Assassin’s Creed Shadows (PS5) review: Ubisoft finally finds its footing in feudal Japan

Note: This review was first published on 19 March 2025.

Assassin's Creed Shadows arrives with the considerable weight of expectations – partly due to Ubisoft's patchy track record in recent years, but mostly because the setting, feudal Japan, has long been a coveted yet curiously avoided backdrop for a franchise that banks on “assassinations” as a selling point. It’s puzzling it took nearly two decades to reach a time period fans have practically been begging for, especially given how perfectly suited the stealth-action formula feels to this particular era. Thankfully, despite carrying substantial baggage of delays and pre-launch scepticism, Shadows emerges as a solid entry that delivers much of what fans have wanted, even if it doesn't completely avoid the trappings of open-world fatigue.

Set against the turbulent backdrop of Japan’s Sengoku period, Shadows intricately weaves the lives of its two protagonists. There’s Naoe, a determined young shinobi, and also Yasuke, the first Black samurai historically recorded. It’s a delicate balancing act between fictional storytelling and historical authenticity, but Ubisoft largely succeeds. The narrative focuses heavily on power struggles, betrayal, and political machinations of corrupt shoguns and ambitious daimyos, yet it wisely anchors itself to the compelling personal journeys of its lead characters.

Naoe, initially a novice assassin-in-training, grows compellingly from revenge-driven youth into a reflective heroine who wrestles with the moral complexities of her choices. Her storyline feels reminiscent of Ezio Auditore’s personal journey in the original Assassin’s Creed game, yet distinct enough in tone and nuance to avoid feeling derivative. Her interactions with allies she recruits along the way provide depth and sincerity, even if some inconsistent voice acting occasionally detracts from pivotal emotional beats.

In contrast, I like how Yasuke consistently commands attention with an engaging charisma and an earnest nobility, despite the prejudices he faces as a foreigner navigating an often hostile environment. His presence brings a refreshing authenticity to the historical context, refusing to gloss over the complexities of race and identity. Ubisoft handles this with commendable subtlety – Yasuke's narrative never feels preachy or forced, adding gravity and authenticity that grounds Shadows far better than many previous Assassin’s Creed instalments.

The chemistry between Yasuke and Naoe forms the heart of Shadows, lending genuine warmth to an otherwise ruthless era. Their evolving friendship, built on mutual respect and shared trauma, is believable and offers a necessary counterbalance to the broader, occasionally overwrought political narrative. The interactions between these characters give rise to some of the game's most memorable moments, and highlights Ubisoft’s storytelling strengths when it narrows the focus onto personal stakes rather than grandiose, convoluted schemes.

Gameplay-wise, Shadows attempts to cater to both traditional fans of the stealth-focused earlier games and those who enjoyed the sprawling, combat-heavy direction of recent titles like Odyssey and Valhalla. This duality is neatly encapsulated in its two protagonists: Naoe specialises in stealthy assassinations, agile traversal, and covert tactics, while Yasuke is like a walking tank who thrives in direct confrontation, employing brute strength, impressive endurance, and straightforward combat manoeuvres. While each character naturally excels in their specialty, Ubisoft cleverly allows both characters enough versatility to avoid feeling boxed into restrictive roles.

Compared to past Assassin’s Creed games, I like how combat in Shadows feels noticeably tighter, reminiscent of another based-in-feudal-Japan game – Sony’s excellent Ghost of Tsushima, with a heavy emphasis on timing, parrying and evasive actions. In fact, apart from combat, Ghost of Tsushima fans will find a lot of that game’s influence in Shadows. Anyhow, encounters are satisfying but suffer from limited enemy diversity and predictable attack patterns, which means engagements can feel repetitive after a while. However, stealth mechanics feel notably improved, benefiting from additions like environmental manipulation and the grappling hook, making rooftop navigation fluid and more intuitive than in previous titles. For the first time in a long while, it’s a joy to play an Assassin’s Creed game through stealth sequences as Naoe.

Shadows’ greatest triumph, without question, is its stunning representation of feudal Japan. The game offers a sprawling map filled with meticulously detailed landscapes, vibrant towns, dense forests, and imposing fortresses. Unlike the excessive emptiness that plagued Valhalla, Shadows offers a genuinely diverse environment. Locations such as the bustling coastal village of Sakai and the mist-covered forests of the Ibu Highlands bring unique atmospheres, inviting players to pause and immerse themselves in a richly realised world. In-game seasonal changes also offer interesting strategies and combat formulas. Seasons change automatically when you complete a specific time cycle in Shadows, so for example you can hide in tall grass and ponds during the summer season, while a snowstorm during winter can help muffle your footsteps better.

Yet, despite its outstanding world-building, Shadows isn't entirely free from Ubisoft's notorious open-world formula fatigue. Objectives frequently descend into repetitive fetch quests or assassination missions with little variation. Side content often feels recycled and overly familiar, dulling the thrill of discovery after prolonged play sessions. The repetitive nature of these tasks makes the game slightly bloated and overstays its welcome towards the conclusion of its substantial runtime. In short, Shadows is still at its heart an Assassin’s Creed game. Better in many ways, but still chockful of old bad habits.

Technically, Shadows is by far the most accomplished Assassin’s Creed game. It’s impossible not to be impressed by the game’s visual fidelity. The attention to detail, from the swaying trees in tranquil forests to the bustling life in crowded towns, ensures the world feels genuinely lived-in and immersive. Moreover, Shadows benefits significantly from refined animations and enhanced motion capture, making both combat and exploration smooth and visually satisfying.

Furthermore, the sound engineers at Ubisoft working on the game absolutely deserve plaudits. Shadows features atmospheric environmental sounds and a memorable, culturally resonant soundtrack that complements the narrative beautifully, and is almost on par with Ghost of Tsushima's own (see, another inspiration). From the rustle of leaves during stealth sections to the clang of swords in intense duels, Shadows’ audio design does heighten the game’s immersion.

Ultimately, Assassin's Creed Shadows is a huge leap in game design and narrative for the franchise. Ubisoft has managed to blend familiar elements from earlier stealth-focused games with the expansive ambitions of the series’ RPG direction, creating a satisfying, if occasionally imperfect, balance. The result is an Assassin’s Creed game that feels cohesive and engaging, something the series desperately needed.

While Shadows might not redefine the series or entirely shake off franchise fatigue, it marks a compelling return to form, reminding players – and especially fans – of what Assassin's Creed does best: immersive historical exploration anchored by compelling personal narratives. It may not be revolutionary, but it is a much-needed reminder of why the series captured our imaginations in the first place and easily stands as one of Ubisoft’s strongest entries in recent years.

Assassin's Creed Shadows will launch on 20 March, 2025, and will be available on PlayStation 5 (reviewed here), PC, Xbox Series X|S and macOS.

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