REVIEW | Ghost of Tsushima

Written by Michael Richardson

Published 21 August 2020

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All trademarks are property of their respective owners.

Opinions expressed in this review are of the reviewer alone.

Game Copyright 2020 Sony Interactive Entertainment LLC.

Game created and developed by Sucker Punch Productions, LLC.

PS4 Exclusive

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NOTE: Clicking the link to the Google Docs version (which is provided at the top of any post) provides a version with pictures and captions that enhance the review.

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Rushing Towards Dawn

 

Let me get down to brass tacks: Ghost of Tsushima is exactly the type of beach read I wanted at a moment when life is anything but relaxing. With a campaign that does not outstay its welcome and an overall execution that is neither complex or simple, innovative or pedestrian, Sucker Punch’s latest open world adventure served as a warm comfort, even if I was not blown away by many of its design decisions, particularly its adherence to open world clichés of the generation. Despite its striking similarities to its contemporaries, several intuitive mechanics - most notably swordplay that relies on methodical rather than fast paced swings - as well as a touching story filled with stunning cinematography allowed me to appreciate Ghost of Tsushima much more than I thought I would have. Tsushima is an island worth saving, not only for its memorable denizens but for its sheer beauty, and it is the highlight of an adventure which serves a fitting conclusion to the incredible catalogue of first party offerings on the PlayStation 4. 

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In the Name of Tsushima

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The year is 1274, and the gigantic Mongol Empire, thirsty for conquest, has set its sights on Japan. Approximately halfway between the Asian continent and Japan lies the tiny island of Tsushima, whose conquest is a necessity to ensure safe voyage to the Japanese mainland. Thus, an invasion is launched on Tsushima, led by the grandson of Genghis Khan, Khotun, in a concentrated effort to force the island’s denizens to surrender. The Mongols are quickly able to occupy Tsushima following a successful onslaught at Komoda Beach, which sets in motion main protagonist Jin Sakai’s quest to reclaim his homeland, using any means to take down the Khan, even at the cost of violating his honor as a samurai.

 

For the past several years, PlayStation have shifted their emphasis from pure, cathartic gameplay experiences towards those which rely on emotional connection; God of War (2018), Marvel’s Spider-Man, Horizon Zero Dawn, Uncharted 4: A Thief’s End, Death Stranding, The Last of Us Part II, and Days Gone are all such examples, and many of these titles, notably God of War, have been able to turn their respective franchise and studio upside down towards a brighter future. Granted, some of these games succeeded more than others in making players genuinely care about the fate of its characters, but the design shift within PlayStation’s first party line up is undeniable. Moreover, after leaving only a drip on the industry with the narrative of their previous game, InFamous Second Son, Sucker Punch had a monumental task ahead of them in living up to the Sony first party name.

 

Thankfully, a gripping opening sequence ensured that I had to see Jin Sakai’s story all the way through, and I am happy that I did. Ghost of Tsushima is very much Jin’s story, and it shows through his nuanced and believable character development that had me agape at certain points. Jin’s struggle to preserve his honor is tangible to the extent that I found myself reaching for the screen, and witnessing his mental transformation towards the Ghost he feared for so long is truly mind blowing. Sucker Punch have concocted someone who captures the complexity of the human character and embodies all of the story’s major themes. As I saw Jin fail and succeed throughout his roughly twenty hour journey, I could not help but think about the extent I would go to save the ones I hold dear, and have discovered beliefs I never knew I had. Only a select few games are able to elicit such thoughts. 

 

While only a few underwent enough development to make me care about their cause, I was also impressed by the believability of Jin’s comrades. Getting to know them is largely optional but highly rewarded, and I appreciated what they added to Jin’s arch. And while he might not win any ‘best villain’ awards, I thought Khotun Khan added depth to the narrative, putting aside fears that he would be no more than a simple plot device. Nevertheless, the star of the show here is the island of Tsushima itself. Rich in detail and a wonder to explore, the island feels lived in in ways few other open worlds have, with religious monuments, hot springs, farmsteads, and more creating a unique and authentic atmosphere that added purpose to Jin’s quest. The Mongols might have burnt the homes and villages of innocents, but patches of flowers, serene forests, and untouched temples provided a motivation to make sure no more of the island fell victim. Therefore, liberating farms and settlements and watching citizens move back in and raise cattle was always a treat and made Tsushima feel all the more real. While only select villagers can be directly interacted with, they all amplified my thirst to bring justice to the Mongols. 

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Ghost of Tsushima does not completely succeed in bringing its world to life, however. For starters, a few characters are seemingly introduced to check off an open world cliché, which robbed Tsushima of some of its realism. The designs of some missions are so similar that their stories start to blend together, really only making the start and end of each act truly memorable. Also, while not factoring into the main plot, the side quests expose another open world trope of the main protagonist being just a bit too on the nose; Jin discovers details at an absurdly fast pace that disconnected me from his character, which only hurt the many unmemorable side quests, some of which had literally no payoff. I enjoyed learning about major characters in their side quest lines, and the mythic tales were often a treat, but Sucker Punch would likely have been better off removing even as much as fifty percent of the side quests to prioritize those that actually compliment Jin Sakai’s story. 

 

Ultimately, these complaints do not harm the overall majesty of Jin’s character - one intricately conceived and gorgeously executed, drawing me not only to his friends but to the island itself. Sucker Punch have taken to heart the developments of the past several years and made a narrative that blows its previous work out of the water and stands confidentially on a pedestal alongside its first party partners, while beating them in many regards. Jin’s memorable journey will elevate the medium, and I cannot wait to see how other developers react to his story. 

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Clash of Worlds

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At every encounter, you have the choice to go the ‘dishonorable’ stealth route as the ‘Ghost’ or fight as a samurai would, respecting your opponent at every swing. Although there is no incentive to stick to an approach throughout combat as the story does not change, the choice is nevertheless a vital one. Going in as a samurai shows off Ghost of Tsushima’s robust swordplay mechanics, which rely on methodical, carefully considered swings that stand apart from its contemporaries. The Sakai Katana takes a while to get used too, but I quickly appreciated the risk and reward that each swing brought with it, as well as the sword’s immensely gratifying sound effects. I loved learning from my mistakes with different enemy types and finding ways to chain light and heavy attacks together to control the battlefield, and successfully executing a perfect parry or counterattack never got old. 

 

Less impressive are the different stances that are unlocked throughout the journey, which can be changed at any time during combat. These basically boil down to looking at an enemy and using the same combos of light and heavy attacks to beat them with that specific stance, with little strategy in between. I did like how certain heavy attack combos such as those in the moon stance left Jin heavily vulnerable at the benefit of high stagger damage, but I wish there was a reason to use these stances against enemy types not explicitly weak to those attacks. The constant in-game messaging that advised me to switch stances underscores the issue, which might have been aided through a system that combined light and heavy attacks in a single combo. Imagine if in the wind stance - which is effective against spears - Jin was able to perform three light attacks followed by a heavy attack, with the last attack causing him to turn around and impale an enemy; not only would this add more variety to gameplay, but it would encourage constant experimentation. Also, a seamless way to switch stances between combos could have added variety to moment to moment gameplay by introducing myriad ways to chain attacks together. 

 

Similarly disappointing are the stealth options Ghost of Tsushima gives the player, or lack thereof. Think of a stealth mechanic from the past five years and it’s here: a poison arrow, smoke bomb, object to lure enemies to one location, heck there is even a listen mode to detect enemy movements. In truth, the most complexity you will find in Ghost is throwing a firecracker to lure multiple enemies and then assassinating them from above. I found myself ticking off a few enemies only because I felt like I had too at massive camps, and otherwise went full-on sword swinging at any chance I had. Coming from a first party offering that literally made it so hiding in tall grass was not an invincible shield, it was hard for me not to want more from Ghost of Tsushima’s stealth systems, especially in a game where ‘Ghost’ is in the title. 

 

Moreover, the combat in Ghost of Tsushima lacked the complexity I wish it had, but it’s abundantly satisfying and unique approach to sword fights was a breath of fresh air and entertaining when going stealthily was rarely ever so. 

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Grassland to Grassland 

 

So, did the story live up to its promise? ☑

Did the sword fighting mechanics innovate? ☑

Then that means there is only one big question left that was unanswered prior to launch, being whether or not a lack of a marker system was justified. For the uninitiated, Ghost of Tsushima does away with the traditional, heavily packed open-world user interface in favor of a more immersive way to track your next location: following the wind. I was instantly intrigued by the concept, but in practice, the guiding wind does not add much to the experience. The lack of an overbearing UI is great, but I was not motivated to explore environments more than the average open world since points of interest are instantly marked the moment one of dozens of camps are liberated. This removes so much of the innate satisfaction of discovery that I found myself going from point to point in a boring manner similar to checking off items on a shopping list, which is truly a shame when Tsushima is a wonder to explore, and aspects like following the golden birds and foxes are a beautiful way to guide the player. If the side content was less plentiful, I would be more content with the guiding wind, but offerings such as fox dens, haikus, and hot springs are overused to the point of monotony. Even worse, interacting with all of the side content unlocks a fast travel point to that specific spot, which added to the feeling of crossing off items on a checklist as there is no penalty for fast travel. All of these inclusions and many more such as a forgettable climbing system and grappling hook item make Ghost of Tsushima lose much of its identity and fall victim to open world tropes that I feared going in. Tsushima simply feels inflated, and much of its side content could have been safely removed without sacrificing a hint of quality. 

 

However, where Ghost of Tsushima really needed to take a more critical glance is in its role playing systems. Like many games of the last several years, Ghost includes a skill tree and minor ways to augment the character that require spending an obscene amount of time in menus. Major and minor charms need to be equipped, the latter of which are given at the end of every side quest, that while offering several benefits such as a chance to reclaim arrows, become overwhelming to sort through; all outfits in the game have unique attributes, requiring them to be individually upgraded; weapon inventories need to be augmented one at a time using predator skins; the Sakai Katana requires specific materials to improve, and skill points are constantly thrown at you. Do not get me wrong, I love role playing elements in my games, but spending hours upon hours in menus and upgrading materials is something I expect out of Final Fantasy, not an open world. If there were more reason to use materials throughout the journey, such as sacrificing ten bamboo to craft five arrows, combined with a less time consuming upgrade system, which could have been balanced by removing as much as half the side content, then Jin’s journey would have been all the more enjoyable. Nevertheless, I appreciated how Ghost of Tsushima offered a buffet of cosmetic customization options, from changing the color of Jin’s outfits to fun, quirky hats and bandanas. All of the outfits were striking, and I enjoyed changing my attire throughout the game if only to witness a different look. 

 

Furthermore, I would recommend not seeing Ghost of Tsushima through to completion, since past the first twenty hours, exploration will become mundane and render Jin’s quest to fully liberate Tsushima less meaningful. By the time the twenty hour mark rolls around, you will likely have finished or be close to the end of the campaign, and the aura of freshness will begin to fade. For only the time beforehand, the wind will truly guide you. 

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 Among the Wings

 

Barring a few minor annoyances, Ghost of Tsushima’s presentation is top of the line. A gorgeous art direction wonderfully brings thirteenth century Japan to life through leaves that breeze across vast distances, vibrant forests that vastly range in palette, and an overall respect to Japanese culture that shines through every frame. Wooden temples and statues honoring Buddha dot the landscape and are a splendor to behold, and the areas around them are similarly lush with detail. The stunning cinematography brings the game into a realm of its own, with attention taken in every shot to emulate the feeling of watching an old-school samurai film. I adored how each mission was bookmarked by a well timed image on the screen and a background shot that alluded to what that mission entailed, and the Shadow of the Colossus style up-close horse riding only added to the game’s flair. 

 

However, the standoffs are the best example of how Sucker Punch used the influence from samurai cinema to full effect. If you decide to go into a combat encounter as the honorable samurai, you have the option to yell out to the Mongols to fight you, initiating a standoff. When this occurs, Jin has to let go of the attack button at the exact time an enemy lurches forward, otherwise he will be severely weakened. And these are absolutely awesome. The way the screen slows down every time you manage to hit an enemy and the subsequent carnage that follows is a visual treat, and the challenge standoffs pose later on makes them even more gratifying. In fact, killing an enemy in a standoff has a chance to terrify a Mongol, subsequently causing them to run away in fear, which gave me even more reason to engage as a samurai.

 

 Even more visually spectacular are the duels, which act as Ghost’s boss fights. The places these battles take place in are wonderfully unique, and the close-up view heightens the impact of every swing. One of the reasons these duels were such a highlight were how often they showcased Ghost of Tsushima’s stunning particle effects. And in a stroke of genius, Ghost’s photo mode gives full customization over the wind direction, speed, and concentration of these particles. The photo mode on display is the best I have ever seen, taking all of the features players have come to expect and adding more such as control over the aforementioned particles, and even granting leeway over the weather and camera. All of these features and many more were what enticed me to use the mode more than any game in recent memory, and I had a blast doing so. 

 

Aside from some oddly delivered lines, Ghost of Tsushima’s repertoire of actors do a great job of bringing their characters to life, especially Daisuke Tsuji, who brings a gorgeous level of complexity to Jin Sakai, as well as Sumalee Montano, who breathes life into Jin’s main sidekick, Yuna. 

 

Unfortunately, glitches did occasionally rear their ugly heads, notably when I jumped on an object only for Jin to hang in the air for a few moments. More frustrating, however, were the constant fades to black between gameplay and narrative segments. These transitions separated me from the world, and were especially jarring coming from the technical mastery of The Last of Us Part II. If Sucker Punch were able to optimize the engine further to remove the need for those transitions then Ghost would be much closer to the samurai cinema it strives to be. Nevertheless, the engine is incredibly impressive, pulling off fast loading times even when traveling all the way across the island, but it’s few flaws are certainly noticeable when delicate care has been taken to bring Ghost’s presentation to a whole other level otherwise. I haven’t even mentioned the fitting score by Shigeru Umebayashi and Ilan Eshkeri, which incorporates subtle violin melodies to tell a story with every song. The issues I experienced do little to rob Tsushima of its insane beauty, which consistently led me to discover new landmarks and marvel at scenic vistas, all the while appreciating the stunning cinematography that transported me into the world. I cannot speak enough about how good Ghost of Tsushima looks, and my words do not do justice to playing the game on a large display.   

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Verdict

 

Ghost of Tsushima ended up being an adventure whose splendor took a while to recede, and I am incredibly thankful for how it distracted me during these difficult times. Playing the game felt like reclining on a beach chair and taking out a book, letting the splash of waves and pitter patter of sand ease their way into the pages themselves. Like a lot of beach reads, it had flaws that showed throughout, but it was a welcome comfort. I loved Ghost of Tsushima’s unique sword fighting mechanics that placed a heft behind every swing, and its captivating story surprised at every turn, with a complex main character whose struggle I felt for. However, a lack of swordplay variety and relatively dull stealth mechanics disappointed, and a few characters and side quests served no purpose than to satisfy open world clichés, of which Ghost of Tsushima constantly falls victim. Moreover, Tsushima is an island you will want to stay for the entirety of the campaign to hear Jin’s tale and discover what makes the island so beautiful, and also marvel at the cinematography of every cutscene, but staying any longer will reveal an abundance of low quality content that makes the game’s missteps all the more apparent.

 

While it might not end up as a game I remember forever, Ghost of Tsushima confidently concludes the PS4’s lifespan with a solid adventure that took my breath away more than once, and I am grateful to have experienced it. Sucker Punch visibly learned from their last production in many aspects of its latest franchise, and I am optimistic for the studio’s future. If they do decide to make a sequel to Ghost of Tsushima, they have laid out a concrete foundation that I have no doubt they will refine. After all, it is not the finish that counts: the journey is what leads to prosperity.