Ghostwire Tokyo

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In the film We Couldn’t Become Adults (2021) by director Yoshihiro Mori, the most expensive segment of the film is when two old friends who have not seen for a long time walking around a desolate Tokyo, deserted because of the social distancing laws at that time. The price of this scene is not in what they say to each other but in the context behind it.

The image of modern Tokyo with many people is bustling, with seas of people crossing the Shibuya intersection, subway stations packed with people, countless shopping malls, and bustling entertainment that never stops lamp.

So, when Tokyo “sleeps” there must be some hidden secret that the author wants to tell the audience, this particular setting will become the most expensive narration – even though it’s a story about anxious urban intellectuals or… a modern ghost story.

Surely by now, readers also know what is the “modern ghost story” set in “sleeping Tokyo” that I want to mention.

So, let’s get lost in the middle of Tokyo with Biareview on a rainy night, with ghosts and supernatural forces replacing the usual bustle through a work released by Bethesda: Ghostwire Tokyo.

A mysterious mist has covered Tokyo, and all the residents here have “escaped”, disappearing from the streets, leaving only the clothes they were wearing at that time!

With such a special and potential context, the audio-visual part of the game did not waste any opportunity to recreate a Tokyo (more specifically, Shibuya Special Area) in an extremely beautiful way detailed, vivid, and full of magic!

From comfortable dining and shopping areas to administrative areas with countless skyscrapers close together, to suburban alleys or even a sewer system – the development team Tango Gameworks has paid attention to the smallest detail, to render Tokyo as vivid and believable as possible!

And that unbelievable detail has made Ghostwire: Tokyo build its mysterious atmosphere more effectively.

The feeling that Tokyo is still “alive”, still bright, still noisy, and bustling even though there is no shadow of people or enemies has made me “scary”.

In Tokyo’s busiest places like the Shibuya crossroads or the Neon Enzan district – the billboards are still lit up, endlessly inviting – but no one is around to see them.

Signboards introducing interesting products coming soon or promotions of a certain drink stall hanging on the street, surrounded by piles of clothes of customers who “escaped” right at the time of lining up.

Then away from the city center, everything seems quieter, more deserted, but the imprint of a busy, bustling society that has been, and continues to live is still present. School uniforms are scattered all over the bus stop, bicycles are scattered in the alley, piles of newspapers crumpled by the rain, and offerings are scattered in the cemetery, …

The final highlight is the supernatural elements!

Around Tokyo, there will be Torii gates possessed by the game’s main villain gang to pave the way for the demons from hell to the world, and then withered soul trees sprouting from the ground… these designs are close to acting as the final touch to make Shibuya virtual, even more virtual!

All of those details are carefully arranged to portray a Tokyo that is frozen in time, but still heartlessly lives on. The special combination of the theme, the game’s message, and a surreal detailed Shibuya make the Ghostwire: Tokyo setting extremely expensive compared to any game released 5-10 years ago.

In such a unique, detailed, and vivid world, their new “residents” have also been carefully cared for to make the messages of Ghostwire: Tokyo even more resonant with players.

In addition to the fact that Japan is a technological powerhouse with a variety of modern human conveniences, its inhabitants combine and integrate tradition and a huge cultural breadth with a high-tech life. In Ghostwire: Tokyo, the Tango Gameworks team steered the game’s artistic direction to reflect the truest, whether supernatural or natural.

This makes every visual design choice of Ghostwire: Tokyo purposeful. From… as trivial as the fact that the raindrops in the game are the word “rain” in traditional Chinese characters (雨), to the “sacred cats” Nekomata wearing traditional kimonos selling goods at convenience stores, We can see the traditional values ​​of Japan comfortably living in a bustling, modern Tokyo.

These messages are not only reflected in the design of the environment and setting, but also the design of the characters and enemies.

The main villains in the game are very… trendy with stylish techwear that fashionistas will easily recognize. But the highlight lies in the traditional Noh masks that are cracked and torn.

Each mask represents a different traditional evil, and all of them are commanded by a masked man named Hannya, the jealous demon lord.

The main enemies, the remaining inanimate “demons” in the game are also taken care of very carefully. They are “walkers”, “students”, “marionettes” without eyes, with tired, sick animations. They embody an urban legend about the anguish, fatigue, and pressures of Japan’s inhabitants in the face of a society designed to suffocate everyone and especially harsh on workers and children, and women.

Besides, the game also has no shortage of scarier urban legends like Kuchisake-Onna to make things even more diverse.

However, the monster in the game is not all evil! Aside from the malicious “walking metaphors” of Japanese society, traditional youkai often seem friendlier… and more likable.

With certain youkai, they will play a specific role during gameplay, for example, Koppa-Tengu acting as “hook points” for the player to swing on between buildings, or fat floating Nekomata will act as salesmen.

The remaining friendly youkai will be scattered throughout the map for players to find. Often they will be introduced through very detailed and well-invested side quests to help players better understand Japanese culture.

For example, when the player goes to find a missing Zashiki-Warashi (/座敷童子), the spirit that gives the player the quest will explain the role of this youkai, and then tell the player some rice cakes to “find” them, or with the sea monster Kappa (河童) is a cucumber, and Oni (demon) is through dogs with noses….

All of these youkai are well documented in the “codex” of the game, and the fun in their design and the way they’re written makes it so that I never miss a single Codex page, just like when reading fairy tales!

These new “residents” of Tokyo, whether friendly or vicious, are treated with great care in terms of looks, creating a truly authentic “cultural tourism” experience for anyone regardless of their appearance familiar or not with Japanese culture.

Of course, a world no matter how lively, wandering in it is boring, so the story Ghostwire: Tokyo tells is no less!

In the main plot, the player will play the role of Akito, a boy who was killed by a car on the way to visit his sister who is in the hospital. But at that moment, Hannya, the main antagonist of the game, covered the underworld with a layer of fog that anyone who touched would be released from their soul, and their body would disappear. He did this to prepare to open the door for the devil from the underworld to carry out an off-season Hyakki-yakou – 百鬼夜行, hidden behind an extremely malicious plot.

However, fortunately for him, the soul of Hannya’s number one enemy, the detective KK, found his body and “entered” it, saving Akito’s life, and the two began to confront the overwhelming evil Tokyo streets in the endless rainy night!

Although Ghostwire: Tokyo frankly makes the beginning of the game’s story rather awkward and cumbersome, once the game picks up the pace, all of the game’s content is strangely engaging.

First of all, about the main plot, it will be difficult for players to sympathize with Akito because they do not know who he is! Akito starts as a bland character, a nice guy comes… absurd, and the soul that dwells in him – KK is just too… unlikable and mysterious!

But then as the plot twists begin to unfold, Akito and KK’s pasts and personalities are both revealed gradually, and the way they react to the hidden corners of each other’s lives is heartwarming strangely.

From a reluctant “couple of circumstances” and lack of depth, these two seemingly opposite main character lines match and fit together like a sophisticated machine.

These relationships and character lines are not only developed through the main story of the game but they are also developed through side quests and even the audio-visual design of these two characters!

As the plot progresses, KK and Akito’s interactions also change. But they have doubts, contempt, teasing or even anger with each other, then make up, cheer, and reassure each other. This relationship is naturally built, then solidly strengthened through gameplay, as Akito and KK constantly talk to each other whether it’s a heated battle with youkai or simply Akito…. Purchase!

Of course, the listening part is only half, KK’s experience and Akito’s enthusiasm are also shown through… the way the character attacks.

The moves that the player uses mainly in the game are animated as if Akito is a real “onmyouji”. The movements of the game’s spells, enchantments, precepts, and exorcisms are carefully designed, and Akito’s hands seem to dance across the screen with the player in a fluid and powerful way.

This detail and fluidity serve to emphasize KK’s skill and understanding of the supernatural world, and Akito’s focused decisiveness also emphasizes his determination to save his sister.

With two protagonists built in such a unique and interesting way, the storytelling of Ghostwire: Tokyo is equally enjoyable!

Although the narration is a bit old-fashioned and linear, Ghostwire: Tokyo has made full use of the talent of the visual design team to tell the game’s story!

In one of the game’s main missions, Akito and KK have to go down an abandoned subway tunnel, and as soon as they step down, a series of carefully designed and extremely impressive supernatural phenomena are displayed before the eyes of players – the evil spirits holding umbrellas suddenly ascended simultaneously, the doors suddenly opened and closed continuously, and the villains slowly stepped out of the fog!

Sounds impressive right? I have chosen a moment… relatively “normal” only!

From impossible constructions, overwhelming supernatural phenomena, metaphysical realms… The visual design team of Ghostwire: Tokyo played… to the finish line in this step, making the narrative experience of Ghostwire: Tokyo perfect. No matter how much the game follows the same path, it is still extremely effective and special.

With (former) art director extremely “bloody”, Ikumi Nakamura (The Evil Within, Okami) and later Kenji Kimura (Silent Hill 4), very special marks in the visual design stage of the artist. They like the world is slowly rusting and the environments designed to deceive human perception and vision are also fully utilized in addition to the completely new initiatives mentioned above.

Even more impressive, not only the main mission but also the side quests of the game also receive the same care. From haunted hospital corridors that constantly jump between the present and the past, to a train station that stops in the afterlife… the writer is always amazed by the care and creativity of the Tango Gameworks team.

All those explosive creative ideas combined with thoughtfulness and an undying love of Japanese culture make Ghostwire: Tokyo the ultimate audio-visual-reading experience for anyone who wants to experience it. Shibuya in particular and Japan in general, through the special prism of tradition combined with modernity.

An impressive, vibrant, and unique world, plus captivating stories and superb visual storytelling, the final piece to make Ghostwire: Tokyo one of the best experiences of the year that’s the way it plays!

Unique and impressive gameplay design has never been the strength of the Tango Gameworks team. No matter how interesting the two versions of The Evil Within are in terms of visuals, the monotonous gameplay and too much of a rut have greatly affected the game experience.

And unfortunately, Ghostwire: Tokyo is no exception.

where can you get a Ghostwire Tokyo online

Ghostwire: Tokyo Standard Edition – PlayStation 5: Buy it now

There’s something both sad and happy about Ghostwire: Tokyo being designed like a Ubisoft open-world game, and even simpler!

The open-world action-stealth-release model in the game is extremely frustrating and monotonous, as the fog that blankets Tokyo refuses to let you in until you clear the nearby Torii Gate – at least Ubisoft games don’t even have a player limit to explore the entire map from the very beginning of the game!

You have to purify… dozens of such Torii gates throughout the game.

Not only that, if players want to upgrade their characters, there will come a time when they have to collect Magatama stones (Three Sacred Treasures) by doing side quests and catching youkai.

If it were simply to do the game’s neat and engaging side quests, things would have been different, but no! The player’s main supply of Magatama is going around collecting youkai, a process with an exciting level of… ups and downs!

Assuming hunting Tanuki, a cute fat dog that can transform, then even walking around is a bit annoying, but it will be less annoying because they sit still and still say lines likability to the player.

And imagine hunting Kamaitachi (鎌鼬) or Kasa-Okabe (唐傘小僧) try it! They will run around making you “tire-of”, and then don’t say anything to you. Doing that about 2-3 times was boring, let alone dozens of times!

Not only that but because the side quest rewards are relatively limited, players who want to level up quickly have to collect souls. This is an extremely monotonous process when the player has to stand in one place holding the paper doll for such a long period! And players have to do that a hundred times during the game.

This process is even more cumbersome when the number of paper dolls players can use to collect souls is limited, so players will have to constantly run to the phone booth to “change souls” to be able to play with peace of mind.

However, the most monotonous design of the game lies in the combat mechanics!

No matter how detailed, flexible, and cool the magic, enchantment, and purification animations are, it is still impossible to hide the fact that… the game’s combat mechanism is too monotonous.

Players will be able to cast three types of spells: Wind is a fast and medium-range attack but does little damage, in return for ammunition (or mana) the most; Water is a very close but wide range attack, with medium damage, speed, and mana reserves; Fires are ranged attacks that have slow speed but very high damage and low mana reserves.

They act as semi-automatic guns, shotguns, and sniper rifles like regular shooters. Each spell can be amplified by holding down the fire button.

Players can also defend through a type of “blocking” spell that reduces damage absorbed, if cast at the right time, can also “parry” enemies, causing them to lose their balance. However, because the animation of the enemies in the game is so complicated, the mechanics are also very inconsistent!

In addition, the player is also given a bow that is very… redundant, probably the design team wanted the game to be less monotonous, but the end was not much better because the bow almost did not close role in casual clashes.

Players are also provided with a variety of charms that act as “grenades” to suppress enemies or amplify damage.

All these mechanics give players a monotonous, boring because they have no depth in combat.

The defense mechanism is inconsistent, the attack mechanism is monotonous. All just to fight 3-4 types of similar enemies (Walker, Students, Marionette…) throughout the game, so later on, the feeling of boredom will be more present!