Ghostwire Tokyo Review – Ghost Shooter

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Exactly a week ago you could see my first impressions of the game, so if you haven’t already, I recommend them as an addition/prelude to this review. It won’t be too big, because Ghostwire itself isn’t a big game. Some of you may be a little taken aback now, but hand on heart: do you really have the strength and mood for another one after those hundred-hour epics of the past? I’m genuinely glad that Ghostwire has kept a reasonable length and that its world, story, and mechanics have no chance of getting bored. By the way, the scope of the game is very close to the previous work of its producer Shinji Mikami – be it Resident Evil, Dino Crisis or The Evil Within.

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  • Platform: PS5 (peer-reviewed), PC
  • Publication date: March 25, 2022
  • Producer: Tango Gameworks (Japan)
  • Genre: FPS
  • Czech location: Not
  • Multiplayer: Not
  • Data to download: 20 GB
  • Game time: 10+ hours
  • Price: 1799 CZK (Xzone)

ghost town

Today’s Tokyo is shrouded in fog, literally swallowing up all its inhabitants – only piles of clothes and luggage remain on the streets, and their physical boxes and especially their souls are locked in magical boxes that serve as “fuel” for a murderous ritual by an obsessed occultist in a Hannya mask, trying to open the gate between our world and the neighboring one in the middle of the city. You are an Akita: a young man whose life was cut short seconds before this event in a car accident. But at that moment, your body was chosen by a ghost called KK and took possession of it, so now you share this one body, and thanks to it, you can exist according to certain rules in a city filled with this demonic fog … and an army of demons.

The story doesn’t deny its lineage as it often slides into B water, but it does so with a distinctive style reminiscent of the Resident Evil series. The characters are a bit overly emotional and argue and communicate a lot. There are also peculiar merchants in the form of levitating talking cats who sell first-aid kits or ammunition in many shops scattered around the city. Despite these elements, the game can also scare you, such as during your descent into a dungeon or when one of the larger monsters runs towards you due to heavy rain. If you want to build up atmosphere and tension, I highly recommend playing on a higher difficulty, where you will usually not only not have enough health, but often even (magical) ammo to kill all the enemies – so you have to walk around with bated breath. slip away.

If you want to spice up the atmosphere, I highly recommend playing on a higher difficulty.

The game world is set up as an “open city event”, moving on your own feet and from the point of view of your own eyes. The elaborate animations and attack controls made me think that the game may have originally been one of the launch games for PSVR2 – if it gets support for this system after it launches, I will definitely like it again with a helmet, because it really is made that way. You can explore the city as you wish, but some passages are blocked by too thick fog, which you will learn to overcome later. In addition, you are guided by the traditional map, which with its icons clearly indicates where to go next in the main story, and where there are all kinds of side activities, so you can gain additional experience and improve your arsenal or skills of your character. If you decide to pay attention to secondary content, the duration of the game will definitely increase by at least another ten hours. But don’t expect some tough side missions like in an RPG (like Cyberpunk 2077): the vast majority of them are general tasks like kill that group of enemies, find those three items, clear those three gates, etc., although sometimes they are fun. dialogues with a spirit, or perhaps a dog that gave you a side activity.

ghost shooter

One of the things that seems odd about the game at first glance is its combat system. With your bare hands, you make all sorts of “magical” gestures and through this throw out bursts of magical energy in front of you. For example, it is very reminiscent of the use of assault magic in Skyrim. Spells are divided into three elements, and each of them behaves differently – wind works more or less like a machine gun, fire works like a sniper, and water works like a shotgun. But the behavior of “projectiles” also affects how long you hold the trigger (how much you allow the projectile to load) and how other features unlock as your character improves. It looks really unusual, but in practice the game is in many ways similar to modern Doom, which is not entirely accidental, because one of the key designers was involved in the development of Ghostwire. In practice, the fights are fast and fun, also aided by a fairly varied set of enemies, although most of them are of the humanoid type.

I noticed (in their preview) that fellow journalists from other gaming media are critical of the game’s controls and fluency. But personally, I had no problems with either one or the other. The controls came to me comparable to recent shooters and are nicely supported by the use of haptics and speakers in the DualSense controller. I had no problem getting into what I was aiming for. For fluency, I played everything in the average mode of the three (Performance Mode), where the game “drips” at 60 fps and I did not notice any dips. However, there is also a ray-traced mode (30 fps) or, conversely, a mode with even simplified graphics and “unlocked frame rate” for VRR TVs. The overall audiovisual processing also reminded me of the Resident Evil series, although against its background (the neon lights of bright city streets), it is, of course, much more colorful. Tokyo is believable in places, so it’s an appropriate “tourist” trip for all otaku and fans of Japan, including its ancient mythologies and “urban legends”.


Ghostwire Tokyo

We like

  • Originality of the concept
  • Impressive setting
  • Fun combat system
  • Original artwork for some enemies
  • Stylish audiovisual processing
  • Successful use of tactile sensations

it worries us

  • B-story
  • Relatively formulaic secondary content

Source :Indian TV

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