Ubisoft’s Assassin’s Creed Shadows: A Catastrophic Failure

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The much-anticipated game, Assassin’s Creed Shadows, has hit the market at last. It could be thought that Ubisoft’s troubles are now a thing of the past, given their boasted marketing prowess and unwavering commitment to historical accuracy. Indeed, it seems as if this game will fly off the shelves like ice-cold lemonade on a sweltering summer day.

Indeed, the delays, estimated at around $20 million, were meant to tackle each concern voiced by fans as well as the negative publicity, correct?

As a film enthusiast, I can’t help but express my dismay when cultural sensitivity is overlooked, such as in the case of Ubisoft’s recent game. Even Japan’s National Diet didn’t hesitate to voice their concern, with Prime Minister Shigeru Ishiba firmly stating that desecrating a shrine is unacceptable and an affront to the nation. While it would be ideal if such cultural missteps were a thing of the past for Ubisoft, one can’t help but wonder if their marketing team has been twisting reality as much as a Hollywood blockbuster script.

The game is being excessively promoted by a number of media figures, who are dubbing it as a “comeback” for the series. This sounds encouraging, until you realize that the same phrase is being repeated across various platforms – The Gamer, Hip Hop Wired, The Escapist, and Windows Central all seem to be echoing each other. This repetitive praise, frequently linked to the game’s supposed similarities with classics like Assassin’s Creed II in terms of stealth focus, appears more like a coordinated marketing strategy rather than genuine analysis.

In 2025, it’s unrealistic to expect honesty from gaming journalists, much like asking a toddler to manage your finances—the gaming community is too wise to fall for such deception. They can easily discern if something is being disguised as something more appealing from afar.

In our previous article, we highlighted Ubisoft’s predicament following their Q3 FY25 earnings disaster. With net sales plummeting by 51.8% year-on-year and debt reaching an alarming €1.9 billion, the company is in a dire financial situation. Desperate times call for desperate measures, and Ubisoft is pinning their hopes on a new game they believe will be their ticket out—’Shadows’. However, early indications are that ‘Shadows’ might not be the game to save them. Instead, it appears more like a flickering candle in a raging storm, offering little respite from the financial troubles already overwhelming them.

Cultural Trash Fire: Ubisoft’s Unrepentant Blunders

With the release of “Assassin’s Creed Shadows”, we can take a look at the data, but before that, let’s examine some perplexing decisions made by Ubisoft that have caused a new wave of debate. These are choices they chose not to address, revise, or enhance even after the delays.

Ubisoft proudly announced one of the reasons for the delay: to make the parkour “exceptional beyond comparison.” However, players and spectators concur that it’s only average at best, falling significantly short of Assassin’s Creed Unity, which, despite being almost a decade old, continues to be the benchmark for smooth, rooftop stunts—remaining unsurpassed in terms of fluidity.

So much for that promise. But what about the other fixes they bragged about?

It’s unclear exactly what changes were made to Yasuke’s content, presumably to avoid potential offense. However, we do know that some controversial music tracks were removed, such as the discordant hip-hop beats that played during combat and executions. Imagine a rap soundtrack playing while you wreak havoc in feudal Japan. Ubisoft’s slogan of “diversity is our strength” seems to have been implemented in a manner comparable to an out-of-touch executive claiming they can’t be racist because they employ people of color.

Curious fans inquired: What connection could there be between a contemporary American hip-hop song and Yasuke, a historical figure from Mozambique who has no links to current American culture?

Despite being pulled back due to criticism, what remains unaddressed is much more problematic: the poor scriptwriting and dismal voice performances. The awkwardness in this production surpasses even Mass Effect: Andromeda’s notorious “my face is tired” scene – a 2017 disaster so lifeless it continues to serve as a reference for poor writing. In Shadows, each line seems destined for a Razzie award, spoken with the zest of a disengaged DMV employee.

The game’s dialog isn’t the only issue; the actions within it are nonsensical, excessively disrespectful, and seem more like they were conceived in an overactive fan fiction author’s imaginative slumber.

As a film enthusiast, I’d rephrase it like this: In the movie “Shadows”, I find myself grappling with the transformation of Hattori Hanzo, Japan’s revered ninja master, often hailed as the “godfather of ninja” due to his strategic brilliance and command over the Iga clan during the 16th century. However, in this film, he is portrayed as a submissive servant, reduced to such a state after Naoe, with her seemingly superhuman abilities, subdues him and forces him into servitude.

Additionally, we have Oichi, Nobunaga’s sister and a significant figure in Japanese history, often mourned as a tragic motherly symbol. She was affectionately called “the Mother of Japan” due to her pivotal part in consolidating feuding clans via her offspring.

In this story, she unexpectedly becomes embroiled in a passionate romantic relationship with Yasuke. This sudden turn of events seems implausible and appears to be an attempt to sensationalize or trivialize Japanese culture, not a genuine creative decision. Instead of being daring and innovative, these actions seem disrespectful, immature, and revealing of a lack of knowledge about Japan. Ubisoft’s claims of innovation might as well be shouting into the wind compared to the deafening cry of ignorance that emanates from such portrayals.

Pandering to Perdition: Ubisoft’s Stereotype Spiral

The situation deteriorated further when whispers spread that Ubisoft employees were disgruntled because players of Assassin’s Creed Odyssey predominantly chose male Alexios over female Kassandra, even though Kassandra was declared the canonical protagonist in the game and its subsequent novelization and DLC.

I’ve noticed a consistent resonance of approval with the Valhalla setting, where players seem to favor the male version of Eivor over the female one, despite Ubisoft promoting the female Eivor as historically accurate in their marketing and lore connections.

2020 data indicated that 67% of Odyssey players preferred Alexios, while Valhalla polls suggested a similar preference for male characters. Fast forward to Shadows, and the recurring trend of underrepresenting male characters seems like an overplayed joke taken too far. In this game, even historical figures such as Oda Nobunaga, known for his strategic prowess in unifying Japan, are portrayed as cartoonishly evil, intellectually inferior, or simply dislikable. It’s as if the writing team has lost touch with creating compelling male characters.

Instead of keeping the “good” characters alive, they either meet an unfortunate end or make mistakes that lead to their downfall, which audiences find frustratingly predictable and often roll their eyes at.

As gamers slogged through this mess, they reached the final boss.

Warning: As anticipated by many YouTubers and skeptics, it turns out to be the expected stereotype – a Portuguese colonizer. After all, they often portray this figure as the villain in historical narratives, don’t they?

However, not just any Portuguese man. This is the individual rumored to have enslaved Yasuke and his mother – a twist so unexpectedly “creative” that it took everyone by surprise… except for those who’ve scrolled through a Reddit thread since the game was announced.

This writing is not merely poor; it’s a prime example of careless appeasement, burdened by Ubisoft’s excessive positivity and forced diversity. Each character becomes a harmful stereotype unless they hail from a particular privileged background, reduced to two-dimensional figures due to an overemphasis on “representation” that trades complexity for superficial appearances.

Yasuke’s narrative seems overly focused on appearing virtuous, rather than being an accurate portrayal of history. It appears to be less a homage to the past and more a box that executives have ticked, believing that updating a 16th-century figure adds complexity. On the other hand, the dialogue lacks fluidity, stumbling like a tipsy toddler through each line, filled with tired cliches that suggest a greater emphasis on appearance over storytelling.

It gets dumber.

In the game Assassin’s Creed: Yasuke, it appears that someone at Ubisoft may have inadvertently reintroduced a rap song during the fight scenes, following criticism over its insensitive portrayal of diversity in the past. However, in the final boss battle, another hip-hop track can be heard again—this time with Swahili lyrics, which are said to translate to “we will slaughter them all.” This phrase has historical ties to South African protests, not 16th-century Japan. The authenticity of this track is questionable, as it’s absent from the official Assassin’s Creed Shadows soundtrack release, but the rumor is intriguing enough to spark curiosity.

Which individuals approved this unusual decision? Who deemed it appropriate to incorporate a Swahili rap battle into a samurai confrontation? The same creative minds who re-imagined Hattori Hanzo as Naoe’s messenger, might be the ones. One can’t help but ponder: are there still team members at Ubisoft steering the ship, or are they merely throwing darts at a board labeled “controversy fodder”?

2 Million Lies: Ubisoft’s Subscription Smoke Screen

Despite the confusing and poorly written narrative, one might wonder about its impact on sales. If we lift the veil of biased “journalists” echoing their choreographed applause, it appears that things may not be going well.

Currently, as I’m typing this on March 25, 2025, the number of simultaneous players for Assassin’s Creed Shadows on Steam is disappointingly low—reaching a maximum of only 64,825 before leveling off like an unopened soda can. Interestingly enough, it didn’t even surpass Dragon Age: The Veilguard’s peak player count on Steam, which was 89,304.

As a devoted fan, I can’t help but feel a pang of concern – Shadows hasn’t managed to surpass 100k sales on Steam, a platform where even modest indie games occasionally boast more impressive figures.

You might wonder though – didn’t Ubisoft announce that “Assassin’s Creed Shadows” had over 2 million players across all platforms in just three days, as stated by their CFO FrĂ©dĂ©rick Duguet on March 23? It certainly seems like a triumphant statement, doesn’t it? However, careful observers will notice the significant detail missing: the number of “sales.

That’s no accident.

Let’s take a step back to when Ubisoft faced financial difficulties, indicated by red flags raised by its investors. There have been whispers that the Guillemot family, who founded and have long managed Ubisoft (with a 15% ownership), were actively seeking deals to sell intellectual properties in an effort to escape a €1.9 billion debt situation, as mentioned during their Q3 FY25 earnings call.

Initially, rumors circulated about Tencent potentially acquiring the company or selling intellectual property to competitors like Sony. However, these speculations quickly subsided when investors became aware of the plans and showed resistance. The control held by The Guillemots collided with a 10% shareholder group spearheaded by AJ Investments, who have been advocating for a complete sale or privatization since September 2024.

In the absence of an agreement, Ubisoft opted for a strategic reorganization, creating a separate entity to encompass its most valuable titles such as Assassin’s Creed and Rainbow Six. The plan involves selling a portion of ownership to new investors, maintaining control over the majority, and licensing out intellectual properties—including to Ubisoft itself—while avoiding the liabilities associated with the original company.

It’s a deceptive tactic to attract money without being overwhelmed by the consequences of their misfortunes. Imagine it as discarding valuable assets while an unfortunate number of 18,204 employees (from 19,011 in March 2024 after multiple redundancies) are left struggling amidst declining sales and debt.

As a cinema enthusiast, here’s my take: I can’t help but wonder, how does this play out? This new entity would grab the intellectual properties, allowing it to rent them out to other studios or even Ubisoft’s remnants, projecting itself as a pristine canvas unmarred by its parent’s €1.59 billion ($1.72 billion USD) market value (as of March 21, 2025) and €1.408 billion IFRS net debt (Q3 FY25 report).

Essentially, Ubisoft’s debt is so enormous compared to its total value that nobody in their right mind would buy an intellectual property (IP) from them for more than the company itself is worth. It’s like overpaying for a junk car when the dealership is already bankrupt. Instead, this new venture they’re planning might generate licensing fees, let them keep creative control, and allow the old Ubisoft to struggle with its oversized workforce and financial issues.

So, what’s this got to do with sales?

It appears that a strong pushback from influential investors, who have significant holdings in Ubisoft, may have compelled the company to disclose its early sales figures. According to industry sources on X, these numbers have been revised downwards not just once or twice, but three times since before the game’s launch. This could account for the immediate 10% drop in stock price on March 20, as shares fell from €11.32 to €10.19 within a day, according to Yahoo Finance – a clear indication of market anxiety.

In critical launches such as this one, dominant investors don’t take things lightly. They require immediate updates, frequently expecting reports of pre-sales versus day-one performance by the end of the day or the next morning. They might even request a “net gain projection” – an impressive metric that compares launch sales to pre-sale benchmarks, with a 10-20% increase serving as the benchmark for achievement.

The loud alarm bells ring clear: the game is a flop, unlikely to sustain long-term profits. A 10% stock drop on its “successful” launch day is not common – it’s almost a funeral bell, suggesting that those in the know with these figures are already leaving ship.

But there’s more to unravel about that “2 million players” flex.

By some analyst predictions for the year 2024, Ubisoft+’s subscription base is expected to range between 1 and 2 million users. This number is supported by Ubisoft’s third-quarter report revealing a total of 36 million active user accounts across all platforms.

The feature called “Shadows” was included in that subscription from the very start, so the initial 1.5 million users had immediate access. Let’s examine the Q3 FY25 financial reports now: total bookings for the first nine months amounted to €944 million, representing a decrease of 34.8% compared to the previous year. It is predicted that Q4 will bring in €956 million, which would help them achieve their €1.9 billion FY25 target.

If Assassin’s Creed Shadows had sold exceptionally well, it would have shown significantly in the fourth quarter sales – but this doesn’t seem to be the case, as it appears to be just a minor increase rather than a substantial boost. Steam’s peak of 64,825 players suggests that the actual number of copies sold is likely only a fraction of the reported 2 million units, perhaps as few as 500,000 units or even less. The claim of “2 million players” could potentially be a public relations strategy to reassure nervous investors who lack insider knowledge, masking a launch that was more underwhelming than anticipated.

Ubisoft’s Bitter End

It was evident that Ubisoft was heading towards financial ruin, like a neon sign in a power outage, for anyone who wasn’t blind. Unfortunately, the company has been led by someone who is delusional and arrogant, so convinced of his own greatness that he believes disaster is just an illusion that will disappear before it hits him – too stubborn to realize he’s already falling off a cliff.

The financial downfall for Ubisoft was as apparent as a neon sign in the dark, but unfortunately they have been led by someone who is delusional and full of himself, so convinced that disaster is just an illusion that will vanish before it hits him – too stubborn to see that he has already fallen off a cliff.

As a dedicated movie buff, I’d put it this way: “Assassin’s Creed Shadows” feels like a discarded fan fiction attempt at mimicking the sultry style of “Fifty Shades,” penned by an ardent admirer with a secret grudge against Ubisoft, brimming with bitterness towards those who’ve dared question their creative prowess. It’s a steamy, awkward spectacle that falls far short of the intended “epic narrative” mark and leaves me yearning for my eyes to be spared the bleeding-hue experience.

Japanese politicians are growing increasingly angry about Ubisoft’s disrespect for their cultural heritage, with Prime Minister Shigeru Ishiba’s recent comment, “This isn’t a game; it’s an attack on our spirit,” still resonating strongly. Local gamers aren’t just avoiding this release; they’re shunning it like toxic sushi, refusing to touch it. Investors are pulling out at an alarming rate, and I wouldn’t be surprised if Ubisoft undergoes major changes in the near future—changes that could alter its landscape drastically, and I predict those changes won’t be pleasant.

As untrustworthy journalists persistently sing their repetitive songs of victory, proclaiming it as a success, the impending layoffs and potential demise at Ubisoft, affecting approximately 18,204 employees, could serve as a harsh wake-up call. This isn’t just a fall; it’s an abrupt plummet, a heavy iron curtain collapsing to suppress those overly confident individuals who refuse to acknowledge their defeat. The game is over, and no amount of spin can revive this lifeless entity.

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2025-03-25 23:57