The developers of this game, in most of the interviews they have given, talk about the development problems that this game had. One of the reasons why Ikumi Nakamura (original creative director of the game) said she left Tango was because the stress of developer-publisher politics and the publisher having control over the game affected her negatively. She started having nightmares every day, "The nightmare I had was that when I came to work, all the members of the development team had disappeared." Ikumi Nakamura was replaced by Kenji Kimura, who became the game's director. In interviews Kenji Kimura said that there were many problems, but the main problem was "To make a game, the first thing you do is think about the structure of it, and the second is to apply the worldview and the characters." But that wasn't the case with Ghostwire Tokyo, "We first created the city of Tokyo and then worked on the setting and game design, which made it extremely difficult to create a setting and game design." Also, I noticed that there are scenes that appear in the first gameplay trailer but don't appear in the final game.
I love this game. The combat was simple but fun, Akito and K had a great chemistry and tokoy was very detailed. Whenever i had a rough day i just fly around tokyo and listening to dj multiverse.
there's actually a lot of traversal abilities that you can unlock in this game so traversal being difficult is arguable, i remember halfway through the game having all the traversal abilities unlocked meant i was on rooftops 90% of the time, the ability to spawn tengu's wherever you look is the biggest one
A small correction; it's less of a folklore / folk tale thing and it's more of a creepypasta game(or started as that). Most of the base monsters in the game are from urban myths, much more modern from japanese pop culture, like the scissor woman compared to her original appearances as the Slit-mouth woman and so on, even having blatant allusions to more famous modern urban legends such as Hanako of the Toilet or modern interpretations of 8 meter tall woman or the more jumpscarey ideas behind the Nopperabo / No-Face. The original with Nakamura under the helm was even more urban. In essence, the game was to be a highly polished "Slender man and friends" type of game in terms of the horror present, but the character still used very much traditional techniques to fight in terms of magic, which was kind of fun, even using Kyuudo to fight against all those ayakashi in the game. A lot of the game sadly couldn't bring the culture context of, what is broadly speaking, dumb /x/ posts from the japanese imageboards of yore, due to the localization not having the proper context for them, with people being lucky to catch some of these through the scenes of spoken dialogue and those who knew more about the japanese language to catch on some clever winks in some quest or item descriptions. To put it bluntly, even at its "butchered state" that we received for the final game, the game is still pretty esoteric and immensely japanese but for an audience that is very Gen X / Millenial, like Ikumi herself is, who probably grew up with these kinds of urban myths during her school days; Hideki Kamiya and his generation also did to an extend. Kimura is interesting in trying to tie all that up with some hints from the classic Gegege no Kitaro influences, which brought old youkai legends to a more modern and urban setting as well, blending the /x/-styled urban myths like Kunekune with classic youkai like the demon umbrellas and the tengu. A shame this was butchered so much hopefully after KEMURI(I think thaat's what it's named, all I remember is that it's supposed to be "smoke" or something) is developed, Nakamura and her group can go and make a proper Ghostwire Tokyo game, because these kinds of first person action games are very rare now and reminiscent of times past, like with Hexen.
you actually almost hit the nail on the head at the end there I'll fill in the blanks for you and you'll understand the xbox studio closures 1. Studios don't make games they take credit. 2. Game Devs make game but the Studio is generally the one to receive praise. Keep these two points in mind Arkane lost 70% of its original staff by the end of redfalls development (they were no longer the studio that made the beloved previous games they were arkane by name alone) Did shinji and his (team) leave tango before the closure or during the closure...the answer is before he left with a large part of tango to start his own game studio Kamuy inc which left Tango without it's brain and most of its talent so they were tango only in name Maybe this could be a video idea you can research on and bring more awareness to this aspect of the story I mean it sucks they let all those other developers go before they had a chance to prove they can be assets too just like those that were there beforev
@@Jerriz_Dabster An Xbox video is a great idea-the only issue with that is Xbox’s situation has been changing so rapidly over the past few months. The industry tends to cool down during August/September, so maybe this is a good time to dive into more industry business. Thank you for your insight!
I really enjoyed Ghostwire Tokyo a lot, despite the flaws. The chemistry between Akito and KK, the random shadow encounters and the haunted school mission from the last update were fun, but like you mentioned, some side content felt like a chore at times ^^ It still kinda tried something new and felt like a true next gen PS5 game for me, since most exclusives were just the same we had in the PS4 era. So this and Stray were kinda fun in 2022. Shame we won't ever get a new Ghostwire game with more horror elements and new setting.(Feel the same for Sleeping Dogs 2)
I enjoyed so much this game, mostly due to exploration. I had the same imersion as I had when playing the Yakuza franchise. And, as a Brazillian is really expensive to travel to other countries, so, while playing it I felt like I was in some kind of 3D tour, a dangerous one, but ok, haha. Amazing video!
The kanji rain was a cool idea, and is definitely cool in concept. And it’s also unbelievably annoying when you actually play the game. As well as looking pretty bad. I know there’s ppl who like it in game, but it just made me feel like I had constant spots in my vision.
Really great video, glad the algorithm threw it my way, looking forward to more videos from you! I'd worry less about trying to find your style/niche and focus on what you're interested in first, I do art commission and it's so hard to give 100% to something I don't really like, even if someone else is very enthusiastic about it.
Great video. But this game didn't "kill" or close Tango Gameworks, Microsoft buying Activision and terrible decisions alongside having to make profit despite the new aquisition on any cost, they just closed a studio that wasn't actively close to releasing any project for the sake of cutting costs for Call of Duty. It's as simple as that, corporate greed, stupid decisions and appealing to investors.
is this AI video? the 1st or second mission makes you go up the tallest building , that you can see from everywhere on the map, making it a landmark that helps you navigate the whole map the later upgrade lets you place Tengus everywhere and instantly pull yourself to them , or after unlocking gliding you fast travel on a tall tori gate(the tall building^ has one) and glide to the destination on top of the buildings the first area is the tall neon buildings, then the small houses , then the cheap apartments , you get the big park later. train tracks , construction site
Ghostwire Tokyo does very much pander to the western audience. The feeling, the vibe, the gameplay are all very western inspired. The fact that it takes place in japan or "rains kanji" is irrelevant, that's just stage design. The place feels as much gimmicky as it feels lifeless. To me this was not an attractive game. I played it start to finish. But neither the overly colourful visual effects, nor the gameplay nor the story or characters were fun - beating the game felt more like a chore. Everything here felt so superficial, meaningless and flat. With all due respect, this was NOT a particularly compelling game, at least not for me.
@@lodestar16 I have a feeling that was specifically a Tango-Games problem... Highly polished games, technically and visually: absolutely going overboard. But the games all feel like no-nonsense, strictly business, no fun allowed... also, no humour... who made those decisions? ( their last game may be different there, the saturday morning cartoon one, I haven't played it - but The Evil Within and Ghostwire way too dry. Seems like someone on the dev team was strictly against anything with Japan-style humour ) I think humour in games even in dark games is very important to give it a bit more personality and add a little wink to the audience / release the built up tension...
I built this FYP brick by brick and now i harvest the delicious fruits of my labor ❤
The developers of this game, in most of the interviews they have given, talk about the development problems that this game had.
One of the reasons why Ikumi Nakamura (original creative director of the game) said she left Tango was because the stress of developer-publisher politics and the publisher having control over the game affected her negatively. She started having nightmares every day, "The nightmare I had was that when I came to work, all the members of the development team had disappeared." Ikumi Nakamura was replaced by Kenji Kimura, who became the game's director.
In interviews Kenji Kimura said that there were many problems, but the main problem was "To make a game, the first thing you do is think about the structure of it, and the second is to apply the worldview and the characters." But that wasn't the case with Ghostwire Tokyo, "We first created the city of Tokyo and then worked on the setting and game design, which made it extremely difficult to create a setting and game design."
Also, I noticed that there are scenes that appear in the first gameplay trailer but don't appear in the final game.
I love this game. The combat was simple but fun, Akito and K had a great chemistry and tokoy was very detailed. Whenever i had a rough day i just fly around tokyo and listening to dj multiverse.
randomly came across this, hope your channel grows🤺
there's actually a lot of traversal abilities that you can unlock in this game so traversal being difficult is arguable, i remember halfway through the game having all the traversal abilities unlocked meant i was on rooftops 90% of the time, the ability to spawn tengu's wherever you look is the biggest one
A small correction; it's less of a folklore / folk tale thing and it's more of a creepypasta game(or started as that). Most of the base monsters in the game are from urban myths, much more modern from japanese pop culture, like the scissor woman compared to her original appearances as the Slit-mouth woman and so on, even having blatant allusions to more famous modern urban legends such as Hanako of the Toilet or modern interpretations of 8 meter tall woman or the more jumpscarey ideas behind the Nopperabo / No-Face. The original with Nakamura under the helm was even more urban.
In essence, the game was to be a highly polished "Slender man and friends" type of game in terms of the horror present, but the character still used very much traditional techniques to fight in terms of magic, which was kind of fun, even using Kyuudo to fight against all those ayakashi in the game. A lot of the game sadly couldn't bring the culture context of, what is broadly speaking, dumb /x/ posts from the japanese imageboards of yore, due to the localization not having the proper context for them, with people being lucky to catch some of these through the scenes of spoken dialogue and those who knew more about the japanese language to catch on some clever winks in some quest or item descriptions.
To put it bluntly, even at its "butchered state" that we received for the final game, the game is still pretty esoteric and immensely japanese but for an audience that is very Gen X / Millenial, like Ikumi herself is, who probably grew up with these kinds of urban myths during her school days; Hideki Kamiya and his generation also did to an extend. Kimura is interesting in trying to tie all that up with some hints from the classic Gegege no Kitaro influences, which brought old youkai legends to a more modern and urban setting as well, blending the /x/-styled urban myths like Kunekune with classic youkai like the demon umbrellas and the tengu.
A shame this was butchered so much hopefully after KEMURI(I think thaat's what it's named, all I remember is that it's supposed to be "smoke" or something) is developed, Nakamura and her group can go and make a proper Ghostwire Tokyo game, because these kinds of first person action games are very rare now and reminiscent of times past, like with Hexen.
you actually almost hit the nail on the head at the end there
I'll fill in the blanks for you and you'll understand the xbox studio closures
1. Studios don't make games they take credit.
2. Game Devs make game but the Studio is generally the one to receive praise.
Keep these two points in mind Arkane lost 70% of its original staff by the end of redfalls development (they were no longer the studio that made the beloved previous games they were arkane by name alone)
Did shinji and his (team) leave tango before the closure or during the closure...the answer is before he left with a large part of tango to start his own game studio Kamuy inc which left Tango without it's brain and most of its talent so they were tango only in name
Maybe this could be a video idea you can research on and bring more awareness to this aspect of the story
I mean it sucks they let all those other developers go before they had a chance to prove they can be assets too just like those that were there beforev
@@Jerriz_Dabster An Xbox video is a great idea-the only issue with that is Xbox’s situation has been changing so rapidly over the past few months. The industry tends to cool down during August/September, so maybe this is a good time to dive into more industry business. Thank you for your insight!
I really enjoyed Ghostwire Tokyo a lot, despite the flaws.
The chemistry between Akito and KK, the random shadow encounters and the haunted school mission from the last update were fun, but like you mentioned, some side content felt like a chore at times ^^
It still kinda tried something new and felt like a true next gen PS5 game for me, since most exclusives were just the same we had in the PS4 era. So this and Stray were kinda fun in 2022.
Shame we won't ever get a new Ghostwire game with more horror elements and new setting.(Feel the same for Sleeping Dogs 2)
Absolute quality. Thank you.
I enjoyed so much this game, mostly due to exploration. I had the same imersion as I had when playing the Yakuza franchise. And, as a Brazillian is really expensive to travel to other countries, so, while playing it I felt like I was in some kind of 3D tour, a dangerous one, but ok, haha.
Amazing video!
keep up the interesting work friend!
The kanji rain was a cool idea, and is definitely cool in concept. And it’s also unbelievably annoying when you actually play the game. As well as looking pretty bad. I know there’s ppl who like it in game, but it just made me feel like I had constant spots in my vision.
Really great video, glad the algorithm threw it my way, looking forward to more videos from you!
I'd worry less about trying to find your style/niche and focus on what you're interested in first, I do art commission and it's so hard to give 100% to something I don't really like, even if someone else is very enthusiastic about it.
Great video. But this game didn't "kill" or close Tango Gameworks, Microsoft buying Activision and terrible decisions alongside having to make profit despite the new aquisition on any cost, they just closed a studio that wasn't actively close to releasing any project for the sake of cutting costs for Call of Duty. It's as simple as that, corporate greed, stupid decisions and appealing to investors.
It would be nice if this game had a little bit much content in form of additional types of enemies and abilities, but overall I had fun while playing
Great video
I wish I could get past the 45 min mark on this game... love the idea of the hand gesture magic system
great essey
I thought this was like a massive channel goos shit bro
is this AI video?
the 1st or second mission makes you go up the tallest building , that you can see from everywhere on the map, making it a landmark that helps you navigate the whole map
the later upgrade lets you place Tengus everywhere and instantly pull yourself to them , or after unlocking gliding you fast travel on a tall tori gate(the tall building^ has one) and glide to the destination on top of the buildings
the first area is the tall neon buildings, then the small houses , then the cheap apartments , you get the big park later. train tracks , construction site
Ghostwire Tokyo does very much pander to the western audience.
The feeling, the vibe, the gameplay are all very western inspired.
The fact that it takes place in japan or "rains kanji" is irrelevant, that's just stage design.
The place feels as much gimmicky as it feels lifeless.
To me this was not an attractive game. I played it start to finish.
But neither the overly colourful visual effects, nor the gameplay nor the story or characters were fun -
beating the game felt more like a chore. Everything here felt so superficial, meaningless and flat.
With all due respect, this was NOT a particularly compelling game, at least not for me.
@@fumomofumosarum5893 Totally understand why you didn’t like it. It certainly has its problems.
@@lodestar16 I have a feeling that was specifically a Tango-Games problem... Highly polished games, technically and visually: absolutely going overboard. But the games all feel like no-nonsense, strictly business, no fun allowed... also, no humour... who made those decisions? ( their last game may be different there, the saturday morning cartoon one, I haven't played it - but The Evil Within and Ghostwire way too dry. Seems like someone on the dev team was strictly against anything with Japan-style humour ) I think humour in games even in dark games is very important to give it a bit more personality and add a little wink to the audience / release the built up tension...