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That’s not to say that combat isn’t broken in other areas - in a giant siege area, you can easily bait some enemies into following you across structures like bridges. That would almost be forgiven, if not for the need to match your stance to your opponent.

On easier difficulties, an auto-lock isn’t fully available, but exists nonetheless, randomly switching between opponents as the camera struggles to keep track of you. It’s a completely broken affair that swings wildly at times and becomes obscured by the smallest object. While opponents can frequently break out of animations, flipping 180 degrees at the same time they bring their sword down to somehow strike you, the real enemy with combat is the camera. When all four combat stances are unlocked, things become a rock, paper, scissors affair: identify your enemy (either a swordsman, shield bearer, spear carrier or heavy), then pick the stance that beats it and wail on the Triangle button. A range of tools including a grappling hook and several samurai stances also unlock late in the main mission-only game, which is unfortunate because it adds variety that’s sorely lacking otherwise.Ĭombat is a mixed bag, way too easy in some respects and far too cheap in others.

If you want to live the samurai fantasy, that alone does it. First, all the cool, samurai-esque stuff comes pretty late in the game most notably the incredibly neat Kurosawa-inspired Ghost mode that flips things into black and white, punctuated by a red filter as you easily dispose of enemies. Admittedly, this wasn’t desirable, but this tact really drove a number of points home. We are in the middle of months of E3 2020 replacement livestreams, so my time was precious I attacked the main questline as if the lives of the residents of Tsushima depended on it (I’m a thoughtful ruler’s nephew, after all). The main story is spread out over three main acts that total 20-25 hours of gameplay though, you will easily double that by liberating camps, finding shrines connected with fox dens, composing haikus and engaging in the other various side activities.

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Chief among those comparisons is the in-game map, one full to the brim with quest and sub-quest icons, each wanting to distract you. It’s hard not to try to describe things without likening events to any number of Ubisoft titles.

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While this is supposed to be some sort of struggle for the lead character, Jin sheds his samurai skin with little pause, and in combat will happily strike at the backs of opponents even though that’s supposed to be a no-no.

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Despite an emphasis on samurai culture, Ghost is about just that: forever in the shadow of a great samurai, Jin happily accepts the moniker of the the Ghost, one who ignores the samurai code in an effort to free his uncle and liberate the island at any cost. Ghost of Tsushima’s story begins at the onset of an invasion by the Mongol Empire here, Shimura is captured and most of the samurai have been killed. Set on Japan’s Tsushima (toosh-ima) Island in the late 13 th century, you play as Jin Sakai, a samurai warrior trained by his uncle and ruler of the land, Lord Shimura. While it has brilliant moments of beauty, conflict and gameplay, it can be best summarised as a faithful recreation of an Assassin’s Creed title circa 2014 with all the good and bad associated with that. It’s far from that in fact, it’s more accurately the Assassin’s Creed samurai game that Ubisoft fans have spent years clamoring for.

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A departure from its previous titles, it has been marketed as a Souls-like in a series of hype-filled but information-sparse events. Ghost of Tsushima is the latest venture from Sucker Punch Productions, the developer of iconic PlayStation classics Sly Cooper and Infamous.