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Ghost of Tsushima


DisturbedSwan
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Looks nice, not exactly reinventing the wheel mind. I was thinking how like Witcher 3 it was for exploration, then they showed the combat and that reminded me of Witcher 1.

 

Hopefully it's a bit more interesting than it looks. Not that it looks bad, it's just been a long generation filled with this kind of game 

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Did you watch the YT stream @one-armed dwarf? It was terrible quality for me and didn’t properly highlight the game. I ended up rewatching the 4K YT upload they put up just now and it was so much better. Saying that you did think FF7R didn’t look great ?
 

For me, I was maybe a little disappointed with it. It kind of looked like AC Japan (which is fine, I love AC after all) but I was just expecting a little more I guess. Combat looked a bit shoddy too but hopefully better in practice.

 

I thought the graphics and soundtrack were incredible though. I think I’ll dig the exploration too hopefully.

 

Still in Day 1 but with tempered expectations.

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^ Well I'm not the only one who had issues with VIIr's visuals, they were very inconsistent. The LODs were very low detail and the lighting was very dated in it, the pre-rendered graphics looked very grainy

 

GOT look fine, but I remember the original reveal looking much more cinematic. In fact I just opened it up again here on this thread and it still looks a lot better. 

 

Not something I was particularly interested in but it was the most impressive Sony demo I'd seen. This looks like Witcher 3. I'd put Sekiro above it too in the animations department (Sekiro animations are peerless tho)

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I get ya, can’t say I noticed a single graphical anomaly in FF7 though @one-armed dwarf.
 

I do get where you’re coming from and the 2018 gameplay did indeed look better, have to assume that that was a cutscene type deal so more details in that scene or wasn’t final at the time or something like that. I don’t think it’s too far off but definitely a difference there.

 

I’ve forgotten what Witcher 3 looks like its been so long but this definitely isn’t no TLOUP2 that’s for sure, still looks great though but against stiff competition it doesn’t stand out as much as I thought it would. Definitely agree that animations are nowhere near Sekiro, From are indeed peerless when it comes to combat and animations.

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I thought this looked good, the foliage and cloth movement. I was surprised how much Witcher 3 influence it has on it, the combat even looks like Witcher 1 with the stance changes. 

 

I'm not sure I need another slow open world action game in my life, so I need to see more of this. Hopefully it's something special, it'd be nice to get a last few great games on this generation

 

 

edit: as an aside, I agree with @one-armed dwarf the textures in Final Fantasy are surprisingly poor. Hard to know if it's a space issue or a bug, but they're really bad weirdly often

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Gameplay looks good enough and I absolutely love the art direction. It's definitely based on reality but turns everything up to 11 with brighter colours, more intense lighting, visible wind gusts etc. Looks really nice even though, yes, I got the feeling I was seeing a slight downgrade as well.

 

I don't know when I should play it though. It comes out in the middle of summer and I'm definitely not going to sit down and play something like this when it's 500° outside.

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I sat down and watched this properly on my tv, i was more impressed than when i flicked through it on my phone. The island is very colourful and i like the touches like birds and foxes guiding you to hidden locations and treaures. It doesn’t seem like a total gimmick fest either.

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Loads of new info

Source 1

Source 2

Source 3

Source 4

ERA Thread
 

Quote

Julien chieze was able to speak with Jason Connell, Creative Director on Ghost of Tsushima. I made a translation of the information we were able to learn :

Zelda and Shadow of Colosus was a big inspiration for this game especially for artistic direction, he wanted the colors to be vibrant as possible.

 

The wind is the main way to navigate the game world, there are no markers. He wanted the game to be immersive as possible.

 

We can reduce the shine effect on the items that we can pick up. He made a comparison with Red Ded Redemption which is for him a good and beautiful game but for Ghost of Tsushima they wanted the game to be pleasant as possible to play without having too many superfluous animations which break the rhythm and that is why Jin can pick up items on his horse.

 

The instrument that we see Jin playing in the video will be the only one present in the game and Jason did not want to say what it would be used for.

 

We can hunt animals in the game but there is nothing to gain by doing it. Animals are mainly there to be more immersed in the universe and guiding you.

 

The Standoff mode can be activated anytime even in infiltration.

 

The little tennis balls are called the Jin Resolved Meter when we hit an enemy the bar will load and it will also be used for healing and there are also many other things related to this gauge but he did not want too get into the details.

 

There will be much more stances than the two that we saw in the video, it will be used to apprehend the different types of enemies.

 

The main weapon of the game will be and will remain the katana throughout the game but there will be many other weapons and gadgets. Weapons like the katana or the bow will be displayed on all the outfits of the game but not the smallest ones because there are a lot of outfits in the game and it would represent too much work.

 

If you wear heavy armor you will be less agile so it will make infiltration harder.

There are several ways to retrieve the outfits, either through the main story, by doing quests, by buying them in the villages or simply by exploring the world.

There are a lot of side stories in the game where you can build more or less strong relationships with different characters to learn more about their stories but it's up to the player's freedom and you can miss them.

 

The music is composed by Shigeru Umebayashi but the game having grown a lot, he realized that he could not do everything alone so they hired a second composer to work with Umebayashi and his name is Ilan Eshkeri.


Ghost of Tsushima Creative Director on Moving Away From Infamous' Karma Meter

 

“We thought about [a morality meter] because we had the karma system in [Infamous: Second Son], but we realized it was more important to us that we wanted to tell a human story of someone who is this way and has to evolve into something else, versus transform completely into something else,” Connell explained. “He doesn't flip flop back and forth, it muddied it up for us. We really wanted the story to reflect his transformation."

 

“It definitely plays with the notion of, you're born and raised into this certain way of life. There's expectations of you, the way you should perform. And then at some point, because some events happen, in this case a war, you have to challenge those things. And not everybody's going to love the fact that you're going to challenge an assumption that's made upon your life,” he explained.

 

“There's definitely important story moments that are more reflective of this change than others. But the reality is that even as you have gotten to some story moments, you can still play the game as this Samurai, you may just be more potent or more powerful. We don't make you choose between [samurai and Ghost],” Connell said.

"When he's a Ghost, he can turn around and play as a samurai because he's always a samurai. All his training, using the Katana, that stuff is buried in him deep. On the stealth [State of Play segement], if you wanted to jump off the roof and start fighting like a samurai, you could totally do that. We don't spec you out and suddenly you can't play as a samurai. He's always at his core, his heart of hearts, a samurai. The Ghost is this legendary warrior that he's evolving into," Connell said.

 

Ghost of Tsushima Creative Director on Moving Away From Infamous' Karma Meter - IGN

Ghost of Tsushima's Jin can be both a samurai and the titular Ghost, but there's not a hard stop between the two that players will have to choose.


Posted and Translated by nolifebr
 

One of the most frequent questions we insist on asking is the duration of this amusement park.

Voxel had the opportunity to ask Nate Fox, the adventure's creative director, directly, and the response was encouraging, although the artist shied away from needing a specific number.

“It is a difficult question to answer because the world is a large space for anthological stories. We did several tests with people playing about 6 and a half hours a day and the results were very different, many did not finished the main story because they were too busy exploring other aspects of the game”.

Voxel continued: “So can players take, say, 30, 40, 50 or more hours if they do the optional activities and, obviously, less than that on the main route? Is it safe to say that?”, To which Nate replied,“ Yes, absolutely. But I would highly recommend that everyone get off the main route and get lost on Tsushima Island, there is a lot to discover there ”, he said. 

 

Ghost of Tsushima: quanto tempo pode durar a campanha e os 100%?

O Voxel conversou com o diretor-criativo de Ghost of Tsushima game pra (tentar) saber quanto tempo sua jornada vai durar nesse mundão invadido por mongóis – com e sem os 100%!

 

Combat is very difficult

Even though we saw someone slicing through enemies in the State of Play, I assumed that this player was very skilled, and that the eventual gameplay will be way harder on us. Nate completely agreed with me. “We are trying to make a grounded game in that sense, so a couple blows from the enemy will kill you. The game is very challenging. We have three words to describe the combat: Mud, blood and steel. We absolutely honor the lethality of the sword. We watched samurai movies and people go down with one or two strikes, and that is embedded inside of the combat. Beating the Mongols in battle will be hard, but it’s that challenge that makes it feel alive and the victory rewarding. You can’t just run into a camp and fight 5 people at the same time, you will get overwhelmed and die.”

 

Duels

Engaging combat and succeeding won't be easy, and you probably have to use everything you got to win a fight, and most importantly play smart. Sucker Punch wants to honor this trait from old samurai movies, by introducing one-on-one stand-offs against other swordsman, that will prove to be very challenging. “One thing we didn’t show at State of Play which I wish we had, was that the game features duels against other expert swordsman. This is classic samurai stuff. Those fights are incredibly difficult and they’re driven from personality and get solved in the most cinematic way possible, which is also true to fantasy. You need to study your opponent and understand how they attack in order to win.”

 

The Island of Tsushima

“What you saw in the presentation was some side action in the game. It was not part of one's particular story. The map has Mongolians everywhere, and the main part will be Jin’s transformation from being a samurai to overtime becoming the Ghost. Next to that story you will meet people that try to survive in the world, with stories that will branch of off the main one. That is what the body of the game is made up off.”

 

“By not following Jin’s story and going after your curiosity, you will definitely become stronger than by just following Jin’s story in one line, but more importantly, you get a way more varied and interesting experience. There are all sorts of hidden stories and items you get acces to by following your curiosity. This is why we didn’t add markers on the map. We want you to get lost in Tsushima, that when you are heading to a hill, you suddenly hear a bird you think, maybe I will follow that instead. Just get lost from the one thing to the next, and we want to give you the tools and freedom to do that.”

 

“The map we showed at the State of Play was VERY zoomed in

“The map we showed during the State of Play was VERY zoomed in", Fox explains. "That was just a little portion of the starting area, the actual map is huge." Fox goes on to say that It’s the biggest thing they have ever done at Sucker Punch, and it’s also a lot more diverse. "Tsushima Island covers the biomes you can find on main land Japan, from snowy mountains to bamboo forests, to waterfalls and rolling grasslands, it’s all there." Even though the map is very big, Sucker Punch made sure it won't feel empty. "We want to give enough stuff to keep it electrifying for the player. We didn’t want to make a huge map and have nothing on it. So it’s packed with people, items and stories to explore.”

 

 

Ghost of Tsushima Game Director says combat is very challenging - Interview

Jin has to become the Ghost as one of the last samurai.


GamesRadar

"The world is a dynamic simulation. We don't know where models are all the time because they make choices and they roam about, as do wild animals. And the world has been authored so that if you see a funky looking rock and you're curious about it, we're going to reward you for that curiosity. So yes, the world's been created with a sense of intentionality, but at the same time, it's dynamic in a way that it is unpredictable."

 

"This game is an anthology of stories. It's not just Jin's arc – as he transforms himself from samurai to the ghost. He gets to know a lot of people who are struggling to survive on Tsushima Island. And hear about how they're dealing with this invasion. And there are some rewards that come from that, that help you get stronger, but also help you customize the character to how you want to play or even how you want to look."

 

"The lowest Mongol in our game can kill you very quickly, even when you're very advanced," he says. "This is so that the danger is always there. The reality of the world is always there. But in a world that is so dangerous, even small incremental growth, you feel it."

 

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  • 2 weeks later...

PS Blog: Your Questions Answered
 

Quote

 

Are there different types of weapons apart from a sword, like axes and spears?

Jason Connell: Jin’s katana is a family heirloom and will be with him from the beginning to the end. As a lethal samurai, this is his main weapon in fighting against the invaders. The Sakai blade is something that will grow with Jin throughout his journey.

As Jin grows into becoming this feared samurai warrior known as the Ghost, so too will some of his abilities and tactics. Learn to use a bow for picking off enemies at a distance or use throwable kunai and smoke-bombs at close proximity. We won’t share all of these abilities before launch, we’d like to have something for players to discover.

In the gif Jin’s playing a flute so I automatically assume that’s something you can do while you’re on your travels right?

Nate Fox: You can play the flute whenever you like, it’s the perfect way to create a serene moment and take in the view.


Will there be a day/night cycle and dynamic weather?

Jason: Yes to both. There are dynamic weather conditions that you will experience throughout your adventures in Tsushima. Some of them are tied to specific regions to give more flavor and personality to them, while others are tied to story moments. Along with weather, we also have a full day and night cycle.

Is there a difficulty slider for those of us that want more challenging experiences? If so, are enemies more aggressive at higher difficulty levels or do they simply have larger health bars?

Nate: The game does feature three levels of difficulty — Easy, Normal, and Hard. On HARD, the game is fair, but very challenging. Mongols are more aggressive, and players must be precise to pull off extraordinary moves. By comparison, EASY is for players who want to explore the island, enjoy the story and still be occasionally tested by a worthy opponent.

No matter which difficulty players choose we never increase the health of enemies; this is to maintain the lethality of the katana. Our combat is all about the player’s skill.

Click to shrink...

Are there villages or towns? Side missions? Content besides the main story?

Nate: Jin’s transformation from Samurai into the Ghost is the main story of the game, but while on that journey he’ll run into a number of other characters with stories of their own. If players choose, they can dive deep into these side stories, forging a tighter bond with other brave people fighting to save their home. Not only do these stories provide a greater perspective on the invasion, but they offer some of the best rewards in the game.

While traveling, Jin will come upon a number of towns which are full of vendors and the opportunity to find more side stories.

Click to shrink...

Do the armor sets consist of different pieces? Meaning can we mix and match different pieces for head gear, torso etc., or is it all just one set you can equip on Jin?

Jason: Yes. In the State of Play video we showed interchanging different helmets and body elements of the armor.


Are side quests unique and offer essential rewards?

Jason: Ghost of Tsushima is a story driven open world game. An anthology of stories surrounds Jin’s main story in the form of side tales. Some of these are brief and some wrap Jin up in interesting characters, giving players an opportunity to learn more about his island and his new friends.


We want to reward players for exploring the open world of Tsushima, So, all content outside of the main story offers a variety of rewards. It could be collectibles, resources, or charms like we’ve shown in our State of Play video. There are even a few side missions that offer sets of armor as a reward.

Will the swords have stats/abilities?

Jason: Jin’s Katana is incredibly important to him. It’s also his main weapon of choice from beginning to the end of the game. There are ways to improve this weapon, both the stats and the appearance.

 

 

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  • 4 weeks later...

PS Blog: How swordfighting, samurai cinema, and real-world reaction speeds influenced katana combat

 

Quote

 

Our goal with Ghost of Tsushima has always been to capture the heart of the samurai fantasy — to transport you back to feudal Japan, to live through the beauty and danger of Tsushima Island under attack. Our hero, Jin Sakai, has trained his whole life in the samurai way — watchful, precise, disciplined, deadly. He’s a master of the katana, a confident horseman, and skilled with the bow… but those skills aren’t enough when faced with thousands of Mongol invaders. He needs to be something more than the perfect samurai if he wants to save his home. That’s what Ghost is about.

 

Our hopes of achieving our goal, of creating the time machine we were after, rested on capturing the right feel for the katana. Without katana combat that looked right, sounded right, and felt right, Ghost wouldn’t succeed. We could look for inspiration in the great combat examples in classic and modern samurai movies — my personal touchstone is the 2010 remake of 13 Assassins — but the things that work in movies don’t always work in games, so there was work to do.

 

In the end, we ended focusing on three things: speed, sharpness, and precision.

First, speed. We wanted your attacks to be fast. Katanas aren’t heavy — roughly two to three pounds — so quick slashing attacks are at the center of most katana fighting styles. All the attacks in the game are captured on our in-house motion capture stage, so they represent realistic movement speeds. Those realistic speeds created an interesting problem — they were too fast to react to.

 

Human reaction times are slower than you think — it takes about 0.3 seconds to respond to a visual stimulus, no matter how simple the stimulus and response are. That’s just how long the nervous system and your brain take to figure things out. This time doesn’t vary much from person to person — we’ve done lots of internal tests, and everyone’s pure reaction times are about the same.

 

A lot of the design work we did on katana combat was dancing around these limits. There’s no problem with your attacks being fast, of course — the NPCs can react instantly if we want them too. We actually ran some experiments with NPCs having more realistic reaction times and it looked totally wrong. That’s probably because our ideas about how a sword fight looks are driven by watching movies, not real sword fights, and in a movie everyone knows the choreography ahead of time. (We actually watched real sword fights with blunted weapons during development, and they’re way sloppier than we wanted the game to be.)

 

So your attacks can be arbitrarily fast, but Mongol attacks can’t be faster than the player can react. That created imbalance early on — just hammering on the quick attack button defeated most enemies, which was certainly not the deep combat experience we were aiming for. It would have been nice to have solved this before Hideo Kojima visited Sucker Punch and tried Ghost combat, since that was the first thing he tried. Sigh.

 

We changed a couple of things to fix this. First, we realized that while there’s a limit to how fast players can react, there’s no limit to how fast they can anticipate. If an enemy launches into an attack string, we need to give the player enough time to react to the first attack in the string, but since subsequent attacks can be anticipated, they can happen arbitrarily fast. One of our Mongols uses a five-hit combo, for instance; the first attack is slow enough to react to, but the others happen fast.

 

We also realized that we could overlap enemy attacks. While one enemy attacks, another enemy can be winding up. We tune things so that Jin has barely enough time to deal with each enemy attack as it lands, just like in the samurai movies that inspired us, but there will often be two or even three attackers in the middle of an attack sequence at once.
 

That combination — really fast player attacks, overlapping enemy attacks — created the intensity we were after, the sort of intensity we saw in 13 Assassins. No enemies standing around waiting to be attacked, just unrelenting aggression. That’s great, because we wanted players to be just a little bit nervous about jumping into a fight. Ideally, players leave fights a little bit exhilarated, because that’s how Jin feels. Barely in control, barely alive, but moving forward nonetheless.

 

The second big focus area for us was sharpness. “Respect the katana” was one of our mantras during development — Jin’s family katana, the Sakai Storm, is a meter of razor-edged steel, wielded with malice, and we needed to respect that. In the samurai films that inspired us, a handful of cuts is enough to fell the toughest enemy. We couldn’t stray too far from that — and when we experimented with letting enemies absorb more damage, when they could take too many hits before falling, the sword no longer felt sharp.

 

Obviously, that would create imbalance if Jin wasn’t subject to the same rules. The Mongols keep their weapons just as sharp, and Jin can’t ignore cuts any easier than the Mongols can. That helps balance things. The speed and intensity of combat help, too — Jin spends as much time defending as he does attacking, and that slows down how quickly he can ladle out damage. And late in development we had success building in more defensive tactics for the Mongols — blocking, parrying, dodging — which sidestepped the damage problem.

 

Sharp weapons and aggressive enemies mean that death is always nearby. That sense of danger, that you’re never more than a few mistakes away from dying, is crucial to Ghost of Tsushima’s tone. Players have plenty of techniques to defend themselves, and even more ways to attack. If you concentrate, if you stay focused, you’ll survive the fight. If you lose focus, you’ll die. We’re trying to put you in Jin Sakai’s footsteps; those are the rules he is forced to live by, and they apply equally to you.

 

Our final big focus area was precision. The katana is a weapon that rewards precision — a lifetime of discipline and practice to make exactly the right cut at exactly the right moment. It was important that the player got the same sense of precision — and those same demands of discipline and practice.

That starts with responsiveness, making sure that Jin reacts instantly to the player’s input. Quick attacks happen quick. We work hard to make our animations fluid, to flow naturally between movements — but if forced to make a choice, responsiveness wins out over physical accuracy.  Jin does have slower, more powerful attacks, but they can be instantly cancelled at any point, leaving Jin free to respond to unexpected events, like the shout of a Mongol charging in to attack. Starting a high-level attack only to cancel it when circumstances change is an important part of high-level play.

 

We also wanted to reward the player for precise execution of Jin’s abilities. Take Jin’s ability to block most incoming attacks. Basic execution of blocking is simple — hold L1, block the attack. But there are levels beyond that. Waiting to press L1 until the attack is about to hit changes the block into a parry. The attacker isn’t just stymied, he’s spun past you, vulnerable to a counter-attack. And Jin earns a little bit of Resolve, Ghost’s measure of the samurai spirit that lets him push through the pain and injury he sustains. With the right upgrade, a third level of success opens up — press L1 just as the attack is landing, and the parry becomes a perfect parry, stunning the attacker and leaving him open to special, devastating counter-attack, and earning Jin a big dose of Resolve.
 

That precision carries over to the player’s decision-making. Jin can attack his enemies in dozens of ways, but choosing exactly the right attack at the right moment is crucial. Jin is forced to evolve beyond the lessons he was taught, to incorporate what he learns from closely observing and fighting the Mongols. These lessons are distilled into new Stances, collections of new attack techniques, which the player can switch between at any point. Each Stance is designed to be particularly effective against a subset of the dozens of enemy types Jin faces; switching between Stances based on who Jin faces amplifies his deadliness.

Here’s a video clip that shows the player switching stances as they move between enemies. Jin uses Stone Stance to quickly finish off a swordsman — Stone Stance is his ancestral style, developed to fight other swordsmen, so it works well against Mongol swordsmen — then quickly switches to Water Stance to create an opening against a shieldman. Jin devises Water Stance in frustration after the techniques he’s practiced for decades prove ineffective against the Mongol shieldmen.

 

All of these things — speed, sharpness, precision — combine to produce an experience we think players will love. More precision means a more effective player, which means things can go faster and get more deadly to match. We hope you’ll choose a difficulty level that really challenges you as a player — because the focus and discipline and practice it will take to meet that challenge is exactly what is demanded of Jin Sakai.

 

It’s a dangerous world, but Jin Sakai is a dangerous man.

 


Couple of gifs of the combat:


https://gfycat.com/thriftyscornfulhornedtoad

 

https://gfycat.com/powerfulagreeableadamsstaghornedbeetle

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Early guess based on nothing but I think this game will be a standard 6 or 7 out of 10 Ubisoft style open world game with very generic activities heavily carried by it’s top rate production values 

 

#nostradamus 

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4 minutes ago, Maf said:

Early guess based on nothing but I think this game will be a standard 6 or 7 out of 10 Ubisoft style open world game heavily carried by it’s top rate production values 


Nah. I’ve faith in SP that it’ll be better than that. For me the open world looks akin to a BOTW, not a Ubisoft game (not that that’s a bad thing for me) from what I’ve seen/read. 

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