The richness of Ghostwire’s setting only shows up the shallow representation of the likes of Ghost of Tsushima and Sifu games set in Asia but made in the West, primarily by white folks. It’s also a kind of cultural specificity that could have only come from a Japanese developer like Tango Gameworks, a studio that runs wild revelling in its Japanese identity and all of its nuances – a welcome departure from trying to play towards Western audiences hungry for more Shinji Mikami survival horror. All of these things make Ghostwire’s world come alive – ironic for a game where everyone has been spirited away. Then there’s just how it all looks as well: a beautiful recreation of a new-gen Tokyo that would make Yakuza’s RGG Studio sweat. In Ghostwire: Tokyo, they take on different roles – from threats to collectibles, merchants to quest-givers. Likewise, those rudimentary fetch quests take on more significance when they draw you into discovering the many yokai of Japanese mythology that have interwoven themselves into Japanese society.
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Just outside the shrines, you’ll also find stalls where you can buy charms or snacks, though given the supernatural fog that’s swept the city, some of these have looked in better shape. Their locations aren’t just random, either – they’re often located at the entrance of a Shinto shrine, and in rare instances they become literal gateways to another dimension.
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But the activities take on a new meaning when, instead of clearing towers, you’re uncovering more of the map by cleansing corrupted Torii gates.