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Dragon Quest III: The Seeds of Salvation: Difference between revisions
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堀井:『DQII」を作れるとなったとき、そのあいだに何百年かの時間が経っていることにしました。開発期間が短かったこともあり、そのほうが前作を活かせるので。そんな『DQII』も人気になったので、『DQIII』を作ろうと。でも、また何百年後の世界にするのは芸がないし、みんなをびっくりさせたいなと思って、過去の世界にすることを決めました。僕は人をびっくりさせるのが好きなので(笑)。最初からこの時系列にしようとは考えていませんでした。 週刊ファミ通 2025年11月13日号 No.1921</ref>. | 堀井:『DQII」を作れるとなったとき、そのあいだに何百年かの時間が経っていることにしました。開発期間が短かったこともあり、そのほうが前作を活かせるので。そんな『DQII』も人気になったので、『DQIII』を作ろうと。でも、また何百年後の世界にするのは芸がないし、みんなをびっくりさせたいなと思って、過去の世界にすることを決めました。僕は人をびっくりさせるのが好きなので(笑)。最初からこの時系列にしようとは考えていませんでした。 週刊ファミ通 2025年11月13日号 No.1921</ref>. | ||
The game's overworld, kingdoms, villages, and dungeons were designed by Horii and his assistant [[Hiroshi Miyaoka]]. Due to the significant increase in the scope of the game compared to the predecessor, this process took more than two months to complete and the dungeons were given special consideration during this period with approximately 70% of the content within the first draft being changed. This emphasis on fine-tuning the labyrinths was a deliberate | The game's overworld, kingdoms, villages, and dungeons were designed by Horii and his assistant [[Hiroshi Miyaoka]]. Due to the significant increase in the scope of the game compared to the predecessor, this process took more than two months to complete and the dungeons were given special consideration during this period with approximately 70% of the content within the first draft being changed. This emphasis on fine-tuning the labyrinths was a deliberate effort to avoid the same balancing pitfalls of {{Dragon Quest II}} and provide a smoother difficulty curve. Implementing the {{NPC}}s and writing their dialogue took place in July, along with programming their movements for the time of day and during events. During the middle of 1987 it was discovered that [https://en.wikipedia.org/wiki/Taito Taito] had beaten the team to the punch by implementing a world map based on Earth in the title ''[https://ja.wikipedia.org/wiki/未来神話ジャーヴァス Future Myth Javus]'', released on Jun 30th. This prompted an emergency meeting where the staff considered scrapping their current world map altogether due to their professional pride in not utilizing elements seen in competing software, but as changing the world map would alter the very foundation of the game it was decided to leave it unaltered<ref>『ファミコン通信』1989年6号 堀井雄二vs宮本茂対談より</ref> | ||
What is likely the most infamous instance of the game's cut content was a scenario based on ''[[The Portopia Serial Murder Case]]'', where the {{Party 3}} would rest at a village's [[inn]] and hear someone rustling through the {{Hero 3}}'s belongings in the middle of the night. The next day the player would find that the [[ultimate key]] had been stolen and be unable to leave the village until it was recovered. The player would gather clues by speaking to the villagers in a manner similar to how Boss and Yasu conducted their investigation in ''Portopia'', but the strict memory limitations of the 2-megabit {{Famicom}} cartridge forced the event to be scrapped<ref>ファミ通, November 1989</ref> | What is likely the most infamous instance of the game's cut content was a scenario based on ''[[The Portopia Serial Murder Case]]'', where the {{Party 3}} would rest at a village's [[inn]] and hear someone rustling through the {{Hero 3}}'s belongings in the middle of the night. The next day the player would find that the [[ultimate key]] had been stolen and be unable to leave the village until it was recovered. The player would gather clues by speaking to the villagers in a manner similar to how Boss and Yasu conducted their investigation in ''Portopia'', but the strict memory limitations of the 2-megabit {{Famicom}} cartridge forced the event to be scrapped<ref>ファミ通, November 1989</ref> | ||
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すぎやま: 実は、まだできてはいないんですよね。ただね、基本的に考えているのは、ひとつの統一した世界の中での、場面によっては、5つのバリエーションを考えなくてはいけないな、とは思ってますよ。ひとつの世界の中でも、イロんな曲を作り得るわけだから。たとえば、同じバロック音楽というジャンルの中でも、何千曲と作られてきたわけでしょ。ですから、DQというひとつの世界にしても、場面によっては5種類の曲を書きわけなきゃいけない部分もでてくるよね。ただ、そのへんはやっぱり、とても高度な技術を要求される部分ではありますけどもね。 Dragon Quest IV Master's Club page 13, ISBN4-7966-0084-1</ref>, which can be heard in the theme of Jipang for one example. | すぎやま: 実は、まだできてはいないんですよね。ただね、基本的に考えているのは、ひとつの統一した世界の中での、場面によっては、5つのバリエーションを考えなくてはいけないな、とは思ってますよ。ひとつの世界の中でも、イロんな曲を作り得るわけだから。たとえば、同じバロック音楽というジャンルの中でも、何千曲と作られてきたわけでしょ。ですから、DQというひとつの世界にしても、場面によっては5種類の曲を書きわけなきゃいけない部分もでてくるよね。ただ、そのへんはやっぱり、とても高度な技術を要求される部分ではありますけどもね。 Dragon Quest IV Master's Club page 13, ISBN4-7966-0084-1</ref>, which can be heard in the theme of Jipang for one example. | ||
Balance adjustments, dialogue, and bug testing continued until October 22nd when the game's data was finalized and sent off for cartridge production. By the end of development there was so little space left in the cartridge that not even the proposed title logo could be included, resulting in the game's start screen being spelled out in text tiles. | Balance adjustments, dialogue, and bug testing continued until October 22nd when the game's data was finalized and sent off for cartridge production. By the end of development there was so little space left in the cartridge that not even the proposed title logo could be included, resulting in the game's start screen being spelled out in the same text tiles used for dialogue. | ||
===Super Famicom remake=== | ===Super Famicom remake=== | ||
Development on the {{Super Famicom}} remake of ''Dragon Quest III'' began shortly after the release of {{Dragon Quest VI}} in 1995. The personality system was inspired by [[Yuji Horii]]'s time working as a copywriter for ''[https://en.wikipedia.org/wiki/Seventeen_(Japanese_magazine) Seventeen]'', a quarterly magazine for teenage girls, wherein he developed personality tests for the readers<ref>ドラゴンクエストIII そして伝説へ… 公式ガイドブック SE-MOOk guide book, page 223 ISBN-10:4757595395</ref>. Such a system gave the characters created at [[Patty]]'s place more distinction, something lacking in the original 8-bit version where characters of the same vocation and level were | Development on the {{Super Famicom}} remake of ''Dragon Quest III'' began shortly after the release of {{Dragon Quest VI}} in 1995. The personality system was inspired by [[Yuji Horii]]'s time working as a copywriter for ''[https://en.wikipedia.org/wiki/Seventeen_(Japanese_magazine) Seventeen]'', a quarterly magazine for teenage girls, wherein he developed personality tests for the readers<ref>ドラゴンクエストIII そして伝説へ… 公式ガイドブック SE-MOOk guide book, page 223 ISBN-10:4757595395</ref>. Such a system gave the characters created at [[Patty]]'s place more distinction, something lacking in the original 8-bit version where characters of the same vocation and level were identical, and had the added benefit of giving players more material to work with when imagining how their characters would interact with one another. | ||
Though [[Ortega]] was important to the game's story, memory restrictions meant that he was only mentioned by name before appearing near the end in [[Zoma's Citadel]] and even then he was represented by a mere pallet swap of the common [[hood]] monster. His story was elaborated upon through the addition of the | Though [[Ortega]] was important to the game's story, the memory restrictions of the Famicom cartridge meant that he was only mentioned by name before appearing near the end in [[Zoma's Citadel]] and even then he was represented by a mere pallet swap of the common [[hood]] monster. His story was elaborated upon through the addition of the remake's opening cutscene, which depicted his departure from [[Aliahan]] and his apparent death against an unidentified monster at the summit of [[Mt. Necrogond]]. Additionally the [[joker's soaker]] item found in [[Mur]] was replaced with Ortega's helmet, giving players a stronger connection to their avatar's father. The open-ended nature of the game allowed determined players to retrieve the family heirloom very early in their adventure, which prevented the helmet from being made the best head protection in the game; a sore point that would be [[Auroral Helm|rectified in the HD-2D remake]] decades later. | ||
==Soundtrack== | ==Soundtrack== | ||