More Of The Same? Ghost of Yotei Devs On Striking A Balance Between Familiar And Fresh

Question: The success of Ghost of Tsushima was phenomenal, considerably raising Sucker Punch`s profile. How did that impact you personally and professionally, and did you immediately feel the pressure to surpass that achievement with your next project?

Jason Connell: Developing Tsushima was undeniably a labor of love, especially given Nate`s and my shared passion for samurai cinema. Witnessing its widespread reception, far beyond our initial expectations, was incredibly exhilarating—and a bit overwhelming. The sheer volume of photo mode shares, social media mentions, and player feedback was immense. When a game reaches so many, you inevitably encounter both adoration and criticism, absorbing it all. It`s a unique experience.

For me, personally, though Nate might have a different perspective, it makes the next project feel quite formidable. There`s an inherent question from players: `Is this as good as your last?` But that`s a natural part of creative endeavors, and ultimately, it`s a privilege. We`re fortunate to have strong IPs, a fantastic studio, and the creative freedom granted by Sony. We find ourselves in an excellent position to expand upon a successful foundation, incorporating new features and fresh elements that we couldn`t prioritize in the first game while establishing its core mechanics. It`s a mix of excitement, challenge, profound gratitude, and immense creative satisfaction to bring Yotei to life exactly as we envision it.

Nate Fox: Observing players engage with the game on platforms like YouTube and Twitch, openly discussing their likes and dislikes, has been genuinely inspiring. It energizes the entire studio as we develop the sequel, seeing the sheer joy players derive. This level of transparency is novel.

During the development of Sly Cooper or Infamous, live playthroughs weren`t common, so we lacked direct insight into player reception for specific levels or moments. Now, it`s incredibly valuable to witness firsthand how players react, confirming our successes and revealing areas for improvement, directly influencing our decisions for the next game. This represents a significant evolution in game development. Previously, it felt like crafting something and hoping for the best, akin to a filmmaker unable to gauge an audience`s immediate reaction in a theater. Now, we gain immediate, direct insight into player enjoyment and responses.

Question: Considering this, has the sequel development process evolved? I imagine shortly after completing Tsushima, you must delve into critical self-evaluation of a beloved project to identify areas for future innovation. Does observing player feedback on platforms like YouTube, where every aspect is scrutinized, simplify this critical analysis? What has this process been like for both of you?

Nate Fox: [Laughs] I apologize for laughing; it`s just that your phrasing, `you have to go through the process of pointing out the things you don`t like,` struck me as ironic. At Sucker Punch, we are relentlessly critical of our own work.

Jason Connell: Every single week.

Nate Fox: Criticism, delivered constructively, is essentially our love language. We hold ourselves to incredibly high standards, driven by a deep passion to realize our vision. Finishing Ghost of Tsushima, we already had a clear sense of what truly resonated and what fell short. The focus then shifts to amplifying what felt `alive.` Game development is a prolonged journey, and naturally, we monitor online discussions, photo mode showcases, and YouTube content. This external feedback undeniably shapes our perspectives on the game.

Jason Connell: Absolutely. For Nate and me, all of that holds true. And before we even properly began the next project, we established our `core pillars.` During Ghost of Tsushima`s development, ideas flowed constantly, and daily iterations were the norm. Now, with a fully realized world, the goal is to evolve it into a franchise, which necessitates identifying non-negotiable elements to carry forward. We compiled a comprehensive list of these pillars: the precise, lethal combat; the breathtaking art direction, inspired by samurai cinema, offering a stylized beauty beyond mere photorealism; and the practice of collaborating with expert advisors. Whatever these numerous pillars entailed, our stance was firm: `These are immutable. We must deliver on all of them. Now, where is our creative space? What aspects can we innovate and push further?` It proved to be an intriguing and enjoyable experiment.

Question: How do you balance design innovation and new concepts while upholding those core pillars, especially with the awareness that many players might seek a fundamentally different experience?

Jason Connell: It might sound simplistic, but a guiding principle that genuinely works for us is `Fresh but familiar.` We could have made a game that was either excessively familiar, risking stagnation, or overly novel, potentially losing the core `Ghost` identity. The key lies in what elements you choose to carry forward. Take the art style, for instance. We could have pursued hyper-realism, but Ghost`s distinctive art style is fundamental to its identity. Why abandon that? In my view, and our team`s, a resonant, stylized aesthetic offers a more enduring and impactful experience. So, while some might observe, `It looks similar to the last one,` my response is, `Yes, we adore that art style, and we believe it`s integral.` Our approach then became: `How do we enhance it?`

We`ve achieved significantly longer sightlines, superior visual rendering, and improved performance across the board – aspects we could detail endlessly. The essence is maintaining familiarity while introducing subtle innovations. Then there are entirely new elements, like our memory mechanic, allowing players to relive Atsu`s youth within her home. This is a purely narrative device, accessible at any moment, and completely unique to our prior titles. The ability to instantly transition between memories and the present is a total innovation. Similarly, while our previous games featured animal companions like foxes and birds, and a strong sense of nature and wind, Yotei introduces a wolf. This companion offers a far deeper, more integrated experience than anything we`ve attempted before. It`s a harmonious blend: familiar due to the presence of animals, yet profoundly fresh in its execution.

For Yotei, we saw an clear chance to build on familiar foundations, catering to our dedicated fanbase, while critically evaluating which core gameplay aspects could truly benefit from innovation. Exploration is a major one, and combat—I`m sure Nate will elaborate on that—these two areas received significant attention.

Nate Fox: I`m eager to discuss combat, as it perfectly exemplifies Jason`s `fresh but familiar` philosophy. Tsushima established a beloved sense of `lethal precision,` deeply rooted in classic samurai cinema, and we were committed to preserving that core. However, we also aimed for innovation. A prime example is the evolution of stances. Tsushima featured four; Yotei expands this to five. Crucially, these aren`t merely different weapon postures; they now represent distinct melee weapons. While the underlying system remains consistent, the visual and tactical implications are radically different.

For instance, switching to the kusarigama—ideal against shield-wielding foes—offers unique advantages inherent to the weapon. Surrounded by enemies? A weighted chain swing delivers a wide area-of-effect attack. Wielding a spear near a cliff? You can now use it to thrust enemies off the edge for a quick kill. This offers a significantly broader toolkit than Tsushima, yet it retains the same foundation of lethal precision. Our goal was to empower players with more freedom and options without abandoning the fundamental combat identity established in the previous game.

Question: You spoke about the `Ghost` identity. For me, a crucial aspect of that identity in Tsushima was Jin`s character arc: the corruption of the samurai code leading to something new. Is a similar mythological element central to Yotei`s identity? Atsu appears more defined in her character from the outset, gradually growing more formidable. Will there be a comparable narrative of mythology forming around Atsu and the `Onryo` (vengeance ghost)?

Nate Fox: Indeed, as you highlighted, Ghost of Tsushima centered entirely on a samurai sacrificing his principles to become a stealth warrior—that was Jin`s complete character arc. Ghost of Yotei, however, is a spiritual successor, not a reiteration of the same narrative. Atsu begins the game as a sellsword, unbound by samurai codes. She`s driven solely by victory, relentlessly pursuing the `Yotei Six.` Her uncanny ability to survive insurmountable odds leads the people of Ezo to view her as a mythical entity, an `Onryo` or vengeance ghost. This identity is established early in the game, a direct result of her unwavering determination.

While perceived as larger than life, her in-game transformation isn`t about becoming more of the Onryo, but rather how being the Onryo changes her. We witness her evolution from a broken, solitary warrior, indifferent to her own survival, to someone who gathers a `wolf pack` around her, finding connection and purpose. This is a distinct, unique story, exploring a different dimension of what it means to be a `ghost` in feudal Japan, and we are excited for players to experience it soon.

Question: This narrative arc reminds me of the `what does Batman do to Bruce Wayne, as opposed to how does Bruce Wayne become Batman` dynamic. The memory reliving mechanic you mentioned particularly caught my attention. It evokes a `John Wick`-like emotional trigger, suggesting a need to humanize the protagonist in a game heavily focused on brutal combat. What was the philosophy behind this mechanic, what inspired it, and what are its limitations? Can it be activated anywhere, or only in specific locations?

Jason Connell: Indeed, Atsu will encounter specific, memory-laden locations within the game. Our aim was to allow players to experience these memories interactively, by pressing a button to transport back and actually play as a young Atsu, truly immersing themselves in her past. This player agency is vital because, as gamers, control fosters deep character identification. The seamless transition between past memories and the present moment offers a striking `before-and-after` perspective, contrasting the warmth of her youth with the stark solitude of her adult life. The player`s direct control amplifies this emotional impact.

Precisely as you observed, we sought to convey a sense of what was lost, enabling players to grasp Atsu`s profound sense of loss. It mirrors a universal human experience: returning to one`s childhood home, seeing a familiar room, and involuntarily recalling who you were at that time. These memories resurface, a deeply human phenomenon. Making this interactive reinforces its universal resonance.

Question: You heavily emphasize player freedom and the absence of forced progression in Ghost. How do you manage this design philosophy when extensive off-path exploration—say, 25 hours of side content—could potentially disrupt the narrative`s urgency? Furthermore, how do you address the `Fear Of Missing Out` (FOMO) for players like me, who constantly wonder about unexplored opportunities and tend to split their focus across multiple objectives?

Jason Connell: It seems we`re touching on a bit of anxiety for you.

Question: Undeniably. A huge amount.

Jason Connell: [Laughs] Our core aim is to cater to diverse playstyles. For those who prefer to “rabbit run” the main story—though we don`t consider it the optimal way to play, it`s a compelling narrative nonetheless—they absolutely can. We don`t want to impede their enjoyment or force them into open-world activities they dislike, demanding they complete `six things` before progressing the main quest. That would diminish the experience.

Conversely, we also avoid concentrating all progression and rewards solely within the main path. We want to reward players who explore broadly, and there are many such players who immerse themselves for 70, 80, even 90 hours, using photo mode everywhere, discovering every detail, big or small. This is why features like the weapon sensei exist. To acquire new weapons, players must seek out these senseis in the world, forge relationships, and undertake sub-missions, through which they earn new armaments and training. Placing these elements in the open world`s side content is crucial to the overall experience. If you wish to spend all your time exploring, you should be able to, without arbitrary restrictions. Our philosophy is straightforward, translating into specific game mechanics: play your way.

While we genuinely believe the best way to experience the game is to use the spyglass and explore extensively, we also ensure that if the main story is your primary interest, it remains easily accessible. That golden path carries significant emotional weight and narrative depth, and we want to ensure no one misses out on that. We strive to celebrate both approaches.

Question: I understand this is a complex design challenge. I`m a player who appreciates freedom but also desires a subtle nudge from the game, guiding me towards objectives. Perhaps I`m simply a challenging player when it comes to open-world games.

Jason Connell: I believe our `clue cards` partly address that. We moved away from the cumbersome, text-heavy journals that often bogged down players with excessive details on past, current, and future objectives. Players tend to rely more on visual and pictorial map references anyway. With clue cards, if you haven`t acquired a new weapon in a while, for instance, you might receive a subtle hint about a weapon`s general location—or even its precise spot for a specific one. If weapons are your priority, great, go for it. Similarly, we might point you towards a piece of armor if that`s what you`re interested in. We aim to provide these opportune hints to prevent players from feeling entirely adrift. While you`ll never be aimless on the main quest, we strive to offer enough enticing side content to pique your interest in the game`s broader possibilities.

Question: The segment showing you purchasing a map from a cartographer, and seemingly placing a map piece, was quite intriguing. Could you elaborate on this mechanic?

Jason Connell: We find maps inherently fascinating and dedicated considerable effort to developing more interactive ways to engage with them, whether purchased from a vendor or discovered. Given the historical context, cartographers meticulously charted these regions, creating a fitting narrative link. Players can acquire maps that reveal various points of interest, many of which you`ll undoubtedly want to seek out. This introduces a small mini-game: using the map provided, you must decipher its correct placement, and successfully doing so yields a reward. It`s essentially a mini-game embedded within the broader map interaction.

Question: As a predominantly stealth-oriented player, I noted Atsu often engaging in direct combat during the presentation. Will the game still cater effectively to stealth gameplay?

Jason Connell: Absolutely, you can still approach enemies stealthily and perform assassinations when they`re unaware—it`s a crucial part of the fantasy. Atsu isn`t constrained by traditional notions of `honorable` combat; she`ll employ any means necessary. While we demonstrated the kusarigama`s use in the State of Play, we`ve developed even more tools and distinct behaviors in Yotei to enrich the experience. My view is that stealth, even if you choose to approach most encounters purely via stealth, truly shines as a fluid interplay between stealth, ranged attacks, and melee combat. Players aren`t confined to a single approach; you can seamlessly transition between these methods when facing multiple adversaries, offering immense freedom in playstyle.

As a ranged player myself—one of the `rare weirdos` who prefers using a bow—I can confirm the game fully supports ranged combatants. As I mentioned before, providing a wealth of player options means individuals can tailor their approach to suit their preferred style. This extends beyond just combat or stealth; it encompasses whether you prioritize the main narrative or extensive exploration. This flexibility is a significant part of how we envision the game adapting to each player, meeting them where and how they want to play.

Question: With development now spanning both PS5 and PS5 Pro, what are the key distinctions between the versions? Are there specific advantages to one, and what was the experience like harnessing the Pro`s additional processing power?

Jason Connell: To provide a more comprehensive answer, we plan a detailed presentation on the PS5 Pro`s specific features in the near future, with all those details prepared. Regrettably, I don`t have them available today. I can, however, speak more generally about PlayStation development and the game`s creation. Numerous advancements, partly thanks to the Pro, have profoundly transformed how we visualize the world, enabling us to enhance our artistic, beautiful style in ways that celebrate it without veering into pure photorealism. Instead, these advancements reinforce our creative and artistic ambitions.

For instance, we now boast significantly longer sightlines than in the previous game. Our far terrain rendering has seen massive improvements; those who compare it to Tsushima will likely be stunned by the difference. I was quite surprised myself when these features were integrated. Other enhancements include native 4K rendering, improved hair and skin, and snow deformation—a feature absent in the last game. Now, during a snow skirmish, your weapons carve into the snow, your feet leave clear tracks, characters become snow-dusted, and blood stains the environment. It`s a dynamically messy, yet captivating, experience thanks to this deformation. We even extended this deformation to elements like thick mud. These are all novelties for this game, and we`re incredibly enthusiastic about them. Regarding the precise distinctions between the base PS5 and PS5 Pro, we`ll offer a thorough breakdown later.

Question: Securing Shinichirō Watanabe`s involvement in the game must have been an incredible undertaking. What was that process like?

Jason Connell: Each director embarks on a unique path to bring their creative vision to life, approaching it in their distinct way. Shinichirō Watanabe was simultaneously working on Lazarus, which I believe was just launching its first episode. Watching it, I was captivated, thinking, `This is fantastic!` It strongly reminded me of my affection for Samurai Champloo and Cowboy Bebop.

I`d noticed a trend among players of samurai-themed video games, regardless of genre, to overlay lo-fi beats during their streams or playthroughs. This sparked an idea: `We should create a mode that truly celebrates that stylistic origin point.` Even though it`s anime, not traditional samurai cinema, there`s a significant overlap with our fanbase—people like you, myself, who are drawn to and recognize that aesthetic. So, I thought, `We absolutely need to honor this.`

We reached out and had a meeting, and they were incredibly enthusiastic about the concept. Almost immediately, Watanabe-san began proposing specific artists, identifying who he felt would be an excellent fit. Very quickly, we started receiving music. He`s crafted several original tracks for us, and we even have remixes of our existing score. It`s been an incredibly positive and thrilling collaboration, and we are profoundly honored by his willingness and excitement to participate. Our fans will get to experience his contributions firsthand when the game releases.