a handicap. As it was revealed in the 25th anniversary expo that Ortega's Helm would become Erdrick's Helmet it was decided to incorporate this into the HD remake. As a bonus, Ortega's dialogue will change if the player wears the Auroral Helm while speaking to him in the depths of Zoma's Citadel[5].

When it came to modernizing the battle system it was decided from the beginning to include skills, which had become a staple of the series since their inclusion in Dragon Quest V in 1992. The inclusion of skills required a rebalancing of the monsters' capabilities in battle to establish a good difficulty curve, as well as raising the amount of monsters that could appear in a single battle from 4~5 to 8. The implementation of AI-controlled party members was a carryover from the smart phone port of the Super Famicom remake, but was further refined to be more intelligent. Humorously this new intelligence lead to the AI characters casting Whack and Thwack over and over even on enemies who were immune to instant death before the programming was altered, inadvertently recreating Kiryl's infamous blunders from the Famicom version of Dragon Quest IV[6].

The addition of the Monster Wrangler vocation came about due to the age ratings boards of overseas nations being stricter than in Japan. This meant that the traditional mini-game of betting on monster fights to win money needed to be axed due to resembling real life gambling, and it was decided to replace the system with a Monster Arena styled like the one seen in {{Dragon Quest VIII]}} where the player's team of monsters compete for prizes. This decision was also based on play-tester feedback, who requested that the larger village/castle/dungeon maps of the HD version be given more features to fill in the new space. As such recruitable monsters were deposited in various areas, thus addressing both issues at simultaneously. The Monster Wrangler was added to further enrich the system, rewarding the player in a practical way with the vocation reaching greater potential the more monsters the player recruits[7].

The inclusion of the Grand Dragon, the superboss who was added to the Game Boy Color version of Dragon Quest III in 2000, was a response to feedback from players that noted his absence from the ports of the Super Famicom version and desired to fight him once more. The abode of the Grand Dragon, the Temple of Trials, was created as a means to satisfy players that wanted to continue playing after the credits rolled and those seeking a considerable challenge. As the monster medals feature from the Game Boy Color version was decided to not be brought forward for the HD remake, the Ice Cave bonus dungeon that originally housed the Grand Dragon was replaced with the heavenly Temple of Trials [8].

Dragon Quest III HD-2D Remake was formally announced during the series 35th anniversary livestream on May 26, 2021. Beta footage that dirfers from the final product was shown, along with a debriefing from producer Masaaki Hayasaka. In his typical mischievous fashion Yuji Horii also let it slip that remakes of the first two games and that there would be surprises in store for those who played the trio in chronological order, much to the chagrin of his co-host and live English translator.

Censorship controversy

The game has been strongly criticized for the censorship of the female Gadabout, female Warrior, and the male Monster Wrangler's clothing prior to its release, altering the classic designs to expose less skin in order to comply with the Japanese CERO ratings board. The ratings board has grown increasingly strict in its regulations in the decades since the original release of the game in 1988, with the censorship being mandated in order for the remake to secure a rating of B and be legally sold to children. Fans noted the censorship of the boss troll's lip colour in preview footage shown on June 18 2024, wherein the giant's lips were changed from pink to green and it's nose was altered to be significantly smaller, though the change in the colour of the lips were already present in its appearance in Dragon Quest Monsters: The Dark Prince.

The removal of gendered language during the character creation process has also been criticized. This was first revealed during June 2024 in the 32nd issue of Weekly Shonen Jump where the Hero and Heroine's full art was revealed, referring to the two as "looks A" and "looks B" despite the artwork clearly depicting the two as a man and woman respectively. Matching voice actors were cast for their battle dialogue as well, with Nobuyuki Hiyama and Yūko Minaguchi for the Japanese dub and Toby Laurence and Jenna Sharpe for the English dub. A trailer shown on August 27th would show this peculiarity extending to the party members as well, where their sex was replaced with "appearance A/B". The change was further criticized when the trailer revealed that the English script still uses proper terms when referring to characters in-dialogue, such as the appearance B Thief Samantha being referred to as a woman by Healizah when giving her a makeover, making the alteration totally pointless.

On September 28, an interview between Denfamico Gamer's NAZ CHRIS and Yuji Horii and Kazuhiko Torishima would be held commemorating the 2024 Tokyo Game Show, with Horii and Torishima representing radio station Tokyo M.A.A.D. SPIN through their radio program "Yubo & Mashirito 's Koso Koso station". The interview pretained to the HD2D remake of III, the ongoing scandal regarding the game's censorship prompting NAZ CHRIS to ask Yuji Horii about the changes directly, specifically for the female Warrior. Horii revealed that the changes were due to the strict age ratings regulations, stating that even just showing too much skin would raise the game's rating and prevent the game from being sold as an all-ages product as monster had been in the past. NAZ CHRIS replied by saying the game is simply a work of fiction for the players to immerse themselves into, to which Horii agreed and stated that he doesn't understand what the problem is either[9]. Torishima followed Horii's statement up by pointing out that ratings regulations vary greatly between different nations. Torishima strongly criticized the forced compliance to these regulations to conduct international business in American and the UK, going so far as to call them an "evil disguised as good", and pointed out that it is simply impossible for there to be content that offends no one due to everyone having different perspectives; Torishima asserts that so long as certain absolute taboos are not broken then creative freedom should be unfettered[10].

Torishima drew comparisons between the narrow-mindedness of modern-day age regulations to the religious zealotry of the Puritanical mindset of the past, and highlighted the difficulties of selling Jump magazine in America as an example. The content that was deemed perfectly suitable for eight year old children in Japan was mandated to be marketed as strictly for teenagers and older in America or legal action would be applied[11] Torishima declared that doing business with America was infuriating and even damaging to Japan itself by forcing the smaller nation to comply to such ridiculous laws, which Horii explained as being the reason for the removal of gendered language during the character creation process. Foreign meddling mandated the censoring of the words men and women and forced Horii to utilize the awkward workaround of appearance A/B, despite everything else in the game acknowledging the common sense differences between the two sexes. Horii wondered aloud who on Earth would ever complain about the use of such common words in the first place[12].

This interview would be catapulted into the international news cycle thanks to X.com user Valute News clipping the portion of the interview concerning censorship and providing English subtitles. The ripple effect of the post would draw significant attention from beyond the game industry's own news channels, leading to outlets such as Forbes magazine and Elon Musk commenting on the situation and drawing even more attention to the censorship of Dragon Quest III.

On October 3, Tokyo M.A.A.D. SPIN released an official statement regarding the viral interview, stressing the mistranslation performed by Valute News that turned Torishima's use the English word "puritanical" into the phrase "sex education". An English counterpart to the statement was also announced, but was formally delayed later the same day and has yet to be released. Valute News would also release a formal apology for the single translation error, and deactivated the account. Additionally, the Denfamico Gamer youtube channel privated the video but it has since been archived for posterity.

Credits

Warning: Spoilers!
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Scenario & design
Role Staff
Scenario Yuji Horii
Game Design Yuji Horii
Character Design Akira Toriyama
Music Koichi Sugiyama
Produced by Square Enix, Creative Studio 5
Producer Masaaki Hayasaka
Game Design Supervisor Yuta Hase
Lead UI Designer Masataka Morimoto
Senior Game Designer Yoichi Kuroda
Level Designers Kota Osaki, Ryuto Toyota
Technical Artist Min Yang
Pixel Artist Megumi Tanaka
Visual Supervisor Nao Amano
Illustrator Megumi Okawara
Box Art Illustration Naoki Ikushima
Technical Directors Masayuki Saito, Kenji Chujo, Mitsuru Kamiyama
Assistant Producers Hirotaka Matsumoto, Natsu Samejima
Project Support Yuko Suzuki, Saaya Yuzaki, Hideki Yamashita, David Kracker, Masayuki Yoshimitsu
Project Supervisors Takuma Shiraishi, Takashi Tokita, Yasuaki Arai, Noriyoshi Fujimoto
Chief Producer Masashi Takahashi
Executive Producer Tomoya Asano
Special Thanks Shou Igarashi, Tomoyuki Kataoka, Jonathan Newell, Hirohito Suzuki, Chi Xiong, Tim Law, Yutaka Nagayama, Meri Matsumoto, Natsumi Miwa, Shizuka Morimoto, Naoki Yamamoto, Wako Yokoyama, Yuta Ashimine, Sachiru Shimoda, Takeshi Ichikawa, Ryoko Onishi
Development by Artdink Corporation
Director Isao Ohbatake
Art Director Masayuki Goto (earlycross Inc.)
Pixel Art Director Eiji Koyama (Magma Studio Co., Ltd.)
Lead Programmer Takahiro Takemura
Battle Programmer Hisato Obayashi
World Map Programmers Kohei Kimura, Masahiro Asano
UI Programmers Hiroki Bandoh, Hikaru Kitazume
Event Programmer Ryoukou Hatanaka
Sound Programmers Yasuyuki Hiraizumi, Kenichi Hashimoto
Lead Multiplatform Programmer Akihiro Tanabe
Multiplatform Programmers Hiroki Kurihara, Tatsuya Shimizu, Kazuki Kamada, Yuya Kojima
Programmers Takashi Itoh, Takashi Saitoh, Toshiyuki Watanabe, Yūichi Ishiguro (NEXTOP Corporation)
Lead Artist Masashi Saitoh
Lead Environment Artist Akira Uruma
Town & Dungeon Environment Artists Asami Ito, Misaki Maki, Erika Nakamura, Goichi Miyamoto, Moeko Tagusari, Mana Tadokoro, Moe Murayama, Hatsuho Suzuki, Nana Toyofuku, Kyouhei Mori
World Map Environment Artist Makoto Tsuchiya
Battle Environment Artist Fumiaki Konno
Cutscene Artists Akihiro Yamazaki, Akihiro Oki
Lead UI Artist Asuka Saka
UI Artists Kirie Furuta, Yusuke Ooya, Chong Seonkyeong
Technical Artist Takeshi Nakazato
Lead Game Designer Yutaka Toyama
UI Designer Shodai Matsuo
System Designer Tomoki Kondou
Battle Designer Ryota Makabe
Battle Camera Designers Yoshiyuki Yamada, Kazuhito Tsukui, Mikiko Kanno, Masato Souri
Sound Planner Ryota Goto
Character Designer Umon Kobayashi
Lead Level Designer Hiroyuki Irie
Level Designers Ayumu Doita, Tadayuki Shiraishi, Ryosuke Yanagihara, Atsushi Ito, Yuji Mizoguchi
Event Designers Naoyuki Tasei, Kazuma Ito, Takao Miyamoto, Kenta Igarashi
Script Programmers Hatsuho Inaba (G Choice Corporation), Natsumi Baba, Takashi Tajima
Lead Sound Designer Tomoya Sato
Sound Designers Ryuji Nishida, Yusuke Matsui
QA Manager Susumu Harada
QA Testers Tatsuya Tokumasu, Yohei Sakata, Kenta Kimura, Masahiro Ono, Tomoharu Ikeda, Kenichi Motoshiromizu, Haruto Akagawa, Takuma Yamada
Houdini Supporters Yōichi Yamaguchi, Masahiro Okawa
Special Thanks Takanori Seki, Yuya Sugimoto, Kenta Katsura, Kimihiro Taniyama (Ohtaka Inc.), Katsutoshi Yasui, Takeshi Akasaka, Kazuya Miyakawa, Ayako Furukawa, Shouji Nakajima, Tadanori Kanaya
Font Designed by Arphic Technology Co., Ltd, Fontworks Inc., Imaging Inc., YoonDesign Group Inc.
Localization Manager Zhai Jingxuan
Development Assistant Producers Lina Nagai, Nao Sasaki
Project Manager Kaori Yajima
Development Producer Kenji Dainichi
Co-Development by earlycross Inc.: 3D Art Direction/Town & Dungeon Environments
Role Staff
Art Director Masayuki Goto
Lead Town & Dungeon Environment Artists Sakurako Midorikawa, Junko Murata
Town & Dungeon Environment Artists Yuta Moriya, Tomohito Nakagawa, Satoe Hamano, Saori Hosonuma, Misa Ikeuchi, Haojun Zhao
Concept Artists YoShimizu, asano (Crico, inc.), Liu Zhejun (Flame Hearts Co., Ltd.), Gota Yamanaka (Three Rings Inc.), Katana Canata (Crico,inc.), J.taneda
Magma Studio Co., Ltd.: Pixel Art Direction/Characters
Role Staff
Lead Pixel Artist Eiji Koyama
Pixel Artists (Characters) Ryuichi Kunisue, Kayo Sakuramoto, Eiji Yamamura, Ayaka Ohno, Minako Ohga, Kanon Kunisue, Puyomichi Morita
Astro Production Inc.: Effects
Role Staff
Effect Director Takatsugu Fukushima
Effect Artists Chihshin Liu, Aika Hori, Maimi Takahashi, Saki Ogata, Takuma Takahashi
Orbitallink Inc.: World Map Environments
Role Staff
Environment Artist Tatsuya Izumi
MagicPot Inc.: Game Design/Programming
Role Staff
World Map Designer Masahiko Sano
Programmer Katsuji Oi
Irem Software Engineering Inc.: Town & Dungeon Environments
Role Staff
Producer Naoki Hoshi
Group Leader Hidekazu Kawaguchi
Lead Artist Ayano Nakamura
Artists Hajime Takeno, Masahiro Tashiro, Yumiko Fukuda, Ren Kojima, Mizuki Arai
Manager Hirotaka Chiba
I-rori Entertainment Co., Ltd.: World Map Environment
Role Staff
Environment Artist Yuriko Horikawa
Acquire Corp.: Characters
Role Staff
Lead Pixel Artist Hidehiko Amano
Pixel Artist Task Management Kenta Hirose
Pixel Artists (Characters) Nanami Wakaura, Takumi Takahashi, Akine Saito, Yuka Suga
Special Thanks Hata-P, Yumiko Sugiyama, Masaya Yamazaki
Kameworks Company Limited: Town & Dungeon Environments
Role Staff
Manager Le Hai Ngoc Pham
Team Leader Nguyen Vinh Ha
Artists Hoang Trung Hieu, Nguyen Dac Ha, Nguyen Duy Khanh, Quang Huy Doan, Tien Bach Vu, Thanh Tung Pham, Xuan Khanh Ma
Canmu Co., Ltd.: World Map Environments
Role Staff
Environment Artists Daisuke Takamure, Ryutarou Oouchi
Key West Co., Ltd.: Town & Dungeon Environments/Monsters
Role Staff
Environment Artists Keiichi Ōta, Aoi Inagaki, Shoma Hirata, Minori Nakano, Yumi Hattori, Issei Nishino, Muhammad Angga Toshihiro, Hisakazu Nakamura
Pixel Artists (Monsters) Eri Hara, Naomi Takemoto, Takayuki Okada, Taku Sato, Nozomi Saratani
Glambox Co., Ltd.: Town & Dungeon Environments
Role Staff
Lead Artist Junpei Ichikawa
Artists Rikiya Horie, Hana Matsuoka, Ayumi Uchino
Chronogate Inc.: Game Design
Role Staff
Game Designers Katsunori Suginaka, Kouya Yoshihira
Connect+Echo Co., Ltd.: Sound Effects
Role Staff
Sound Artists Sayaka Yaegashi, Kazuki Kitamura, Hiroki Mogami, Atsushi Nishimura, Yalong Wan
Sound Manager Masashi Nemoto
Grdrive Inc.: World Map Environments
Role Staff
Environment Artist Kohei Yoshizawa
Studio51 Inc.: Town & Dungeon Environments
Role Staff
Town & Dungeon Environments -
Three Star Factory Co., Ltd.: Monsters
Role Staff
Pixel Artists (Monsters) Keizo Fujita, Kazue Akita, Taku Sato, Yuji Hachiman, Gen Ohira, Eiji Yamatani
Digital Environment Creations Inc.: Town & Dungeon Environments
Role Staff
Lead Artist Masato Sekiguchi
Environment Artists Mariko Yoshiya, Tsutomu Adachi
Tenben Co., Ltd.: Town & Dungeon Environments
Role Staff
General Coordinator Ken Kudo
Director Shintaro Aoki
3D Artists Yu Inaba, Yuan Lei
3D Modelers Hiroyuki Ushikubo, Tokiya Yamamoto, Tai Zheng, Han Yongjie, Xie Kai, HeLei Li, Jiaqi Li, Yuting Lu, CuiPeng Wei, Hongda Li, LinLin Wei, Qi Xin, Shuting Zhang
TriCrest Inc.: Town & Dungeon Environments
Role Staff
Manager Yoshiaki Tachino
Artist Yuji Takada
Fellows Inc.: World Map Environments
Role Staff
Environment Artists Kiyoshi Tate, Naruki Sugeno
Renaissance Inc.: Town & Dungeon Environments
Role Staff
3D Artists Shogo Kusuda, Takahiro Suzuki, Ryota Akizuki
Rocket Engine Co., Ltd.: Characters/Monsters
Role Staff
Lead Artists Syougo Satou, Manabu Takeshita
Pixel Artists Takashi Hayashi, Moe Suzuki, Erika Ozawa, Yuko Miyazaki, Saya Tajima, Yasunobu Yamashita, Noriyuki Sasaki
Director Hideki Yasuda
Development Managers Isamu Kondō, Noboru Nishizawa
Scenario/Text Support
Role Staff
Gekko Inc. Tomohiro Takeda, Kei Akai
FarEast Amusement Research Co., Ltd. Yura Kubota, Akira Ohata
Hike Inc. Ren Nakamura, Takeaki Hamagami, Tooru Wakabayashi, Kenichi Yokoo
Illustrator
Role Staff
Illustrator Yoshiya Fujisaki
Main Cast (Japanese)
Role Staff
Main Cast Kenjiro Abekawa, Yurina Amami, Kosuke Echigoya, Kento Fujinuma, Keiko Han, Takaya Hashi, Yuya Hirose, Hana Hishikawa, Nobuyuki Hiyama, Tetsu Inada, Manaka Iwami, Yuhko Kaida, Kosuke Kobayashi, Yuu Maeda, Keiko Manaka, Yohei Matsuoka, Yuko Minaguchi, Toshiyuki Morikawa, Daiki Mukouyama, Hiroshi Naka, Nozomi Nishida, Naoko Nokubi, Yousuke Omomo, Akio Otsuka, Rina Sato, Etsu Son, Kouichi Souma, Minori Suzuki, Kenichi Suzumura, Hiroki Touchi, Nao Toyama, Ayumi Tsunematsu, Masaaki Yano, Yasuno Kiyono
Voice Production: BigGrooovePromotion
Role Staff
Voice Directors Nozomi Nakatani, Miyuki Yoshizawa
Recording Engineer Hidekazu Fujishiro
Voice Production Manager Ayane Yamaminami
Main Cast (English)
Role Staff
Main Cast Barry Aird, James Alexander, Joseph Balderrama, Manpreet Bambra, Jaimi Barbakoff, Roberto Benfenati, Alexandra Boulton, Jessica Carroll, Dario Coates, Sean Connolly, Clare Corbett, Jan Cramer, Will De Renzy-Martin (credited as Will de Renzy-Martin), Kate Donnachie, Andrew Futaishi, Raj Ghatek, Chloe Gilgallon, Rebecca Hanssen, Kelly Hotten, Phoebe Hyder, Dave Jones, Haruka Kuroda, Vinay Lad, Toby Laurence, Milton Lopes, Elsie Lovelock, Bruno Matay, Thomas Mitchells, Rhiannon Moushall, Yuriri Naka, George Naylor, Ami Okumura Jones, Alex Phelps, Suzie Rai, Richard Reed, Jenna Sharpe, Dai Tabuchi, Christian Vit, Annie Warburton, Timothy Watson, George Weightman, Andrew Wheildon-Dennis, Andres Williams, Sam Woolf
PitStop Productions: Management
Role Staff
Managing Director John Sanderson
Head of Voice Over Helen Bower
Deputy Head of Voice Over Stephen Trafford
Head of Operations Charlotte Freeman
PitStop Productions: Pre Production
Role Staff
Project Manager Leigh-Ann Withers
Casting Manager Tom Conway
Pre-Production Coordinator Jake Goode
Pre-Production Assistants Jack Hall, Reanne Weavill, Vicky Hoban
PitStop Productions: Production
Role Staff
Lead Voice and Casting Director Josh Weeden
Voice Director Keith Higinbotham
Audio Engineer Jake McCormack
Studio Operations Manager Hannah Amy Smith
Casting Assistant & Studio Operations Assistant Daniel Bainbridge
Senior Dialogue Engineer Tatsujiro Oto
Dialogue Engineers Lloyd Jukes, Andreas Bildt
PitStop Productions: Post Production
Role Staff
Post Production Creative & Project Lead Callan Evans
Post Production QC & Personnel Lead Lisha Hirst
Voiceover Technical Lead Lenny Bedford
Voiceover Technical Assistant Tom O' Rourke
Post Production QC Assistant Laura Sanders
Post Production Generalist Assistant Jose Arturo Amaya Portocarrero
Senior Dialogue Editors Michael Jukes, Joshua Polhill
Dialogue Editors John Churlish, Josh Taylor, Joshua Foers, Joshua Whitmore-Lyons, Matthew Heale, Oliver Matthew Cook, Thomas Edward Moffat, Raiwin Montadpalin, Henry Taylor
PitStop Productions: Office
Role Staff
PA/Office Manager Joy Jackson
Finance Manager Craig Boldy
Office Co-Ordinator Sidney Watson
HR Coordinator Mary Fothergill
Office Support Animal Mia
Studio Studio Animal Bodhi
Post Production Support Animals Nuna, Lumos and Nox
Preproduction Support Animals Connie, Dahlia, Ratya, Trixie, and Nijntje
PTW Korea Co., Ltd.: Localisation
Role Staff
Project Manager Hwayeon Jeong
Translators Sangtaek Kim, Hyemin Cho, Yeonbin Yang, Sungyup Chung
Project Coordinator Hansol Lee
Japanese Language Support Injoon Choi
Testers Dongho Kim, Hyunhoo Kim
PTW Shanghai Co., Ltd.
Role Staff
Localization Dept Head Minjun Wu
Translator Jiaru Gu
LQA Project Coordinator Qian Zhang
LQA Japanese Support Chen Ying
PTW Singapore Co., Ltd. Taiwan Branch
Role Staff
Localization Manager Ya Yun Tan
Project Manager HsinYi Lin
Leader Translation Chih-Chieh Hsu
Translation Yu-Ju Lin, Yu Chieh Lin, Hsuan Yu, Tzu Hsuan Tseng, Shih Ting Huang, Ming Te Lu, Ping He, Kao Yi-Hung
LQA Project Coordinator Bo-Yan Chen
LQA Japanese Support Norman Huang
entalize
Role Staff
Localization Division Manager YiFang Liu
Localization Division Assistant Manager Sachiko Akisaka
Coordinator Yawen Zhang
Native Prime, SAS: Localisation
Role Staff
Translator Sam Burton
Project Managers Jesús Redondo Moreno, Diana Díaz Montón
Altagram Group: Localisation
Role Staff
Senior Localisation Project Manager Katrin Kemter
Localisation Project Managers Petra Olivi, Sofí­a Brenner Fernández, Marc McGowan
Senior Localisation Engineer Wolfgang Hoffmann-Schoenborn
Localisation Engineer Antonio Manuel Beleno Rodríguez
French Translators Océane Gougeon, Thomas Partensky, Julie Berger, Jean-Marie Caroff, Audrey Demanget
French Editors Claire Lebossé, Marie Gros
Italian Translators Federico Castellano, Beatrice Ceruti, Davide Specchia, Luca Moretti
Italian Editors Kirstine Spinosi, Sara Baroni
German Translators Julia Meter, Rick Leinichen, Jakob Semmer, Henrike Kupsch, Katharina Sofia Speelmans, Katrin Kemter
German Editors Tilman Löffler, Sandra Kohl
Spanish Translators Mar Campayo Chaparra, Juan Ferragud Sáez, Nerea González Alonso
Spanish Editors Pedro José Sepúlveda, Judith Rodríguez Vallverdú
Mexican Spanish Localisation Project Manager Azgard C.E.
Mexican Spanish Translators Anna Victoria Zamora Juárez, Libertad Anguiano, Frank Bustamante, Melissa Ávila Sánchez
Mexican Spanish Editors Azgard C.E., Mauricio Merek, Erick Ernesto Ferez Matamoros, Axel Beissner
Project Manager Team Leads Jonathan Aplin, Yasmin Babb
Linguistic Team Lead Dylan L. Martin
CPO Nicolas Parenti
CCO Karolina Drapala
COO Balint Acsay
CEO Marie-Laurence Amigues
Square Enix, Inc./Square Enix Ltd.: Executives
Role Staff
Chief Publishing Officer, EMEA, Americas & Oceania John Heinecke
Vice President, Publishing Strategy Larry Sparks
Vice President, Regional Marketing Gary Pfeiffer
Vice President, Western Sales Chris Gilbert
Vice President, Communications Michelle Schroder
Executive Creative Director, Square Enix West Ricardo Mireles
Regional Manager, Square Enix America Yoko Hashimoto
Regional Manager, Square Enix Europe Tracey Gleig
Quality Assurance & Localisation Services Europe
Role Staff
QA & Localisation Services Directors Marc Titheridge, Yuko Tomizawa
Head of Localisation Martin Walter
Localisation Manager Jan Büchner
Localisation Project Manager - SEJ Nobuko Sugahara
Localisation Project Managers Giulia Isnenghi, Denis Ulybin
Senior Localisation Producers Alex Moresby, Elisa Giribaldi
Localisation Producer Kevin Balon
Assistant Localisation Producers Heeky Kim, Shailesh Iyer
Senior LQA Manager André Woitczyk
LQA Managers Sébastien Dulabour, Björn Holste
Assistant LQA Manager Hoi-yee Leung
Senior Mastering Manager Jason Walker
Senior Localisation QA Project Coordinators Helena Simsolo, Cindy Mouandza, Erica Berghi, Heike Pham Dan, Lolo García
Senior Translator/Editor (French) Marie Pierre Martin
Senior Translator/Editor (Italian) Federica Lusardi
Senior Translator/Editor (German) Katharina Klamt
Senior Translator/Editor (Spanish) Raquel Uzal-Gómez
Localisation QA Project Coordinator (Japanese) Sean Foyle
Quality Assurance & Localisation Services Americas
Role Staff
Localization & QA Director Yutaka Sano
Senior QA Manager Mathew A. Clift
QA Manager Keith P. Christensen-Martz
Associate QA Manager Michael Ashton
Senior QA Coordinator Carmelo Cabezo
QA Coordinator Juan Centurion
QA Tester Pedro Gurrola
Mastering Manager Louis Sedeno III
QA Translator Takahiro Soh
Japanese Communication Support (Europe)
Role Staff
Senior Translation Manager Kazuya Andii Yamanaka
Interpreting Manager Gavin J. Poffley
Translation Task Manager Grace Ellen Mitchell
Assistant Manager - Translation Systems Katsuya Norita
Senior Japanese Business Translators Mamiko Cullingford, Juzo Hirose
Japanese Business Translators Hinako Matsumoto, Toby Walters, Yuka Wadsworth, Manami Sekine
Japanese Communication Support (US) & Merchandise (US & Europe)
Role Staff
Senior Director Kanji Tashiro
Japanese Communication Support (US)
Role Staff
Associate Director Ami Funaki
Managers Aimi Tokutake, Kenichi Morita
Assistant Managers Hinano Akiyama, Kohya Bamba
Translator Amelia Ishii
Square Enix Merchandise (US)
Role Staff
US Merchandising Senior Manager Jennifer Park
Assistant Managers Lily Goldner, Sarah Bloom
Business Assistant Manager Takamasa Matsuda
Square Enix Merchandise (Europe)
Role Staff
EU Merchandising Director Graham Brown
Senior Manager, Business Operations Taishi Narumoto
Merchandise Marketing & Events Manager Alec Thorne
Manager Fabian Weber
Sales Planner Byron Rigby
Operations Coordinator Shaun Bedassie
Square Enix West Publishing Strategy
Role Staff
Executive Director, Publishing Strategy Richard Briggs
Marketing Director Neal Pabon
Senior PR Manager Mark Dennis
PR Manager Dashaun Gasque
Associate PR Manager Felipe Dominguez
Senior Social Media Manager Darren Kruse
Social Media Manager Joyce Tammany
Community Manager John Fournier
Senior Marketing Manager Will Jackson-Smart
Assistant Marketing Manager Niralee Modha
Square Enix Europe Publishing
Role Staff
Director, Business Planning Hideki Miwa
Business Manager Imogen Wright
General Manager, EU Commercial & Publishing Services Justin Gaffney
Senior Sales Director — EU Sales Karine Parker
EU Marketing Director Anthony Newall
Business Intelligence Manager Leah Simpson
Senior Media Strategist Kim Fitzgerald
Media Manager Richard Roper
Assistant Media Manager Sam Wood
Senior Production Manager Carrie Judge
Production Manager Lynne Fisher
Senior Director External Communications Alex Huhtala
EMEA Regional PR Director Thorsten Küchler
Senior Influencer Relations Managers Ibrahim Bhatti, Ria Patel
Ecommerce Strategy Manager Celia Gennetay
Senior EU E-Commerce Manager Priscille Demoly
Ecommerce Specialist Yannick Bouin
UK/Export Sales and Marketing
Role Staff
Marketing Director - UK Yolande Vandenbulcke
Senior Marketing Manager - UK Peter Bellew
Marketing Manager - UK Melissa Larsson
Senior PR Manager - UK Tom Goldberger
Assistant PR Manager - UK Michael Bryant
Marketing Director - Export Laura Disney
Senior Marketing Manager - Export Ben Grunbaum
Assistant Marketing Manager - Export Claire Neil
PR Manager - Export Shehryar Sheikh
Assistant PR Manager - Export Freeland Costin
Sales Manager - Export Katie Edwards
Senior Sales Manager - UK & Export Thomas Vickery
Sales Administrator - UK & Export Liam Olivera
France/Benelux Sales and Marketing
Role Staff
Managing Director Florent Moreau
Marketing Director Tristán Perdriau
Senior Marketing Manager Robin Pétel
Marketing Manager Julien El Rab
Senior PR Manager Marine Ferrari
Community, Social & Influencers Manager Cédric Devoyon
Marketing Assistant Tristan Quintin
Sales Analyst Isabelle Connuel
Accounts & Sales Admin, Manager / Finance Elisabeth Marchal-Bleeckx
G/A/S Sales and Marketing
Role Staff
Managing Director Square Enix GmbH & Operations Director PAL Klaus Jens
Marketing & PR Director Lars Winkler
Marketing Manager Marcus von Lüde
Senior Marketing Manager Dominik Heineccius
Senior PR Manager Markus Häberlein
Influencer Relations & PR Manager Daniela Finck
Social Media & Community Manager Chrissie Klass
Sales Manager Fabian Rather
Senior Financial Controller Isabell Weidemann
Senior Operations Manager Nikolaus Ziegert
America Regional Marketing
Role Staff
Senior Director, Regional Marketing - Americas Jon Grant
Regional Senior Marketing Manager Eric Inamine
Regional Marketing Managers Melanie Gordon, Zorine Te, Ray Velez
Regional Marketing Associate Managers Alli Cohen, Julian Silveria
Senior Media Strategist Joannie Chen
Square Enix Business & Legal Affairs
Role Staff
General Counsel Adam Sullivan
Assistant General Counsel Legal & Business Affairs US Noi Sasaki (Sherlock)
Assistant General Counsel Legal & Business Affairs (Europe) Melanie Drummond
Senior Legal Counsels Maria Abesa, Justin Gomes, Alberto Wilches, Jamie Thornton, Nick Kempton
Associate Legal Counsel Waqar Qureshi
Manager, Legal Operations Stephanie Pimentel
Paralegal Angelo Rivera
Legal Operations Associate Vanessa Grundy
Legal Operations Assistant Dan Shoesmith
Legal Operations Specialists Allie Gibbs, Leander Tipsey
Legal Analyst Julie Wei
Company Secretary Jonathan Ball
Square Enix Community and Service
Role Staff
Executive Director, C&S Yasu Kurosawa
Director of Operations Brendan Hee
Senior Manager, Customer Support & Fraud Prevention Kenny Yoshinaga
Manager, Customer Support Chris Farmer
Assistant Managers, Customer Support Josue Munoz, Keith Avant
Customer Supervisor Justin Chan (credited as Korra Chan)
Senior Information Center Representatives Alexander Pettyjohn, Eddie Gonzalez, Orlando Santana, Thomas Arredondo
Customer Support Representatives II Alexander Sam, Alfred Persch, Angela Simonell, Ariana Wright, Jay Napora, Jonathan Rende, Karina Cervantes, Richard Le
Customer Representatives Angie Curiel, Anna Sturniolo-Noe, Anthony Le, Ashley Alvarez, Jessica Nguyen, Mykhael Robeniol, Ray Collier, Rio Yoshida, Travis Robinson
Director, Operations Support / Business Intelligence Steve Nguyen
Assistant Director, Business Intelligence Michael Somerville
Assistant Director, Operations Support Kumiko Yamaguchi
Managers, Operations Support Chris Ichikawa, Gregory Toyosaka
Assistant Manager, Social Media & Community Joshua Hochner
Square Enix Europe Community and Service
Role Staff
Senior Director — Community and Service Saori Spencer-Hill
European Customer Service Director Damian Bennett
Square Enix Europe Support Centre
Role Staff
European Support Centre Senior Manager Camille Ledauphin
European Support Centre Manager Andreas Remy
European Support Centre Coordinators Maximilian Horn
European Support Centre Senior Operators Robert Hoerenz, Marion Mangion, Tara Smyth, John Quantin, Alexander Ustinov
Square Enix Europe CS Projects & Operations
Role Staff
Senior Manager Bastian Spiegel
Manager James Avins
Reporting Specialist Edward Avins
Assistant Project Manager Louise Delahaye
Project Lead Kira Freyer
Account Administrator Mizue Kawai
Square Enix Communications
Role Staff
Senior Director, Public Relations Ryan Arbogast
Senior PR Manager Chad Concelmo
Associate PR Manager Maliha Fariz
Senior Director Pat Donahue
Social Media Director Teague Emery
Senior Managers, Social Media David Lee, Susana Monroy
Social Media Production Manager Shawn Simpson
Director, Influencer Relations Joseph Kartje
Influencer Manager Amanda Kane
Content Communications Manager Duncan Heaney
Director of Events Wilbur Lin
Events Manager Kathryn Campagna
Square Enix Creative
Role Staff
Visual Design Director Michael Bannon
Senior Visual Design Lead Brett Wooldridge
Visual Design Lead Gary Harrod
Associate Visual Design Lead James Cunningham
Senior Visual Designers Lee Gibbons, Martin Nguyen, Lewis-Jon Somerscales
Creative Production Director Caroline Wu Bonti
Senior Creative Producer Maggie Koo
Creative Producers James Ferrell, Luke Heywood
Graphic Production Director Stéphanie Journau
Senior Graphic Production Designer Ken Murayama
Graphic Production Designers Aaron Bent, Cindy Huber
Video Content Director Fred Altman
Senior Video Editor Daniel Ness
Senior Motion Graphics Artist Anthony Ricciardi
Square Enix Digital Channels
Role Staff
Senior Director - Digital Channels Shane Bellamy
Director - Web Development Iestyn Tronson
Senior Manager - Digital Experience Lee Relton
Senior Project Manager Mark Bulley
Project Manager Phil Sheridan
Senior Creative Manager Marcin Pospiech
Senior Web Designer Oliver Spicer
Senior Web Developers Scott Thompson, Benjamin Berlin
Web Developers Pedro Martins, Frederico Silveira, Sergei Sapoznikov, Brenda Ty
Junior Web Developer Ehi Odigie
Lead Web QA Engineer Ilyas Yaqub
Web QA Testers Laura Turpie, Boma West, Manishaben Bapodra, Peter Nguyen, Oliver Howe
Director - Digital Platform Antonio Marfuggi
Senior Software Solutions Manager Roberto Torella
Development Manager Alessandro Pellizzari
Senior Project Manager Camille El Khoury
Lead Web Developer Francis Dolan
Senior Web Developers Luigi Tanzini, Álvaro Villalba
Web Developers Alessia Amitrano, Shane Exley, Tobias Ighofose, Leonie Lindo, Michael Li Yan Hui, Ekin Sigic, Sina Zand
Web Designers Emiliano Rampazzi, Amin Zaman
Project Managers Enrico Lupo Balducci, Malindi Handahu, Priya Rughooputh, Florine Vyncke
CMS Operator Harold Prest
Director - Technical Architecture Francesco Grammatico
Senior Back End Developer Maria Calderon
Back End Developers Ian Luites, Brett Richardson, Luca Fruzza
Data Engineering Manager Jon House
Senior Data Engineers Joe Cullen, Oliver Bishop, Augusto Nalin Rodrigues
Data Engineer Paul Fournier
Director, CRM & Customer Loyalty Daniel Nasserian
Manager, CRM & Customer Loyalty Jacqueline Louie
Associate Manager, CRM & Customer Loyalty Olivia Hadfield
Coordinator, CRM & Customer Loyalty Christina Chu
Ecommerce Director Kevin Biely
Senior Manager, Ecommerce Kori Neal
Ecommerce Specialist Panida Kamsingwong
Square Enix Intelligence
Role Staff
Executive Director, Intelligence Eileen J. Tan
Sr. Director, Analytics and Insights Tim Ward
Director, Market Intelligence Daniel Gaita
Director, User Research & Greenlight Janus Rau Møller Sørensen
Director, Consumer Insights Lisa Cui
Director, Business Intelligence A&I Mark Hall
Director, Corporate Insights A&I Michele Martani
Director, Data Science A&I Tatsuo Yoshida
Managers, Consumer Insights Leah M. Couvillon, Eric Chen
Manager, Accessibility Rodrigo Sanchez
Manager, Project Coordination Rebecca Fifield Green
Sr. User/UX Researcher Timea Farkas
Sr. Data Analysts Jamie Hornsey, Sergi Artigas
Digital Analyst Lucy Sloper
Data Analysts John Calder, Michael Perry
Sr. Data Scientist Alfie Grace
eCommerce Analyst Oscar Burn-Forti
Junior Data Analyst Ben Thompson
Junior Data Scientists Irina Capsuna, Vinay Longia
Intern, Analytics Jaime To
Square Enix Sales
Role Staff
Senior Director, Sales And Operations John Dilullo
Digital Sales
Role Staff
Director, Digital Sales Diego Hernandez
Associate Director, Digital Operations Keith Hershey
Senior Digital Operations Manager Toby Coleman
Digital Sales Managers, Digital Sales Jason Brooks, Jordan Botts, Megan Pelt
Digital Sales Coordinator Joanne Choi
Retail Marketing
Role Staff
Marketing Director, Retail And Digital Channels Pouya Mirzadeh
Marketing Manager - Digital & Americas Retail Jay Curtis
Managers - Retail Marketing Ezio Cristalli, Joanne Pardo
Coordinator, Retail Marketing Vickie Chung
Americas Sales & Operations
Role Staff
Director of US Sales Eric Rosenberger
Senior Manager, National Account Sales Matthew Morris
Manager, Reserve Analyst, Promotions and Reserves Christian Arter
Assistant Manager Vincent Ngo
Assistant Manager Sales Administration Christine Samillano
Sales Coordinator Max P. Mena
Director of Sales Operations Nikki Mak
Senior Operations Manager Andrea Domingo
Associate Managers, Sales Operations Minjoo Im, Tom Petrick, Hidy Chui
Sales Analytics
Role Staff
Director, Sales Analytics Kasim Somers
Manager, Sales Analytics Warren Perdon
Associate Manager, Sales Analytics Lana Josephbek
Sales Analysts Corey Chamberlain, Luxe Chaiveera
Associate Sales Analyst Ana Horta
Data Protection & Privacy
Role Staff
Data Protection Officer Richard Levy
Privacy Risk Senior Manager Emma Stewart
Data Protection Manager Reinaldo Santodomingo
Data Protection Executive Satoko Adachi
Privacy Project Manager Raman Mittra
Square Enix Europe IT & Service Desk
Role Staff
Service Desk Manager Keval Shah
Senior IT Service Desk Analyst Orry Newell-Holman
IT Support Analysts Ben Hirst, Nicole Lawler, Reece Williams
Office Coordinators Joanna Rogozinska-Drezek, Morgan-Jane Ure
Cyber Security
Role Staff
Director of Cyber Security Ian Golledge
Security Risk Manager Robert Ross
SOC Manager Roger Ribas
Security Vulnerability Specialist Lisa Waldron
Security Analyst Yaaseen Sheikh
Senior Security Engineer Chris Howden
Security Awareness Coordinator and Technical Translator Kei Ichimura
PTW Canada Solutions, Inc.
Role Staff
LQA Global Director Maxim Mizin
LQA Manager Jeff Park
LQA Project Manager Lisa Boller
Associate LQA Project Manager Alexander Solesa
LQA Project Coordinators Diana Zeidan, Adrian Salibi
LQA English Testers Akira Ito, Ece Mutlu, Ezra-Jean Taylor, Robert Petrie, Shafiq Ansari
Pole To Win Europe
Role Staff
SQEX Support Account Manager Michael Joyce
SQEX Support Assistant Account Manager Paul Neil
SQEX Support Team Lead Eric Pupunat
SQEX Support Senior Representatives Raymond Chan, Lena Madita Syring
SQEX Support Representatives Samanta Birrer, Begona Falcons Ruiz, Simonas Grigaliunas, Frederic Guidat, Sebastian Kneip, Dale Lansley, Iris Lemordan, Andrew Morson, Liam Murray, Roberta Petretto, Johannes Renger, Christopher Stuart, Co Yi Tsang, Lauren Wilson
PTW International UK Ltd.
Role Staff
Global Director, LQA Maxim Mizin
QA Managers David McMeekin, Terri Desborough
Project Managers Dmytro Nazarov, Henar García Pérez, Julia Asmus, Nils Kruger, Pauline Berron, Sergejs Adamovs, Tania Duvernay
QA Mastering Technicians Ian Walters, Pablo Vinal Rivera, Peng Gao
Project Coordinators Andrea Bagno, Daniele Bonanno, Jenifer Mora San Andrés, Nara Macedo
Localisation QA Testers Alba Hidalgo Samper, Alvaro Enrique Hernández Recinos, Anna Epifanova, Anna Giambarda, Arthur Nikitin, Arturs Peknerius, Bernardo Oliveira, Astrid Carolina Londoño Murillo, David Bautista Watts, David García Peña, Devin Remartini, Elisa Rocio Araya Santis, Emma Méligne, Emmanuel Gallo, Falk Erdmann, Fatiha Mslla, Filipe De Almeida Oscar (credited as Filipe de Almeida Oscar), Ilaria Boccella, José Santiago Martín Arias, Juan Jorge Pontes Henriques, Julian Espin, Karola Gleim, Kobe Arnout, Lara Turna, Lea Denecke, Lidia Valdés, Luciana Sol de Palacio Berchi, Michael Gawert, Michela Infanti, Miriam Franziska Ascher, Natalia del Carmen García Alonso, Pablo Bueno, Sandro Rodrigues Coelho, Sarah Comincioli, Thomas Bellerby, Margelin Victoria Calanche Camacho
Quality Assurance Divison
Role Staff
Coordinators Takejiro Otani, Akira Morishita, Yasuo Morimitsu, Kazuki Yamanaka, Motoki Konishi, Yuki Okada, Shigemoto Fujii, Kasumi Yoshizaki, Ryo Nagasawa, Yuishin Nagamitsu, Misaki Kusano
Technical Engineers Hiroyuki Ogura, Takahiro Shimizu, Ryoma Tagami, Yoichiro Muto, Masahiro Nakajima, Takuma Sakurada, Kazuya Nakazawa, Yusuke Kozai
Guidelines Coordinators Noboru Taniguchi, Kouhei Sawamoto, Tatsuya Nonaka, Yuiki Aihara
Game Testers Koki Kataoka, Eisuke Shimoji, Kohei Yamasaki, Haruna Fukunaga, Shungo Imai, Keiki Goto, Yohei Kurita, Yukiko Abe, Kotomi Niai, Yuma Wada, Takafumi Kita, Yusuke Oba, Shunsuke Sakuma, Naoto Ito, Tetsuya Toriyabe, Suguru Matsumoto, Arata Tomitaka, Yui Suzuki, Makoto Nagasawa, Mitsuru Kanomata, Daichi Mori, Takumi Sato, Yudai Tezuka, Misaki Chiba, Takuro Hiraishi, Daisuke Takeo, Masashi Saito, Ryuhei Hagiwara, Kazuki Shimizu, Takumi Takamatsu, Chiemi Kuwashima, Yuichi Miura, Susumu Nakajima, Kenichi Saito, Miwa Yamada, Naoya Ichihashi, ... and the entire QA staff
User Research Advisors Yoshihisa Ikumi, Masakazu Jinbo, Hisato Iwatsuki
Playtesters Mizuki Ikuta, Shoya Ofuku, Jun Sato, Karen Miura, Keishi Takeda, Kazuya Okada, Kohei Tanabe, Yuto Hino, Yuuki Yanagisawa, Koki Kataoka, Kazuki Hirose, Yui Ono, Haruna Fukunaga, Shingo Taniguchi, Shungo Imai
Chief Coordinators Kiminori Ohya, Hiroyuki Takamura
Ratings Advisors Mari Tanabe, Reiko Kondo
Managers Kazunori Ōwada, Katsuhiko Yokoyama
Project Manager Hideyuki Kato
Manager/Programmer Fabien Gravot
General Manager Yukihiro Shibuya
Customer Experience Design Center
Role Staff
Board Member Yū Miyake
Executive Officer Ryutaro Sasaki
Center Head Ryutaro Sasaki
Digital Marketing Division Director Ryutaro Sasaki
Customer Experience Design Center: Digital Marketing Division - Marketing & PR
Role Staff
Senior Managers Yuka Naito, Yohei Murakami
Planner Team Managers Akiko Wada, Kakuko Obinata
Lead Planners Yuki Kedoguchi, Chieko Tsurunaga
Planner Gyotaro Sato
Global Planner Alex Reyes
Creative Service Chief Tsukasa Okamoto
Creative Service Kyoko Kimura
Customer Experience Design Center: Digital Marketing Division - Asia Marketing & PR
Role Staff
Manager Akio Ohfuji
Staff Chia Hung Wang, Ruka Yamamoto
Customer Experience Design Center: Digital Marketing Division - Event Relations & Department Operation
Role Staff
Manager Makoto Nakano
Staff Kumiko Ishida, Munehiro Osawa, Miyuki Kashiwaya, Tatsuya Umezawa, Mariko Oshima, Karen Mizuno
Customer Experience Design Center: Digital Marketing Division - Marketing Strategy Team
Role Staff
Manager Fumikazu Iwaki
Customer Experience Design Center: Digital Marketing Division - Intellectual Property Management
Role Staff
Manager Katsuya Aiso
Staff Yui Kawabe, Yoshiyuki Yaehata, Makoto Yakushijin, Yoko Tonegawa, Rie Kojima, Kanako Yokoyama, Yoko Horie
Customer Experience Design Center: Data Support Division
Role Staff
Director Ryuichi Yagisawa
Staff Kentaro Hamaoka, Ryuji Kiyoshima, Kanae Tani
Sales & Distribution Center
Role Staff
Executive Officer Tomoyoshi Osaki
Center Head Tomoyoshi Osaki
Deputy Center Head Makoto Tsuda
Sales & Distribution Center: Sales Division
Role Staff
Director Daisuke Kobayashi
Managers Daiō Itō, Mizuki Sakuma, Maiko Shimizu
Staff Ren Aimoto, Fuminori Hyodo, Yi-Chia Hsieh, Toshiyuki Inoue, Kotone Iwamatsu, Takashi Kamimura, Kenta Kobayashi, Aki Kohno, Min Seon Lee, Masahiro Matsumoto, Kazuhito Nishimura, Toshihide Nomura, Hiromi Sogamoto, Jain Son, Waka Tachibana, Gota Taguchi, Masaki Yano, Rumi Yoshikawa, Kaya Kamei, Tomohiro Masuda, Kouyou Matsuoka, Hitoshi Tanabe, Akiyo Hirota, Ryunosuke Iizuka, Noriko Ikeda, Iitsu Mou, Conor Sheehy, Nozomi Sakuma, Yeseul Shin, YingYing Liu
Sales & Distribution Center: PC Business Division
Role Staff
Director Takashi Hasegawa
Manager Chieko Endo
Staff Shota Tamakoshi, Makoto Takaji, Tomomi Nakagawa, Yui Fujii, Yamato Ise, Jumpei Arakawa, Hua Chen, Emi Hayashi, Yukiho Tsushima, Nagisa Iwai, Mizuki Tsutsumi
Sales & Distribution Center: e-Store Division
Role Staff
Director Hirokazu Watanabe
Senior Manager Izumi Tsukushi
Manager Masato Matsushita
Staff Hirokuni Matsuyama, Kayo Irisawa, Takeshi Mutsumi, Tomomi Kasahara, Kyoko Setani, Eri Moriya, Kana Oosumi
Localisation Division
Role Staff
Localisation Producer Hikari Masunaga
Assistant Project Managers Hatsumi Suzuki, Jesse Tran
Localisation Supervisors Atsuko Hirose, Yayoi Ohba
Lead English Translator Christopher Orr
English Translator Dan Gidion
Lead French Translator Nicolas Durand
Lead German Translator David Fehrmann
Lead Spanish Translator David Roig Cavanillas
Localisation Engineers Kazuki Kobayashi, Mahiro Komura, Sho Tomita, Takayoshi Ito, Yuya Sawada, Asumi Kuriki
Localisation Technical Director Kenkyu Hata
Managers Aziz Hinoshita, Émilie Thoré, Gary Francis Manucal
Senior Manager Ikuko Tsuruta
General Manager Shingo Hosokawa
Sound Division
Role Staff
Supervisor Yusuke Saito
Music Editor Hidenori Miyanaga
Assistant Music Editor Ayumu Murai
Assistant Sound Editors Kotaro Yamada, Naoki Horihata, Sachi Takahashi
Dialogue Editor Hiroyuki Kibe
Project Manager Nozomi Toki
Project Assistant Meguru Takaishi
Partner Relationship Management Division
Role Staff
General Manager Noriko Watanabe
Managers Kazuya Okamoto, Yuya Goda
Business Relation Specialist / Submission Specialist Yuichiro Kato
Business Relation Coordinator Erina Hinaga
Senior Submission Specialist Shuhei Yamamoto
Submission Coordinator Kei Kimura
Middleware Coordinator Tokuko Ishikawa
Font Coordinator Mieko Isozaki
Legal & Intellectual Property Division
Role Staff
Legal & Intellectual Property Division Mari Tasaki, Misa Komura, Saori Shibano
Business Management Division
Role Staff
Business Management Division Kahori Ito
Special Thanks
Role Staff
Special Thanks Mai Kawamitsu, Marie Morita, Li Hua Joo Hu, John Taylor, Hokuto Okamoto, Kento Yokota, Taichi Inuzuka, Yoshinori Kamei, Dragon Quest X Team, ... And all the staff who worked on the original Dragon Quest III.
Music Performed by Tokyo Metropolitan Symphony Orchestra
Conducted by Koichi Sugiyama
Music Production Sugiyama Kobo
Nintendo Co., Ltd. Kozo Kimura
Sony Interactive Entertainment Inc. Mamoru Asahina, Amy Huang
Microsoft Japan Co., Ltd. Madoka Ueno, Hiroko Yonekura
Other Capsule Corporation Tokyo, Dentsu Inc., ADK Marketing Solutions Inc., bold, imi-show Inc., Cinq Co., Ltd., PixelEdge, Inc., Shueisha Inc., (feik) Design Works
Presented by Square Enix
Role Staff
Remake Concept Yū Miyake
Publishing Representatives Yosuke Saito, Takashi Kiryu

Gallery

Illustrations

  • US boxart.

  • Artwork of the Erdrick Trilogy HD-2D Remakes by Naoki Ikushima.

  • Japanese logo.

  • The Erdrick Trilogy logo created for the game

  • The party planning the next day while monsters look on

  • The party takes flight with Ramia, paying homage to the box art of the GameBoy Color version

  • Main artwork for the 2025 Dragon Quest Carnival

Promotional images

  • DQ3 HD2D Screenshot 1.png
  • DQ3 HD2D Screenshot 2.png
  • DQ3 HD2D Screenshot 3.png
  • DQ3 HD2D Screenshot 4.png
  • DQ3 HD2D Screenshot 5.png
  • DQ3 HD2D Screenshot 6.png

  • Healizah giving Samantha a makeover

  • Preorder bonuses.

  • Collector's Edition.

  • Preview spread in issue 32 of Weekly Shonen Jump, 2024

  • Preview spread in issue 36 of Weekly Shonen Jump, 2024

Characters

Official statements

  • The response of Tokyo M.A.A.D. SPIN to the viral interview

  • Page 2

  • Valute News' apology post

External links

References

  1. ↑ Weekly Shonen Jump issue 32, 2024
  2. ↑ 早坂: HD-2D版が登場する前も Nintendo SwitchやPS4、スマホなどで『DQIII』を遊べましたが、それらは1996年に発売されたスーパーファミコン(以下SFC)酸の移植作でした。つまり、 最新技術によるリメイクが長らく行なわれていなかったんです。そんななかで、『オクトパストラベラー』(※1)でHD-2Dの手法が生まれて、「これを活用すれば、映像をアップデートした『DQIII』を作れるのでは」ということで企画が立ち上がりました。 堀井: 僕としても、 最新のゲーム機の性能を存分に活かした『DQIII』を遊びたいと思っていたので、リメイクの提案には「ぜひやろう!」と返事をしたんです。堀井: 3Dでリメイクする案もありましたが、 2Dだったものをいきなり3Dにすると、調整が必要な部分が増えて、ゲーム性が変わってしまうんです。でもHD-2Dであれば2Dの味が残るので、 最新の映像でファミリーコンピュータ(以下FC) 版と同じ感触の冒険ができていいな、と思いましたね。ドラゴンクエストIII そして伝説へ… レジェンダリーガイドブック ISNB 978-4-08-779822-7 page 394
  3. ↑ 早坂: FC版では、どの町も同じマップチップ (マップを構成するパーツ) が使われているため雰囲気が似ていましたが、HD-2Dになったおかげで間ごとにヨーロッパらしさや日本らしさ、アジアらしさといったちがいを表現できました。『DQIII』のワールドマップは現実世界をモチーフにしているので、実際のイメージを再現できたのは大きな魅になったと思います。 堀井: 今回、思い出は時間とともに美しくなることを実感しましたね。HD-2D版を遊んで、「映像はもう少しチープだったけど、FC版のグラフィックもこんな雰囲気だったな」と思ったのですが、実際に見くらべたら「こんなに簡素だったっけ!?」と(笑)。 早坂: 改めて「こんなにちがうの!?」と驚きました。ただ、そんなふうに感じるということは、FC版を遊んだ当時に脳内に思い浮かべたイメージとHD-2Dの映像がそんなにズレていないとも言えるので、制作者としては大成功です。ドラゴンクエストIII そして伝説へ… レジェンダリーガイドブック ISNB 978-4-08-779822-7 page 394
  4. ↑ 早坂: その仕様は、プランナーと結構もめまして・・・・・・。もし特定の出入口からしか入れなかったら、ボロボロの状態はんたいがわ いりぐちでフィールドを歩いて帰ってきたときに、反対側の入口までまわりこむ途中で敵と遭遇して全滅してしまうかもしれない。そうならないように、町のシンボルのどこかに触れればすぐに入れるようにしてほしい、とプランナーに頼んだのですが、「いえ、最新のゲームとして、これくらいのディテールは必要です!」と説得されまして・・・・・・。 堀井: お互いゆずらなかったんだよね? 早坂: はい、めっちゃぶつかりました(笑)。 最終的に堀井さんに決めていただいて、いまの形になったんです。 堀井: 町ごとに外観を変えるほどのこだわりを持っているということは、入口の位置もちゃんと対応させたいにちがいないと感じて、OKしました。ドラゴンクエストIII そして伝説へ… レジェンダリーガイドブック ISNB 978-4-08-779822-7 page 394
  5. ↑ 早坂: オルテガのかぶとを今作のかぶとのなかで一番強くしたい、との思いから追加しました。 SFC版ではもっと強いかぶとがあるので、それを装備して最終決戦に向かうプレイヤーも多かったのですが、やはり最後は父親から受け継いだ品を身に着けてほしくて。 「DQ」シリーズ25周年記念で開催された「ドラゴンクエスト展」にて、「オルテガのかぶとが、のちにロトのかぶとになった」という設定を明かしていたので、それを取り入れました。 堀井:「思い入れのある父親のかぶとをかぶって最後の敵を倒したい」と思うプレイヤーも結構いるでしょうから、今回は性能を上げて装備しやすくしたんです。 早坂: しかも、今回はオルテガとの再会シーンの展開が分岐するのですが、その条件としてもかぶとを活用しました。 ひかりのかぶとを装備していると、 最後のオルテガの反応が変わるんですよ。あのシーンのセリフは、もちろん外の部分はできるだけ変えない方針でした。 堀井: とてもせつない感じになっていると思いますよ。ドラゴンクエストIII そして伝説へ… レジェンダリーガイドブック ISNB 978-4-08-779822-7 page 396
  6. ↑ 早坂: すでにAIが搭載されていたスマホ版をベースにしていますが、さらに賢くなっています。なんなら人間よりも最適な行動を選んでくれるかもしれません。 堀井: 自分でターンの最初にコマンドを選ぶのとちがって、AIは順番がまわってきたときに行動を決めるから、ムダがなくて強いんです。ただ、やっぱりボス戦では、自分でコマンドを入れるほうが緊張感があって楽しめますね。 早坂: その点は意識しました。「強敵との戦闘では、自分でコマンドを入力したほうが善戦できる」という感覚は、これまでの「DQ」を踏襲しています。 堀井: AIは『DQIV』ではじめて使いましたが、そこからどんどん進化していきましたね。『DQIV』ではクリフトがザキやザラキを連発してましたが(笑)、 あれはザキが効くと敵のHPがゼロまで減っちゃうので、AIが「大ダメージを与えられる」と判断して選択評価が高くなるからなんです。それを反省して、つぎに作るときは「ザキはまず効かないだろう」という先入観”をAIに組み入れました。 早坂: 今回の開発作業中も、ザキやザラキを覚えるとAIが積極的に使いはじめる状況になったことがありましたね。「DQ」の開発では、毎回この悩みがあるみたいです。ドラゴンクエストIII そして伝説へ… レジェンダリーガイドブック ISNB 978-4-08-779822-7 page 396
  7. ↑ 早坂: まず、 海外のレーティング(対象年齢制限)の関係で、原作にあったモンスター格闘場のオッズシステム(魔物同士の戦いにゴールドをベットする仕組み)が使用でき なくなり、そのかわりとして過去の「DQ」シリーズからモンスター・バトルロードを取り入れることになりました。また、HD-2D化によってマップが広くなったため、新しい遊びを追加したい、という要望もあったんです。このふたつを解決するために、新職業でまもの使いを採用すれば「広い世界でモンスターを集めてバトルロードで戦わせる」という形でうまくまとまるのでは、と考えて追加が決まりました。フィールドの隠しエリア (ひみつの場所)も、当初はどのように活用するか決まっていませんでしたが、まもの使いやバトルロードが採用されたことを受けて、はぐれモンスターの隠れ場所になったんです。まもの使いによって、いろいろな要素がうまくはまっていった感覚でした。 堀井: 新職業は、プロモーションでしばらく内緒にしていましたが、 PVでちょっとゲーム内の姿が出た瞬間にまもの使いだとバレちゃいましたね。さすが、「DQ」ファンは鋭いです。ドラゴンクエストIII そして伝説へ… レジェンダリーガイドブック ISNB 978-4-08-779822-7 page 396
  8. ↑ 早坂: クリア後のやりこみ要素として何を入れようかと考えたときに、ゲームボーイカラー(以下GBC)版の隠しボスであるグランドラゴーンが候補にあがりました。この敵はGBC版にしか登場しておらず、「ほかの移植版でも戦いたい」との声が以前から多く寄せられていたんです。そこで、今回のリメイクではグランドラゴーンを登場させることになり、せっかくだからダンジョンのデザインも一新して、 試練の神殿という荘厳な場所になりました。こういったやりこみ要素は「DQ」シリーズではおなじみですから、みなさんに楽しんでもらえるのではないでしょうか。 堀井: エンディングを迎えても「まだ終わりたくない!」と思う人に添える内容になっているので、遊び人4人で挑戦するとか、いろいろと試してほしいですね。ドラゴンクエストIII そして伝説へ… レジェンダリーガイドブック ISNB 978-4-08-779822-7 page 397
  9. ↑ NAZ CHRIS: あとすごい話題になってた。そのコスチュームとか、当時とそのままなのかどうなのかみたいなのがありましたよね。 また... 堀井: まあね、あのいろいろ規制もあってね。露出しすぎちゃいけないとかね NAZ: あそこまあちょっとあんまり深掘りする気はないんですけど。いいのにだってフィクションだけど、その中にあ、主人公ってあなたが入って冒険するっていうことでいいじゃないと思うんですけど、違うんですかね？ 堀井: なんなんですかね。よくわかんないですけどね。これについてはね NAZ: ゲームだし、フィクションという自分の中のこうバーチャル体験でのあのノンフィクションだから、楽しくければいいのにっていうふうに思っちゃいますけどね。 堀井: あんまり露出するとね、年齢が上がっちゃうっていうね。 鳥嶋: まあまあね。 堀井: 全年齢じゃなくなってしまうっていうのが 鳥嶋: ルールがやっぱなんか各国違ったりするんでね。広くろうと思うと、一番厳しいところに合わせざるを得ないとか。でも,
  10. ↑ NAZ: 当時そんなこと思わなかったですね。 鳥嶋: コンプラっていう名のね。やっぱりね、ある種のね。なんだろうな、絶対神と言うべき善の名を借りた悪みたいのがあるよね。あの全員が不快感を覚えないなんてことはないわけだって、株不快はこういうことを覚えるどうこうでもいいわけよ。だって綺麗、汚いとかさ、善悪って人それぞれ感じ方があるわけじゃんで物事はやっぱり。根っこにあるのは、やっぱり絶対やっちゃいけないことだけ。いくつかそれをさえやらなきゃといいじゃないって、そういうのがないわけだから、やっぱりあの欧米英米の方から欧米の方から来てる？
  11. ↑ 鳥嶋:その宗教的な概念からくるその清教徒の考え方って、アメリカにあるじゃない？彼らのコンプラの考え方って本当ない。狭いうんでだから、向こうでコミックスだけに、全部その年齢で。 あの, 区切ってやらなきゃいけない少年ジャンプの漫画だったらサーティーンアップ13歳以上じゃないと出せない。それは全部見てくれなきゃいけないで、それを訴訟が起きる。そのために保険も入らなきゃいけない。もうこんなね、バカな国とねやるの。
  12. ↑ 堀井: 主人公もね、男女選べるんだけど、男を女選ぶって書いていけないのねタイプ一タイプ二なのねねえそう男女誰が一体文句言うんだろうと思うんだよね。 鳥嶋: そうそうですね。 堀井: うん, わからない。
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