Like a Dragon's swashbuckling swerve exemplifies Ryu Ga Gotoku Studios' resolve against unsteady waters
This product is made from entirely recycled materials - and a bounty of doubloons
The Like a Dragon series - erstwhile Yakuza, always 龍が如く - had once been characterised to myself as a Japanese take on the Grand Theft Auto anthology. Rather, I have found it to be texturally closer to an epic Russian novel crossed with a tispy trip to a smoky arcade. The eponymous studio behind these quirky, quixotic titles first charted Tokyo’s Kabukicho district with painterly precision in the latter days of the PlayStation 2, though this rendition is perhaps best remembered for its bizarre English dub - if at all, in the case of Mark Hamill. However, save for its notoriety within Japan, the series struggled to resonate with Western audiences: the specificity of its dense milieu can be intimidating, particularly set against subtitles. Fortunately, a return to the past saved the series’ future - Yakuza Zero became a genuine viral phenomenon, propelled by karaoke and a novel mixture of pulp intrigue with absurdist comedy. Strolling the lively streets of Tokyo and Osaka, enraging goons, downing sake, managing a cabaret club, living large in age of excess - Yakuza Zero became an ideal starting point for the burgeoning pentalogy.
In 2023, for the belated Western release of 龍が如く: 維新, Sega finally christened the series as Like a Dragon - a canny decision, embracing its roots as a heightened melodrama rather than a severe take on organised crime. Furthermore, as the previous mainline entry - its seventh, yet most successful to date - wore this name as its subtitle, the transition felt earned. In hindsight, however, Chapter 12 gave us a fair indication of the series’ intentions moving forward. Nonetheless, in greater hindsight, the introduction of a new protagonist, turn-based battle system, and a suite of refined minigames sanctioned a fruitful turn towards mainstream appeal. For veterans of the franchise, a boss fight against franchise stalwart Kazuma Kiryu indicated a direct changing-of-the-guard: the elder statesman taught the blissfully naive Ichiban Kasuga how to wield the weight of canon. For the latter, it was a glorious victory; Ichi’s well-intentioned whimsy beguilled allies and guilted enemies.
Thus, with Like a Dragon: Infinite Wealth - a winking play on 8’s similarity to ‘infinity’ - the series asserted itself as a true blockbuster immediately upon launch: its Hawaiian detour merged its concrete jungle aesthetic with that of an urban spin on Animal Crossing - literally, in the case of the chemically-addictive ‘Dondoko Island’.
Oh, did I mention there was a mere four years between 7 and 8, with two remasters, one remake, and three original titles published by the studio in this time? That would be rather remarkable context.
Candidly, it is a matter of black magic. In the time since Red Dead Redemption 2, Ryu Ga Gotoku Studio has published sixteen titles - remasters and remakes inclusive. Since The Last of Us: Part II, they had delivered the aforementioned six. When Star Wars Jedi: Survivor arrived a brisk four years from its predecessor … we could tell. Against a climate of sluggish Triple A development - a patchy pattern of launch patches emerging, sorry Star Wars - what is their secret? Well, it is certainly not hidden, as CEO Masayoshi Yokoyama detailed a rather pragmatic approach to their creative ambitions: for The Man Who Erased His Name, a prelude to Infinite Wealth, the team took “half a year” to complete its development, working in tandem with “the same engine” employed for the primary project. Instead of “a new city with completely different gameplay”, Yokoyama and co. iterate, adopting a “drama or movie type of development” philosophy; same animations, similar environments, and an entirely new storyline. Presumably, this serial approach eschews traditional means of conceptualisation, instead referring to their own catalogue for inspiration. Miraculously, this has not resulted in stagnation, nor a loss of quality: Infinite Wealth sports a series best 90 on Opencritic.
For their next title, the team are taking us to the high seas - Like a Dragon: Pirate Yakuza in Hawaii (not a pitch, the real title) features the beloved Goro Majima conveniently washing up on the shores of the eponymous island, encountering a conspiracy extending from the preceding instalment. The trailer promises a gallery of nefarious scallywags, allies, and a return to brawler-based combat - with a swashbuckling twist. One can expect ship combat and plundering of a more immersive, narrative nature than the last Quadruple A attempt to simulate a pirate’s life for you and me. Though it may seem somewhat incongrous in the series’ lineage, deviating the furthest from its yakuza origins in all but its name, Pirate Yakuza certifies Like a Dragon as Sega’s most versatile asset: the name itself is a promise to its audience of maximum value for their investment. Labyrinthine sidequests await, albeit against tropical topography and a salty breeze; Majima is back, but as a Mad Seadog of his own volition. You know the tone: how will it be rendered this time?
In a year where Ubisoft will present their takes on piracy and Feudal Japan, Ryu Ga Gotoku Studio already have two jidaigeki to their name and an upcoming oceanic adventure of their own. The studios’ evident eccentricities translate beyond base engine mechanics, fostering an eager audience of loyal fans who desire Triple A titles with a particular voice of their own. Against a report the late Concord cost a cumulative $400 million - with $200 million from Sony’s pocket alone - Like a Dragon’s slow build to success suggests aspirant franchises should grow with their audience, rather than attract them through force of scale.
Sorry, Concord - maybe you should have implemented karaoke, somehow.