APPEARE about GHOSTWIRE: Tokyo, as it usually appeals to talk about what Tango Gameworks does, the study that founded in 2010 Shinji Mikami, authentic basic classic of Japanese development. Mikami da for documentary: Active from the early 90s, the games that come out of their studies always seem to have something to say. From the beginning, however, Ghostwire: Tokyo has turned around other people: the most important is surely Ikumi Nakamura, creative director of the project for four years, that after an explosive appearance in E3 2019 took a step back by their own good; At the same time that she earned recognition and relevance, her health began to resent the pressures and the growing influence of the publisher of her, Bethesda (at the same time own tango Gameworks, via Zenimax), in the development of Ghostwire : Tokyo. She left it, tells himself, when the nightmares became daily: every night Nakamura dreamed that she entered the offices of Tango and none of her companions were there; In the middle of the office, however, there was a strange altar, and when she approached she discovered that in the altar there was a picture of her head.
It is a nightmare that could be part of Ghostwire: Tokyo; In one of his secondary missions, in fact, the ghost of a boss can not rest without knowing what the employees of him thought of him. It is one of the many stories that make up the game, a supernatural adventure whose costumbrism and daily remembers more than the Yakuza than the cosmic scales of Shin Megami Tensei.
Ghostwire: Tokyo begins, yes, with a massive scale event: a mysterious masked figure that seems to communicate from the beyond causes a mass disappearance in Tokyo, a massive exodus of spirits that coincides with the moment when Akito, you Avatar (deceased), is owned by the detective (deceased) KK. We are painted as a relationship of mutual benefit: the spirit of KK needs Akito’s body to continue with his investigations on the mysterious character he has made to disappear all tokyo, and Akito needs, in short, not to be a stationary corpse in the middle From the road to look for and help his sister, who has just passed through a traumatic accident that has hospitalized her. KK by, Akito is introduced into a recognizable but phantasmagoric Tokyo, freeing the city of darkness as he helps the spirits that populate her.
If you want to talk about Ghostwire: Tokyo is, to a large extent, because the game makes merit for it. The starting point is solid and is presented in a very convincing, spectacular and very well-worked way but without losing sight of the background, something like a promise of very seductive and present posa in almost every corner of the game during its first hours : In the relationship between Akito and KK, in the strangeness of a city populated by dark ghosts, in the connections that are formed between the sidequests, decidedly centered on family relationships, friendship, in love, and a main story That soon seems to look more as intimate than the epic. In the worst case, it certainly does shine more in short distances very welcome in a game like this.
I explain. Ghostwire: Tokyo is an open world game; Calling it another way is almost deceptive. It is an “open world game” until the last consequences, for good and for bad. Pleasure, maybe something empty but sometimes appetizing, to opening and exploring a world formed by pieces that you already know from other times, only dressed in other costumes, is there; And this time the disguise is amazing, even when the game it is difficult for you to show the best version of yourself, something that can be said of basically all graphic modes included (quality and performance, as usual, but with two variants that unlock the Framerate, and that is what God wants; none is perfect but neither dramatic). Arc torii after arc torii, you go purifying new areas and accessing new stories and emblematic places of Tokyo, finding new items that are helping to define the kind of experience that you want to be Ghostwire: Tokyo, strongly rooted in Japanese traditions and culture, Sometimes almost exaggerated; I once remembered about Borges and the Camels of the Koran reading the numerous and fascinating descriptions of objects and enemies, or diving in the optional stories on the map, surely the most interesting part of the whole game.
But it is also open world for the bad, and the outflowing with which Tango embraces as hard as the formula makes the bad enough more evident than I would have gone well. Beyond the grid of its design, perfectly compartmentalized and measured, it surprises the speed at which all the efforts that the study does undoubtedly make a unique personality to your world vanish as the game feels the need to manage a few Icons on the map. It is a very little organic open world; Abnormally artificial and even in conflict with himself, with his less obvious ideas and his smarter moments, which are not few. What is missing here is not intelligence but ambition or audacity, or a mixture of both.
The combat does not seem like a bad example of this. Although terror and suspense are still very present, and they are the fundamental ingredient of the most striking images of the game, Ghostwire: Tokyo is committed to a more direct approach to clashes against enemies; I think it’s an exaggeration to call it shooter in the first person, but it serves to understand how the thing is going. The key is in the implementation. “We want the player to feel like a tremendous high-tech ninja exorcist who spends spells to defeat innumerable evil spirits,” he said when the game Shinichiro Hara was announced, here Combat Director; The work of it in the 2016 Doom can be seen here as a guarantee of quality of this turn towards action. “To achieve this, we use gestures of complex and reflective hands like the main weapons, instead of simple weapons. Unlike weapons, our gestures allow us to give more movement and personality to player actions, because hands are an organic extension of the character. (…) is Karate mixed with magic. (…) In Ghostwire, spears magic with martial arts movements. “
This combat system, which at first seems to have almost unlimited possibilities, touches ceiling without having managed to go far beyond the shotgun-launched pistol we have seen a thousand and one times, by very colorful and refreshing that are the gestures of the hands, They really give the clashes a very unique touch. Nor unlocking the skill trees or the types of enemies that you face manage to get too far from the tools that the game offers you; There comes a time when you do not know how many monigines with umbrella and how many decapitated schoolgirls you can eliminate before you can start doing it with your eyes closed. The subtleties that are being built around combat, such as the flow of ammunition and health when eliminated enemies or parry simple but effective, nor do they go very far by fault, mainly, of confrontations a little lazy, both for how they are grouped and the enemies are grouped and present As for the same function that they fulfill many times in the missions, scoring them or topped them almost by commitment, as if not having combat were to be less.
I already say that it wants to talk about Ghostwire: Tokyo, and maybe that’s why it is a bit frustrating that the game is actively insisted on not offering much of what to speak. The great mystery of massive disappearances loses bellows while the stories of ghosts that populate the city gain prominence without necessarily gaining weight; The result is a game through which it progresses almost floating, specically, without great dislikes or disappointments but neither with too many joys. Loses fast edge, and does not make great efforts to recover it; As if he himself knew that he does not have the so long wick, the credits arrive in less than twenty hours, less than what other more hypertrophied open world games take to finish their first act.
It is appreciated as soon as possible, but in this case it is not synonymous with conciseness: upside down, to ghostwire: Tokyo The little concretion, a somewhat dislayed development in which the dead times and the empty rides end up removing protagonism To the city and its stories, suggesting a way of playing little natural and free, in which optimizing time and resources at your disposal matters less than soaking in traditions and culture that claim so much attention.