All sequels to Sony games in recent years can be called... "safe". Their authors try not to break what has already been created, so they experiment very carefully with new mechanics. At first glance, Ghost of Yōtei continues this trend, but don't rush to judge a book by its cover. On the surface, it's all the same game about samurai with katanas and revenge in an open world, but the differences from the original game and other representatives of the subgenre lie in the details. And here they are very interesting.
| Game | Ghost of Yōtei |
| Genre | action/adventure |
| Platforms | PlayStation 5 |
| Languages | English, Japanese |
| Developer | Sucker Punch |
| Publisher | Sony Interactive Entertainment |
| Link | playstation.com |
New era, new heroine, new story
After Ghost of Tsushima, Sucker Punch decided not to go the route of creating a direct sequel. Ghost of Yōtei takes the events to another era and to other lands, to the cold island of Ezo (now Hokkaido), where a new story of honor, loss, and the path of a warrior unfolds. The game retains the recognizable spirit of the series, attention to detail, poetic pace, silence between sword strikes, but speaks in different voices. This is not a sequel, but a separate chapter that offers a look at the same idea from a different angle: what it means to be an onryō – a ghost, when you want to escape from the past, and the world is changing faster than you can understand it.
From the first moments, Ghost of Yōtei feels familiar and yet completely different. It is a sequel to Ghost of Tsushima that does not copy its predecessor, but carefully reinterprets it. The events unfold in the shadow of the sacred mountain of Yōtei, where the family of the main character Atsu was once killed. Sixteen years later, she returns to her native land to find those known as the Yōtei Six and put an end to the cycle of revenge that still haunts her.
Atsu seeks answers and retribution, but at every turn he encounters not only his enemies but also the memory of the land itself. The story is set in 1603, at the dawn of the Edo period, when the Tokugawa shogunate has just established its rule over the disunited provinces of central Japan. The country is entering a new era of peace and isolation, but the northern island of Ezo is still left out of these changes.
This is the land of the Ainu, a people who live in harmony with forests, rivers and spirits. Their culture has not yet disappeared, it is evident in the symbols on stones, in shrines, in the voices of elders telling legends by the fire. At this time, Ezo begins to feel gradual pressure from the south: the shogunate's power is expanding its influence, merchants are bringing new customs, officials are bringing new laws. This is not yet an occupation, but already a change in the rhythm of life – when the old order is held only by memory. The world of Ghost of Yōtei lives in a tense confrontation between the ancient world, which still whispers the voices of spirits, and the new order, which is slowly approaching from the south.
The living world at the foot of Yotei
The world of Ghost of Yōtei lives and breathes more slowly. If the map in Ghost of Tsushima was gradually filled with icons of camps, foxholes, hot springs, etc., and over time began to resemble a checklist, then everything has changed here. Instead of cluttering the map and accumulating activities, Ghost of Yōtei creates a smooth immersion in the vicinity of the locations where you are. The game does not burden the player with a list of things to do – it opens the world with natural signals: rumors from a passerby, meetings with random travelers and opponents and the usual gusts of wind or a bright bird that will lead to an interesting place. Much of this was also in the original game, so if a bird flies somewhere nearby or smoke rises – this is an invitation to pay attention. It is because of these moments that the distance between the hero and the environment disappears, and the world begins to be perceived as something living, and not a set of game mechanics.
Even the main goal, the search for the members of the Yotei Six, is revealed through observation: you ask someone for a name, learn details, stumble upon rumors – and so a new direction for the search appears. The story does not lead the player along a fixed route, it is an investigation that is formed in the process. Instead of a clear storyline, Ghost of Yōtei offers a map of possibilities, where the player himself decides which region to explore first and which branch of the plot to uncover.
In Ghost of Yōtei, the island of Ezo is divided into several regions, each with its own climate, culture, and pace of life. Their landscapes are inspired by the real-life lands of Hokkaido: the dense forests and gentle valleys are reminiscent of Tokachi, the rugged rocky coastlines are reminiscent of the Oshima Peninsula, and the cold windswept plains with small settlements echo the northern regions, similar to Kamikawa.
Camps and small settlements are scattered around the island. You can rest, trade, cook food, or just talk to travelers there. But Atsu can set up camp herself, you just need to find a cozy place and build a fire. At the camp, you can cook food, replenish your equipment, or just relax. This is not a formality, but a way to experience the road, when fire becomes a symbol of peace between journeys.
In addition to their own campsites, the world is full of travelers' camps – friendly travelers who share stories and rumors about strange places, old shrines or people who have seen one of the Yotei Six. But not all camps are safe. Sometimes the path leads to a camp of mercenaries or ronin, who, in pursuit of a bounty on the head of an onryō, try to attack first. Such encounters make the journey lively – it balances between peace and danger, between a short respite and a sudden battle. This very well emphasizes the character of the heroine, because she has been on the road all her life, since the moment she lost her home and family.
With fire and sword
The combat system has remained recognizable, but has become more lively. There is a regular and strong attack, block, parry, dodging powerful enemy blows – a familiar set, but now everything moves differently. The camera focuses on the direction of the attack, emphasizing the danger of the moment; blows are felt more heavily, and parries require even greater precision and correct timing. The spirit scale again allows you to heal during combat, but now it is even more important, because the rhythm of the fight is determined not by strength, but by self-control.
New techniques have appeared – even basic ones, without leveling: for example, you can throw the sword of a defeated enemy at his comrade who is running towards you, and throw a bottle of drunk sake into the face of another enemy to confuse him for a second. Such trifles make battles unpredictable. It's just that the aforementioned sake replenishes the spirit circle, but gives the effect of intoxication. And if you drink too much, it was very difficult for the player to follow the events and react to dangers.
There are now many more weapons, each with its own character. The katana remains the main "tool" – fast, accurate, versatile. Alongside it appear dual nito katanas, designed for an aggressive fighting style and constant onslaught, but they leave less room for defense.
The spear of yari allows you to keep the enemy at a distance, piercing even heavy armor, but requires caution and precision – one false step and the distance is lost. The kusarigama combines the blade of a sickle with a chain and allows you to knock enemies off their feet or tear weapons from their hands, but requires a perfect sense of timing. And the huge sword of odecha acts like a living wave – slow, but devastating, capable of tearing through a mass of enemies with a single swing.
In addition to different types of weapons, Atsu masters various techniques of possession – these are not just combinations, but entire schools of combat. To open them, you need to find teachers scattered throughout Ezo and complete a series of tasks. It should also be remembered, and skill masters remind us of this, that each weapon is more effective against a certain type of equipped enemy. Therefore, it is necessary to skillfully juggle it during the fight. Just choosing one and defeating everyone with one technique will not work.
Leveling follows the same rhythm as the rest of the game – a calm, deliberate one. Ghost of Yōtei doesn't have an endless skill tree with dozens of abstract abilities. Everything is reduced to four main directions, each of which reflects a part of Atsu's path.
Onryō is a branch of spirit associated with invisibility, silent attacks and control over space. Melee is physical power and accuracy. Improving this branch opens up new combinations of blows for katana, dual blades or spear, and also increases resistance in fights with numerous enemies. Revenge focuses on risk: a branch for those who are not afraid to stand on the brink of defeat. It strengthens attacks at low health and expands the capabilities of the spirit scale, turning despair into strength. A separate branch, Wolf, is a path of survival. This direction develops endurance, sense of the environment, interaction with animals and instincts. The skills of this branch are unlocked by helping wolves that are hunted by hunters.
Amulets also play an important role – small talismans that can be worn several at a time. They provide passive effects: faster regeneration of the spirit scale, quieter steps, resistance to fire or poison, increased critical hit chance or even a short recovery of health after winning a duel. Some of the amulets can be found by chance - in old shrines, on the body of a fallen enemy or simply on the side of the road. Others are opened as a reward for side quests or as a token of gratitude from travelers whom Atsu has helped.
And sometimes the path leads to a familiar scene from the past – a fox by a hole. If you follow it and pay homage to the spirit, Atsu will receive a special amulet connected to nature – one that defies ordinary logic. In these moments, the game reminds you: true power is not only in the sword, but also in the ability to listen to the world.
When atmosphere and plot merge harmoniously
When it comes to duels, the game becomes a true Western set in the East – a classic samurai film. The camera focuses on Atsu's face and then on her sword, the music is reduced to a few minimalist chords, and the tension builds until the first blow is struck.
The soundtrack has changed overall – fewer traditional motifs, more atmospheric guitar themes reminiscent of old movies about lone travelers and westerns. Surprisingly, this combination works flawlessly: the music does not argue with the story, but emphasizes its melancholic mood.
The music also supports a sense of peace. Instead of orchestral motifs, there is a guitar, bamboo, silence and the breath of wind. This world sounds not as a background, but as part of the journey. Atsu herself plays the shamisen, an ancient stringed instrument that becomes her voice when words are superfluous and connects her with those who are no longer with her. Sometimes the melody calms the spirits or opens the way, sometimes it simply dissolves in the noise of the wind. Music here is not an ornament, but a way of interacting with the world. The melodies draw inspiration from Westerns, but do not lose their oriental flavor.
The plot is presented without haste. The non-linear structure allows you to move in different ways – who you find first, who you ask about the past, depends on you. Along with the main line – dozens of small stories: the clash of samurai laws with Ainu culture, strife between clans, the emergence of new dangers. All this is not always presented directly from the NPC quest giver, but often in background conversations, notes, fragments of phrases - and creates a feeling of the world changing before your eyes.
Many would say that Ghost of Yōtei continues the familiar PlayStation formula of a lone hero, loss, journey, revenge and redemption. And in a way, that’s true: Atsu’s story also begins with pain and ends with realization. But its strength lies not in the originality of the events, but in how the very structure of the world reinforces its rhythm. Ezo is not just a setting, but a living story that tells itself through people, landscapes, legends.
Despite the serious mood, the game has warm moments. Atsu sometimes allows herself irony, and her companions – short jokes that relieve the silence after the battle. The world of Yōtei is not only about death and duty - there is a place for humanity in it.
It is better to play Ghost of Yōtei with Japanese voice acting. Despite the fact that English is the original soundtrack, Japanese still adds authenticity and the acting of the actors contributes a lot to this. Ukrainian subtitles would be very suitable for Japanese voice acting, but Sony is not in a hurry to add Ukrainian to its own games yet. However, in Ukraine Ghost of Yōtei can be purchased on discs with Ukrainian covers, which is already a significant step forward.
A spoonful of tar and the results
Only a few moments break the rhythm and tear you away from the atmosphere of this journey. One of the first that catches your eye is the collection of resources and the endless crafting of ammunition. The first few times it looks very harmonious while you are in the camp, but it is also a problem at the same time. After all, this craft is only available there, and you cannot craft a few arrows on the go, in order to continue the fight, before potentially difficult battles you must definitely set up camp near the enemy base. Or you can only hope for luck, and that you will be able to get a sufficient amount of supplies during the fight from the bodies of enemies or steal them from their warehouse.
Another factor that overshadows the very positive impression of Ghost of Yōtei is the overly complicated third act. And this complexity does not concern the appearance of new enemies that have not yet been approached or strong bosses. The problem is the number of enemies.
This makes the final section a bit "suffocating", because we already know where the plot is going, and what awaits us next. But instead of preparing us for the finale through staging or interesting gameplay techniques, the developers decided to put a huge base with a bunch of enemies that you have to run through to get to the end of the story. A small detail that could have made this great game even better, if it had been properly executed.
In everything else, Ghost of Yōtei is an incredibly interesting and very beautiful adventure that does not let go even after the final credits. Because the game offers to continue exploring the world and discover its other secrets, get all the fighting techniques and find all the armor. In addition, after completing the game, the game throws up several new interesting tasks.
Ghost of Yōtei cannot be called a "safe sequel". It does not repeat Tsushima, but develops its philosophy. Less systematicity – more organic; less player control – more observation. The game does not push, but invites. It does not drive to the finale, but allows you to feel the path. And when you set up camp under the stars, listen to the crackling of the fire, and see the wind rise in the distance, you understand: the power of Ghost of Yōtei is not in revenge, not in the plot, not in technical brilliance - but in presence. In the feeling that you are really there, among the mountains and silence, where the world speaks more slowly, but sincerely.
