{"id":54510,"date":"2025-12-02T22:00:00","date_gmt":"2025-12-02T13:00:00","guid":{"rendered":"https:\/\/automaton-media.com\/en\/?p=54510"},"modified":"2025-12-03T12:48:06","modified_gmt":"2025-12-03T03:48:06","slug":"the-like-a-dragon-series-still-cant-be-called-mainstream-in-the-west-developers-say-theres-an-audience-but-we-still-have-a-long-way-to-go","status":"publish","type":"post","link":"https:\/\/automaton-media.com\/en\/interviews\/the-like-a-dragon-series-still-cant-be-called-mainstream-in-the-west-developers-say-theres-an-audience-but-we-still-have-a-long-way-to-go\/","title":{"rendered":"The Like a Dragon series still can\u2019t be called mainstream in the West, developers say. \u201cThere’s an audience, but we still have a long way to go\u201d\u00a0"},"content":{"rendered":"\n

In February 2026, SEGA and RGG Studio will release Yakuza Kiwami 3 and Dark Ties<\/strong>, a bundle title containing a full remake of Yakuza 3<\/a> and an original spin-off game featuring Yoshitaka Mine as a playable character<\/a>. The game was showcased at Tokyo Game Show 2025, where AUTOMATON Japan interviewed RGG Studio\u2019s three top figures: director and executive producer Masayoshi Yokoyama, series chief producer Hiroyuki Sakamoto, and director of Yakuza Kiwami 3 & Dark Ties Ryosuke Horii. We asked them about the franchise\u2019s current status in the West, as well as the studio\u2019s views on incorporating feedback from players and marketing teams into their games. <\/p>\n\n\n\n

Note that this interview was conducted in September 2025. <\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

\u2014In a past interview, you mentioned that the Steam version of Yakuza 0 was doing very well globally. At the time, you said people overseas were buying it partly because it felt exotic. It\u2019s been two years since then, but how do you feel the series is positioned now in the Western market?<\/strong> <\/p>\n\n\n\n

Yokoyama:<\/strong> 
I still think it\u2019s mainly people who already like or understand Japanese games who are picking it up. <\/p>\n\n\n\n

That said, Like a Dragon: Pirate Yakuza in Hawaii actually sold very well in Europe, which was completely different from past trends.  <\/p>\n\n\n\n

\u2014Not the US, but Europe?<\/strong> <\/p>\n\n\n\n

Yokoyama:<\/strong>  
That\u2019s right, I got the sense that pirate culture is deeply rooted in Europe. Of course, we have a larger player base in the US to begin with, but seeing sales unexpectedly grow in Europe was interesting. In this sense, I think people are discovering the series through various entry points, but I don\u2019t think it\u2019s at a stage where it can be called mainstream yet. <\/p>\n\n\n\n

\u2014So you don\u2019t feel you\u2019ve fully reached the market yet, you\u2019re still in the process of expanding? I had the impression that it was a series all readers of our English-language edition were familiar with.<\/strong> <\/p>\n\n\n\n

Yokoyama:<\/strong> 
I think that\u2019s probably because that\u2019s the kind of readership your publication has (laughs). There is definitely an audience familiar with it, but we still have a long way to go. <\/p>\n\n\n\n

Sakamoto:<\/strong> 
There are core Like a Dragon fans out there forming communities, so we do have a fanbase, but it\u2019s still actually quite small. <\/p>\n\n\n\n

\u2014So in terms of your stance going forward, you’re still figuring out how to break new ground?<\/strong> <\/p>\n\n\n\n

Yokoyama:<\/strong> 
Yes, even our merchandise strategy is very different between Japan and the West. 
In Japan, we design products under the assumption that people already know the source material, since the series has gone through many phases here. But if we did that overseas, it wouldn’t make sense. Right now, our priority is simply to firmly establish the Like a Dragon name and RGG Studio logo. <\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Even if Like a Dragon\u2019s global popularity rises, our philosophy won\u2019t change<\/strong> <\/h2>\n\n\n\n

\u2014You\u2019ve always talked about \u201cmaking what feels true to RGG Studio.\u201d If the series becomes even bigger globally, will that mindset change?<\/strong> <\/p>\n\n\n\n

Yokoyama:<\/strong>\u00a0
No, it won\u2019t. If we really wanted to make a game for overseas audiences, it would obviously be better to make a foreign protagonist and set the story overseas. But if we did that, it wouldn\u2019t be Like a Dragon. There would be no point in us making it.\u00a0<\/p>\n\n\n\n

Instead, we have to preserve what makes us us,<\/em> and communicate that to the world.\u00a0
If we\u2019re not doing that, we might as well dissolve the team right now and make a totally different game.\u00a0<\/p>\n\n\n\n

It ties into the question of what you want to do for a living. If our job as creators is to make games, then RGG Studio\u2019s job is to make Like a Dragon and spread it globally. 
I think people start making strange things when they misunderstand what their business is supposed to be. <\/p>\n\n\n\n

\u2014Does that mean the market is secondary for you?<\/strong> <\/p>\n\n\n\n

Yokoyama:<\/strong> 
It\u2019s not secondary, it\u2019s always part of the package. But if it means changing what we create, then that’s not the right approach. <\/p>\n\n\n\n

\u2014As the series\u2019 popularity rises, you probably receive more feedback and requests. Do you not take those into account?<\/strong> <\/p>\n\n\n\n

Yokoyama:<\/strong>\u00a0
We learn about game design ourselves.\u00a0
On the other hand, when it comes to operational things, like waiting lines at events being too long or tickets being hard to buy, we listen to user feedback. In other words, only when it applies to services and administrative aspects.\u00a0<\/p>\n\n\n\n

Sakamoto:<\/strong>\u00a0
It\u2019s because we don\u2019t change the games that fans keep having high expectations of us.\u00a0<\/p>\n\n\n\n

\u2014I see.<\/strong> <\/p>\n\n\n\n

Yokoyama:<\/strong> 
All we can do is believe that a good game will be appreciated. If the belief that \u201cfun games sell\u201d is invalidated, then what\u2019s the point? <\/p>\n\n\n\n

Of course, in reality, there are games that don’t sell despite being entertaining. That\u2019s why we hold events like this to properly convey the fun. <\/p>\n\n\n\n

For TGS 2025, we set up many demo stations so people can really experience it. 
That\u2019s marketing and promotion; we think of them as a set. But if your actual product is boring, all you\u2019re doing is embarrassing yourself, so in the end, it still comes down to making a good game. <\/p>\n\n\n\n

\u2014Right. If the game is lackluster, promotion won\u2019t mean much.<\/strong> <\/p>\n\n\n\n

Yokoyama:<\/strong> 
Exactly, it\u2019s like advertising a dish you already know tastes bad. <\/p>\n\n\n\n

\u2014Is this \u201cgood work sells\u201d mindset something ingrained in SEGA\u2019s culture?<\/strong> <\/p>\n\n\n\n

Yokoyama:<\/strong> 
At least for me, yes. <\/p>\n\n\n\n

Sakamoto:<\/strong> 
\u201cCreating without compromise\u201d is something the whole team feels strongly about. <\/p>\n\n\n\n

Horii:<\/strong> 
I\u2019m involved in development as a game director, but it\u2019s not like we know what will make a game entertaining \u2013 all we can do is make something we<\/em> believe is fun. I feel like the whole team is sincere in that they want to make something they find genuinely interesting and good. <\/p>\n\n\n\n

Yokoyama:<\/strong> 
We spare no effort in that regard. We do everything in our power to create something good, right up until the very last moment. <\/p>\n\n\n\n

Horii:<\/strong> 
The mindset \u201clet\u2019s do this because we were told do\u201d or \u201clet\u2019s do that because marketing says to\u201d doesn\u2019t exist for us. <\/p>\n\n\n\n

Yokoyama:<\/strong> 
Or rather, it doesn\u2019t need to exist, because they don\u2019t tell us what to do in the first place. 
I think that’s because we’re already very conscious of marketing ourselves. <\/p>\n\n\n\n

Horii:<\/strong> 
Yes, since we develop games with a stance that respects marketing too, we don’t really get told much anymore. <\/p>\n\n\n\n

Yokoyama:<\/strong> 
We\u2019re not some stubborn team that refuses to listen. 
We make good products, and we work hard to communicate that ourselves, so there\u2019s no need for others to tell us what to do. 
For example, we made all the assets for our TGS stage events ourselves. <\/p>\n\n\n\n

\u2014You make all of that yourselves??<\/strong> <\/p>\n\n\n\n

Yokoyama:<\/strong> 
Yes. While working on the game, during spare time, our designers will ask the marketing team things about the stage and displays that\u2019ll be used at the event, and then they\u2019ll pitch ideas to me on how to place characters and the like. 
Normally, marketing drafts a plan, presents it to development \u2013 they discuss feasibility, and if development can\u2019t do it, it goes to outsourcing. But we don\u2019t work like that. <\/p>\n\n\n\n

Sakamoto:<\/strong> 
We don\u2019t leave it to agencies; we provide everything ourselves during development. <\/p>\n\n\n\n

\"RGG<\/figure>\n\n\n\n

Yokoyama:<\/strong> 
Even booth decorations around demo stations are made by us. 
That\u2019s what it means to think about development and marketing together. <\/p>\n\n\n\n

RGG Studio\u2019s new challenges may influence the future of Like a Dragon<\/strong> <\/h2>\n\n\n\n

\u2014It\u2019s been some time since RGG Studio took its current structure. What phase are you in now?<\/strong> <\/p>\n\n\n\n

Yokoyama:<\/strong> 
I think we\u2019ll step into the next stage in the next two or three years. 
With titles like STRANGER THAN HEAVEN and the New VIRTUA FIGHTER Project, we\u2019re working in genres and settings we\u2019ve never tried before. 
The results of that will surface a few years from now, and I think those outcomes may influence the direction of the mainline Like a Dragon series. <\/p>\n\n\n\n

\u2014So your other projects could actually affect Like a Dragon\u2019s future direction?<\/strong> <\/p>\n\n\n\n

Yokoyama:<\/strong> 
I think so. What we learn from them will influence us. 
For example, with Infinite Wealth, the setting changed to Hawaii, and that proved we can create non-Japanese characters and overseas environments. <\/p>\n\n\n\n

\u2014It was a major success for you too.<\/strong> <\/p>\n\n\n\n

Yokoyama:<\/strong> 
That kind of experience shows us the boundaries of what we can accomplish. 
The less \u201cunknown territory\u201d there is for us, the more our repertoire grows, and our options expand. 
 <\/p>\n\n\n\n

\u2014As you gain experience, new paths will open up for you.<\/strong> <\/p>\n\n\n\n

Yokoyama:<\/strong> 
That\u2019s right. We don\u2019t yet know exactly how we\u2019ll evolve, but our options will definitely increase. I don\u2019t know what we\u2019ll be making a few years from now, but we\u2019re definitely in the midst of change. <\/p>\n\n\n\n

\u2014Thank you for your time. <\/p>\n\n\n\n

Yakuza Kiwami 3 and Dark Ties is set to launch on February 12, 2026 for PC (Steam), PS5\/PS4, Nintendo Switch 2 and Xbox Series X|S.     <\/p>\n\n\n\n

[Interviewer, editor: Ayuo Kawase]
[Writer, editor: Koutaro Sato]<\/p>\n\n\n\n

Related: Yakuza Kiwami 3 and Dark Ties include major hints about where the Like a Dragon series is headed, RGG Studio lead says <\/a><\/strong><\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

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