Assassin’s Creed: Shadows – Exploring Feudal Japan in a Historical Gaming Experience

jApan, 1581: Iga Province is burning around you. You will be monitored, injured, helpless
Oda Nobunaga – the warlord responsible for many civil wars and the ultimate unification of the country – a smirk from the nearby hill. You draw your katana and glow in the flickering light of flames. This is Assassin’s Creed: Shadows – some exciting ninja games, some history lessons. It’s a strange combination, but it brings together a vast historical fiction adventure filled with discoveries and deceptions.

The turbulent times, when Japan was unified in the late 1500s and seeing the collapse of Nobunaga, are ideal environments that will help you play as despicable ninja and brave samurai. The series’ science fiction framing device means that you, the player, are cornering the mysterious craft by jumping into your ancestor’s memory and defeating a group of terrifying masked samurai one at a time. But most games leave you alone to enjoy feudal Japan.

During this difficult period there is a constant sense of danger, and each conversation is like a careful step at the edge of the knife. The stories are of course complete fiction, but they weave real historical events and characters, and the Ubisoft developers clearly have become a huge pain to make them feel authentic, authentic, both the scenery and the people who inhabit them. If you automatically remove your shoes when you enter the building, it looks like you’ve seen the famous temple, not as a tourist destination today.

The world is truly luxurious, with several states to explore in all seasons and weather, as well as cities of the era, including Kyoto and Osaka. The giant temples rise above a busy town filled with food stalls and workshops, while mossy shrines are scattered along the winding paths of the countryside. Japan of all colours will see Japan in all colours, from the mild pinks of cherry blossoms in spring to the fiery colours of leaves covering the hills in autumn to the pitch black darkness of winter nights. It’s easy to be distracted by views along the way when surrounded by ancient Red Torigates or when you notice random puppet performances on the streets. I feel that Ubisoft’s Japan is alive. Also, sometimes it feels completely overwhelming.

It’s as fun as riding horses around the country and scouting new villages and historic places, so it’s easy to feel lost because there are so many. There are many missions and side quests that will guide you around the map, but those tasks have many repetitions. To kill a high-level samurai, you need some help. Someone who can help you want the bounty, it includes finding
Another Someone I want you to kill me
different Samurai, etc. After a long time in the game, this starts to grate.

The double hero helps to reduce the feeling of you being stuck in a loop repeatedly. For the first 10-15 hours of the game, she steps into sandals on Fujiwarajima Island, a young woman seeking revenge after the house is destroyed, reconstructing her life and helping her set up a network of spies and rebels from a secret mountain base. Then there is Yasuke, a principled black samurai based on a real historical figure of the same name. They appear briefly in the introduction to the game, disappearing until Naoe approaches Nobunaga.

Naoe is bright on her feet, allowing easy expansion of walls and temples, blending into the shadows to sneak around her enemies. Her stealth approach makes for fun, mean moments like stabbing a screen door on a paper for a surprising attack. But that tipped approach costs her when she faces a brawl. The enemy strikes attack her hard, and she is soon overwhelmed in the battle. Yasuke, meanwhile, cruelly strong, runs straight through those screen doors, shrugging on sword strikes, shrugging like the stimulant they tickle. He can still assassinate his enemies like Naoe Can, but he does it from the front, not from the shadows. In a series that traditionally prioritized stealth, it is extremely liberated when you break through the castle gates and everyone faces it head-on. Both characters are viable options for playing most of the game and can be freely exchanged between them (almost) at their own pace.

Unfortunately, no matter who plays, you have to put up with some great things in the fight. Dodge and Parry find themselves surprised in one-on-one scraps, but you often find yourself surrounded as more opponents are warned of your presence. It feels like everything is when you take your time sneaking up around the castle roof and picking enemies, bouncing backwards into the shadows before scopeping your next kill. But the moment you get caught up in a battle on the ground, it starts to feel nasty and frustrating.

I found myself getting frustrated with going back and forth between the quest givers, but I can’t stop thinking about the shadows. Emotionally resonating moments, such as excellent performances and Naoe’s painful recovery after losing everything she cherishes, mean that she feels all her sadness and anger along with the game’s hero. Events are often troubling as the power struggles between the Lord often cost locals a lot and see the unwelcome impact of your actions on allies.

Few games have done such a good job in this environment as they run through lush bamboo forests before creeping up to shrink the walls of ancient castles and steal treasures. These moments of glow are more than making up for that weak point.