The game has started, there are absolutely no bugs this time

Chapter 189

If it's so difficult, why can Youxuan do so many weird things?

Sometimes I look back at myself and ask myself whether my technology has improved and whether I have kept pace with the times after making games for so many years.

Don’t say that the Dragon King is a genius across the ages, everyone certainly understands this.

But it is difficult to innovate, so is it difficult to follow the trend and learn?

Even without Gu Meng, Zhiye would still be doing pretty good.

When you were learning, you just watched others do it, and they were so fast. This means that once you master this technology, you should be able to make rapid progress.

It's impossible that all Youxuan characters are monsters. I have always doubted the difficulty of production. I feel like they just didn't put enough effort into it.

(Rennie: This is really slanderous. The truth is that Youxuan is a monster.)

There aren't many variations in the way players fight, and they're always in a cycle of blocking and then attacking.

Even this core combat system sometimes feels a bit off.

Charged attacks don't consume additional ammunition, so you'll want to use them whenever the situation allows, but at the same time, you'll have to frequently end your charge to defend yourself in order to block enemy attacks.

Furthermore, even perfectly timed defenses don't naturally connect to counterattacks. Enemy attacks often don't feel like threats or opportunities for counterattacks, but more like simple interruptions, making it impossible for players to always control the battle at a comfortable rhythm.

The game system built around this combat mode also has the same sense of dissonance.

Although the item "Imperial Note" can help you turn the tide of battle, its expensive consumable nature makes me prefer not to use it.

Health regeneration items are plentiful, practically endless, and there's even a powerful, game-shattering ability in the skill tree: a player-created levitation (a magical leap) that feels completely out of place.

However, despite so many flaws, it cannot be denied that Ghost: Tokyo still has many things that attract me, most of which are me deviating from the main story to help those wandering souls complete their unfinished business.

While the side quests aren't particularly appealing mechanically, many of them tell interesting stories.

The ghost tied up in the toilet at the beginning is the funniest side quest I have ever encountered. In addition, there are many other side quests in the game, telling stories that are sad, stupid, sentimental or clichéd.

Part of the reason these short stories work so well is that many of them (and most of the game's plot) are deeply rooted in Japanese culture and folklore.

The enemies in the game all have backstories. For some reason, they all became demons due to the accumulation of dissatisfaction with the world. For example, the headless enemy in school uniform, "Demon Boy", has the following description:
"A type of stranger born from the anxiety of a young schoolboy about an uncertain future. They pour out their frustration on anyone unfortunate enough to cross their path."

The default voice acting for the game is in Japanese, but you can switch to English voice acting if you wish.

I chose to keep the Japanese audio because it gave me a deeper sense of immersion, and the beautiful game world of "Ghost: Tokyo" further deepened my sense of involvement. Although it is a ghost city, the beautiful rendering, lighting and detailed details make the streets and houses full of life.

When I first started playing, I really thought it was no worse than the modern-day Liao Zhai.

It may also be because it has been a few years since Liao Zhai was released and I am tired of playing it.

If they were released at the same time, I would probably naturally choose Liao Zhai.

Although playing "Ghost: Tokyo" will not make you proficient in Japanese culture, I feel that as I play the non-formular side quests in the game, I do have a certain understanding of Japanese culture.

The overarching theme of living in the present moment and not drowning in resentment and guilt permeates the game's narrative, though its presence is occasionally diminished by the game's largely unfocused main plot.

First of all, the plot between Gojo and Ryoumian is not developed enough, and we don’t know what their grudge is, so the game does not have enough motivation to encourage players to advance the plot.

There’s an overstuffed plot in the game’s final chapter that fills in the gaps left by the underdeveloped relationship, but it feels like too much, too late.

Every time my brother's name is mentioned in the game, I feel a little awkward, having completely forgotten that my beloved brother is still trapped in this world where the living and the dead coexist. I don't want to spoil too much about what Ryoume is looking for, but like Gojo's story, this plot also lacks foreshadowing.

Perhaps the kindest thing I can say about Ghost: Tokyo is that it's a delightful game.

The developers' good intentions can be seen in many aspects, such as the excellent side quests full of cultural heritage and the look of Tokyo in the rain.

But these strengths can’t mask the problems caused by poor design and clunky mechanics. Ghost of Tokyo may have a charming setting, but I find it hard to recommend it to anyone other than fans of Japanese culture.

...This is a review from the American media, which is relatively neutral and likes Japanese culture.

Most local Japanese media still align themselves with Rennie's stance:

I recently got a sneak peek at the new stealth game Ghost: Tokyo.

In terms of genre, this game is a first-person action-adventure game. The player plays the protagonist Gojo, who will explore the modern Tokyo map in a small garden style. He will continue to grow by defeating enemies with a gameplay similar to FPS, and promote the development of the game's plot by completing various tasks.

The author must first make one thing clear here, that is, this is a pure action game.

Because of the trailers and visual images released so far, many players may think that this is a horror game, but it is different from modern Liao Zhai horror love games that emphasize puzzle solving in the early and middle stages, and only in the late stages or with "special mechanisms (that is, bugs)" can players have a certain ability to resist.

Although this game does involve horror elements such as ghosts, the overall plot and presentation are relatively easy for the public to accept. Players who are afraid of horror games can rest assured that it is only a little scary...

Although many people are worried about this game due to the poor performance of the two previous blockbuster games from the same company, I have been curious about what kind of game this is since the announcement of this game.

After the actual gaming experience, the author came to the conclusion that this is a very interesting game!

It is much better than "Star Wars: Assassin's Creed", although it is not of the same genre.

Next, I will start with the plot and characters of "Ghost: Tokyo", and slowly introduce the many elements of this work in detail.

The game begins with the protagonist, Gojo, on his way to visit his younger brother in the hospital. Having been involved in a traffic accident at the intersection in front of Shibuya Station in Tokyo, Gojo, near death, is possessed by a mysterious spirit and resurrected. Along with his supernatural powers, he also discovers a voice in his head.

The owner of the voice calls himself "Two-faced" and is a sorcerer. When Gojo panics, a mysterious fog suddenly covers Shibuya.

The surrounding people disappeared one after another in the fog, and Gojo seemed to have escaped with the help of two forces. At this time, the two forces completely ignored Gojo who had not yet understood the situation and tried to forcibly occupy Gojo's body.

Just as Gojo was trying his best to resist, the display screen of the street building at the intersection suddenly lit up. On the screen, a mysterious figure wearing a Prajna mask declared, "Only I can save mankind." The purpose of the two sides fighting for control of Gojo's body seemed to be to stop Prajna.

On one side is Gojo, who hopes to rescue his brother from Hannya, and on the other side is Ryoume, who wants to stop Hannya's ambitions... These two, with their interests aligned, reluctantly reach a partnership. Ryoume imparts the power to manipulate nature to Gojo, and Gojo, driven by his innate sense of justice, begins to defeat the "visitors" who appear before him, pursuing Hannya in a Tokyo shrouded in darkness and fog.

This suggests that this work follows a typical shonen manga plot: a protagonist who has suffered an accident and is on the verge of death is resurrected by a mysterious force and teams up with a ghost to use supernatural powers to defeat their enemies...

Of course, the plot will also involve more complex content such as Hannya's purpose and Ryoumen's goals, but the brief plot of "Gojo and Ryoumen will fight for their brother and Tokyo" is enough to immerse players in the game and inspire players to push the plot forward.

Furthermore, the game often features scenes where reality and the afterlife merge, and the design of these scenes is very consistent with the style of the early promotions, with the strange and eerie performance effects being superb. Some players may find this a bit scary, but I personally love it.

A variety of helpers also add a lot of color to the plot of this work.

There are many early performances in the game that are similar to modern Liao Zhai, which are more weird than scary.

"The street scene suddenly becomes very cyberpunk." This weird performance effect is also one of the highlights of this work.

The "partnership" and grudges between the two are also worth paying attention to.

The protagonist of this work, Gojo, looks a bit like Kakashi, but apart from his appearance, he is just an ordinary 22-year-old college student that can be seen everywhere. The soul detective Ryoumen, whose age is unknown, speaks in a cold tone, but he also has a gentle side and a deep secret.

In the early stages of the game, Gojo, who only wants to rescue his brother, often clashes with Gojo, who hopes to defeat Banshek as soon as possible. However, the two gradually develop a friendship-like bond in the process of fighting side by side, and begin to recognize each other.

It is this "sense of partnership" that makes this game so interesting.

This game is not like "Starry Sky Special Forces" that is focused on making a big thing and forcibly breaking through technical limitations. In the end, the first experience is okay, but if you immerse yourself too much, it will quickly become distorted due to various reasons. This game is very solid in single-player mode and even gives up the online mode.

So it is very important to have companions who can help you along the way.

This NPC intelligence should also use the latest technology developed by the Dragon King. It is very intelligent and feels like playing a Youxuan game.

(——Gu Meng, please don't cue me. The script and lines are okay, but the intelligence is not as good as the real You Xuan, because You Xuan's real black technology is the training of Brother Tongzi.)
Most of the conversations in this game take place between Gojo and Ryoumian. Ryoumian not only complains about Gojo when he does something stupid, but also responds to Gojo's complaints with complaints.

In addition, he will also explain the knowledge that Gojo needs to know. Such interactive descriptions are detailed, varied, and full of fun.

(End of this chapter)