Time Extension: Why Do So Many Japanese RPGs Use European-Style Fantasy Worlds?

Time Extension has come up here a lot lately, hasn’t it? It’s because they so often do interesting articles! This one’s about the propensity of Japanese games to use medieval European game worlds, the kinds with a generally agrarian society, royalty, knights, and their folklore counterparts elves, dwarves, fairies, gnomes and associated concepts.

They often fudge the exact age they’re trying to depict, with genuine medieval institutions sitting beside Renaissance improvements like taverns and shops. Nearly of them also put in magic in a general D&D kind of way, sometimes institutionalizing it into a Harry Potter-style educational system.

Notably, they usually choose the positive aspects of that setting. The king is usually a benevolent ruler. It’s rare that serfdom and plagues come up. The general populace is usually okay with being bound to the land. The Church, when it exists, is sometimes allowed to be evil, in order to give the player a plot road to fighting God at the end.

Hyrule of the Zelda games is likely the most universally-known of these realms, which I once called Generic Fantasylands. The various kingdoms of the Dragon Quest games also nicely fit the bill. Final Fantasy games were among the first to question those tropes, presenting evil empire kingdoms as early at the second game.

Dragon Quest
(All images here from Mobygames)

John Szczepaniak’s article at Time Extension dives into the question by interviewing a number of relevant Japanese and US figures and developers, including former Squaresoft translator Ted Woolsey. I think the most insightful comments are from Hiromasa Iwasaki, programmer of Ys I and II, who notes that this Japanese conception of a fantasy world mostly comes from movies and the early computer RPGs Wizardry and Ultima, that the literature that inspired Gary Gygax to create Dungeons & Dragons (which in turned inspired Wizardry and Ultima), especially Lord of the Rings and Weird Tales, were generally unknown to Japanese popular culture. Developer Rica Matsumura notices, also, that there is a cool factor in Japan to European folklore that doesn’t apply, over there, to Japanese folklore.

Wizardry: Proving Grounds of the Mad Overlord

It’s a great read, that says a number of things well that have been bubbling up in the back of my head for a long time, especially that JRPGs recreated both RPG mechanics and fantasy tropes at a remove, that they got their ideas second hand and, in a way similar to how a bunch of gaming tables recreated Dungeons & Dragons in their own image to fill in gaps left in Gary Gygax’s early rulebooks, so too did they make their versions of RPGs to elaborate upon the ideas of Wizardry and Ultima without having seen their bases.

Why Do So Many Japanese RPGs Take Place In European Fantasy Settings? (timeextension.com)

How Do You Say “Bahamut?”

Drew Mackie’s Thrilling Tales of Old Videogames brings up the issue of frequent Final Fantasy summon and sometimes optional boss monster Bahamut’s pronouncation, and tells us its mythological source wasn’t pronounced ba-HA-mut, but instead, ba-ha-MOOT.

Bahamut is one of the oldest traditions in Final Fantasy, going all the way back to the first game, where much of the game’s bestiary came directly from the Dungeons & Dragons books. Yet Bahamut was not fightable in that game, they wouldn’t fall into their standard role of challenge encounter until the third Japanese game. Like many D&D creatures, and JRPG creatures too, Bahamut was a borrowing from a mythological source. They were one of the entities upon whose back the world is carried. Observe:

Which of these entities is “dragon king” Bahamut? The person is just an “earth-bearing angel.” The bull is Kuyuta. Bahamut, or “Bahamoot,” is the fish. What’s more, it’s thought that the name derives from Behemoth, from the book of Job, despite Behemoth not being a fish. But Final Fantasy already has a Behemoth….

None of this proves much of anything. RPG writers, both tabletop and videogame, have long just pulled anything out of mythology, and sometimes more recent literature, that they wanted and just used it, regardless of author, age or culture. Gary Gygax had a Monster Manual to fill, he didn’t have any internet to help him fill it, but lots of other people enthusiastically used his bastardization, to help them compile their own bastardizations. That’s what most game lore is when you get right down to it: it’s bastardizations all the way down.

This is just a fraction of the edifying enfo, er info, in the article, a link to which awaits you here:

Bahamut and Behemoth: One And The Same? (Thrilling Tales of Old Videogames)