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. But how does Ghost of Yotei’s overall experience differ from its predecessor? To find out, AUTOMATON Japan spoke with Joanna Wang, art director at Sucker Punch Productions. This edition focuses on Ghost of Yotei’s technical innovations and use of the PS5’s capabilities.
Check out part one of this interview for Sucker Punch’s insights into “creating a game outside your own culture.”
──Since this is a PS5 exclusive, what new possibilities did the jump from PS4 open up for you?
Wang:
For Yotei, we realized very quickly that we needed to improve draw distance. To portray the vastness of the Hokkaido map, we needed to be able to render distant views with high fidelity and accurate depth of space. We can now load millions of assets, with tens of thousands visible on-screen at once. Real-time particles like leaves, snow, ash and fog number in the hundreds of thousands across both near and far distances.
The PS5 also lets us use haptics and the controller speaker, so combat clashes or even the sound of a shamisen can be felt and heard directly in the player’s hands.
Then, we were able to improve the look of starry skies, auroras, time-of-day transitions, grass rendering, and terrain deformation – like realistically kicking snow off trees. Altogether, these make the world feel more alive and interactive. I think that’s the power of the PS5.
── Can you share some technical aspects or innovations behind achieving the game’s visuals?
Wang:
Every asset we create has to fit within our rendering system and color palette, to ensure the world remains cohesive. Textures, normal maps and specular maps must look a certain way and follow specific rules to maintain consistency.
We also focused on noise reduction, using a process called denoising. In real photos, random noise patterns appear, but since we aim for a “painterly look,” we remove that noise, both from individual material textures and entire scenes. For example, in a grass field, we might add only white flowers for horses to gallop through, but avoid mixing too many colors. This is related to the minimalism I mentioned earlier, as it draws attention to what matters – the white foreground (flowers) against the green background (grass).
From the smallest textures to the overall landscape, everything follows this kind of philosophy. Combined with our rendering team’s lighting, skies and clouds, I think the result is a cohesive world that feels beautiful and harmonious.
── What part of the game’s art are you personally most proud of?
Wang:
There are so many, I don’t know where to start (laughs). But If I were to name one moment that left a lasting impression on me, during development, I was playing a mission where you climb Mount Yotei. When I reached the top, I looked out and saw clouds drifting below my feet, and the world stretching endlessly in all directions. It felt massive, and it was like a perfect harmony of art team’s craft, technology, rendering, and effects.
I was speechless. I stayed there for a long time, just taking it in. For players who’ve been to Hokkaido or seen Yotei in real life, I hope this moment resonates with them as it did with me. It reminded me of seeing the mountain for the first time – an unforgettable experience we’ve tried to carry into the game.
──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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