Assassin's Creed Shadows review: An ambitious and captivating world that's stuck in the past
Posted in: UncategorizedIt’s unlikely that the fate of a company as large as Ubisoft will hinge on the success of one tentpole single-player game. But the company cannot afford another major error anytime soon after the likes of Star Wars: Outlaws and XDefiant failed to set the world alight. Ubisoft desperately needs a big hit (and for the Rainbow Six Siege X overhaul to go well). The good news for the company is that Assassin’s Creed Shadows is poised to deliver on that.
On the surface, it’s exactly what you’d expect: a massive Assassin’s Creed game that takes dozens of hours to beat. There’s so much to do beyond the core story, given all the missions and sidequests that the game constantly points you towards. I was rarely bored during my time with the game — not even during the lengthy flashbacks — which says a lot about the care and consideration Ubisoft’s developers have put into this giant world and the story that ties it together.
Ubisoft could not risk having the game run poorly from the jump and then spend months fixing it à la Cyberpunk 2077. Thankfully, for the most part, Assassin’s Creed Shadows runs well across my consoles (base PS5 and Xbox Series X) and PC.
It looks sumptuous on my high-end gaming rig, which has an NVIDIA GeForce RTX 4090, 14th-gen i9 Intel CPU and 32GB of RAM. I had zero issues while running everything at very high settings. The action hovered in the 55-59 fps range with no considerable framerate drops — save for the slightly jarring switch to cutscenes, which play out at 30 fps. It’s worth noting that Assassin’s Creed Shadows is verified for Steam Deck, but I wasn’t able to test it out there.
There were no noticeable slowdowns even in the heat of chaotic combat on the three platforms I played on. However, I did spot some small visual aberrations on PS5. Early on, while strolling through puddles in performance mode, water pooling on a dirt track shimmered in an unnatural way. It distracted me from the conversation I was having with an ally.
Once I was in winter, textures on the grass that poked through the snow faded out and in while I tore through the countryside on horseback. For the record, that happened in balanced mode, which attempts to split the difference between the quality and performance modes in terms of visual fidelity versus framerate. These are minor complaints, in fairness, but they momentarily broke the immersion for me.
The main other weird quirk is that my horse often got stuck when I whistled for it. If, say, I was on a narrow bridge when I called the steed, it might spawn into the river below. A slight annoyance that’s more to do with how the horse is programmed to catch up to you by your side, but one that’s forgivable considering some of the many narrow paths you’ll venture along.
Two heroes with their own stories
The big hook this time around is that you can swap between two characters almost whenever you like. Naoe, a shinobi, is a more traditional Assassin’s Creed protagonist, while the warrior Yasuke is a hulking samurai who can bust through doors and carry bodies to hiding spots more easily than his counterpart. There are missions and character interactions that require you to specifically play as one character, but for the most part, you can play as either in the open world.
I stuck to Naoe as much as I could. She’s far more nimble and capable at clambering around strongholds — her grappling hook is such a handy tool — and carrying out stealthy assassinations. After all, she’s the only one of the two who has the fabled hidden blade. Her movement is extremely fluid, an aspect of the game that’s said to have benefited from the extra time developers had amid its delays.
Unlike Yasuke, Naoe can use the classic eagle vision ability to reveal enemies, hiding spots and goodies through walls. She’s plenty capable in hand-to-hand combat as well, more so as you unlock abilities like the very useful double assassination. Her kusarigama, which consists of a sickle-like implement and heavy weight linked by a chain, is a great part of her arsenal.
That’s not to say Yasuke isn’t a fun character as well. Silently thinning out enemy numbers with his bow or loudly with a teppō firearm before charging in to eliminate the remainder with a long katana, crushing club and special moves like booting a grunt into a wall never got old.
Both protagonists are well-written and performed, at least while playing with English audio. However, the lip syncing didn’t always neatly match up with what the characters were saying, a distraction in cutscenes. While I didn’t get around to playing the game in immersive mode, with characters speaking in their native tongues of Japanese and Portuguese, I’d be interested to see if the lip sync issue is as prominent there.
Personal stakes with a broader goal
Nevertheless, the story was strong enough to hold my attention during the cutscenes and the rest of the game. It’s a tale that starts with very personal stakes for both heroes but expands to involve safeguarding the future of Japan. The writers have crafted a narrative with plenty of intrigue and intricacy, and I enjoyed how they weaved the broader Assassin’s Creed lore into Shadows.
I would say the story and structure are rich and intricate enough to justify the 40-60 hours it’ll take many people to finish this game. (The new scouting system — which you’ll use to narrow down the location of an objective after learning that, for instance, a target is in a specific area — works well.) Still, I preferred the tighter 20-hour approach Ubisoft took with Assassin’s Creed Mirage.
I enjoyed playing in canon mode, which removed dialogue choices and let narrative beats play out as the designers intended. It’s too much of a spoiler to reveal how Naoe and Yasuke come to be allies, but the interactions between them and other characters, particularly the flirty relationship Naoe has with one firearm-wielding figure, are for the most part captivating enough.
The performers (and, my goodness, are there a lot of speaking parts here) by and large do a great job with the material. But it’s a bit jarring to hear a character speak in a plain North American accent when most of the cast bring Japanese and Portuguese inflections to their delivery.
As solid as the tale being told is overall, the structure is a little odd in places. The main story includes flashback sequences, including one with a combat tutorial that takes place right after the action-packed prologue, that disrupt the flow even if they add some color to the protagonists’ backstories.
Skill tree frustrations
I’m not a big fan of the way Ubisoft has structured the progression systems. Naoe and Yasuke each have six skill trees, all of which are broken down into levels. To unlock the next level, the player has to accumulate enough experience points by completing various side activities, including horse archery and finding hidden items dotted around temples. In a vacuum, these can be fun, but it gets a little frustrating when you have a lot of spare mastery points to spend on skills and you have to run around to honor some shrines or find meditation spots before you’re able to acquire some of Naoe’s and Yasuke’s cooler moves.
There are some other antiquated systems in the game. Defeating a rōnin — a samurai who has been hired to take out the heroes — in a fun fight earned me decent loot, including some legendary light armor. But I couldn’t equip it, because my character hadn’t quite reached a high enough level to simply put on some new rags. This doesn’t make any logical sense.
Scaling enemy difficulty from region to region, a trope that Ubisoft eschewed in Mirage, feels very tired here too. It’s an artificial way of ramping up the difficulty and progression when other approaches like more creative level design, new enemy types and the player manually making the game harder in their settings can do the trick. Given the historical nature of the series, it does follow to a degree that some of Ubisoft’s gameplay ideas are stuck in the past.
In general, I don’t really care to spend my time scouring for gear upgrades just so I can stand a chance in a new area. That said, perks on certain equipment can come in handy. Skulking around castles to take out a few key enemies to unlock a chest with some valuable equipment felt rewarding — even just as a little something extra to do while I tried to make my way to a viewpoint on enemy turf. Castles are valuable strongholds and offer a defensive advantage against attackers, so it’s only logical that the bad guys would be stationed around viewpoints, which reveal new points of interest visible to our heroes after they scale up to a specific perch.
Even without that gameplay aspect, scaling up to a viewpoint is always worth it, as has long been the case in the Assassin’s Creed series. The minimum reward is a sweeping shot of the surrounding area, and since Shadows is such a stunner, I made it a point to claim every viewpoint along my path.
The aforementioned puddle and grass anomalies aside, it’s a joy to roam around this gorgeous game, with its abundant foliage, carefully assembled settlements and dynamic weather system combining to form a rich, lived-in world that I won’t soon forget. The lighting systems allowing for Naoe and Yaskue to snuff out candles and lanterns to help them hide in the shadows at night were a smart addition here too.
There are plenty of other fun aspects to Assassin’s Creed Shadows. In one moment that reminded me of a beat in The Last of Us Part II, I was just starting a peaceful side activity when an assassin tried to take me out. That was an enjoyably unexpected twist. Meanwhile, an optional fight against a high-level enemy at the foot of a blazing tower in the middle of the night felt deeply cinematic.
There are often moments of serenity, such as those meditations and drinking in the scenery from the viewpoints, as well as Naoe’s preparations for a tea ceremony that plays an important part in the plot. Simply wandering through a forest and encountering harmless animals as the wind stirs up golden brown leaves in the fall can be calming too.
That contrasts with the game’s abundant, brutal violence. Beyond the many quick murders you’ll commit with a flash of Naoe’s hidden blade, several of Yasuke’s kill animations end with him lopping off heads and limbs. The game’s truly peaceful moments deftly balance that out.
There’s a lot riding on Assassin’s Creed Shadows. Ubisoft will absolutely be hoping that it’s a success out of the gates and that not too many players wait for the price to drop. There’s plenty of competition to be concerned about too, particularly as Sucker Punch Productions’ sequel to Ghost of Tsushima, Ghost of Yōtei, is slated to arrive at some point this year.
It does feel like there’s enough here to draw in both Assassin’s Creed diehards and newcomers who may be entranced by the 16th-century Japan setting but don’t know their Animus from their elbow. Assassin’s Creed Shadows has impressive technical work, great performances and an expansive, well-drawn story but it’s unfortunately weighed down by some frustrating decisions and antiquated gameplay systems. Still, I’m eager to keep exploring.
Assassin’s Creed Shadows will hit PS5, Xbox Series X/S, Windows PC, Mac, Amazon Luna and Ubisoft+ on March 20. It will be available for iPad in the future.
This article originally appeared on Engadget at https://www.engadget.com/gaming/assassins-creed-shadows-review-an-ambitious-and-captivating-world-thats-stuck-in-the-past-170008367.html?src=rss
