I truly can’t grasp why the Japanese face such racial prejudice and animosity from the Western gaming industry.
Ubisoft has revealed their upcoming addition to the enduring Assassin’s Creed series, titled “Shadow,” with a primary focus on juxtaposing historical accuracy in favor of a diversity and inclusive agenda.
Conversations surrounding diversity, equity, and inclusion (DEI) have gained traction within the video game industry. While initially seen as vital for creating a more inclusive atmosphere, there’s a growing awareness that in some cases, these initiatives may come across as forced while tarnishing the original source material in favor of boosting ones ESG standing.
Ubisoft’s newest addition to the Assassin’s Creed franchise, “Assassin’s Creed: Shadows,” is set to take place during the Sengoku period in Japan.
This setup typically spells success, as fans of the series have long hoped for an Assassin’s Creed installment set in Japan. This desire has persisted for years, particularly given the series’ overall commitment to diversity in both ethnic representation and protagonists.
Take, for example, Assassin’s Creed II, which unfolds in the Italian Renaissance era, offering players the chance to experience the ancestral lineage of Desmond Miles through Ezio Auditore, an unmistakably Italian protagonist.
In its sequel, Assassin’s Creed III, players step into the shoes of “Connor,” a figure who is half-Native American and half-British, navigating the tumultuous backdrop of the American Revolution.
In 2014, Assassin’s Creed Unity transported players to 18th-century Paris, where they assumed the role of Arno Dorian, a native of France. Four years later, Assassin’s Creed Odyssey immersed players in ancient Greece, presenting the option to embody either Alexios or Kassandra, both distinctly Greek characters.
In 2020, Assassin’s Creed Valhalla unfolded in 9th-century England during the Viking invasion, with Norway serving as the protagonist Eivor’s initial setting. Players could choose Eivor’s gender, playing as either a male or female Norseman.
The most recent addition to the franchise, Assassin’s Creed Mirage, is set in Baghdad during the Islamic Golden Age. Players take on the role of Basim Ibn Ishaq, a character of Islamic origin.
The Assassin’s Creed franchise has consistently celebrated diversity, showcasing a range of iconic characters from diverse ethnic backgrounds across the globe. However, my utter shock came with Assassin’s Creed Shadows, set in Japan, featuring dual protagonists: one, a Japanese woman skilled as a ninja, and the other, a controversial portrayal of Yasuke.
Some attempt to argue that Yasuke was the first Black samurai, however there is zero evidence that suggests this, more rather any historical remnants of Yasuke depicts the man as having been a retainer for Oda Nobunaga, who ideally would’ve made for a far greater and more loyal protagonist for an Assassin’s Creed game set in Japan.
Ubisoft’s choice to feature a black samurai prominently in a game set in feudal Japan has sparked considerable backlash. Many feel that rather than a genuine effort to incorporate a historical figure from Japan’s history, it comes across as a forced attempt at inclusion, lacking the thoughtful integration needed for authenticity.
It’s clear why they’re making this move. DEI initiatives enhance ESG credibility, ultimately attracting more investment capital. However, instead of selecting an iconic and historically documented figure as the true main protagonist, they’ve opted for Yasuke, a Black retainer believed to have served under Oda Nobunaga, although the veracity of his existence is still debated.
The idea of Assassin’s Creed Shadows focusing on following Nobunaga around, performing menial tasks like carrying his belongings and serving tea, might have its appeal. However, Ubisoft’s decision to portray him as a Samurai seems blatantly driven by his skin color rather than a genuine narrative or gameplay innovation.
Ubisoft has long emphasized their commitment to “representation,” claiming it’s ingrained in their DNA. Yet, their franchises have consistently showcased diversity in ethnic portrayals, featuring characters of various races. However, developers used to prioritize crafting engaging games with imaginative characters, irrespective of demographic considerations.
Gamers have historically shown little concern about the race or gender of video game characters. However, some voices on platforms like Twitter argue that prominent female characters such as Lara Croft or Samus are somehow “sexist” and “misogynistic,” undermining the inclusion of female characters in gaming.
This perception stems from the modern gaming landscape, where buzzwords like “diversity” and “inclusion” are their only buzzwords. It’s clear that the games of today are no longer crafted primarily for gamers, but instead, they are developed from the outset to incorporate DEI initiatives and LGBT themes.
For many, the introduction of a Black “samurai” in Assassin’s Creed may mark the first time they perceive the franchise as “woke.” However, the reality is that the series had already embraced messaging for years.
The choice to feature Yasuke as the main protagonist feels like a blatant attempt by Ubisoft to force equality upon consumers of which any sort of objections or questions are met with being labeled a racist.
The criticism of Ubisoft’s virtue signaling has intensified due to comments made by InfinitaleComic, a supposed former contractor for the company. They were involved in developing narrative elements for an Assassin’s Creed game set in the same era a decade ago.
InfinitaleComic shared details of an original storyline they contributed to the franchise, centered on a young monk named Yamauchi Taka as the playable ancestor. Taka joins the brotherhood after Oda Nobunaga’s assassination and is trained by Hattori Hanzo as an assassin.
The plot revolves around the Sword of Eden and its role in the era’s power struggles.
This intricate narrative, rich in historical and cultural context, prominently features Hattori Hanzo, an iconic figure of the Sengoku era. However, it seems this detailed historical narrative was sidelined in favor of introducing a black samurai and a kunoichi boss, which contradicts established canon. InfinitaleComic suggests that this departure marks a significant shift away from the carefully crafted historical narrative originally planned for the game.
Certainly, the saying “history is written by the victor” holds weight, particularly in the context of game development. This sentiment becomes more apparent when we have development studios such as Compulsion Games, who’ve faced accusations of changing their main protagonist from White to Black in their upcoming game “South of Midnight” following consultation with Sweet Baby Inc.
In support of Crystal Dynamics’ anti-racism disclaimer in the remastered Tomb Raider trilogy, Compulsion Games proclaimed that we should quote-on-quote “rewrite new history” instead of repeating it.
And that’s precisely the aim they’re pursuing currently. As mentioned earlier, there’s no substantial evidence to support the claim that Yasuke was ever a samurai; the available evidence only suggests he served as a retainer, if he indeed existed at all.
Diligent Wikipedia editors, driven by their woke agenda, are already at work, attempting to rewrite historical evidence to bolster the credibility of Yasuke being Japan’s first Black samurai.
When it comes to potentially controversial topics, Wikipedia is a platform best approached with caution. Similar to how some Reddit moderators may exhibit predatory behavior, there’s a parallel concern with certain esteemed Wikipedians who uphold a specific narrative.
However, it’s important to note that while some may genuinely strive for accuracy, there’s a significant portion driven by the agenda to disseminate misinformation to further their cause.
Take, for example, the user “Theozilla,” who engaged in an editing conflict with other Wikipedia users while attempting to alter Wikipedia’s list of “foreign-born Samurai in Japan” to include Yasuke.
However, their efforts to distort history appeared to be repeatedly blocked. Interestingly, this controversy and endeavor to revise historical accounts coincide closely with the release of the trailer for Assassin’s Creed Shadow.
Naturally, the page regarding Yasuke had also been revised, and subsequently rejected by other users who left kind notes to one another, it’s hilarious to see woke propagandists seemingly crying when others don’t bend over and kneel, with one user outright proclaiming that Theozilla was doing nothing more than “fooling common folk into believing there were real black samurais.”
This entire debate feels rather futile. It’s widely known that Ubisoft has close ties with the narrative consultancy firm Sweet Baby Inc., and their commitment to forced “diversity” and inclusivity initiatives is well-documented. However, it’s interesting how certain franchises like Prince of Persia or Beyond Good & Evil are seldom mentioned in these discussions regarding representation and inclusivity.
For a franchise like Assassin’s Creed, which delves into historical events and conflicts worldwide across different epochs, it’s particularly intriguing how it sporadically veers away from representation when it comes to an Asian country.
The series has consistently showcased diverse characters from various backgrounds, yet now it seems to divert from this tradition by introducing Yasuke as a Black samurai, despite the lack of historical evidence supporting this portrayal.
It’s truly perplexing. Throughout the Assassin’s Creed franchise, we’ve seen accurate representation in settings like Italy, France, Greece, Norway, and even in America with Native American protagonists.
Fans have long awaited a journey towards an Asian country, whether it be China, Mongolia, or primarily Japan. Now that this desire is being fulfilled, it’s striking to see Ubisoft opt to focus the game on a Black man, an individual whose only historical association is as a retainer of Oda Nobunaga, yet the game portrays him as a heroic samurai warrior instead?
This appears to be blatant pandering to diversity, equity, and inclusion, which have become crucial aspects of today’s gaming industry.
However, while these principles are important, they must be balanced with a commitment to historical authenticity and narrative integrity. Otherwise, it risks coming across as disrespectful or even racist towards Asians.
Japan has faced ridicule and cancel campaigns targeting their “problematic” media, including video games, manga, and anime adaptations that cater to male audiences for years.
Given that gaming is predominantly male-dominated, this agenda isn’t truly about “representation”; it’s about subversion. There’s a clear attempt to bend Japan’s history and heritage to fit a specific agenda or to check off as many inclusivity boxes as possible.
Assassin’s Creed Shadows isn’t just disrespectful, its entire narrative seems to have been crafted by progressive activists who prioritize their agenda over the authenticity of Japan’s history and genuine representation.
While it might be a neat idea to feature Yasuke as a “what if” mythical figure in a standalone game, within the context of the Assassin’s Creed franchise, which typically centers on actual historical figures or events, his falsified depiction has only served to anger consumers.
Moreover, it appears to have sparked progressive revisionist battles on Wikipedia, aiming to distort Japan’s heritage and history to accommodate a figure with little real significance.
The Assassin’s Creed franchise has noticeably declined in relevance since 2013’s Assassin’s Creed IV, with subsequent entries failing to leave a lasting impression or facing poor reception. While the series has been labeled as “woke” for some time, the cultural appropriation of Japan’s history strikes a nerve with many.
Ubisoft’s disappointing practices, including revoking access to digital purchases, implementing in-game advertisements, and prominently featuring DENUVO DRM as day one updates further sour the experience for players.
Assassin’s Creed Shadow seems destined for failure, as it appears to be nothing more than a misguided attempt at pandering to modern audiences. By distorting historical events in Japan to fit a woke narrative, the game disregards the importance of historical accuracy.
Instead, it serves as yet another platform for Western activists to preach about diversity and inclusion while racially stigmatizing Asians.
