The gap between a developer's vision and a publisher's goals has rarely been more visible than in Ghostwire: Tokyo. This obvious conflict makes the game a shadow of what it could have been.
a new mechanic is introduced where an enemy gets a hold of the protagonist, Akito, and rips the presiding spirit, KK, out of his body. Where once Akito had magical powers to fight spirits and ghostlike abilities to glide over the rooftops of Tokyo he is now returned to mundanity. Akito is now powerless, without any of the magic that has allowed him to traverse the combat throughout the game.
I could go into any of these aspects more deeply, but to be honest there just isn’t that much nuance to the explicit structures ofbeyond open world design norms we have seen driven into the ground over the past five years. And to focus on these would be doing a disservice to my experience of the game because what is beautiful aboutIn between the missions and action,is a game about running through streets and jumping across rooftops.
Not only is the world rich, but the imagery and the themes are also rich as well. This is a game about bodies. It’s a game about the way people handle loss and memory. It isn’t the cliched, unsubtle expression of these topics that we typically get in videogames, either. There are so many games that try to engage with the topics of memory, throw the player into someone’s dreams and then call it a success.
When KK returns to Akito’s body, the two are conflicted in their agency and goals but eventually learn to work better together. Yetnever really learns to do the same as combat is forced into moments where it isn’t necessary and the player is constantly encouraged to focus on the game’s UI rather than the world around them.
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