Ghostwire: Tokyo in the test – ignores the Open World!
Tango Gameworks has created a magic shooter with great setting and unfortunately clapped an open world on top of that.
- Strong staging, weak narrative
- Japanese mythology in urban environment
- Open World without existential permission
- Magic fake and a useless bow
What were we looking forward and have aware of what kind of game Ghostwire: Tokyo will ultimately be. The trailers and gameplay videos showed a dangerous tokio full of malicious beings. That alone ensured tension. In any case, we can not remember when we have already freed the Japanese capital of spirits. But with what exactly do you spend as a player most of the time? Or all of the banal: what is it all? The answers to the first question: Open-world boredom. Question number 2 we replaced: “Something with ghosts and cliché a substructure, but also cool setting!”
Strong staging, weak narrative
The boundaries between good and evil are clearly staked: the spooky maskenmann Hannya somehow manages to cover Tokyo with a deadly fog, which makes all the people who come into contact with him disappear. Conveniently, our game figure is spared Akito from this catastrophe – would be stupid, if not – and is occupied by a spirit. Sounds ugly in ugly, but is quite practical for the further course. For the new roommate in Akito’s body, which calls itself KK, gives him all sorts of supernatural powers. They are also mandatory to survive in the fooled metropolis, more precisely in Shibuya’s business district. The fog not only ensures bad views, but also brings a lot of ghosts and other beings, called Yokai, from Japanese mythology to Tokyo. Thus, Tango Gameworks creates an extremely exciting and unique foundation, which is unfortunately torpedated by a completely underdeveloped story.
At the beginning of the game, Akitos Sister is kidnapped by Hannya because he needs her for some dark ritual. With the help of the ghost hunter KK, our hero makes up to save her and ventilate the demonic fog veil via Tokyo. Grading we move here on offszed and cliche-friendly paths. Tango Gameworks has always placed the history and its partly surreal, highlighted highlights competently. This is comforting together with the setting over the weak story that leaves a lot of potential.
Especially in the relationship between Akito and KK, the authors make extremely much on the road. At their first encounter, the Spirit assumes control of Akito’s body and gives him to understand that he was already dead without his help. From this situation, initially an interesting discussion is reflected, but unfortunately is dissolved far too fast. Except for a few comments Akitos in KKS direction In the further course of the action, our protagonist suddenly has no problems with that a spirit he knows neither knows nor properly assess theoretically the absolute control over his body. This is extremely pity and honestly also pretty unrealistic.
Japanese mythology in urban environment
Tango Gameworks has decided at Ghostwire: Tokyo for an interesting step: Tokyo is a tremendous and fascinating city. Almost ten million people live in this megacity. The modern cityscrew opens the developers a setting that is deeply anchored in Japanese mythology. The spirits as well as demons and symbolism are all of folkloristic narratives. The most likely one has heard “with us” sometimes something of the Kuchisake-Onna, which has also managed in the modern geographic west in the form of several creepypastas. She is one of the enemy types in Ghostwire: Tokyo.
The setting of Ghostwire: Tokyo is definitely its big strength. The game is only dripping from the Impact from Japanese culture. Of course, that can also be deterrent if you do not have anything on the hat with the topic. But let yourself be awarded to the title in a tremendous fascinating world, which will not find it in this form and with this opponent design (at least in optical terms, but later more) so fast.
In addition, the oppressive mood contributes. Especially in our characters, ghost or grusel stories generally do not extend all overall cities. A residential building that is surrounded by such a city is often the highest of feelings. But few things are spooky than the completely empty roads of a metropolis like Tokyo. Especially if you know right at the beginning, that you are currently the only quasi-living thing on the ground. How scary…
Open World without existential permission
Open World Games have been fighting for a little counter-love for a while. Also with us, the feeling is wide that hardly a developer has an interesting idea for an open world. We mainly think about Assassin’s Creed Valhalla and the “Far Cry” series. Unfortunately we can include Ghostwire: Tokyo in this inglorious list. The simple reason: the Open World is simply missing at a tax authorization. To make matters worse, the fact that the card is wrapped in a large fog, which is just airing by cleaning her in died ubisoft manner shrines by ghosts. Jup, that plays so boring as it sounds.
The main story can be easily played through at about 13 to 17 hours and leads you very linearly from one area to the next. On the way there, there is nothing to do with the usual collection of collection and a few small side tasks and do not discover anything. The backdrop of Ghostwire: Tokyo is a backdrop in clean form. There is also a problem that Tango Gameworks has not been interested in any way to incorporate the secondary tasks in the game world. Especially absurd will be when KK Akito makes aware of where he must next and what has to be done quite quickly. The main action conveys a permanent feeling of urgency. But you can always decide to ignore the talk of your ghost-friendly and rather make anything else – a typical Open World Disease, which we also like to call the “Fallout 4” syndrome.
Unfortunately, the developers have also left a lot of potential in the side tasks. Here you are often busy with the souls of the inhabitants of Tokyo. Although the quests tell small stories, the figures and their motifs remain so pale that we inevitably ask ourselves why Tango Gameworks has wasted resources here. You would rather have more time and money in the actual story.
We can only pay you the heart to ignore the Open World and all your boring kinker slips. You will definitely have a lot more fun with Ghostwire: Tokyo, if you just follow linear history. This playing way also gives the game, you are forced to no time for any form of Grind. And another advantage is that you have to spend less time with fighting if you just take care of the story.
Magic fake and a useless bow
Tango Gameworks has given a lot of potential in the fighting, which make up a large part of the game. (Do you also recognize a pattern here?) The basic idea is so exciting: by KK Akito is equipped with cool luminous hands, from which he can fire any energy slots on the spirits to fight them. You can of course be the skills as that belongs to a 0815 Open World game, but that has such a small impact that we do not have to talk about it here. So back to the magical hands! With them they fires as long as their opponents until they either dissolve or uncover their so-called core. These are quasi the hearts of the ghosts. You can then tear out of the scary beings to harvest more experience.
In practice, Akitos attacks attack as the wild brake of a crazy magician. Besides, it lacks the attacks on balancing and satisfactory hit feedback. A hand from the small magical flashes jumping to dissolve a mind, despite the actual force that is behind it, in Ghostwire: Tokyo not very powerful. About every fantasy RPG magic converts powerful. Just remember the dragon screams and chain flash spells from Skyrim!
The arch, which you find shelter at the beginning of the game in KKS, works much better. Here you have to stretch a tendon and fire an actual projectile on an opponent. In addition, you can switch off softly with the bow ghosts from a larger distance. You already suspect it and here it comes: the big 1. So correctly necessary is the use of the bow, a few points in the story where you have to disconnect from KK and thus no magical skills has more, except. The opponents are never so powerful that quiet action is really required. Especially as it goes much faster, just shoot the whole ghostschar with your hands over the pile.
For his staging and graphically impressive backdrop with Japanese-mythological substructure, Ghostwire: Tokyo is worth a look. The setting immediately convinces. Only the rest of the game is in a semi-yard and above all unsatisfactory condition. The fights are never challenging and build no feeling of force, the Open World is extremely no matter and the next time the next task is flanged. Tango Gameworks may like to remember for the future: If the concept does not produce any open world (not a bit), then one should use the resources for something more meaningful.
Tokyo impressively implemented
Cool mythological substructure
Interesting Surreal Section
Main quest not pulled in length
Magic as a shooter weapon a good idea,…
… but badly implemented
The bow almost does not matter
Unnecessary Open World
Useless skill system
Much to simple fights
Non-binding tasks installed
Akitos relationship to KK underdeveloped
Pale, clichéd characters
Now Ghostwire: Buy Tokyo!