At this stage, Ubisoft might as well scrap Assassin’s Creed Shadows entirely and put up a “for sale” sign, as it’s hard to imagine their future taking a significant turn from here.
Ubisoft had been slated for an online appearance at this year’s Tokyo Game Show, but due to “various circumstances,” the French company abruptly canceled their plans at the last minute.
It was widely expected that Ubisoft would offer press previews for the upcoming Assassin’s Creed Shadows, set to release in November. With the game set in feudal Japan, it seemed logical that the Tokyo Game Show would be the perfect venue for journalists and select attendees to experience the game firsthand.
“We regret to inform you that due to various circumstances, we have decided to cancel our online participation in Tokyo Game Show 2024 which was scheduled to start at 3:00 PM on September 26th,” the statement reads.
The rationale behind Ubisoft’s sudden hesitation is clearly tied to Assassin’s Creed Shadows and the backlash it continues to face, especially in Japan and the West. As we’ve previously detailed countless times, the game is mired in controversy over blatant cultural appropriation.
Ubisoft’s latest installment marks the first time in the Assassin’s Creed series that players can assume the role of a historical figure, yet the figure in question, Yasuke, has minimal historical documentation supporting his existence. Nevertheless, Ubisoft has pushed forward, aligning itself with global DEI initiatives and diversity quotas in gaming, focusing on “marginalized” groups.
In Assassin’s Creed Shadows, Ubisoft has controversially chosen to rewrite Japan’s revered Sengoku Era, a well-documented period in history, with a fictionalized narrative centered around Yasuke, a Black man. Despite limited historical evidence of his life, Ubisoft and journalists have framed him as a mythical samurai warrior.
This portrayal has been met with widespread criticism for distorting Japan’s history and undermining its cultural heritage.
We’ve thoroughly documented how the writers of Assassin’s Creed Shadows, predominantly White liberals, have repeatedly asserted that there are too many White protagonists in gaming and that White individuals hold undue privilege in the industry.
The game has ignited significant backlash from gamers who are growing increasingly frustrated with DEI and ESG-driven agendas infiltrating their favorite titles. These initiatives often sanitize and censor depictions of attractive women, making them appear more masculine, while stifling creative freedom in favor of forced representation of Black characters and the LGBT community, leading to widespread dissatisfaction.
The New York Times recently published a puff piece defending Ubisoft’s upcoming Assassin’s Creed Shadows and its fictionalized portrayal of Yasuke, a Black samurai warrior in feudal Japan. In an effort to support their stance, the article featured input from a supposed half-Japanese transgender man trying to impose western values upon their “homeland” by claiming that the backlash against the game was largely fabricated by Westerners.
According to the article, these individuals were using translation tools to pose as Japanese, allegedly manufacturing outrage toward the game, which is set in Japan, in an attempt to stir artificial resentment.
Unfortunately for The New York Times, their half-Japanese transgender consultant turned out to be a former employee of Sweet Baby Inc, the notorious “consultation” company that has worked on projects for Ubisoft and Square Enix and are based in Canada.
It’s certainly hard to imagine there’s no conflict of interest in this case.
Adding to the controversy, Ubisoft issued a non-apology to the people of Japan ahead of Assassin’s Creed Shadows‘ release. In it, they stated that Yasuke’s fictionalized portrayal as a samurai warrior, based on the work of English-Jewish author Thomas Lockley, was a “matter of debate,” further fueling criticism surrounding the game’s historical inaccuracy.
Additionally, Ubisoft was forced to apologize to the people of Japan after being caught plagiarizing Japanese historical material for use in concept art for the upcoming title, alongside accusations of using AI-generated content.
It’s also worth recalling that Ubisoft brazenly presented a replica sword from the popular manga One Piece as Yasuke’s “authentic” samurai sword at Japan Expo. To make matters worse, the collector’s edition statue for the game was riddled with both linguistic and historical errors.
The timing of Ubisoft’s abrupt cancellation of its Tokyo Game Show appearance raises eyebrows as Ubisoft continues to damage control the situation by stating to the Japanese public that their game was crafted with love, passion, and cultural accuracy.
Ubisoft claimed that credible historians and cultural consultants were involved in the project, one of whom, Sachi Schmidt-Hori, is an LGBT activist known for writing novels depicting relationships between children and priests.
This revelation has only deepened skepticism surrounding the game’s authenticity and cultural sensitivity.
A Torii gate is a traditional Japanese structure that marks the entrance to a sacred space, usually a Shinto shrine. It symbolically represents the boundary between the everyday world and the sacred realm of the kami (gods or spirits in Shinto).
Passing through a Torii gate is an act of purification, signifying the transition from the profane to the divine. The depiction of a one-legged Torii gate disregards the spiritual and cultural significance of this revered symbol.
Typically, a Torii gate consists of two vertical pillars and two horizontal crossbeams, with a simple yet profound design. Walking through the gate is a gesture of respect, symbolizing the transition from the ordinary world to the sacred, preparing visitors for worship at the shrine.
While the exact origins of the Torii gate are unclear, it is believed to have been introduced from continental Asia during Japan’s Nara period (8th century).
In the Sengoku period, around the historical backdrop for Assassin’s Creed Shadows Torii gates represented more than just spiritual boundaries. They symbolized the protection of shrines and served as a form of spiritual fortification in a time of widespread chaos and warfare.
Warlords, or daimyo, often commissioned the construction of these gates as acts of devotion or as offerings to seek divine favor and success in battle.
The Qlectors figure for Assassin’s Creed Shadows features a one-legged Torii gate or more accurately, one that appears partially destroyed. This design choice isn’t about “saving plastic” or cutting production costs, as it could have easily included a proper two-legged depiction without much effort.
The concept of a “one-legged Torii” in Japan is a painful reminder of the bombing incidents of World War II. Such a depiction is generally considered offensive because it disrupts the sacred symmetry and spiritual harmony that the structure represents.
A complete Torii gate is a symbol of balance between the physical and spiritual worlds, and altering its form diminishes its cultural and religious significance.
The only surviving instance of a one-legged Torii in Japan is found at Sanno Shrine, partially destroyed during the atomic bombing of Nagasaki. A damaged Torii is considered deeply offensive and disrespectful to Japan’s culture.
So it’s hardly surprising that Ubisoft, a foreign company attempting to force their fantastical narrative of a Black samurai upon Japan would be audacious enough to feature such an image in a collectible figurine.
Ubisoft’s abrupt cancellation of their Tokyo Game Show appearance just days after Japanese netizens exposed this glaring issue is hardly a coincidence.
Any press coverage of Assassin’s Creed Shadows would almost certainly have been met with fierce backlash. Just when it seemed Ubisoft couldn’t further alienate Japan, this latest misstep proves otherwise. Such actions are inexcusable, and it’s becoming increasingly difficult to dismiss the notion that Ubisoft harbors a delusional misunderstanding, or rather outright disregard and hatred for Japan and its cultural heritage.
The company stated that the “currently ongoing giveaway campaign” would proceed despite the cancellation of the broadcast. However, the online discussions surrounding Assassin’s Creed Shadows strongly indicate that the game is likely to be a monumental financial failure upon its release.
Gamers in both the West and Japan have united to express their disdain for Ubisoft’s inadequate attempt at historical revisionism, seemingly aimed at appeasing BlackRock by introducing a Black DEI protagonist in a game set in 1600s Japan, which revolves around samurai and shinobi.
Ubisoft’s recent releases, such as Star Wars Outlaws and Skull & Bones, have faced harsh criticism and poor commercial performance, leading to a staggering decline in their stock prices, down 50% within a year and 80% over five years.
Despite Ubisoft’s repeated claims of being “respectful” of Japanese culture and their promises of authenticity, every move they make concerning one of their largest franchises seems to further alienate and tarnish their relationship with Japan.
Their decision to feature disrespectful and offensive remnants of World War II in an officially licensed figure for Assassin’s Creed Shadows exemplifies this.
If Assassin’s Creed Shadows were to incur as significant a financial loss as Star Wars Outlaws, the ongoing issues surrounding the game’s commercial figures and merchandise make that increasingly likely.
Ubisoft could find themselves in such dire financial straits by 2025 that a collapse is imminent, potentially leading the French family business to seek an acquisition by the latter half of next year. Frankly, I can’t wait to witness their downfall and piss on their grave.
