Mixed reception for horror shooters

A ghost wearing a mask and standing in front of a black screen with text in Ghostwire: Tokyo on PS5.

screenshot: bethesda

reviews for Ghostwire: Tokyoan immersive simulation from the makers of a game series so scary i can’t say his name without breaking down in sobs, landed this morning. Publisher Bethesda Softworks did not follow suit kotaku with early access, because duh, so we’re experiencing the game and its press cycle with the rest of you. So far, opinions differ widely.

At the moment Ghostwire: Tokyo is sits at 75 on Metacritic. Reviewers seem drawn to its setting — an iteration of bustling Shibuya District where most of the population has mysteriously disappeared and been replaced by ghosts trapped between realms — and its sheer attention to detail. On the other hand, the story starring two protagonists (one human, one ghost) seems to fall flat. And the open world itself is plagued by the paint-by-numbers design that has been instrumental in driving a wave of open-world fatigue. Meanwhile, some people like the simplicity of its stripped-down combat toolkit; others longed for a little more depth.

We’ll make up our own minds Ghostwire: Tokyo punctual. Meanwhile, everyone else is saying this:

“Even though Ghostwire: Tokyo may metaphorically resemble a typical first-person shooter, but it doesn’t feel like it. The controls feel so sluggish and spongy that I swapped out controllers, thinking something must have gone wrong. It helps push camera acceleration and lag to the max, but it’s not a silver bullet. There’s also a much shallower pool of offensive skills than you’d expect from a modern shooter. How flat? Well, you already know all the powers. I listed these three above. That’s it.” – Justin McElroy

“I absolutely love the combat mechanics in Ghostwire: Tokyo. It’s a combination of three types of elemental damage, alongside melee attacks and archery. … Some battles take place in a kind of pocket size. These aren’t quite in one world or the other. Space is warped, with objects shifting to block your path. This is typically the case with larger story or side quest missions. … I’ve been at it for forty hours and counting and I’m one hundred percent ready to do it all again. It’s been a while since I’ve had this much fun playing a video game and I don’t want it to end.” — Annett Polis

“Shibuya itself is a sight to behold. … Ghostwire: Tokyo mixes different subgenres and styles together and riffs on Cyberpunk 2077Perspective, yakuza‘s neon lights and Japanese signage and Shin Megami Tensei‘s post-apocalyptic flavor. Still, it suffers from the “Ubisoft sandbox” syndrome. The open world feels like a checklist of activities and goals to fill out a short campaign. What makes exploration worthwhile are the numerous entertaining side quests. You will find spirits who could not pass into the afterlife because some regret tied them down.” — George Yang

IGN (7/10)

“However, it is the fight that drives the most Ghostwire: TokyoThe gameplay of and its elemental attack system offer a fairly new take on first-person ranged combat – it just doesn’t go far enough to make it special. However, the presentation is excellent, from the hand gestures that accompany attacks to the way enemy cores are revealed and then ripped away with ethereal threads. And while fighting many of the enemies isn’t exactly exciting, I like the idea of ​​mixing the otherworldly and the mundane in their designs.” — Cam Shea

“The story’s flaws are disappointing given the early potential of its alluring mysteries, but even that isn’t enough to detract from it Ghostwire: Tokyo‘s fantastic combat, setting and world-building. … A big reason combat feels so comfortable is because of the way enemies react to your attacks. You may be battling apparitions that have some basis in Japanese folklore, but you’re constantly tearing down those digital chunks to reach the inner core festering beneath the surface. All hostile designs feel like a reflection of Tokyo and its people, blending modernity with the past.” — Richard Wachling

“They don’t make a lot of games like Ghostwire: Tokyo more. The latest release from Tango Gameworks, the studio behind the Terrifying [redacted] Series, Ghostwire: Tokyo is a big-budget action game with a very specific focus. It won’t be expanded with an unnecessarily large open world or superfluous online features. Instead, it offers something pure and uncomplicated: a blend of action, adventure, and horror in a compact package that can be wrapped up in under 20 hours.” — Andrew Webster

“Without even a hint of fall damage, [grappling and gliding are] a great way to get around. However, when your feet are on the ground, Ghostwire: Tokyo does little to inspire. …His combat system, while intermittently fun, becomes repetitive far too quickly. The open world is packed with busy work, and the story doesn’t lead to an interesting location either. Excellent PS5 DualSense controller support, immersive elements and beautiful graphics aside, Ghostwire: Tokyo will have to go down as a miss.” — Liam Croft

“By essentially killing every single resident in the game’s opening scene, Tango backs itself into a corner since its version of Tokyo is inherently lifeless. To a certain extent it works – there’s an eerie beauty to explore the deserted streets, your only company being the clothes left behind when the population disappeared. But soon that’s not enough, and most of the blame lies in the fact that there just isn’t much to do – and frankly, what there is is uninspired.” — Dominic Preston

Ghostwire: Tokyo has a really strong sense of “place”. You’ll want to spend time in his world, even if there isn’t too much to do or see there. Combat is kinetic but lacks any real sense of progression or power. Enemies haunt you, despite lacking the intelligence to truly challenge you. [Protagonists] Akito and KK are good company, even if their anti-occult adventures dwindle over time. Ghostwire: Tokyo feels like a throwback, and its action and presentation have an unmistakable pull. Some of you will crave more depth and variety, but others will just fall in love with the simplicity of soul-hunting, ghost-mingling, and magical orbs beneath to hurl the beautiful blood moon of Tokyo.” — Josh West

“It’s okay. It’s an okay game.” — Gregory Mueller Mixed reception for horror shooters

Curtis Crabtree

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