Ubisoft’s latest installment in the Assassin’s Creed franchise, Assassin’s Creed Shadows, has sparked a cultural and political firestorm in Japan. What started as excitement over a new open-world historical adventure has turned into a debate about cultural representation, historical accuracy, and the responsibility of game developers when portraying real-world locations and traditions. The controversy escalated when Japanese officials and religious leaders voiced concerns over the game’s depiction of sacred shrines, particularly the ability for players to destroy objects within these spaces. The backlash was swift and severe, prompting Ubisoft to release a day-one patch ensuring that temple furniture, including tables and racks, would remain indestructible.
This decision came after significant criticism from figures such as Hiroyuki Kada, a prominent political voice in Japan, who argued that allowing in-game destruction of religious sites could lead to real-world disrespect for such places. Prime Minister Shigeru Ishiba also weighed in, stating that even virtual defilement of sacred grounds sends the wrong message. Japan has long been protective of its cultural heritage, and the government has previously intervened in media portrayals it deems inappropriate. The Assassin’s Creed Shadows controversy is just the latest example of how foreign media depictions can trigger national debates over cultural preservation.
The game’s trouble didn’t end with shrine vandalism. The inclusion of Yasuke, a real-life African samurai who served under Oda Nobunaga, has drawn mixed reactions. While Yasuke’s historical existence is well-documented, his prominence in Assassin’s Creed Shadows has fueled accusations that Ubisoft is catering to Western audiences rather than staying true to Japan’s own historical narratives. Japanese historians and gamers alike have questioned whether Yasuke’s role in the game is an authentic exploration of history or an attempt to inject diversity into a narrative that traditionally centers on Japanese figures.
Ubisoft, aware of the potential backlash, defended its choice, with Creative Director Jonathan Dumont stating that Yasuke’s inclusion was meant to provide a fresh perspective on the period. However, skeptics argue that while Yasuke’s story is intriguing, making him a primary protagonist may overshadow more traditional samurai figures from Japan’s rich history. The debate underscores the broader question of how much creative liberty game developers should take when adapting real historical events.
Meanwhile, the game’s realism has been praised for its meticulous recreation of 16th-century Japan, but some design choices have sparked frustration among players. One of the most common complaints is the game’s lighting, which aims to replicate the dimly lit interiors of the Sengoku period but ends up making visibility difficult in many areas. While some players appreciate the historical accuracy, others argue that playability should take precedence over strict realism. The issue has drawn comparisons to Ghost of Tsushima, which, despite its historical setting, opted for more visually accessible environments.
Masumi, the voice actor for Naoe, one of the game’s protagonists, has defended Ubisoft’s commitment to authenticity. She praised the developers for their detailed portrayal of traditional customs, particularly the Japanese tea ceremony, which she found to be one of the game’s most powerful moments. Growing up in both Japan and the U.S., Masumi noted that the game captures many elements of Japanese culture with precision, though she acknowledged that not every detail would resonate with all audiences.
Beyond player and industry reactions, legal and ethical concerns have emerged over the depiction of real-world sites in the game. The Itate Hyozu Jinja shrine, a historical Shinto site, formally requested the removal of its likeness from Assassin’s Creed Shadows after seeing gameplay footage of its interior being ransacked. This raises the question of whether game developers should obtain explicit permission before using cultural landmarks in their work. While Ubisoft has not yet responded to the shrine’s request, the situation suggests that future game developers may need to engage in more extensive cultural consultations before including sacred sites in their games.
The controversy surrounding Assassin’s Creed Shadows is part of a larger pattern in the gaming industry. Ubisoft has faced similar issues in the past, particularly with Assassin’s Creed Unity, which depicted revolutionary France in ways that some historians found problematic. Other game studios have also struggled with cultural representation, from Call of Duty’s depictions of Middle Eastern conflicts to Far Cry’s portrayals of exoticized foreign lands. As gaming becomes a truly global industry, developers must navigate increasingly complex cultural landscapes, ensuring that their portrayals do not cross the line into insensitivity or historical revisionism.
Ubisoft’s response to the Assassin’s Creed Shadows backlash has been notably swift compared to past controversies. The day-one patch addressing shrine destruction was implemented almost immediately after the concerns were raised, suggesting that the company is learning from past mistakes. However, some critics argue that such issues should have been caught earlier in the development process through better consultation with cultural experts. The speed of Ubisoft’s response indicates an awareness of the stakes involved, but the controversy itself highlights ongoing tensions between creative freedom and cultural responsibility in gaming.
Players remain divided on whether the game’s historical liberties enhance or undermine the experience. Some argue that a game should be allowed to take creative risks, even if it means altering historical details for the sake of storytelling. Others believe that when a game claims to be historically grounded, as Assassin’s Creed Shadows does, it has a responsibility to be as accurate as possible. The inclusion of Yasuke, the shrine debate, and even the game’s lighting choices all reflect the broader challenge of making historical fiction that appeals to both local and global audiences.
As gaming continues to evolve, controversies like this one will likely become more common. The industry’s increasing focus on realism means that games are no longer just entertainment—they are interactive forms of historical storytelling. With that comes the challenge of ensuring that these stories are told with care and respect. Ubisoft’s handling of Assassin’s Creed Shadows will serve as a case study for future game developers, illustrating both the risks and responsibilities of adapting real-world cultures into digital worlds.