Sucker Punch Productions and the theme of morality
How Sly 3: Honour Among Thieves, inFAMOUS Second Son and Ghost of Tsushima explore the fine line between right and wrong.
Reader,
If I’m being completely honest, Sucker Punch Productions, a game studio that has existed since the late 90’s has never been one I considered to have ground breaking stories.
Not to say that they have never been seen as talented. Ever since I got the chance to try a demo of Sly 3: Honour Among Thieves for the PS2 way back when, they have been one of the most experimental and interesting studios to watch it’s evolution through the years.
From working on kid friendly platformers for the Nintendo 64 and PlayStation 2, moving on to grounded superhero games for the PlayStation 3 and early PS4 lifecycle to their most recent title being a PS4 and PS5 title set in 16th century Japan, they’ve certainly the most interesting repertoire from all the other developers currently working for PlayStation Studios.
And because of that, you might assume that with so many directions and genre changes, you’d think that there’s nothing tying all of them together to make them “Games made by SP”.
But if you’ve read the title of this essay, you know I think differently.
It had never occurred to me just how close SP’s games were tied to the concept of morality until last summer when I played their latest title Ghost of Tsushima and noticed how prominent the theme was in the game.
And that’s where this essay soon began conceptualising. Over the next three sections, I’ll be covering how this company has explored the theme of morality within three of it’s 15 year long gaming career.
A few things before I start. While this is a essay that features secondary sources and referenching, this isn’t meant as a serious, proper acedimc essay. This is just merely an interesting experiment in my mind of how this small studio managed to grow themselves up in the nearly 3 decades they’ve been in business.
And secondly, and I know this goes without saying, but I will be discussing spoilers for all three of the games that will be featured in this mini essay. Just in case you want to play through some of these titles for yourself, and you should, their a great time and have a large amount of replayability and charm to each of them.
But with all that said, let’s take a look at arguably the most morally bad characters in an otherwise kid friendly genre, Sly Cooper.
Sly 3: The Panda King and his rivalry with Sly
I know what you’re thinking. Sly 3? What can a series made for kids at a time when the 3D platformer was on its way out can tell us about this studio discussing the balance between right and wrong.
But for those that have played this series, you’ll know immediately why that is when I mention our protagonist’s main occupation.
See, what separates the Sly Cooper series from other series of its ilk is that Sly himself is a thief. Part of a long line of thieves that have a knack for stealing off of other criminals.
And over the course of this studio’s trilogy, he alongside his troop of like minded crew scout far and long by climbing drain pipes, organising heists, recruiting new members for more treasure while somewhat becoming heroes on the side.
With 2005’s Sly 3: Honour Among Thieves however, his sense of morality is confronted when faced with an enemy from the first game, the Panda King.
Long story short, when Sly was a kid, his house was broken into by a group of rival thieves called the Fiendish Five who not only kill Sly’s dad in front of his eyes but also take the heirloom to the entire Cooper Lineage, the Thievius Raccoonus a massive book detailing the exploits of the coopers through the centuries.
One of the people involved in that raid on his house is a panda simply called the Panda King, a master of kung-fu who also sinks homes near his castle in mountain loads of snow using an assortment of fireworks and explosives.
Sly is eventually able to find his lost heirloom and defeat the Panda King in the process but by the third game, he learns of a massive vault containing massive treasure that once belonged to each of the Cooper’s before him.
Soon after this discovery however, Sly realises that he and his team need a demolition expert in order to bypass a certain wall and reluctantly agrees that the Panda King, with his wide usage of explosives is the only one for the job.
When they do locate the King, they find that not only has he retired as a monk but also won’t help them after failing to protect his daughter, Jing King (great alliteration) has been abducted by a Chinese Warlord named General Tsao to be his bride.
Once the King agrees to join and work alongside the man who humiliated him, he has one last conversation with himself in the mirror, effectively speaking to the greedy version of himself from Sly 1.
As the younger King argues why they should even team up with the person who ruined their reputation when they can easily save Jing King alone, the older more wiser version makes a interesting point:
“Cooper is a teacher of humility. We have slain his parents, yet he manages to trust us. By studying him we will become whole.” (Sly 3: Honour Among Thieves)
What this brief exchange basically shows us is that, while The Panda King naturally still has a lot of bad blood between himself and Sly, he is not only willing to forgive his old enemy for his past actions but also realises that he must become a better father for his daughter and let go of the rage that binded him for so long.
This is reflected in a video essay by the YouTube channel B-Mask who mentions that the Panda King as a result:
“In guiding the Panda King’s fractured psychic to clarity we are given empathy for the character on a deeply intimate level. The very real demons that plagued him are now burdened upon us and it’s our duty to consider him differently, as a person in need of resolution.” (B-Mask)
And as a result, is finally able to grow an iota of morality thanks to the unlikely actions of an old rival.
inFAMOUS: Second Son and the crusade of Brooke Augustine
Fast forward 9 years after Sly 3’s publication, we, funnily enough, arrive on the third entry of another series, inFAMOUS (yes that’s how it’s stylised, get used to it), with it’s 2014 entry Second Son.
In comparison to the world of talking animals that Sly inhabits, inFAMOUS is centred on the exploits of “conduits”, people that have access to superhuman elemental powers.
As another drive between the two series, inFAMOUS makes use of what is called the “Karma” system.
At certain points in the story, the protagonist, be it Cole McGrath of inFAMOUS 1 and 2, or Second Son’s lead character Delsin Roew, will be confronted with a moral conundrum.
This can range from sparing the life of a surrendered enemy or executing him on the spot to something as long lasting as stockpiling emergency supplies or giving them up for more needy civilians.
Regardless of which action you chose to do, you’ll gain specific abilities that compliment your chosen path ranging from getting bonuses for dealing damage to civilians if you have enough bad karma to being able to perform an AOE heal on injured bystanders.
As a result, in comparison to Cooper’s exploits, who demonstrated that he was a caring man even when his profession clearly isn’t, inFAMOUS often has very grey conflicts for it’s characters to deal with.
And perhaps the person that best embody’s that sense of greyness is in the main villain of Second Son, Brooke Augistine.
As the head of the Department of Unified Protection (or DUP for short), Augustine seems to fly directly in the face of what the majority of the world seems to think of conduits as she herself is a conduit with the power of concrete whose job it is to abduct others just like her.
So if she herself is a conduit then why is she a major player in the enslavement of her own kind?
Well, as Deslin learns near the end of the game, it turns out that Ms. Augustine was originally part of a military fireteam, tasked with rounding up conduits in an unnamed foreign land.
However, during the operation Brooke and her team are separated and she gains the power of concrete from a little girl in a nearby village.
With help from the child, the two navigate the city, avoiding lynch mobs aimed at murdering conduits and soon reunites with her squad.
However, despite her tie to the US government, her troops hold her at gunpoint because she is now a conduit.
Now caught in the middle of two different worlds, one of her command and one of her newfound people, she chooses to use her new powers to construct a super prison for people like her called Curdun Cay to keep conduits as far removed from society, and thus, safe from persecution.
While this move may come across as cowardly or hypocritical given her inherited abilities, as she mentions herself:
“If my kind were going to live… it’d be behind the walls of Curdun Cay.” (inFAMOUS: Second Son)
This decision by Augsitne makes perfect sense when you think of it. Basically using the DUP and her jail as a means to hide conduits from persecution from the rest of the world.
However, it doesn’t change the fact that she is taking away people from homes, using her powers to betray her very kind and as proven through other flashbacks in the story and several former inmates testify, torturing her inmates to learn how their powers work.
As Nate Fox, the founder of SP mentioned in March of 2013 during the initial reveal of Second Son, the primary conflict spew from a protest he was at in Seattle in 1999 and said that the main theme of the game was:
“How much control would any of us have over our own lives and which of us would have the courage to fight to get our freedoms back.” (Nate Fox speaking at the PlayStation 4 Announcement)
Now in keeping true to the game itself, how Delsin eventually wrestles control away from Augustine and her organisation is entirely dependent on what you do.
Be it exposing her crimes to the whole world and convincing people to release the conduits stuck under her thumb for years or killing Augstine in front of thousands and assuming control like some kind of superpowered French Revolution.
But whatever option you choose does not remove the fear that stalks conduits wherever they go, be it through bioscanners in major cities like Seattle (where most of the action takes place, a deliberate choice on Fox’s part I feel given his history), the labelling of them as “bioterrorists” or Augstine’s idea of safety will continue to persist.
And because of that, you can empathise with her choice by the end of the game. It wasn’t the best option, but in the world that exists in this title, it was the only one. Demonstrating how Sucker Punch showcases a grey blur in morality through this particular game.
Ghost of Tsushima’s father and son battle
That leads us now towards the latest title from this studio, Ghost of Tsushima, originally released in 2019 for the PS4 with a director’s cut version being released for both the PS4 and PS5 in 2021.
And as I’ve mentioned in the opening section of this essay, GOT is perhaps the most direct when it comes to how this studio explores morality in their titles.
Set on the Japanese island of Tsushima during the 16th century, we follow the perspective of Jim Sakai, heir to the Sakai clan of samurai and fighting a war against the Mongol Empire.
At this point in time, the Mongol empire lead by Kotun Khan (grandson of Genghis Khan), has begun invading Japan, massacring the majority of the samurai on Tshumia island and plans on using it as a beachhead for crossing the mainland.
And it’s following this attack that encourages Jin to rethink his upbringing and training as a member of the shogun. Not to face his enemies head first in battle and with honour but choosing to strike from the shadows and using every imaginable trick to best a restless enemy.
Over time however, this war against the Khan and his army starts to turn Jin into because it’s an interesting conflict.
The samurai are honour bound warriors, destined to protect the weak and challenge their enemy head on.
But during the opening cutscene when the leader of Clan Adachi personally challenges the Khan to a duel, he’s promptly set on fire and loses his own head in response.
From the word go, the Mongols are a terrifying presence. Not just in how they kill and murder anyone who dare stands against them but also in how they ransack the farmlands for supplies, the very people the Samurai are supposed to keep safe.
But soon after Jin adopts the mantle of “The Ghost”, using smoke bombs, posion darts and back stabs to slice through the army, the tides quickly change.
As Jin’s reputation, both as The Ghost and in the story evolves, it slowly becomes reflected in the responses the Mongols make to Jin’s growing ruthlessness.
In the story, as Jin abandons more and more of his path, his methods like posion an entire legion of the Khan’s army to slicing the head of a Mongol captain in front of his own men works to build terror to his enemy.
Effective, but very far removed from the more pacifist and respectable roots.
During certain fights, enemies will stumble and run in terror and after performing 7 kills in a row without getting hit, Jin can activate “The Ghost” stance of swordfighting and kill 3 enemies in one strike, as they flee in terror.
Naturally however, this growing change in Jin causes a hefty amount of turmoil between him and his uncle Lord Shimura, a fellow samuri driving the two apart overtime.
You have Shimura, who may be kinder to his enemies than Jin but whose tactics seem ineffective against an uncaring and barbaric army like the Khan’s.
And then you have Jin. Despite being more merciless and inspiring fear in the heart of his enemies, it’s what ultimately helps to defeat the Khan and his army, while also using the myth of The Ghost to inspire others.
All of this comes to the fore in the final mission of the story, simply called The Tale of Lord Shimura.
Having defeated the Mongol empire with his allies, Jin is requested by his uncle to visit the gravesite of his father and Shimura’s brother, who died defending a young Jin from bandits.
As the pair reflect on the gravesite of the deceased Lord Sakai, Shimura reveals that the Shogun in the mainland have not only dismantled Clan Sakai but have also sent Jin’s own uncle to kill him.
This results in one final duel between surrogate father and son with Jin coming out victorious and left with a choice. Grant Shimura’s wish and give him an honourable death or let him live and embrace the title of the Ghost.
And when you think about it, much like the way the game has been building up, neither side of this decision is inherently right or wrong.
While allowing Shimura to receive an honourable death might be the way to go, you’re essentially letting your main character kill the last of his family and have him fully face up to the fact that he has caused all of this.
On the other , if you spare him, you might be giving Jin the last bit of humanity he still has in him one last prick but Shimura, a proud believer of the samurai code may feel like he has failed his duty to the shogun and commit sucide.
As Shimura tells Jin right before his dual:
“You have no honour.” (Ghost of Tsushima)
With Jin, his face engulfed in pain and grief saying:
“And your a slave to it!” (Ghost of Tsushima)
Of all the titles that I have discussed in this essay, Ghost of Tsushima is definitely the most explicit when it comes to themes of morality and in a way, sacrifice.
How much do you give up for the people you love? Your home? To the point that you become what you wanted to destroy?
While this makes GOT out to be somewhat of an amoral video game, I actually think it serves more so as an exploration of perceived notions of what’s right and wrong.
As YouTube channel Gamingwins mentions in his video on “Everything GREAT about Ghost of Tsushima” the tragedy between Jin and Shimura is that:
“Everything leading up to this duel has been so tragic and perfect. All they’ve been through they keep to their honour and respect and still love one another.” (Gamingwins)
And regardless of which ending you chose for the game, it does not change the kind of person that Jin eventually becomes by the end.
Not just a warrior, fighting to save the people of his homeland, but as a phantom, seemingly above the laws of the Shogun and only doing what is needed to protect his world. Demonstrating one finale time how Sucker Punch explores morality in their games.
Conclusion: Hatred, Control and Sacrifice.
To close, Sucker Punch have actually proven, over the course of more than 20 years of business, are able to explore the theme of morality very powerfully within 3 largely different titles and genres.
From the Panda King of Sly 3 making a conscious choice to put the needs of his daughter over his selfish revenge, Brooke Augstine justifying a containment facility for outsiders in inFAMOUS: Second Son to the actions of Jin Sakai and the responses made by his uncle Lord Shimura, this is perhaps one of the best ways in which a single person or group of people can adapt and refine a single theme over many years.
And with the amount of praise that this one company has earned in the years since, alongside the news of a film adaption of Ghost coming from the director of John Wick, it’s fair to say that their impact has not been understated.
And if one thing is clear, it is that we should look forward to how this company will explore the conflict between right and wrong for many years to come.
First drafted December 29th 2021
Last edited February 18th 2022
Bibliography:
B-Mask. “The Sly Trilogy Retrospective : Part 3 | Beyond Pictures”. Youtube.Com, 2019, https://www.youtube.com/watch?v=UC2W8AYRAHw&t=209s.
Gamingwins. “Everything GREAT About Ghost Of Tsushima!”. Youtube.Com, 2022, https://www.youtube.com/watch?v=v5s48zXeAYw&t=1547s.
“Playstation 4 Announcement Live Stream (Replay)”. Youtube.Com, 2013, https://www.youtube.com/watch?v=RiNGZMx2vhY.
Sucker Punch Productions. Ghost of Tsushima, PlayStation Studios, 2020
Sucker Punch Productions. inFAMOUS: Second Son, PlayStation Studios, 2014
Sucker Punch Productions. Sly 3: Honour Among Thieves, PlayStation Studios, 2005
