Historical fiction has never had a concrete definition, with the very concept being a target for criticism. How long something was written after the historical events, how fictional the events and characters are, the balance between historical authenticity and historical accuracy, and how a work captures the feelings of the time are all factors that make defining historical fiction near-impossible.

Because of this, historical fiction has always existed on a pendulum swinging wildly from something that is a fictional period piece to something that is highly accurate and detailed. The definition becomes ever harder to narrow down when applied to media and video games because, unlike capturing it in a written work, games must capture it in every design element or risk falling flat. Making it fun, on top of that, is a challenge unique to games. Assassin’s Creed has always navigated this balance, with Assassin’s Creed Shadows perfectly representing the genre’s evolving nature.

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For Game Rant Advance, we spoke with several members of the Assassin’s Creed Shadows development team about everything from its inception down to the finest details of its designs and approach to history. What was clear is how Assassin’s Creed Shadows represents 18 years of delving into historical fiction, tackling it from every possible angle to deliver a gameplay and story experience rooted in history, culture, and fiction. The passion for exploring history through gaming’s unique interactive medium is now, and has always been, the heart of Assassin’s Creed.

Game Rant Advance Speakers

• Marc-Alexis Côté, VP and Executive Producer
• Jonathan Dumont, Creative Director
• Charles Benoit, Game Director
• Thierry Dansereau, Art Director
• Brooke Davies, Associate Narrative Director
• Simon Lemay-Comtois, Associate Game Director
• Dominic Gladu-Despatis – Team Lead Graphic Architecture
• Ben Swinden, Content Director on the Animus Hub

Historical Fiction and Assassin’s Creed

Every Assassin’s Creed game has opened with a disclaimer that it is a work of fiction, but just as the wording has evolved and changed, so has its purpose. It feels less like a disclaimer nowadays and more like a mission statement. It is a standard for historical fiction and cultural respect that Ubisoft must always hold to itself. The very first game, AC1, states that it is “Inspired by historical events and characters. This work of fiction was designed, developed, and produced by a multicultural team of various religious faiths and beliefs.” The last release, Assassin’s Creed Mirage, states “Inspired by historical events and characters, this work of fiction was designed, developed, and produced by a multicultural team of various beliefs, sexual orientations, and gender identities.”

By understanding, first and foremost, that Ubisoft was working on a piece of fiction that upheld history and culture, it’s clear how important developing these games from multiple perspectives became. History is something that tends to revise itself through cultural beliefs. After all, Paul Revere almost certainly did not yell “The British Are Coming!,” but it is an iconic “moment” in American history that Ubisoft could explore with Connor in AC3. Blackbeard—whose real name may or may not have even been Edward Thatch—probably did not die so romantically in the real world, but his final moments and last words—”In a world without gold, we might have been heroes”—capture the modern cultural obsession with historical pirates. At the very least, it sounds better than what were reportedly Blackbeard’s last words: “Damnation seize my soul if I give you quarter or take any from you.”

This presentation of history through multicultural beliefs is evident in every game and lore in all kinds of ways.

• The Mongol siege of Masyaf ended the Order of Assassins in the real world, but represents that in-lore with Altair sealing himself in the Library.
• The depiction of the Borgias during Ezio’s time was derived from contemporary propaganda, not real-world history.
• Leonardo da Vinci never built a flying machine despite conceiving of them, but flying one of his machines is simple fun delivered through historical fiction.
• AC Rogue has its historical backdrop of the Seven Years’ War, but because of its focus on the fracturing of the Brotherhood, it’s more of a fun fictional period piece than anything else.
• There is a modern belief that Napoleon was short, despite him being average height for the time. Come AC Unity, Ubisoft portrayed him as of average height, but it still slipped in a few NPC remarks about his height as a nod toward this cultural/historical belief (which came from British political cartoons).
• Assassin’s Creed Syndicate is perhaps the best example of a cultural lens on historical fiction. Child Labor in it was depicted horridly, but by the time AC Syndicate‘s setting came around, it was more regulated and improved than the decades before it, which feels really weird to write. Showcasing well-regulated child labor is not okay; for modern culture, it’s still morally indefensible. As such, AC Syndicate made sure its depiction highlighted the horrors of its history, not the accuracy of the decade.
• AC Origins‘ Bayek was a Medjay except, historically, Medjay ceased to exist in historical records 1000 years prior. However, there is a cultural belief that successors existed under different names.
• AC Odyssey was an even bigger playground that explored Greek mythos like the Minotaur, the Cyclops, and Medusa. When looking at Greek history through a multicultural, modern lens, however, of course it’s fun to explore these fictional elements because they no doubt influenced modern cultural understandings of that history.
• AC Valhalla explored a lot of Viking mythos, but it also didn’t feature horned Viking helmets because those actually didn’t exist. Exploring the Viking mythos was fun, but helmets are just helmets at the end of the day.

Sometimes, the very playground itself has to be made with creative and historical liberties. The House of Wisdom in AC Mirage was recreated through historical research on libraries at the time because few descriptions of its existence are available today. But it portrayed the same vibe and understanding of the period, helping depict Baghdad as the center of the world even if it’s not accurate to every nook and cranny.

These are also just grounded examples, not including the more extreme (but fun) explorations of history, such as dealing with a tyrannical George Washington, playing as Jack the Ripper, or exploring the curse of the Pharaohs.

A Definition of Historical Fiction in Assassin’s Creed

Assassin’s Creed has always approached historical fiction from a multicultural lens, making sure first and foremost that its historical playground was fun. That also makes it hard to pinpoint a singular definition because no two games approach it the same. Let’s even look at some of the debated elements of historical fiction. The games are all made long after the events depicted, but how fictional they are, how they treat the historical context, how they approach historical authenticity vs. historical accuracy swing wildly. They all do well at capturing the feeling of the time, however, and I would contest that there should be another factor for historical fiction in video games: how fun the game makes the historical playground.

And in all this history, of the games and of the genre, is the context that Assassin’s Creed Shadows emerges in when it releases on March 20.

Making the Historical Playground Fun Through Samurai and Shinobi Fantasies

When thinking about Japan in a fictional sense, two figures are likely to come to mind: the samurai and the shinobi. The game industry is relatively “new” in comparison to literature, but just as there are plenty of literary and media depictions of samurai and shinobi, there are plenty of games that explore these figures. Nioh, Ghost of Tsushima, Way of the Samurai, Like a Dragon: Ishin, Rise of the Ronin, Onimusha, Ninja Gaiden, and Sekiro are a few examples of games exploring the samurai and shinobi. Deciding to feature both in AC Shadows was done early in the game’s development, but the multicultural lens of the two is perhaps the most appreciated part.

Lemay-Comtois detailed how the team considered other Japanese settings early on in the process, but the team decided on Feudal Japan during the Sengoku period because it was “the ideal setting to renew and reinvogorate our stealth experience, which had evolved into one of many gameplay options players could use in some of our previous RPG titles, instead of the core pillar it once was.” Dumont also detailed how the concept phase always begins with letting the setting soak in for a few months to “let the setting dictate the early stages of the creative vision.” Researching, reading, consultations, and watching videos and movies began during this phase, continuing through all phases thereafter.

But it was the setting that led Ubisoft to the samurai and shinobi fantasies. Dumont explained that, as the company worked on early concepts of Naoe, the samurai fantasy was ever-present as well. It was one character doing both at one point, but not only did this limit gameplay, it limited the cultural viewpoint and storytelling. Thus, the idea of Yasuke developed naturally to fulfill this multicultural perspective within the historical fiction. As Dumont explained,

“The setting guides us towards a strong player fantasy and our world building. We started developing the Naoe character. As we kept detailing her, the samurai fantasy kept emerging as well, so we decided to move into having two different POV and clear playstyles, and this is the moment Yasuke joined the adventure. This was great because the late Sengoku period had a lot of nuances to the conflicts in the world, and it allowed us to approach our narrative with a bit more depth by allowing multiple perspectives around events and historical characters to build our fiction.”

Naoe is the fictionalized daughter of legendary real-world shinobi Fujibayashi Nagato. She comes from the farmlands of Iga, the birthplace of shinobi, and a community devoted to resisting the Daimyo regime of surrounding clans. Through her, players get the perspective of someone on the lower rungs of society while exploring the legacy of the shinobi (and perhaps the Assassins), as her “family heritage is filled with secrets.” She is the perspective of the commoner and the Assassin, but Japan’s conflicts were more nuanced than that. Enter Yasuke.

Because of his history, Yasuke represents the perspective of the noble class but also an outsider to Japan. He is originally an African slave of catholic Jesuit missionaries, but he is taken under the tutelage of Oda Nobunaga and becomes a samurai. Naoe and Yasuke are placed through history, culture, and coincidence on opposing sides of a country-wide conflict. The fact that Yasuke is a historical character, if one shrouded in mystery, opens the door for a similar degree of fictionalization as Naoe. As Dumont said, “We tried to portray some of the elements that were recorded as a starting point, and then we could fill in the big gaps and unanswered questions with our own story.”

Further speaking to their perspectives in Assassin’s Creed Shadows, as well as the wider metastory and lore, Dumont explained,

“With Naoe being from Japan, Yasuke’s perspective as an outsider also gave us a different point of view that could be used as a bridge between the western world and Japan and create links within the Assassin’s Creed metastory and lore. He is a man lost between two worlds. The way that Yasuke’s story is structured within the overall narrative of the game is very compelling in my opinion and will have players discover him gradually and see how he is connected to the bigger picture.”

We also asked Davies about the casting decision of Masumi Tsunoda as Naoe and Tongayi Chirisa as Yasuke. She explained that “Masumi was very expressive with her emotions and her optimism,” capturing the “youth and naïveté of Naoe” as she is thrust into this conflict. Meanwhile, Davies explained that Tongayi “possesses a quiet strength that was very charming but also very open and receptive to everyone’s perspective,” further adding that it was easy to “relate to him learning about this new culture and then embracing it as his own.”

Assassin’s Creed Shadows may be a work of historical fiction, but it’s clear how its perspectives, character approach, and the fictionalization of events are used to tell a story that captures the multicultural understanding of Feudal Japan, then and now, as it has with every entry.

The Modern Narrative in AC Shadows

An important part of Assassin’s Creed Shadows‘ historical fiction is how it relates history through crafted memories in the Animus with modern-day characters. Over time, this narrative has been explored in numerous ways through the ongoing Assassin-Templar War, through the ancestry of Desmond Miles, through player stand-ins working at Abstergo, and through Layla Hassan. Particularly after the sacrifice of Desmond Miles, easily one of the most iconic moments in the franchise, this modern narrative has reinvented itself in numerous ways. Assassin’s Creed Shadows represents another evolution of the modern narrative.

When asked about metastory elements like the Pieces of Eden and the Isu, Côté explained that AC Shadows has a “more grounded perspective, focusing on the challenges and tensions of the era.” If AC Shadows is more grounded, then the modern narrative has to change as well. In fact, AC Shadows will have less modern-day content at launch but Ubisoft will expand that after release.

“We’re also shifting how we tell the metastory. While Shadows will have less modern day content at launch, we plan to expand it significantly after release. The modern day should feel alive, evolving over years, and connecting across multiple games in ways that make the journey more immersive and meaningful.”

At least part of this is the functionality of the Animus Hub. This new franchise feature, launching alongside Assassin’s Creed Shadows, will support all titles released since AC Origins. It is essentially the home for all games and their memories, as well as the house of the modern-day story. When asked if there were plans to add older games to the Hub, Swinden would understandably not confirm, but did add that the “Animus Hub will continue to evolve going forward, with new features and content rolling out in the years to come.” In the Animus Hub, players will complete Anomalies in games that are “new weekly quests rooted in the historical setting, leveraging core gameplay systems [that] give you new reasons to explore the world and fight challenging enemies.”

The core loop of the Animus Hub, as it stands now, is that players will complete anomalies known as Projects. Doing so gives players a currency known as Keys that can be used to unlock gear, resources, and items through the Animus Hub. Data fragments can then be used to progress Encrypted Data Files, which develop the modern-day story. Already, the Animus Hub will introduce players to someone known as The Guide, incorporate new lore details such as the Animus Ego and Dark Animus, and serve as a way for players to engage with the modern-day story on their own terms.

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Research and Historical Fiction

Any work of historical fiction incorporates tons of research, which Dumont described as a “long, humbling, learning process.” Detailing it, Dumont explained,

“The historical research for Assassin’s Creed Shadows began early in the game’s conception. The team integrated internal historians and specialists into the team. Additionally, we collaborated with external time period specialists and historians from Japan and around the world to ensure a comprehensive understanding of the era. A significant part of the research involved creating a vast data bank from various source materials and information. This data bank was continuously updated, helping the team learn and guide their craft in developing the game world. This meticulous process covered everything from architecture and gestures to clothing, prop details, and character development to name a few. To further refine their vision, a part of the team embarked on a scouting trip to Japan. This firsthand experience provided invaluable insights that enhanced the game’s credibility.”

But, in line with every Assassin’s Creed game before it, Assassin’s Creed Shadows is ultimately a work of fiction. It still needs to be fun, but everything from the design of protagonists Naoe and Yasuke to open-world features had to take history into account. As such, Dumont also said that “some creative choices were made to enhance the gameplay and narrative experience.”

Making the Historical Playground Fun Through Cinematic and Visual Design

While storytelling and gameplay are equally important, Assassin’s Creed Shadows is also more of a cinematic experience than expected. During Game Rant’s AC Shadows preview, we learned that there are over 700 cutscenes in the game. This visual direction feels similar to modern Japanese movies, and that shouldn’t be surprising. Dumont noted how people “often underestimate how much Japanese storytelling has influenced the western world in the last 60 years.” Early in the research process Ubisoft Quebec devs read and watched tons of classic and modern Japanese literature and media, which influenced the cinematics of AC Shadows. Dumont shared some of the influences, saying:

“For example, the great Akira Kurosawa’s work influenced Leone, Lucas, and Tarantino to name a few. Japanese anime has been on TV as long as I can remember. Japanese arts have been more formative than we give them credit for; their influence can be felt everywhere. We went through a ton of historical material and pop culture references for Shadows, and we were obviously influenced by a lot of amazing films, TV shows, and books such as Zatoichi, 13 Assassins, Kagemusha, Sekigahara (the movie), and a lot of anime. Many literature pieces and visual arts, such as theater, were also consulted to try to understand the culture as much as possible.”

It’s not just the presentation of its cinematics that capture its fictional-yet-realistic vibe, but the very world itself. Assassin’s Creed Shadows is a beautiful game; everything feels and looks like the lands of Japan. When it comes to making the open-world setting of AC Shadows‘ Japan, but also retaining that strong game feel of Japan, Dumont talked about how Feudal Japan would use the “ground to [their] advantage.” Castles would be built in the mountains and hills, and from a distance, these are visible in AC Shadows. A lot of Japan is built to be more integrated and harmonious with nature. He described old temples, shrines, and castles as respectful to the environment, and that same approach was applied to AC Shadows‘ open world too.

Making this landscape realistic also meant adjusting the scale ratio found in AC Shadows. The gameplay area of AC Shadows is roughly the same size as Origins, but “the scale ratio is truly unique and tailored to fit the needs of the game,” according to Dansereau.

The Japanese landscape is very mountainous, and in order to create a credible world where mountains feel and look like mountains, we’ve decided to go with the most realistic scale ratio since the open world formula…In Shadows, the scale ratio is 1:16 which means that 1 km in game equals 16 km in real world distance. In comparison, Odyssey had around a 1:40 scale ratio.”

Likewise, capturing the design of Japanese castles was equally important. Not only was their scale considered when designing Assassin’s Creed Shadows, but also their purposes. As Lemay-Comtois explained,

“The most interesting fact about Japanese castles of the period is that many of them were quite literally—for lack of a better term—“level-designed” to mislead would-be invaders, with natural choke points and dead-ends where archers could rain down fury on troops below. This also applied to lone attackers too, with the use of hidden chambers where samurai could hide in wait in case a particular audience went south, as well as the use of Nightingale floors – a purpose-built creaking floor that would alert anyone within earshot if an unwanted presence was moving closer.”

The biggest challenge, according to Lemay-Comtois, was ensuring that players could be naturally guided through this maze-like architecture. Adjusting the castle’s “level design” was never an option because that is so emblematic of the period; it’s an example where the history and research took precedence over gameplay. Instead, Ubisoft worked to find the fun in the castle’s inherent “level design.” Visiting the castles of Japan helped the art team, according to Dansereau, because it allowed them to understand their size, how they were made, the material involved, and how they aged ver time. On a micro level, it was one way that the team developed an understanding of Feudal Japanese urbanism per layout type, aiding them in creating a credible interpretation for this work of historical fiction.

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Making a credible world doesn’t just mean approaching the big details with the proper respect, but the small ones too. One of my favorites is how AC Shadows removes Yasuke and Naoe’s footwear when entering buildings like the Hideouts, but it can even be seen in the visual design of the Shinbakufu. For the unfamiliar, the Shinbakufu is the main villain group of AC Shadows. Dumont teased that they are not the only shadow faction vying for power in the main narrative, but they are the first ones players encounter as Naoe. Each wears a mask, but each one was designed not just to keep their identities a secret but also to establish an opposing group. Unlike the Cult of Kosmos or the Order of the Ancients, it seems the Shinbakufu are not cohesive and, as such, feature different Japanese masks ranging from a mempo to a theater mask.

Assassin’s Creed Shadows may be a work of historical fiction, but it’s clear that the balance between authenticity and accuracy is done with the utmost respect from the recreation of its very land to the extensive research and work done to capture Feudal Japan as strongly as possible.

Making the Historical Playground Fun Through Combat and Gameplay Design

The Combat of AC Shadows

The writing and recreation of the world push the envelope when it comes to historical fiction, which necessitates that gameplay elements do too. We asked Lemay-Comtois about the inclusion of period-accurate weapons, as Assassin’s Creed Shadows couldn’t conceivably feature everything from the time. As Lemay-Comtois described, there were so many cool weapons to choose from that narrowing down a short list was hard. Explaining which were included first but also how the team worked out their animations and role in combat, Lemay-Comtois explained that,

“The katana was locked-in from the start, as it is the most emblematic weapon of the period, with the teppo rifle coming as a close second, showcasing the mechanical revolution of the period that accounts for a part of Nobunaga’s successes…Naoe’s kusarigama was also an early lock, if for no other reason than to allow our talented fight team maximum development time to figure out how to make it work! Much of the credit goes to our stuntmen and women on the Mocap stage who are all trained in Japanese weapon handling. They would always help us adjust, tweak, and stylize our combat mechanics while staying grounded in the storied Japanese martial arts.”

Benoit would further elaborate on each weapon’s role in Assassin’s Creed Shadows. The keyword for Naoe’s weapons is “Assassinate,” with Benoit saying his first question in any given situation is “how do I want to Assassinate?” He explained that Naoe’s Katana could stab enemies through Shoji doors and the tanto gives her access to a double assassination. If forced into open combat, Naoe’s Katana is best for 1v1 encounters, the Kusarigama is good for crowd control, and the Tanto is fast but cannot stagger enemies. Players also have access to tools like the Kunai, which Benoit describes as “assassination at range”; the classic Smoke Bomb; Bells, which can be used to draw out or isolate enemies; and Shuriken, which he described as a good tool for distractions or to knock enemies off roofs. Assassination is where, fittingly, Naoe shines.

Equally fitting is Yasuke’s keyword being “Fighting.” His Long Katana is the fastest, more dedicated to 1:1 combat, whereas his Naginata is more versatile for 1:1 encounters but also crowd control. The Kanabo is his most powerful, but also his slowest, weapon. The Bow can be great for stealth when playing Yasuke, although it’s not as powerful as the more noisy Teppo.

AC Shadows Team Encourages Players to Check Out Assassination Damage

While assassination damage is somewhat contentious among the fandom, the AC Shadows team wants players to try it out before toggling it off. The reason why is simple: its impact on the pacing and deliberation in its stealth gameplay elements. As Lemay-Comtois said,

“While we do support the option to have “guaranteed assassinations” for those who really want it, our dev team URGES players to try the game as intended before toggling the option… Play around with skills and gear perks: condition yourselves to think things through before diving into a kill – who are you going to take down first? What is the best angle of attack? How can you get a target to expose themselves for that optimal angle of attack? All these things matter in Shadow’s stealth experience, and we promise that engaging with the game on its own terms will be worth your while. There’s always a way to overcome the challenge!”

Stealth & Enemy Detection in AC Shadows

In any combat scenario, there’s the environment to consider as well. As Dansereau explained, vegetation changes depending on the season and that can impact the path Naoe would take if stealthing her way through an area. Naoe is also incredibly dangerous at night, as time of day will also impact her gameplay and detection, but detection is easier during the day. Rain and fog also impact it. All of this serves to elevate Assassin’s Creed Shadows’ stealth gameplay, but it also adds weight to open combat encounters. For example, Dansereau added that “if you go into a castle during heavy rain, high-ranked enemies will seek cover inside buildings, while the basic enemy will stay out to stand guard during the storm, forcing you to adapt your approach.”

As a whole, enemy detection can make or break stealth in Assassin’s Creed games and that’s true for Shadows. The way it works here is not too unfamiliar: if enemy AI has Line of Sight on the player, their perception meter sounds the alarm (so to speak). If it’s white, players have time to get out of sight. If it’s yellow, the enemy AI is actively investigating the player or area; if it’s Red, players are detected. However, the speed by which players are detected has more modifiers than ever. As Benoit explained,

“The speed of this meter is influenced by a couple of things. The distance of course, is a major factor, but your ‘stance’ will affect it quite a lot. For example, if you are crouched or even better, in a prone position, you’ll be detected a lot slower. Time of day is also taken into consideration, so the darker it is, you’ll be noticed less and you can even completely vanish in the darkest zones. Another thing to consider is your noise; proning is silent, crouch can make some noise, and sprinting is quite noisy. When an enemy hears something, they’ll turn and look, so it’s something you need to manage and take into account for your approaches and gameplay.”

For players who want an even bigger challenge when it comes to stealth, Benoit encourages players to check out the Expert Mode.

Parkour in AC Shadows

The location has always had a major impact on Assassin’s Creed’s parkour mechanics, and befitting historical fiction, it should. Unnatural roofs, structures, or paths would take away from the feeling of the setting. That makes parkour in Assassin’s Creed Shadows a particular challenge, as Japanese architecture is quite different from other, more easily parkoured locations in Assassin’s Creed history.

As Gladu-Despatis explained, one of its strengths is that Japan’s architecture helps player orientation in parkour. Looking up at huge temples and castles gives directions and objectives for players as they enter new areas. The same also applies to Japan’s rooftops when players are on top of roofs already, as they are fun, unique ways to reach objectives discreetly. However, this made for extra challenges compared to previous Assassin’s Creed games, with Gladu-Despatis saying,

“This type of architecture was a challenging one to incorporate, compared to previous ACs. Its complexity and need for it to be credible and accurate was difficult, in terms of making it comfortable for parkour routes, but we worked diligently with our talented programmers and designers to achieve great visual representation and quality that you see with the final product.”

Having two protagonists no doubt added to the complexity of the parkour system, but the parkour skills (or lack thereof) of each protagonist let players enjoy different elements of Assassin’s Creed. Naoe’s acrobatics let her take in the landscapes and skies of Japan more easily, while Yasuke is more grounded and can be a great way to stop and smell the flowers. Describing Naoe, Lemay-Comtois said,

“Naoe’s parkour has been stylized to fit her own acrobatic style, of course–but it has also been extended in a few key areas inherent to Japanese architecture in order for Naoe to cover more distance in less time–including her grappling hook, which allows her to reach large overhangs that can’t accommodate regular parkour and a revamped “beam sprint” variation inspired by a popular anime series the team particularly appreciates, just to name a few.”

Describing Yasuke, Lemay-Comtois also said,

“Yasuke’s parkour is much more basic – he doesn’t have the leaping ability nor the speed that Naoe has, so our approach for him is literally more grounded. The way to move efficiently with Yasuke is to look for the path most (non-assassin) human beings would take: staircases, ladders, piles of crates, well-worn trails, etc – and move along the path taken by NPCs – which also allows you to take in the incredible ornaments and decorations of the period, which were meant to be appreciated from the ground rather than the rooftops.”

Even when performing parkour, the perspectives of Yasuke and Naoe as protagonists still play a major role in Assassin’s Creed Shadows.

Side Activities in AC Shadows

As Benoit explained, all activities in AC Shadows are important for the growth of the protagonists, as each is used to build knowledge and unlock new skills. Some are specific to the character:

• Naoe’s Kuji-kiri (a timing/memory meditating activity)
• Naoe’s Hidden Trails (parkour and grappling hook challenges)
• Yasuke’s Kata (a timing challenge to perform certain combat moves)
• Yasuke’s Horse Archery (mounted targeting challenge)

Other side activities can be done by either character:

• The Shrines are a peaceful place where you can pray at different places.
• The Temples are ancient places where some Lost pages of Scrolls are scattered around and you need to collect them. When the Lost pages are on a rooftop, for example, sometimes only Naoe (with her Grappling hook) will be able to get them.
• There is also the Sumi-e, where you need to approach some animals silently (in the wild) to paint them and their behavior. You will even be able to hang those paintings in your Hideout.
• There are the Castles, where you need to find the Samurai Daisho, kill them, and loot the Castle legendary chest.
• There’s also the Kofun, which are either for Naoe or Yasuke depending on its requirements.

Assassin’s Creed Shadows may be a work of historical fiction, but if we break it down to its rough literary definition, it’s clear the lengths the game goes through to marry the vibe and feeling of Feudal Japan in gameplay befitting the storied franchise.

Finding the Fun Through Feature Implementation

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Dumont on the Creation of Canon Mode

“When we introduced a choice of characters and dialogue choices in AC Odyssey, many of our fans loved the idea, but some expressed their disappointment in not having a definitive and canon narrative for the game that could be imbedded in the AC lore meta story. After speaking with our fans during development, we decided to add a mode that takes out all the choices for AC Shadows and that can serve as a reference story within the franchise. This way players can enjoy the more RPG style of narrative or a more linear one, if they prefer.”

Davies on Romance and Canon Mode

“When designing and dreaming about romance in Shadows, we knew that we wanted to explore a range of connections and relationships, ranging from platonic bonds to brief sparks and deep, lasting love that allow Naoe and Yasuke to explore different parts of themselves. Because Naoe and Yasuke are different people, they each have unique romance possibilities and connections. None of our love stories are canon, so players can choose for themselves who—or who not—to pursue.”

Benoit on Making the Hideout

“We wanted a place to be your new home, where you can feel you’re progressing in your journey by seeing it grow and being able to see again the important characters you met. So having a home, what’s better than being able to customize it the way you want so it feels even more personal?”

Benoit on Allies (and If Allies Are Inspired by Past Systems)

“Players will see the inspiration from our past games, where you find characters and they then help you in your missions. For AC Shadows, some characters can be encountered in Quests or in the open world. Those characters will join your “league,” you can continue to build relationships with them afterward, and some even have some romance. You’ll see them at your Hideout and even experience interactions between some of them.”

Benoit on Removing the Bird Companion and the Observe Mechanic

“We want you to Observe the world and be surprised by it, creating tension on how you’ll navigate in places like the new Castles, in terms of what will be next in sections of it as you play. Taking out the bird companion, for example, limits spoiling too much of what’s to come, find, and play through.”

The Historical Playground of Assassin’s Creed Shadows

Assassin’s Creed Shadows may be a work of historical fiction, but while it seeks to accomplish everything that genre-appropriate literature and media must, it doesn’t forget that the most important thing in a video game, even one of historical fiction, is that the playground is fun.

Assassin’s Creed Shadows is not going to change that debate over historical fiction, but for every perceivable definition of the genre, the upcoming title has something to offer. It’s been nearly 450 years since the time period of AC Shadows, and while the events and characters are fictionalized, AC Shadows looks to ground these characters with unique perspectives of Feudal Japan, capturing multiple POVs across two protagonists.

In every feature and design element of Assassin’s Creed Shadows is a devotion to uphold everything the franchise has ever stood for. In accomplishing that, the AC Shadows team has gone to incredible lengths to research, implement, iterate, and develop a game world that upholds everything Japan symbolizes at this time. As the franchise always has, AC Shadows takes steps forward in defining historical fiction as a genre in the video game industry – ensuring that the historical fiction playground is fun.

Assassin’s Creed Shadows is a historical fiction playground, and while the jury is still out on how fun and well-built that playground is, it’s clear that it is the result of multiple passions: for understanding history through a multicultural lens, and for making history fun. As long as those goals are met, Assassin’s Creed Shadows should match the same works of historical fiction that came before it, dating back to the first Assassin’s Creed in 2007.

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Released

March 20, 2025

ESRB

Mature 17+ // Blood and Gore, Intense Violence, Language