Famicom was the ideal platform for it, because unlike arcade games, players would not worry about spending money if they got a game over, and they could continue playing from where they left off. Losing a battle results in resurrection at a previous save point rather than the game ending, making the game more accessible. He wanted to include multiple player characters but was forced to use only one due to memory constraints. Horii knew that RPGs had a steeper learning curve than other video games, and to compensate for this he implemented quick level-ups at the start of the game with a clear final goal that is visible from the world map's starting point: the Dragonlord's castle. He provided a series of smaller scenarios in order to build up the player's strength to achieve the final objective. He created an open world which is not blocked physically in any way except by monsters that can easily kill unprepared players; Gamasutra described this as one of the earliest examples of nonlinear gameplay. Horii used bridges to signify changes in difficulty and implemented a level progression with a high starting growth rate that decelerates over time, which contrasts with the random initial stats and constant growth rates of the early editions of Dungeons & Dragons. To appeal to a larger audience, manga artist and creator of Dragon Ball, Akira Toriyama, was hired. As with Dragon Ball, his artwork features characters "whose strength and cunning transcend generations", with humorous elements such as a chibi style. Koichi Sugiyama, the game's music composer, solicited Enix via a PC game's feedback questionnaire. He was already a well-known television composer, and, upon seeing his feedback, Enix producer Yukinobu Chida contacted him to confirm that "he was the Sugiyama from television". Chida asked Sugiyama to compose a score for Dragon Quest. The game's classical score is Sugiyama's second video game composition after Wingman 2. He said it took him five minutes to compose the original opening theme, and noted the difficulty in adding a personal touch to the short jingles, but that his past experience with creating music for television commercials helped. According to Sugiyama, a composer has between three and five seconds to catch the audience's attention through music. The theme and his other jingles for Dragon Quest have remained relatively intact in its sequels. 1989 North American localization Coverage of Dragon Quests North American localization