| Grand Kingdom | |
|---|---|
 | |
| Developer(s) | Monochrome Corporation |
| Publisher(s) | |
| Director(s) | Tomohiko Deguchi |
| Producer(s) | Kazuhiro Watanabe |
| Artist(s) | Chizu Hashii |
| Writer(s) | Kentaro Mizumoto Tomohiko Deguchi |
| Composer(s) | Mitsuhiro Kaneda Azusa Chiba Kazuki Higashihara Yoshimi Kudo Masaharu Iwata |
| Platform(s) | PlayStation 4 PlayStation Vita |
| Release | |
| Genre(s) | Tactical role-playing |
| Mode(s) | Single-player Multiplayer |
Grand Kingdom[a] is a tactical role-playing video game developed by Monochrome Corporation for the PlayStation 4 and PlayStation Vita. It was published by Spike Chunsoft in Japan in 2015, and NIS America in the West in 2016. Following a mercenary group in the employ of different nations formed in the wake of a collapsed empire, the player engages in turn-based combat while navigating paths on maps similar to a board game. Online competitive asynchronous multiplayer where chosen teams of characters fight for a chosen nation was originally featured, but this ended as servers were shut down by 2019 in the West and 2022 in Japan.
Grand Kingdom began development in 2011 under director Tomohiko Deguchi, a former Vanillaware staff member, using similar design and aesthetic concepts to Grand Knights History (2011). The asynchronous multiplayer was developed to prove its viability in Japan, allowing a casual time investment from players. Manga artist Chizu Hashii designed the characters, who was asked to avoid moe design traits. The music was composed by a team from Basiscape, including Mitsuhiro Kaneda and Masaharu Iwata; it was one of Iwata's last original projects for Basiscape before leaving in 2017.
The game was announced in June 2015, when development was around 65% complete. Single-player downloadable content was released in Japan featuring scenarios around the nations and new player units between 2015 and 2016, all of which were bundled into the Western release. Reception was generally positive, with praise going to its gameplay and art design, though its audio saw some mixed response, and critics were generally indifferent to its narrative.
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