Sucker Punch Productions faces immense pressure with their upcoming title, `Ghost of Yotei.` As one of PlayStation`s select first-party releases for 2025, it`s expected to deliver a robust, story-driven AAA experience, fulfilling a need many players have felt throughout the year. Beyond that, it carries the unenviable burden of following up on the widely adored `Ghost of Tsushima.`
`Ghost of Yotei` remained largely under wraps for much of its development, but recently, it took center stage during a State of Play broadcast. Public reactions have been split: some hail its stunning visuals and potentially exciting gameplay innovations, while others commend its quality but note its striking resemblance to its predecessor.
This divergence in perception comes as no surprise to directors Jason Connell and Nate Fox; in fact, it was precisely their intention. The real challenge, however, lies in achieving a delicate balance between these two aspects, a task far easier said than done. Following the State of Play event, we spoke with Connell and Fox about the phenomenal success of `Ghost of Tsushima,` their approach to developing its sequel, and what players can look forward to when the game launches in October.
The Weight of Success: Reflecting on Ghost of Tsushima`s Impact
Question: `Ghost of Tsushima` was an extraordinary game, and it significantly boosted public awareness of your studio. How did that feel, and did you immediately sense the pressure to meet such a high standard for your next project?
Jason Connell: Developing `Tsushima` was truly a labor of love, fueled by immense passion. Nate and I share a deep appreciation for samurai cinema, so crafting a game in that vein was inherently thrilling. Yet, witnessing its widespread appeal, far beyond our initial expectations, was profoundly positive—and somewhat overwhelming. The sheer volume of people sharing photo mode captures on social media, reaching out with comments… when a creation reaches so many, you`ll inevitably encounter both fervent praise and criticism. You hear it all, and it`s certainly a novel sensation.
For me, though Nate might have a different take, it does make the prospect of creating the next game feel daunting, as people will naturally wonder, `Is this as good as their last work?` However, that`s just a normal part of the creative journey, and I view it as a gift. We have fantastic intellectual properties and are part of a wonderful studio. Sony, generally, allows us great creative freedom. We feel incredibly fortunate, being able to build upon the foundation of an amazing game we already made, while also integrating fresh elements and new features we might not have had time for previously, when we were just getting the core mechanics established. It`s exhilarating, overwhelming, filled with gratitude, and profoundly creatively fulfilling to develop `Yotei` precisely as we envision it.
Nate Fox: I found it incredibly inspiring, honestly, to watch people play the game on YouTube or Twitch and hear their feedback—what they enjoyed, what they didn`t. It truly invigorates everyone here at the studio when we`re crafting the sequel, seeing how much enjoyment players derived from the original. It`s a completely new experience. When we were developing `Sly Cooper` or `Infamous,` people weren`t doing live playthroughs, so we didn`t have that direct insight. This level of transparency into how players are experiencing the game is genuinely exciting. You always hope and dream they`ll like a certain part or react in a specific way, and now we get to see if we were right or wrong. This directly influences our choices for the next game. Overall, it`s a remarkable shift in game development. Before, you’d create something, release it, and simply hope for the best, unlike a film where you could sit in a theater and gauge audience reactions firsthand. Now, we truly get to witness how people engage and react.
The Evolution of a Sequel: Embracing Self-Criticism
Question: Given this, has the process of conceptualizing and creating a sequel evolved at all? I imagine so soon after completing `Tsushima,` you’d immediately pivot to the next project, presumably needing to scrutinize the game you just created and loved to identify areas for future development. Does seeing public breakdowns of what people dislike on YouTube make that process any easier? Or what`s that experience like for both of you?
Nate Fox: [Laughs] Sorry, I started laughing because you mentioned `pointing out the things you don’t like.` At Sucker Punch, we are relentlessly critical of our own work. That’s our way of showing affection, we just deliver criticism constructively. We`re definitely hard on ourselves, but it`s because we aspire for our games to be truly exceptional, driven by our passion to bring these ideas to life. So, by the time we finished `Ghost of Tsushima,` we already had a clear sense of what we considered outstanding parts and what we liked less. The goal became: how can we invest more in the elements that felt most vibrant? Of course, game development is a lengthy process, and we definitely look at online articles, photo mode posts, and YouTube videos, which sometimes shifts our perspective because we gain those insights.
Jason Connell: Absolutely, for Nate and me, all of that holds true. Even before we formally began the next project, we established core pillars. While developing `Ghost of Tsushima,` ideas flowed constantly, and we were making daily adjustments. Now, it`s about taking this established foundation and transforming it into a franchise. So, what elements must carry forward? We created a comprehensive pillar sheet: lethal precision in combat, art direction inspired by samurai cinema and a beautiful world depiction (not just photorealism, but a matching style), and collaborating with advisors. Whatever those pillars were—and there were many—we said, `Okay, these are non-negotiable. We must adhere to all of them. Now, where is our creative space? What do we want to innovate on?` That was a really enjoyable experiment.
Striking the Balance: Freshness Meets Familiarity
Question: How do you manage to advance design and ideas without compromising those foundational pillars, especially knowing that many players might be seeking something drastically different?
Jason Connell: It might sound simplistic, but it genuinely helps and works: we use the term `Fresh but familiar.` There are potential versions of this game that could have been overly familiar, and naturally, versions that could have been hyper-fresh, risking the loss of `Ghost`s` unique identity. Again, a key part of this is deciding what to carry over. For instance, with the art style, we could have pursued hyper-realism for the sequel. But the art style is integral to `Ghost`s` identity, so why would we abandon it? In my view, and I believe our team shares this, a distinctive style that truly resonates with people and the game leaves a more lasting impression.
Now, some might comment, `Oh, it looks somewhat like the last one.` To that, I’d say, `Yes, we adore the art style of the previous game; I believe it’s fundamental.` So, our approach was, `Okay, how do we expand upon that?` We now have significantly longer sightlines, vastly improved visual rendering quality across the board, and better performance. There are countless improvements we could detail endlessly. The point is, it retains familiarity while injecting a touch of freshness. And some elements are purely fresh, like our memory mechanic, which allows you to relive Atsu’s younger days within her home. This is purely a narrative tool you can activate at any time—a completely novel feature, unlike anything in our previous games. The ability to instantly jump back and forth is entirely new. Or consider the relationship with animals: in the last game, we had foxes and birds, and a sense of nature, wind, etc. In this one, you have a wolf. The wolf offers a much deeper experience than anything we’ve done before. So, it`s a wonderful blend: the familiarity of animals and nature, but taken to a much greater depth, making it feel truly fresh.
For us, `Yotei` clearly presents an opportunity to build on the familiar, which our many fans cherish, but also to intently focus on bringing freshness to key aspects of the game. Exploration is a major one, as is combat. I`m sure Nate will want to discuss combat. These two areas likely received the most attention and development time.
Nate Fox: I absolutely want to talk about combat! I think it`s an excellent illustration of that `fresh but familiar` strategy Jason mentioned. In `Tsushima,` we cultivated a sense of lethal precision inspired by classic samurai films, and we loved it. So, we aimed not to alter that core feeling, but of course, we wanted to introduce something new. A prime example is that `Tsushima` featured four combat stances; for `Yotei,` we`ve increased that to five. But these aren`t just different ways you hold your weapon. We decided to transform them into genuinely distinct melee weapons. Conceptually, it`s the same system, but the visual presentation is radically different.
And it`s more than just visual. If you switch to, say, a kusarigama, which is ideal against an enemy holding a shield, it also offers practical benefits due to the weapon`s nature. For instance, if you`re surrounded, you can swing the weighted chain above your head for an area-of-effect attack, hitting multiple enemies at once. Or if you`re wielding the spear near a cliff, you can use it to knock an enemy backward off the edge for an instant kill. So, it`s a much broader application of tools than we had in `Tsushima,` yet the foundation remains the same lethal precision style established in the previous game. We aimed to give players more freedom and more options without abandoning the core feeling that defined the earlier title.
A New Legend: Atsu`s Journey as the Onryo
Question: You previously mentioned the `identity of Ghost.` For me, a crucial part of that identity was the character Jin and the mythology built around him—the samurai code`s corruption and his transformation. Is that a significant element in `Yotei` and its identity? Because Atsu seems a little more established in her identity, becoming gradually more formidable. Is there a similar sense of mythology being forged around Atsu and the Onryo?
Nate Fox: As you rightly point out, `Ghost of Tsushima` was unequivocally about a samurai sacrificing his principles to become a stealth fighter; that was his character arc. `Ghost of Yotei` is a spiritual successor, but it tells a completely different story. Atsu begins the game as a sellsword. She doesn`t adhere to a samurai code; she`ll do whatever it takes to win. Her relentless pursuit of the `Yotei Six` sees her overcome overwhelming odds that would kill most people. Consequently, the inhabitants of Ezo begin to believe she is a legendary monster, an Onryo—a vengeance ghost. Early in the game, people already hold this belief about her. She embodies that identity because of her unwavering resolve.
Even though she possesses this larger-than-life perception, her transformation in the game isn`t necessarily about how she becomes `more and more the Onryo.` Instead, it`s a question of how her Onryo identity changes *her*. We witness her evolve from a broken, lone-wolf warrior who seemingly cares little if she lives or dies, to someone who gathers a `wolf pack` around her for support. She changes significantly on this journey. It`s a unique narrative, offering a fresh perspective on a different facet of what it means to be a `ghost` in feudal Japan, and we`re excited for players to experience it soon.
Humanizing Violence: The Memory Mechanic
Question: One of the things that truly captivated me was the `reliving memories` feature you discussed. It evokes a `John Wick` sentiment—like needing something to humanize the protagonist in a game where the primary objective involves brutal violence. What was the approach and idea behind this mechanic, and what are its limitations? Can it be done anywhere, or only in specific areas?
Jason Connell: Yes, there are specific locations in the game that Atsu will visit that are deeply intertwined with her memories. We wanted players to experience these memories interactively, allowing them to press a button, travel back, and actually play as young Atsu to truly immerse themselves in her past life. That freedom is incredibly important to us because as gamers, you know, when you`re in control, you genuinely feel like that character, you identify with them. Being able to seamlessly transition between memories and the present allows for a powerful before-and-after contrast, showcasing the warmth of her youth juxtaposed with the cold solitude of her adult life. And because you are in control, I believe you feel that contrast more deeply.
Just as you described, we aimed to establish that foundational feeling of what her life once was, so that players could truly comprehend Atsu`s profound loss. I think everyone has had that experience of perhaps returning to their childhood home, seeing the bedroom where they grew up, and whether they like it or not, remembering who they were at that time. These memories flood back, and it`s a profoundly human experience. Making it interactive simply helps to emphasize its universality.
Freedom and Flow: Designing an Open World
Question: Another aspect you heavily emphasize is freedom, the idea that `Ghost` will never rush players. How do you manage that freedom when it could potentially disrupt pacing—if a player spends 25 hours exploring elsewhere while a time-sensitive objective awaits? And second, how do you account for FOMO (Fear Of Missing Out)? I`m someone who constantly wonders, `What else am I missing?` It`s that dual-path gamer mentality where we might explore one path halfway, then another halfway, just to see what`s there.
Jason Connell: We might be tapping into some anxiety for you! [Laughs] We genuinely want to reward diverse playstyles. If some players prefer to `rabbit run` the golden path—we don`t believe it`s the optimal way to experience the game, but it’s a compelling story if that`s what you want—they absolutely can. We don`t want to obstruct that for them. We don`t want to make it difficult for players who purchase our game primarily for the story, forcing them into open-world activities they don`t enjoy by saying, `You must complete these six things before advancing the main quest.` That doesn`t feel like a great experience.
But at the same time, we also don`t want to just shove everything into your face or put all progression and cool rewards solely on the golden path. We want to celebrate players who enjoy playing expansively—and there are many of them. People who play the game for 70, 80, 90 hours, using photo mode at every corner of the map, discovering its beauty, finding all the small, medium, and large secrets. That`s why we create things like weapon sensei. To acquire new weapons, you have to track down these sensei in the world, build relationships with them, and then engage in sub-missions where they train you and grant access to these cool new tools.
That`s one of the reasons we place such content on side paths and within the open world—it’s a huge part of the play experience. If you want to spend all your time in the open world, you should be able to. We won`t force you to go somewhere else to do something specific. It’s a simple philosophy that genuinely translates into actual game mechanics in how we present the game. But truly, it’s about conveying to players that they can play it the way they want. We strongly believe the best way to play is to pull out the spyglass and explore. Yet, if you`re deeply invested in the main story, we’ll make it easy to engage with, because there`s a lot of emotion, heart, and structure within it. We don`t want to obscure that. We`re striving to celebrate both approaches.
Question: It`s one of those design challenges I know is tricky. I love the freedom, but I also want the game to subtly guide me, telling me where to go a little. I think I`m just a challenging person when it comes to open-world gaming.
Jason Connell: But I think the clue cards serve that purpose, to some extent. We moved away from the exhaustive journal—pages and pages of text detailing what you`ve done, what you can do, what you`re currently doing. It becomes overwhelming, especially for players who prefer visual and pictorial references on the map. You might receive a small clue, perhaps because you haven`t acquired a new weapon in a while. We might hint at a weapon`s location, sometimes giving a precise spot, other times a general area. If weapons are your focus, great, go for it. Or perhaps we’ll tell you about armor nearby. If armor is what you seek, fantastic. We try to provide these opportunities so you`re never completely aimless. You`ll certainly never be aimless if you stick to the golden path, but we try to provide enough compelling things to pique your interest in what else the game offers.
Exploring the World: Cartographers and Stealth Options
Question: One thing that caught my eye was the segment where you were buying a map from a cartographer, and it looked like you were physically placing the map piece. Could you elaborate on that?
Jason Connell: We think maps are cool, and we actually dedicated a lot of time to finding ways for players to interact more deeply with them when purchasing or discovering one. In this historical period, cartographers were actively mapping these regions, so it creates a nice thematic connection. You can purchase these maps, which will lead you to various points of interest you`ll want to discover. There`s a little mini-game where you have to figure out, based on the map he provides, where it fits on the larger world, and successfully doing so rewards you. It’s a small, interactive experience built around the map system.
Question: I primarily play in stealth, and when you presented Atsu, she seemed very much engaged in direct combat. Will stealth players still find satisfaction?
Jason Connell: You can absolutely sneak up on enemies and assassinate them when they are unaware. I believe this is a crucial part of the fantasy. Atsu is not bound by a code of honorable combat; she will do whatever it takes to win. We showcased in the State of Play how you can use a kusarigama, and we’ve developed more tools and different behaviors for `Yotei` to enrich the stealth experience. However, I like to think of stealth not as a standalone option for most enemies, but as a dynamic dance between stealth, ranged attacks, and melee combat. Players aren`t locked into any single approach. You can fluidly switch between them when facing a group of enemies, offering a great deal of freedom in playstyle.
I`m primarily a ranged player, one of those rare individuals who loves shooting things with a bow, and the game fully supports ranged combat. As I mentioned earlier, providing players with abundant options means they can approach the game in a way that best suits them. This extends beyond just combat or stealth; it also applies to whether you prefer to follow the main story or engage heavily in exploration. That`s a significant component of how we want the game to be personal to you, meeting you where and how you want to play.
Technical Enhancements: PS5 and PS5 Pro
Question: Working with two consoles now, PS5 and PS5 Pro, are there any distinguishing features or advantages to one over the other? What was it like developing with that extra horsepower?
Jason Connell: The broader answer is that we will provide a more in-depth breakdown of all the specifics regarding the Pro features and their details in the future. Unfortunately, we don`t have those specifics to share today. I can speak more generally about PlayStation development and game creation. There`s a whole array of things, some enabled by the Pro, that have genuinely allowed us to visualize the world in a fresh way and appropriately advance our artistic, beautiful style. It doesn`t simply lean into photorealism, but truly amplifies our creative and artistic ambitions.
For example, we now have significantly longer sightlines than in the previous game. We`ve managed to vastly improve our distant terrain rendering, and I believe people comparing it to `Tsushima` will be truly astonished—it`s remarkable. I was quite surprised when those features were implemented. Other improvements include native 4K rendering or enhanced hair and skin. Snow deformation—that wasn`t in the last game. Now, if you`re fighting in the snow, your weapons leave marks, your feet trample everywhere. Characters get covered in snow, blood splatters… it`s a messy, visually impressive experience due to the deformation. We even extended this deformation to things like chunky mud, so if you`re moving through very thick and deep mud, it reacts accordingly. These are just things we didn`t have before that are now in this game. We`re very excited about them, but specifically for the Pro and the differences between the base and Pro models, we’ll provide a detailed breakdown in the future.
A Collaborative Vision: Shinichirō Watanabe`s Contribution
Question: What was it like collaborating with Shinichirō Watanabe for the game? It must have been an incredible journey to get him involved.
Jason Connell: Each of our collaborating directors has their own unique path to bringing their ideas forward, and their own approach. Shinichirō Watanabe was also working on `Lazarus` at the time, and I believe it was just launching its first episode. It was a really exciting period, and I watched it thinking, `Oh man, I love this. This is good.` It truly reminded me how much I adored `Samurai Champloo` and `Cowboy Bebop.`
You see, with these samurai video games, regardless of what they are, people do playthroughs and layer lo-fi beats over them for their streams or whatever. I thought, `Man, we should create a mode that truly celebrates that origin point.` Even though it`s anime, not classical samurai cinema, there`s a huge overlap with our fans—like yourself, or anyone, including myself, who is drawn to and recognizes that aesthetic. I felt, `We absolutely should celebrate that.`
We reached out and had a meeting with them. They were incredibly enthusiastic about the idea, truly excited. Almost immediately, Watanabe-san started suggesting, `Oh, I`m going to get these artists. I think these people might be really great fits.` Within a very short time, we were already receiving music. We have several original tracks he created, and some remixes of our actual score. It was a truly positive and very exciting journey for us, and we are incredibly honored that he was willing and enthusiastic to be a part of it. Our fans will get to hear it when the game is released.