You’ve probably heard of the Japanese art of kintsugi, which literally translates to “golden repair.” It’s not just an art form but a philosophy that involves repairing broken pottery with lacquer mixed with powdered gold, silver, or platinum. The idea is to highlight and embrace the item’s history by showcasing its cracks, turning the damage into something beautiful and meaningful.
It seems like Ubisoft has adopted the kintsugi approach with Assassin’s Creed Shadows, as a way to reflect on its 18-year-old franchise. You’ll notice the familiar flaws — a cluttered user interface, overwhelming map icons, clunky parkour, clumsy combat — but rather than hide these imperfections, Ubisoft appears to own them. Sure, there’s some irritation with the messy aspects, yet just beyond each imperfection lies something jaw-dropping, an experience that captures the essence of what makes this series beloved. For every frustrating mission, there’s a breathtaking set-piece that matches, if not surpasses, previous franchise benchmarks. In every flaw, Ubisoft has somehow inserted a layer of brilliance.
One of the standout features in Assassin’s Creed since its overhaul (starting with Origins) is the expansive objective screen packed with targets. The intricate lore has always driven you to expose secretive cabals, and Shadows, set in the Sengoku-era Japan, adds layers of complexity with its numerous shadowy organizations waiting to be dismantled.
This aspect of the game is the foundation of its open world. It makes the lengthy horseback journeys worthwhile. Besides the main storyline — which involves eliminating thirteen enemies in a quest for vengeance — the game constantly throws side objectives at you. Yes, these motivations are largely focused on elimination, yet each mission remains captivating due to the diverse contexts. With every group of rogue ronin or disgraced shinobi offering a unique challenge, your main task remains consistent yet fresh, and infinitely more engaging than the tiresome “tail this character” missions from earlier titles.
With the introduction of two distinct characters, the agile Naoe and the robust Yasuke, Ubisoft highlights a major attraction of Shadows: the combat. While the fighting mechanics are similar to those seen since Origins and are merely adequate, the game shines in how it connects these moments. Whether you prefer stealth or a full-on assault, Shadows offers you options — switch to Naoe for some finesse or choose Yasuke for a more direct approach.
Even if the AI occasionally lacks sophistication or physics act oddly, the thrill of pulling off a stealthy takedown of a giant ronin is unparalleled. The satisfaction of seeing the life bar of your opponent disappear due to a perfectly calculated strike with your naginata feels surreal. The combination of humor and gravitas in the action is exhilarating.
Regarding the narrative, it stands solid on its own, although I’d recommend experiencing it in Immersive Mode with subtitles to bypass some awkward English voice-overs. The Japanese-Portuguese dialogue better captures the atmosphere reminiscent of historical dramas like “Shogun.” Ubisoft’s cinematic style is top-notch, offering some unforgettable scenes. Big kudos to the band TEKE TEKE for their contribution; their music adds a Tarantino-esque flair that amplifies key moments.
However, the story initially struggles with pacing. It takes about 12 hours of prologue and exposition before the game fully opens up, at which point you start feeling at ease with your characters. Thankfully, the game wonderfully balances switching between Naoe and Yasuke, offering opportunities for character skill development and variation in combat style. I personally preferred Naoe’s stealth approach but found great enjoyment in unleashing Yasuke’s raw power when necessary.
Even traditional elements of the series, like collectible missions, have been redefined in Shadows. The way Ubisoft has reimagined these tasks, such as tracking down origami cranes, is pleasantly surprising.
The base-building component, though optional, rewards your engagement by unfolding more of the story and character development. This feature allows you to upgrade and customize items, enhancing your gameplay without feeling intrusive.
Periodically, Shadows requires you to decelerate and engage in moments of reflection, like visiting temples or practicing mindfulness tasks. Though repetitive, these activities juxtapose the intense action segments and contribute to the game’s rhythm. They inadvertently highlight the developers’ dedication to an authentic yet fantastical depiction of Japan, akin to a themed Disneyland.
Visuals in Shadows are breathtaking, especially on a PS5 Pro in Quality mode. I found myself pausing to admire the vibrant landscapes, particularly the autumn scenery with its stunning color palette, which showcases the game’s attention to the natural beauty of Japan, making it perhaps my favorite Assassin’s Creed setting to date.
While Ubisoft promoted the changing seasons as a gameplay mechanic, their practical impact feels minimal beyond aesthetic variety. Nonetheless, the visual distinction between seasons enhances the journey through the game’s expansive world.
True to the ethos of kintsugi and closely tied to the Japanese philosophy of wabi-sabi, Shadows acknowledges its limitations and incorporates them into the experience. It doesn’t shy from the intrinsic flaws of the Assassin’s Creed formula but cleverly utilizes them to the game’s advantage.
Assassin’s Creed Shadows has imperfections, for sure. Yet, it expertly crafts an engaging narrative, filled with a rewarding sense of achievement. Its vast open world feels inspired by modern game design, where every action is purposeful, enticing you to explore further.
I find enjoyment in uncovering minor shortcomings because they often lead to something intriguing. Such praise is typically reserved for exceptional works, and in the realm of video games, it signals something truly special.
Assassin’s Creed Shadows is set to launch on Xbox Series, PS5, and PC on March 20, 2025, after a brief delay earlier this year.
