The Drakengard and Nier series and how Yoko Taro worked on them

Contents:

• Author's Style
• Master's Techniques
• Formation
• Experiments with Narrative and Gameplay
• Questions of Existentialism and Human Nature
• Fall and Resurrection
• A Step Beyond the Boundaries of Possibility

Japanese game designer Yoko Taro, although not as widely known to Western audiences as Hideo Kojima or Shigeru Miyamoto, nevertheless had a significant influence on the development of video games. He is reserved about his popularity and prefers to appear in public wearing a mask of his character from the Nier series. Yoko Taro emphasizes that a creator's appearance is not important; what matters most is his works and the ideas they convey. His unique approach to game design and narrative leaves a deep mark on the industry, drawing attention to the importance of content and philosophy in video games.

Yoko Taro, a renowned game developer, admitted in an interview with Polygon that he dislikes public appearances. He understands that interviews and public appearances are important ways to convey information to players. However, in his view, a developer's primary job is to let the game speak for itself. Yoko Taro prefers to minimize audience distractions from the gameplay, focusing on what really matters – the game itself.

This developer's most famous works include the Drakengard series of action RPGs and its spin-off Nier, both published by Square Enix. Despite the scale of these projects, their production was relatively inexpensive compared to the publisher's other games. For example, the remake of Final Fantasy VII required $140 million, while NieR: Automata was limited in budget, which prevented the creation of story DLC.

There are always certain limitations in game development that are independent of the project's budget. It doesn't matter whether the game has been allocated $100 million or just $10,000. The game designer emphasizes that he will make every effort and work as efficiently as possible, regardless of financial resources. It's important to understand that the quality and success of a project are determined not only by investment, but also by the team's creativity and professionalism.

Author's Style

Yoko Taro's works don't boast classic game design or innovative mechanics, but they offer a unique experience that sets them apart from most games, films, and literature. In Taro's games, players empathize with characters who frequently commit immoral acts—from murdering innocents to genociding entire nations. These morally ambiguous actions create a deep emotional response and provoke reflection on the nature of good and evil. The plotlines of his works often span tens of millennia, and a full understanding of the author's intent requires multiple playthroughs. This approach to narrative is rare in the gaming industry and makes Yoko Taro's work unique. Yoko Taro vividly illustrates the duality of human nature, blurring the lines between good and evil, white and black. He candidly discusses the horrors of being a person for whom bloody wars and millions of casualties become the norm. While working on the first Drakengard, Yoko believed that only madmen committed murder. However, after the tragic events of September 11th and the war in Iraq, his views changed. He realized that you don't have to be mentally unstable to kill—you just have to believe your actions are justified. This new perspective on the dark side of humanity manifested itself in NieR, where characters who destroy thousands of innocent lives sincerely believe they are bringing peace and goodness, like real terrorists. Yoko Taro raises important questions about moral responsibility and the perception of rightness in conflict situations, making his work relevant and profound.

As a pessimist, I still hope that humanity will one day begin to move in the right direction, and I have not lost faith in the best. While I'm not sure the world will change or that humanity has a real chance, perhaps the younger generation will be able to make a discovery that will provide them with a happy future and help them look at the world from a more optimistic perspective.

Players familiar with the Drakengard and Nier series know that these games offer multiple endings that can be achieved by replaying the story multiple times or fulfilling specific conditions. Each new playthrough reveals new plot details or experiences events from a different perspective. These varied endings often reveal the true nature of the protagonist, who turns out to be a maniac seeking to achieve his goals by any means necessary, even the most brutal. This adds depth and complexity to the gameplay, prompting players to rethink their actions and choices throughout the game.

NieR: Automata is a prime example of a game with a multi-layered plot, offering players 26 different endings. The first two playthroughs differ significantly from each other, as players are given the opportunity to control two main characters – 2B and 9S. While the main events remain the same, their perception changes depending on each character's perspective. This reveals new aspects of the plot and deepens understanding of the events. The unique characteristics of 2B and 9S also influence the gameplay, adding variety to the playstyle and offering additional side quests. The third playthrough continues the story after the completion of 2B and 9S routes, introducing a new controllable character and opening new horizons for exploring the world of NieR: Automata.

Techniques of a Master

Beginning his career as a screenwriter by accident, Yoko Taro developed his storytelling skills intuitively. He didn't view screenwriting books as helpful guides, forcing him to rely solely on his own strengths and experiences. This approach ultimately led to the formation of his unique style, which has become the hallmark of his work. Taro has succeeded in creating original and memorable stories, which has made him one of the most notable screenwriters in the gaming industry.

Yoko creates scenarios in an unusual order: she starts with the ending and catharsis, after which she identifies key events that serve as the emotional peaks of the story. Then, details are added that are intended to achieve the stated goal: to evoke specific emotions in players at moments of greatest tension. In his GDC talk, the game designer illustrated this concept with various examples. Let's consider one of them.

If you have or have ever had a pet that has lived with you for many years, you probably understand the deep sadness that comes when a pet passes away. At the same time, if you consider a fictional character from the game N who has a dog and imagine this animal dying, the situation most likely does not evoke strong emotions. This is because you lack memories and an emotional connection with this character and their pet. To ensure that the player feels this connection, it is important to integrate moments into the game's plot that create a positive image of the dog - affectionate, loyal, and intelligent. Such images form memories, which, in turn, evoke sadness and empathy at the moment of pet loss. Emotional attachment to characters and their animals plays a key role in creating deep gaming experiences, making the experience more memorable.

The writer pays special attention to creating tense plot moments, striving to bring the player as close as possible to the heroes. This allows for an unexpected ending that touches the viewer's feelings and emotions. This approach makes the gameplay deeper and more memorable, as players can better understand and empathize with the characters' experiences.

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Interesting fact: the game designer's real name is Taro Yoko. However, he was given a mirrored name, which raises questions about the reasons for this choice. Perhaps this was done deliberately by Yoko himself, or the name was the result of a coincidence. In any case, this approach creates parallels with his work, as he often uses reverse storytelling techniques in his scenarios. This reflects the game designer's unique style and highlights his innovative approach to creating game stories.

The game designer stated: "You can just call me 01, and I will be satisfied with that." He emphasized that it does not matter to him how others perceive him. It is important that his work and creativity speak for themselves.

The method of writing a script from the ending is based not only on the author's vision, but also on his practicality. It's important to recognize that every project has limitations. This planning approach helps the team effectively develop a storyline within the available resources and capabilities. This avoids unnecessary complications and makes the development process more manageable and focused.

Yoko Taro's advice for aspiring developers: Don't be afraid to study games created by other studios and even draw inspiration from their mechanics and stories. Choose a game you like and carefully analyze its structure, pacing, and emotional moments. Based on this analysis, create your project, adapting ideas to your capabilities and resources. For example, if you want to create something large-scale, like God of War, you should significantly reduce the scope of the project and simplify some plot elements to make them more feasible.

In games rich in emotional peaks, each accompanied by 5-10 interconnected events, it's easy to lose the thread of the plot. In this context, Yoko's Photothinking method becomes very useful. It involves visualizing key scenes that the screenwriter keeps in mind while working on the script. Photothinking is similar to the "memory palace" technique—a mnemonic device that helps remember information by visualizing the locations where it will be stored. This method allows the screenwriter to effectively work through emotional peaks early in development, which significantly improves the quality of the plot and helps maintain the integrity of the narrative. Yoko Taro suggests focusing on the emotional peak of the scene, avoiding unnecessary details. Describe the key elements that will enhance the player's emotional perception, whether sadness, joy, or anger. Visualization is an important skill for a screenwriter, but it should be used with caution. Avoid overloading with unnecessary details that can distract from the main emotion. Remember that only the emotion and its cause are important. Focus on these aspects to create a vibrant and memorable experience for the player.

During his GDC talk, Yoko Taro shared an interesting fact. He noted that although he developed both scriptwriting methods himself, he felt that other writers and screenwriters also used these approaches but did not discuss them openly. When Yoko began to question his colleagues, they responded that they did not understand what he was talking about. In a humorous manner, he expressed doubt in their words, believing that they were hiding something. This incident highlights how creative processes can be hidden and not always open for discussion in a professional environment.

In Yoko Taro's games, the story does not take center stage. Like gameplay, the storyline serves as a tool to achieve the main goal. Yoko believes that the emotions, feelings, and experiences that a game offers to players come first in a game. Every aspect—the characters' personalities, appearances, stories, and moods—is important because they shape the atmosphere and foster empathy in the audience. These details, even the smallest, are crucial to creating a deep gaming experience.

In NieR, one of the endings clearly demonstrates the game designer's vision. In this ending, the player is given the opportunity to resurrect an important character, but in exchange, they must sacrifice the protagonist—who disappears forever from the world and the memories of those around them, as if they had never existed. If the player accepts this sacrifice, all saved data is permanently erased; ultimately, it is not the protagonist who disappears, but the player themselves. This turn of events highlights the importance of choice and consequence, making NieR a unique gaming experience.

Formation

Yoko graduated from Kobe Design University in 1994 and began his career as a 3D designer at the Japanese company Namco Limited. In this role, he contributed to the visual design of arcade games such as Alpine Racer 2 and Time Crisis 2. In 2001, Yoko Taro joined Cavia, where he subsequently led the development of the first and third installments of the Drakengard series. Takuya Iwasaki was originally slated to direct the project, but due to his busy schedule with other projects, Yoko was invited to take on the role, which led him to write the game's scenario. This incident became a turning point in his career and opened new horizons in the video game industry.

The debut game in the series tells the story of a conflict between two factions—the Union and the Empire. The protagonist is Kaim, who is on a quest to rescue his sister. The gameplay includes exciting aerial battles reminiscent of the Ace Combat series, as well as large-scale ground battles that echo the mechanics of Dynasty Warriors, where a hero or team of heroes destroys hundreds of opponents in a short period of time. In Drakengard, players control a dragon, destroying enemies and burning everything around them, adding a dynamic and epic feel to the gameplay.

While directing development, Yoko sought to differentiate his game from popular Japanese action games of the early 2000s, such as Devil May Cry and the Dynasty Warriors series. At the time, monomythic stories, typical of games in the Final Fantasy and Dragon Quest series, were very common. They typically followed heroes embarking on a linear journey where they had to fight enemies and ultimately save the world from evil. Realizing that the publisher wasn't planning to increase the budget, Yoko decided to rework the script for the first Drakengard, initially envisioning a more ambitious project.

The story in Drakengard is a true deconstruction of traditional video game narrative, tackling complex and taboo topics such as pedophilia, incest, and child cannibalism. Most games present a linear plot, with its core essence revealed only during the first playthrough, where good heroes invariably defeat the villains. However, to deeply understand the story and its message in Drakengard, it is necessary to play through the story multiple times. This approach to storytelling was rare in the video game industry in the 2000s and 2010s, making the game unique and memorable.

In Drakengard, Yoko Taro refused to allow thousands of deaths to become the norm, which preceded the release of Spec Ops: The Line, which also tackles this important topic. In her first major work, Taro uses narrative to demonstrate to the player that mass murder and murder in general are abnormal, even in the context of a fictional fantasy world. This avoids narrative dissonance and encourages players to reflect on the actions of a protagonist who, in reality, is not a positive character, but a true monster. In this way, the screenwriter critiques human nature and human behavior in the face of violence. According to Yoko Taro, the reason we kill in video games reveals important aspects of human nature. People strive for peace, yet they enjoy violence in virtual worlds. This is a kind of karma: video games have the ability to capture the true essence of humanity, even if that was not their intention. It is important to understand how video games reflect our inner conflicts and dualities. They demonstrate that, despite the desire for harmony, there is a dark side within us that requires an outlet. This contradiction makes games not only entertainment but also a mirror of human psychology, allowing us to explore deep-seated motives and emotions that may be inaccessible in real life.

Despite the gameplay of Drakengard, released in Japan in 2003, being perceived by critics as imperfect, the game managed to gain popularity and form a devoted fan base. Yoko Taro laid the foundations of his unique style in the first game, which includes deconstructing genre clichés, exploring psychological themes, and emphasizing plot elements and the player's emotional perception. Thanks to the extensive script, the developer decided to create several radically different endings that develop in parallel, thereby deepening the plot and emphasizing the idea of ​​a cyclical universe. This makes Drakengard not just a game, but a true work of art, exploring complex and sometimes taboo themes.

Yoko Taro shares his opinion on the importance of players seeing all endings in games. He believes that there's no point in insisting that players complete every ending. In today's gaming world, many players choose to skip content and may not complete the game. This is worth recognizing, as a variety of playstyles makes gameplay more flexible and engaging. Taro notes that his games structure endings from A to E, with each revealing something new. This allows players to choose how deeply they want to engage with the story, making the games more accessible to a wider audience. Replaying Yoko Taro's games and delving deeper into their lore is reminiscent of rereading a lengthy book or rewatching a film with a complex plot. With each playthrough, the game reveals its secrets and nuances, bringing to the fore details that might have previously gone unnoticed. This creates a unique experience that allows players to revisit familiar events and characters, deepening their understanding of their motivations and stories. Taro's games offer not only entertainment but also philosophical reflection, making each playthrough valuable and engaging.

Experiments with Narrative and Gameplay

While working on another project and due to creative differences with director Akira Yasui, Yoko Taro joined the development of Drakengard 2 only late in the development process, serving as a cutscene editor. The game faced some criticism after its release, which producer Takamasa Shiba attributed to self-censorship. He felt the first game was too dark, and Square Enix insisted that the sequel be more conservative. This decision affected the game's reception and its story elements.

After the completion of the third installment, led by Yoko Taro, the project originally conceived as Drakengard 3 was transformed into a spin-off of the series, which became known as NieR. Square Enix continued to support this project, but this time Yoko Taro was given complete creative freedom. This freedom played a key role in shaping NieR into an iconic franchise that continues to delight fans with its unusual storylines and an atmosphere filled with anxiety and captivating emotions. Despite criticism of the graphics and gameplay, NieR remains a beloved series among video game fans.

An interesting fact about NieR: there are two versions - NieR Replicant and NieR Gestalt. The game was initially released under three different names. The main difference between Replicant and Gestalt is the character: in the first version, the protagonist is a young man, while in the second, it is an adult man acting as a father. This change was driven by marketing considerations, as the publisher believed that Western players would be more receptive to a masculine protagonist, so the developers created NieR Gestalt. Regarding the titles, NieR Replicant was released in Japan for the PS3, NieR Gestalt for the Xbox 360, and simply NieR for both consoles in other countries, representing the version with an adult protagonist. Thus, NieR showcases interesting cultural differences and approaches to character perception in different regions.

The Drakengard and Nier series take place in parallel universes and are deeply interconnected. The first Drakengard offers five different endings. Secret Ending E stands out among them: in it, the protagonist and the final boss are transported to modern-day Tokyo, where their final battle takes place. The fallen being leaves behind ashes, which cause a terrible epidemic that nearly wipes out humanity in the world of Nier. This creative approach connects the plot of talking dragons with the story of androids, creating a unique bridge between the two universes.

An interesting fact about the game's development is that the ending E was originally conceived as a joke. Until the very end, only Yoko Taro and a small group of developers knew about it. Moreover, Yoko Taro had planned to turn the final boss into a giant version of the popular Japanese singer Ayumi Hamasaki, but this idea was ultimately abandoned. This unexpected twist in the game's plot highlights the developers' unique approach to content creation and their desire for originality.

The first idea I pitched to the team was immediately rejected. I proposed a scenario in which a giant Ayumi Hamasaki, a famous pop idol in Japan, descends from the sky, and the participants compete against her in a music competition that determines the fate of the universe. However, the team responded, "No, we can't do that." The idea was rejected. It's like when you meet someone like Britney Spears and say, "Hey, Britney! Let's fight!" Yoko recalled.

NieR not only strives to push the boundaries of traditional narrative standards set by the gaming industry, but also actively experiments with genres. While it is primarily a 3D open-world action RPG, as the story progresses, it unexpectedly transforms into a run 'n' gun or 2D platformer. This genre diversity makes NieR a unique experience, appealing to both RPG and action fans.

In certain locations, players may find themselves in spacious rooms where the camera tilts upward, creating a top-down bullet hell effect. In some episodes, the game transforms into a text adventure, requiring players to read carefully and answer questions correctly. Interestingly, one chapter uses a fixed camera technique, reminiscent of classic Resident Evil titles. This diversity of mechanics adds uniqueness to the gameplay and allows players to immerse themselves in the story.

Today, games have become relatively limited; we see repetitive genres and game mechanics that have become clichés. The gaming industry is increasingly relying on uniform templates, which hinders its development. However, I am convinced that games hold enormous potential that can be unlocked if designers stop being afraid to experiment and push beyond their usual limitations. That's why I'm actively engaged in new experiments and strive to create something unique.

Locations in the game NieR play a key role and change throughout the story and with repeated play. Player decisions can impact weather conditions and environmental details in the same locations, creating a sense of a living world. These locations serve as a reflection of the events unfolding in the game. Despite this, they are technically static: NieR lacks a dynamic day/night cycle or complex environmental animations, due to the project's limited budget. Nevertheless, these features allow players to become more immersed in the game's atmosphere and emotional content, creating a unique experience interacting with the world of NieR.

Yoko Taro has maintained a long-standing collaboration with composer Keiichi Okabe, known for his work on the soundtracks for the Tekken fighting game series. For NieR, Okabe created an outstanding musical score that combines elements of ambient techno and ethnic motifs. The music includes references to the legendary anime "Akira" and gentle melodies with sensual female vocals, adding depth and emotion to the gameplay.

Yoko Okabe came to the conclusion that the game's vocals should be heard not only during key moments, but also during quiet scenes. This decision gives each location in NieR and NieR: Automata a sense of vitality and uniqueness. Okabe's soundtracks smoothly change depending on the development of the plot and even the positions of characters on the map, creating indescribable emotions in players and enhancing immersion in the game world.

Questions of Existentialism and Human Nature

In NieR, Yoko Taro continues her in-depth exploration of personality and the human soul, as well as the essence of humanity through the actions of the characters and the moral choices the player faces. Each character experiences an identity crisis or self-perception disorder, and their appearance is often deceiving. For example, a fragile girl can be the embodiment of rage, while behind a frightening mask lies a kind boy with destructive power. These complex images highlight the richness and versatility of human nature, giving the game depth and philosophical themes.

Exploring the stories of Yoko Taro's games, one can discover a deep connection with the philosophy of Friedrich Nietzsche, which permeates both NieR and NieR: Automata. These games not only entertain, but also raise important existential questions, exploring the meaning of life, free will, and the nature of human existence. Nietzschean ideas about the superman and eternal return are reflected in the characters and plot twists, creating a unique philosophical context that forces players to reflect on their own beliefs and values.

In his treatise "The Birth of Tragedy from the Spirit of Music," Friedrich Nietzsche explores the dichotomy in art, presenting two inseparable principles - the Apollonian and the Dionysian. The Apollonian principle is associated with logic and order, while the Dionysian reflects natural chaos, instincts, and emotions. These two principles are in constant tension, creating a dynamic tension that serves as the basis for profound artistic works. Nietzsche argues that harmony in art is achieved through the synthesis of these opposites, emphasizing the importance of both a structured approach and emotional freedom in creativity. Sculpture exemplifies Apollonian art, while music is more focused on irrationality and the listener's emotional perception. The best tragedies demonstrate a harmonious blend of Apollonian and Dionysian ideas. This combination allows us not only to rationally comprehend events but also to deeply experience them on an emotional level. This combination creates a deeper immersion into the work's narrative than if only one of these components dominated.

The concept of the Apollonian and Dionysian is linked to Nietzsche's philosophy of Eternal Return. The philosopher asserts that all phenomena in the world are cyclical and will repeat themselves endlessly. The joys and sufferings experienced by one person will be experienced by another in the future, and the individual himself will also repeat himself in one form or another. This approach rejects the existence of higher powers and the consolations that people seek in religious illusions about God. However, life without God results in a world devoid of logical structure.

People often find themselves trapped in eternal repetition, which causes existential anxiety. In art, the Apollonian epitomizes the struggle against this meaninglessness, creating the illusion of a higher, harmonious reality that imbues life with hidden meaning. In contrast, the Dionysian brings man closer to a ruthless reality. Nietzsche, however, views Eternal Existence as a limitless blessing, where every moment of life becomes eternal. A person capable of accepting life in its true form and creating their own values ​​attains the level of the superman. This philosophical understanding emphasizes the importance of embracing life in all its complexity and multifacetedness, which can become the key to inner liberation and self-improvement.

NieR transforms the concept of existence, moving towards the theme of transhumanism. The world of NieR is presented to the player as the result of an endless cycle of creation and destruction, reflecting Nietzsche's philosophy of Eternal Return. In this world, only intelligent androids remain, waging a relentless struggle against the machines created by an alien civilization to conquer Earth. However, the very purpose of this struggle has been lost, as humanity, for whom the androids were created to save, has long since disappeared following the failure of the Gestalt Project. The characters must accept a reality without people—and therefore without God—and develop their own values ​​that will give their existence new meaning.

Fall and Resurrection

Despite high praise from critics and players for its story and character development, NieR's release was not the most successful. Many users noted graphical shortcomings and sometimes unsuccessful gameplay, which spoiled the overall impression of the game. A similar situation occurred with Drakengard 3, developed by Yoko Taro's team after the disbandment of Cavia studio and released in 2013. After that, the game designer did not plan new projects for some time and even considered leaving the gaming industry completely.

After the release of Drakengard 3, I had the feeling that the audience was saturated with my projects, and the desire to continue working began to fade. "I even considered retreating to the mountains and spending my remaining years as a hermit, far from the world of games," Yoko admits.

In 2014, Square Enix initiated development of a sequel to the Nier series. Yoko Taro returned as director and writer, while PlatinumGames took on level design and gameplay development. Yoko noted that producer Yosuke Saito, with whom he collaborated on previous games, had returned to work on the new project. This collaboration was an important step for the further development of the Nier franchise, which continues to attract players with its unique approach to storytelling and gameplay.

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Yoko Taro noted that his support from Square Enix is ​​largely due to the fact that producer Yosuke Saito, with whom he had a close relationship, overcame complex political intrigues within the company to become CEO.

In 2017, the world witnessed the release of the unique game NieR: Automata, which quickly earned the status of a benchmark action game thanks to its unconventional arthouse plot. Despite its release at the same time as other high-profile projects such as Horizon: Zero Dawn and The Legend of Zelda: Breath of the Wild, NieR: Automata gained immense popularity. Hideki Kamiya credited this game with saving his studio from bankruptcy and disbandment, underscoring its importance in the video game industry.

The success of NieR was a significant step for Platinum Studios, allowing it to attract new fans, expand its team, and increase the number of CVs from qualified specialists. This project brought invaluable development experience and opened up new opportunities for the company. Hideki Kamiya noted on Twitter that, despite usually working alone, Yoko Taro's contribution to Platinum's success cannot be overstated. His influence on the company and gratitude for his support deserve special mention.

NieR: Automata has gained widespread popularity thanks to its refined combat system, improved controls, and a captivating storyline that continues to surprise with its atypical dramatic twists. Protagonist 2B has captivated fans with her striking appearance, guaranteeing her popularity among cosplayers for years to come.

At the time of writing, the game has sold over 6 million copies worldwide, and the NieR remaster, released this year, has sold over a million copies. Given this success, it's safe to assume that the future holds new ambitious projects from maestro Yoko Taro and his team at PlatinumGames. Developing the franchise and expanding the game world could attract even more fans and strengthen the company's market position. Yoko Taro noted that for a long time, the Nier franchise was considered over. Therefore, he was pleasantly surprised when he learned that a new game was in development. When it became known that Platinum would be taking on the project, Taro began to consider the possibility of creating something truly interesting. Despite his initial doubts, he didn't expect the new game to be a true hit—he thought it would be aimed at a narrow audience. However, the concept showed significant potential. Looking back at Platinum's previous work, Taro noted that their games primarily appeal to action fans, a rather specific niche. However, this approach is ideal for the unique and eccentric worlds created by Square Enix.

The popularity of the character 2B from NieR: Automata led to an interesting story showcasing Yoko Taro's humor and admiration for beautiful women. It all happened at a concert in Chicago, where a Japanese orchestra was performing music from NieR: Automata for devoted fans. Yoko Taro was among the musicians. Cosplayer Yashafluff, dressed as 2B, approached him and playfully asked him to sign her thigh. The scriptwriter happily agreed. As a result, one of the fans, also an artist, captured the touching moment in her drawing. This story highlights not only the creativity of the community, but also Yoko's unique approach to interacting with fans.

Stepping Beyond the Boundaries

Innovation is a key aspect of Yoko Taro's career. His passion for innovation is evident in every aspect of his work: his original ideas and methods, his bold experiments with genres, and his unique approach to player interaction. Having created two world-renowned franchises, Yoko Taro doesn't place himself on a pedestal or consider his vision to be the only correct one. He always leaves it to players to interpret the plot, choose the ending, and even determine the game's genre. He believes that video games serve as a tool that helps people find answers to important questions. This approach makes his work not only entertaining but also profound, fostering personal growth and self-reflection. The gaming industry has significantly slowed its development and innovation in genres. Each year, we see numerous AAA titles with impressive graphics and complex gameplay mechanics, as well as remarkable indie games that explore deep themes and emotions. Platformers and adventure games continue to delight with their diverse worlds. However, we see virtually no innovation, and we can often predict what awaits us in the next game even before purchasing it. This lack of fresh ideas and original concepts calls into question the future of the gaming industry and its ability to surprise players.

Yoko Taro has repeatedly addressed the problems in the gaming industry. He admits that his projects, such as Drakengard and Nier, failed to make a significant impact on the development of this field. Nevertheless, he remains convinced that change is possible in the future. Developers still face numerous restrictions and standards that define the rules of game creation. However, Yoko believes in the possibility of overcoming these barriers, believing that we are on the cusp of significant changes in the industry.

The interview dedicated to the release of Drakengard 3 ends on a positive note. The developer encourages colleagues not to limit themselves to the established industry boundaries, but to strive to overcome them and change the gaming world. This approach inspires the creation of innovative projects and opens new horizons in game development.