Assassin’s Creed Shadows Review

I regard Shadows as one of the most visually stunning installments in the series and one of the most visually stunning open-world historical adventures in years. I’ve played the series since the very beginning and have watched its series of evolutions and reinventions, and Shadows, in the positive sense, feels as though there is a shift in the spectrum the series is working on. Shadows feels as though it is on the opposite end, with a more grounded and atmospheric approach. There is somewhat of a delicate balance so beautifully constructed so as to lure the more transfixed players and the world. There are certainly frustrating design decisions, especially with the emotionally underwhelming story, but it is the atmosphere alone that I find worth recommending, particularly for those who buy cheap PS4 games and still crave an experience rich in mood and artistry.

Let's begin with what is most important: the world in Assassin's Creed: Shadows is breathtaking. From the misty forests of Kyoto to the mountain temples with snow-dusted rooftops, every part of the world is rich with breathtaking beauty. Every part of the world is rich with breathtaking beauty. Every season feels purposeful. It is mesmerizing to witness the charm of the world, whether it be the cherry blossoms of spring or the decaying leaves of autumn. There is no fault in the world-building and construction; the reverence in the architecture is championed and pays respect to the culture. All of this, along with the feeling of respect, the constructed world that culture built, completes the experience.

Almost everything in the game is designed and constructed in a way that creates a painterly atmosphere, especially the light. The light of dawn illuminates the rice fields, and the light of dusk creates an impressionist art. It is enchanting. In the world of the game, the light and shadow of the shoji screens create a dance. The soft glow of candlelight serves as a shoji screen to remind the player of the game's magic. When a game is weary, Shadows is a mountain.

Living Culture and Calm Moments

Fifteenth-century Japan is rewarding for reasons beyond busywork— although the typical Ubisoft stuff is there. What makes the experience even more rewarding are the quieter, cultural moments— the compiler, the prayers, the meditations, the small shrines, the ones scattered throughout the world, even. They are not just there to simply fill spaces in the world. They are there to evoke the world’s beliefs. The moments of pure serenity are those when the game shines the brightest. It is in those moments when the game forgets about the icons and objectives and lets you simply exist in the world you created.

The base building system contributes to this sense of peace. It’s modest, almost cozy. You can decorate with trees, place lanterns, and watch the wildlife—foxes, cranes, even domestic cats— wander through. It is nice to return to something more personal than just a checklist of meaningless upgrades. I spent an embarrassing amount of time planting trees and arranging little corners of nature. It was therapy, and I think players who buy cheap Xbox Series X games will also find that same peaceful satisfaction in these quiet, personal moments.

The characters also excel and deserve mention. Naoe, the female assassin, instantly became one of my favorites of the franchise. There’s a quiet confidence in her, an intelligence that never feels forced. She represents the stealth heart of the game, and it’s easy to slip into her rhythm of moving unseen through bamboo groves. By contrast, Yasuke, with his warmth and gentleness, is in many ways a perfect counterbalance to Naoe’s sharp edge. Even though I played as Naoe for about three-quarters of the game, I did occasionally switch to Yasuke for sheer power fantasy—he’s the walking tank of the duo, the unstoppable force to her silent shadow. What surprised me most, though, were the small side characters. Junjiro, the young boy you encounter early in the story, is adorable and earnest in a way that feels genuine. His innocence, in a world full of duty and discipline, starkly stands out. Moments with him are the kind that linger with you long after the credits roll. It’s these little interactions that make the game’s emotional beats work, even if the main story doesn’t quite deliver.

Story: Familiar and Forgettable

Unfortunately, the main narrative does not do justice to the world it lives in. It feels as though it has gotten all the beats of a simple, not particularly inspired revenge tale. There was no emotional engagement the way Odyssey and Origins did, as the narrative also suffers from the ‘season system’ in a way. Since missions lock or change depending on the time of year, it felt like I was constantly losing stories. I’d pick a thread in spring, leave in autumn, and completely forget the story and the stakes about who I was supposed to care about. It’s bewildering, and it saps the narrative of its drive.

There are still, in addition to the main path, smaller, localized tales that capture the moral and spiritual intricacies of the time. These are the stories about and from the heart of Japanese life and thought, concerning loyalty, harmony, balance, and the price of obligation. They are not flashy, and it is in them that Shadows finds its soul.

Gameplay: Polished Yet Limiting

In terms of mechanics, Shadows is divided into two parts. Naoe’s parts are the best. Each movement is calculated. Each stealth sequence through enemy territory is a riveting experience. Being able to circumvent enemies using tools is a hallmark of the experience. However, the tools have been simplified to the point of being bare. The gaps left by the absence of poison or sleep darts are particularly egregious. Previous titles benefited from such tactical options. The lack of finesse in this iteration contributes to rigid and uncreative gameplay.

Yasuke’s gameplay is thick and unmovable. The thematics are there, but it is at the expense of gameplay fluidity. Gameplay in the world as him is frustrating. The bulk and slower animations in a game world where freedom is already being restricted make traversing it a slog.

Let me discuss one of the most frustrating systems in this game: the traversal system. I find it baffling that there are vast areas that are not climbable. You can be scaling a six-foot vertical wall, and then when you encounter a boulder that is knee high, suddenly you can’t overcome it. It is inconsistent and immersion-breaking. This must be infuriating for people who enjoy free roaming. The whole point of the franchise is free movement on the map. Here, it feels like the map is a compromise. It is as if there is a design to make the game more “realistic". Unfortunately, it just makes the game frustrating and tedious. Exploration should not be exhausting during an 80-hour exploration session.

RPG and Buildcraft Elements

The RPG layer in Shadows is solid, if a little uninspired. The system of upgrading your gear allows you to keep your personal style and still obtain higher stats, so that, in itself, is a rewarding experience. You can also choose between different beautiful fabrics for your gear, and the color palettes are stunning. Naoe’s robes actually look like they are shimmering with silk and embroidery. The weapon trees are streamlined and focused, which lets you choose either stealth lethality or brute power for specialization. I must say, it respects player identity. I appreciate that.

The atmosphere of the world is still captivating, even if the gameplay is lacking. The world’s natural weather systems come with the changing seasons; the misty mornings can transition into rain-filled nights. While they may complicate quest tracking for the player, they keep the world dynamic and alive, which is a worthwhile trade-off. I just wish the changes somehow affected gameplay. In stealth, for instance, the presence of rain and fog should have impacted visibility and sound levels, which would have made the gameplay balance more efficient. Reactive worlds should be more interactive. It is a shame that this is not the case here.

Yet, when you’re standing at the edge of a bamboo forest, wind rattling through the leaves as a distant flute hummed through the valley, all those frustrations fade away. This is the kind of game that lives through its ambience. It may not always play perfectly, but it transports you. Few open-world games can claim that anymore.

Old Habits

Shadows has some technical issues. I experienced a few glitches that were borderline annoying: a weapon swap glitch that constantly reset my loadout, and an ally bug that broke early missions when I most needed support. These issues are definitely not game-breaking, but they aren't nothing either. Then there are the old Ubisoft habits. The maps are still loaded with minigames and distracting side activities, more of the stuff that feels like artificial time-wasters instead of world enrichment. It has been the same time-wasting problem for years. And, of course, microtransactions are back. While they don’t ruin the experience, it feels disrespectful that they exist at all. Ubisoft, please—just don’t.

Shadows is best experienced with the Japanese audio. The performances sound sincere and emotionally charged. The English localization, in contrast, is near unlistenable. It is flat, awkward, and with a bizarre rhythm that seems to sap any life from the characters. The soundtrack is serviceable; it exemplifies what it ought to be. It is a pity, considering the stunning graphics, that it isn’t more memorable. However, the ambient sounds are wonderful: rustling leaves, distant chanting, and trickling water—details that even players who buy cheap PS4 games will deeply appreciate for their immersive quality.

Conclusion

Out of all the games in the franchise, Assassin's Creed: Shadows is simultaneously one of the most beautiful and the most frustrating titles. It is disproportionate in the sense that it is more meditative and therefore slower than the titles that preceded it, which may alienate some players, but that is what makes it special and different. I consider it one of my top five Assassin's Creed games, despite the intrusive, clunky story, troubles with traversal, and the technical problems, because the world is that good.

It may not be the most polished entry, but it is still one of the most atmospheric and one of the most visually accomplished. That is more than enough for me. Shadows of Assassin's Creed demonstrates that Ubisoft may stumble, but their world artists do not, and that they can construct a breathtaking world.