Ghost Of Tsushima REVIEW: 7 Ups & 2 Downs

Ups...

7. The Art Direction And Presentation Is Phenomenal

Sony Interactive Entertainment

There comes a point in every open world game where the map 'opens up' and invites you to explore its every nook and cranny. Ghost of Tsushima's occurs at the conclusion of the game's intro, and made the hair stand on the back of my neck.

Sucker Punch's latest game is stunningly realised and steeped in the traditions of classic samurai movie fare, to the point where players can actually choose to play the entire story in a black-and-white, subtitled 'Kurosawa mode'. Its visual cues go beyond just the cinematic too; Tsushima island looks like an oil painting come to life, and Sucker Punch knows how good it looks, mapping the game's photo mode button to the d-pad for quick access.

There are occasions where Tsushima can look a little rough around the edges - not every character model is as intricately detailed as the lead cast, for instance - but it is perhaps the most vibrant open world I've ever encountered. Fields of tall grass sway gracefully in the wind, blossom twists and turns as it falls from trees, and the sea crashes against the island's rocky cliffs without relent.

It is such a beautiful game, no matter the weather. From dawn 'til dusk, come rain or shine, Sucker Punch have created an artistic marvel on the current gen, making Ghost of Tsushima one of the most unique looking open world titles to have released over the previous seven years.

That cinematic approach manifests across both gameplay and cutscene, and while the transition between either could be smoother (be prepared for a lot of 'fade-to-black' transitions and static camera angles), the game makes you want to savour every moment.

At the time of writing, I'm actually yet to indulge in Ghost of Tsushima's Kurosawa mode, so refreshing and colourful is the game's recreation of 13th century Japan. No doubt it'll add to the cinematic flavour even more, but for now, playing the game in full colour, Japanese dialogue and English subtitles has been brilliant enough.

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Content Producer/Presenter

WhatCulture's very own resident movie guy, Ewan has been working in the content creation biz for over 10 years now, having started as a freelance contributor to WhatCulture Gaming all the way back in 2015. After graduating with a First-Class Honours in History from Northumbria University in 2017 (where he won a prize for a totally killer dissertation on the Watergate years), Ewan took on the role of Comics Editor at WhatCulture and quickly developed WhatCulture Comics into one of the biggest superhero-focused channels on YouTube. He followed this with a brief hiatus at Screen Rant in 2021, where he worked across the Gaming and Film sections as a writer and editor, before returning to WhatCulture as a Senior Content Producer / Presenter in 2023. He started his own podcast, We Love Dad Movies, in 2022, and has contributed several written pieces to the Eisner-nominated comics website Shelfdust as well. In his current role, Ewan incorporates his love of cinema, comic books, and history into written pieces and video essays for WhatCulture's Film & TV channel, as well as WhatCulture Gaming and WhatCulture Horror, with a particular focus on nineties-era Dad Movies, old school Westerns, and Golden Age Hollywood Noir. John Carpenter is his fave, and he thinks Batman Beyond should never have been cancelled. If that's your vibe, you'll probably like his stuff.