Ghostwire Tokyo, paranormal tourism is Shinji Mikami’s next game: the story of Tango Gameworks

Ghostwire Tokyo, paranormal tourism is Shinji Mikami’s next game: the story of Tango Gameworks

We have an extraordinary need for unique video games . They are those works that choose not to pursue, but to try to trace new paths, offering gamers ways to interact, to tell stories, to involve that are recognizable.

Unique, in fact. This is certainly the case with Ghostwire Tokyo as well .

Arrived last March on PC and PS5 , the title signed by Tango Gameworks has put together the vagaries of the supernatural and the charm of Japanese folklore, placing in the hands of the players an unexpectedly refined experience in style and themes. The critic Domenico Musicò, in our video review , emphasized above all the way in which the game signed by the software house led by Shinji Mikami is able to talk about the end-of-life, giving a sui generis experience with certain aspects that can be perfected, but which we rewarded precisely by virtue of his courage and his being so convincingly unique.

In light of all this, it was particularly intriguing to be able to sit at a table (for now still virtual) to interview, in this post-launch of the game , the director Kenji Kimura and the producer Masato Kimura , with whom we studied in depth. different aspects of the Ghostwire Tokyo experience and how its debut went .

So we talked about the importance given by creating a work that is recognizable from the first impact, but also about the future of Tango Gameworks and what is boiling in Shinji Mikami’s pot . And the two developers, particularly happy with the community’s response to the release of the game, also talked to us about how a plus such as photo mode can add to the exploration experience of a video game, resulting in “paranormal tourism” – and, why not, also of all the secrets of dogs and cats (who knows me knows I had to ask, ed ) of the bizarre Tokyo that is the protagonist of the game.

There are many video games that try to resemble others, emulating successful models already achieved and often already consumed in all their facets, rather than taking the risk of inventing something new. According to director Kenji Kimura , this is something that Tango Gameworks doesn’t want to do, precisely because it inherits the mentality from Shinji Mikami .

“Ever since I joined this industry, I have always wanted to create something unique, new , that many people could have fun with. Since it was a new IP, it was very important to me that it was something new, recognizable ” he tells me, when I ask him about being proudly over the top of his Ghostwire Tokyo (you can buy the game on Amazon at a price reduced).

«Tango Gameworks, as a group, has a philosophy that comes from Mikami-san : we always want to make something new, something creative . As you know, Mikami-san is the author of Resident Evil : he was gone but arrived at the fourth, even in that case he tried to reinvent it and make it become something new.

He also created many new IPs, before creating Tango, always with that mentality of wanting something new and engaging. We think the same way , because you are the leader of our firm ».

While we talk about the importance of uniqueness, producer Masato Kimura also agrees on the importance of having a shared vision, in Tango Gameworks, that aims first and foremost at this. The Japanese software house, to work according to its philosophy, wants an idea to be first of all original.

 

«It is very important for us to have at least one game every decade that is one that lives on in people’s memories for a long time . We started Tango about twelve years ago and Ghostwire Tokyo is that game, the one that has to live long in people’s memories and in their hearts ” he reveals to me.

As we had anticipated in our review , Ghostwire Tokyo is full of themes that inspire more than a reflection . Akito’s journey into the ghostly Tokyo, sinking its roots in a context that cannot be real, actually wants to talk about our everyday life and some themes (and fears) that we often find ourselves shying away from.

The end of life, being trapped in a survival routine in which we are satisfied with non-living despite the fact that non-life is something else, having to admit that we need other people: these are all ideas addressed by the game.

In front of the director Kimura, who is also the writer of the game , I wanted to deepen his idea behind the themes of the work, discovering that the ideas for the strangest stories always arise from the small details of reality. The author explained:

“Since we created a world where people have disappeared, we wanted to represent things that we wouldn’t normally see or can’t see , but which are actually very important to us. We wanted the player to be able to concentrate on them, to be able to see them directly, face to face ».

A narrative that goes by subtraction, then: I take Tokyo and empty it to show you what remains, once all the other human beings, apart from you, are gone.

“This allows people to realize how much those things are really important – those that are dearest to us, sometimes they are loved ones, sometimes they are our family members, and they are things that even just with their existence are there. already helping . We wanted people to put this thought together, to feel grateful for their existence, ” adds Kenji Kimura.

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