How does Ghost of Yotei feel so Japanese even to Japanese people? We talk to the devs about the responsibility that comes with making games outside your own culture 

SIE and Sucker Punch Productions will release Ghost of Yōtei – the much-anticipated successor to 2020’s hit Ghost of Tsushima – on October 2, exclusively for PS5. 

Taking place in Japan’s snowy Hokkaido region in the year 1603, the new title introduces a brand-new setting and protagonist. The heroine, Atsu, is a lone-wolf warrior driven by vengeance after her family was murdered. While on her journey for revenge, she can take on requests from locals or hunt down bounties to earn money for her travels. How Atsu fights, overcomes adversity, and builds a legacy will depend on the player. 

Much like its predecessor, Ghost of Yotei’s depiction of Japan feels remarkably authentic. To find out more about how this was achieved, AUTOMATON Japan talked to spoke with Joanna Wang, art director at Sucker Punch Productions. 

──I noticed the atmosphere in Ghost of Yotei feels brighter overall than in Ghost of Tsushima. How did your approach to art direction change between the two titles? 

Joanna Wang (hereafter Wang): 
The difference mainly comes from the change in setting. In Hokkaido, which in that era of Japanese history was called Ezo – the land feels remote, vast, and untamed. It’s always changing, which is very different from the world we’d depicted in Ghost of Tsushima. 

The landscape stretches endlessly in every direction, both horizontally and vertically. It feels more dramatic, more vibrant, and more alive than Tsushima, and that’s how we wanted to depict it. For example, you might see the aurora crossing the night sky, or when the Sun rises, you’ll see clouds drifting over the mountains as birds take flight and the wind sweeps across the grass fields. It makes you feel like the land is raw, wild and unpredictable, yet alive. 

The map itself is designed very differently from Tsushima. Each region has its own personality, a different seasonal feel, and its own color palette. All of this helps players immerse themselves in the world and enjoy it even more. 

──Given that both games are set in Japan, were there any elements that carried over from Tsushima into Yotei, despite the different regions and time periods? 

Wang:  
Many things. Some cultural foundations remain the same, and we were able to expand on the knowledge we gained while making Ghost of Tsushima, with the help of advisors guiding us through the Hokkaido setting. 

Visually, we’ve kept the “living painting” look, inspired by the minimalism of Japanese art. By stripping away distractions, the main themes stand out more clearly, while details enrich the world. This idea comes from Japanese art and culture, and it continues to shape the style of Ghost of Yotei. 

──As a Japanese person, both Tsushima and Yotei feel distinctly Japanese in their design to me. How did you go about capturing that sense of Japan, especially in the natural landscapes? 

Wang: 
Hearing that from a Japanese player means so much to us, and I’ll share that with the team. Creating something outside your own culture is never easy, and it comes with the responsibility to portray things respectfully. Both for Tsushima and Yotei, we received an incredible amount of guidance from our Japanese advisors. 

We drew inspiration from Japanese film, cinematography, photography, and traditional art to depict nature. For instance, we even studied how blades of grass were painted in classical works to recreate their shapes and movement. 

On top of that, we went on multiple research trips to Hokkaido. We sent teams of artists, designers, foliage specialists, even audio staff to study the landscapes and biomes firsthand. I think all of these efforts combined helped us bring authenticity to the natural environments and make the world feel Japanese. 

──One thing that stood out to me is the color yellow and the way it has almost become Yotei’s theme color. Was this intentional, and what effect were you aiming for? 

Wang:  
Yes, absolutely. And I was very picky about it – it’s not orange-yellow, not egg-yellow, but closer to a lemon-yellow. That color carries significance in the game’s themes, especially for Atsu. 

Sixteen years ago, she had everything taken from her – her family, her home. She was tied to a ginkgo tree and left to die. Countless yellow leaves fell from the tree, before it was engulfed in flames. The yellow you see at the beginning of the game represents her lost hometown and carries through her story. 

Her costume is also yellow, tied to the ginkgo leaves. It represents her past, her scars, and the pain buried in her heart. Throughout the game you’ll see yellow appear in important places, almost like dots that players connect to piece together Atsu’s story. 

──The protagonist has changed from male in Tsushima to female in Yotei. How did that affect your art and design? 

Wang: 
At Sucker Punch, we’re suckers for telling origin stories, and Atsu gave us a fresh opportunity to do so. She’s a capable warrior, and a lone-wolf mercenary. You’ll see her both as a child and as an adult, from the night her world was taken from her through her journey of revenge, which is only a starting point for something deeper and greater.  

From an art perspective, we design each character around the life they’ve lived and the journey still ahead of them. Atsu’s yellow costume tells her story, as does the sash around her waist, inscribed with six names. She also carries a shamisen, tying her design to her mother while also creating a cool-looking silhouette that makes her instantly recognizable even from a distance. We were really excited to create a character like her. 

──Beyond Atsu, what about the other characters? Was there a particular theme or concept guiding their designs? 

Wang:  
Yes, I think the concept team could write a book about it. Each character design begins with a biography – who they are, how old they are, the life they’ve lived, their personality, and the events they face later in the story. The Yotei Six were the most difficult to design. Since there are six main antagonists, giving each one a completely different, unique appearance was a major challenge. 

But each design detail is carefully considered to reflect characters’ backgrounds. For example, Sensei is a martial artist living on a mountaintop, so he doesn’t wear fancy clothes. Oni is a former samurai, so he still carries pieces of armor and a helmet, proud of his past. 

──Thank you for your time! 

Ghost of Yotei launches on October 2 for PS5. 

[Interviewer: Mizuki Kashiwagi] 
[Interviewer, editor: Ayuo Kawase] 
[Writer, editor: Akihiro Sakurai]

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