Welcome back to my legacy update! Generation 4 heiress Brie Legacy is at uni. We invited her parents over for dinner just to check in with them. Professor Garrett and generation 3 heiress, Blu Legacy. We made sure no one else was at the Greek house so they didn't have the opportunity to cheat on free will, lol. Instead, I found them flirting and kissing each other.
Brie congratulated\ed her mother on growing old, way to go! :P I still can't believe I have made it this far in a family. In all my years of playing I have never made it past generation 3, so Brie is extra special to me.
And Brie only deserves the best. In our last update we found her future spouse, Weldon. I really like him, look at this awesome gift he gave Brie after their date. This fancy fountain. I always regift gifts as I feel like it's cheating, but I decided to keep this one. You can see I placed it out front in the previous photo.
Things had been going great between Weldon and Brie. He was always over at the Greek house ready to party with Brie. He really is such a handsome sim, lol.
Sometimes it could get a little awkward. Being a popularity sim Brie did not want any enemies. In our last update she unknowingly cheated on her crush Corey. She still found him attractive, but they now remain friends.
The way Corey stares at them making out, lol. But Weldon is the one we want. He has never shown any signs of attraction to another sim (that we know of) which Corey had done on their first date. They also clashed when trying to find something to talk about, where Weldon and Brie can talk for hours.
Brie has a thing for red heads apparently, although her turn ons are cleanliness and swimsuits. This guy has probably heard how how Brie 'gets around' and I imagined him saying \"I heard YOU were a good kisser! *points*\" lol.
During one of their parties, Brie rolled the want to get engaged to Weldon so I obliged. He seemed happy in the moment.
Until I saw the red ring symbol D: how dare you Weldon! You should be beyond grateful to have the opportunity to enter my legacy challenge. Hmph. He is a fortune sim, maybe he is sad because he is marrying a \"poor sim\" since we don't have to much money at university. Looks like Corey is having fun dancing with a pretty blonde back there though.
Finally, Brie was welcomed into the secret society. She is the second sim in my legacy to join, the first was her Uncle BJ from the previous generation, also a popularity sim. And yes, that is Weldon in his underwear back their eating spoiled pizza.
Not much to the secret society. A few career rewards and a kitchen here. A cool outfit and a secret handshake among fellow secret society members.
Brie spent the time with her friends, chit chatting and gossiping, mainly about Corey.
Corey seemed to be the main topic for Brie to talk about, however.
They were now friends, best friends, best friends forever actually. (And a crush) but he was still extremely angry over being cheated on. He walks by often to show his anger, sometimes knows down the trash can. When is he going to get over it!? They weren't even serious; it was just a small crush.
Even though Weldon has the red engagement ring memory, he was the one that we liked. I liked that he took charge and did romantic interactions to Brie all on his own.
He really did love that toga outfit though, I don't think we have seen him in anything else, besides his underwear. No idea what his main outfit is, lol. But this is where were going to leave this update. Brie is just a semester away from graduating. In our next update she will have a graduation party and head back home!
Brie Legacy, a sim so cool she wears two pairs of shades ;)

The Myrrh-bearing Women. Artist: Robert Anning Bell
This Sunday is called the Sunday of the Myrrh-Bearing Women; that is, women, bearers of myrrh. Having heard this phrase, “women, bearers of myrrh”, we can suppose that the profession or occupation of these women mentioned by the Holy Evangelists was to anoint the reposed with myrrh; that is, when someone died, they were to anoint with fragrances and aromatic spices the body of the one who had departed to the other world. But we are mistaken! This is not why they are called myrrh-bearers, but because they bore an entirely different myrrh in their hearts—they loved Christ.
Thus, their occupation was not anointing the deceased with fragrances. We can say much more beautiful words about them: The myrrh-bearing women were bearers of the myrrh of love for Christ. And inasmuch as they were bearers of this extraordinary, fearless, beautiful love for Christ, the Church considered it appropriate to dedicate this Sunday almost immediately after the great feast of the Resurrection of Christ, called the Sunday of the Myrrh-bearing Women.
Why have we called the myrrh-bearing women bearers of love? There are a few amazing virtues that we can learn by looking at their relationship to the Lord. Usually when we talk about this Sunday, we underscore the significance of women, and explain the meaning of this wondrous and blessed gift that is woman. And when we immerse ourselves in the stream of modern ideology, we even get the sinful desire to demonstrate woman’s superiority over man, proceeding from the Gospel reading for this Sunday, as if emphasizing these women’s heroism, courage, love, etc. And we would fall into this trap by wishing to prove that women are higher than men, in part due to the fact that they were the first to receive the news of the Resurrection: “Rejoice!” (Matt. 28:9). Perhaps there is a bit of truth in this, but we will never understand the Gospel in this vein.
I think that the myrrh-bearing women attract our attention by other wondrous virtues. First of all, they are bearers of love, who had enormous love for Christ. They did not abandon Him when He was abandoned and left by all, including by the apostles, who knew in some measure just Who Christ was. They saw Him on Mt. Tabor, they knew that He is God, and that they must not abandon Him. They saw Him in all different situations, when Christ worked miracles and healed They saw how He spoke, and understood that no one could ever have spoken or could ever speak as Christ did. This means that the apostles had very weighty reasons why not to abandon the God-Man, their Teacher, when He needed them near Him more than ever.
And Who accompanied Him when He was being insulted, when filthy words were being flung at Him, when people mocked Him and laughed at Him, when He hung alone on the Cross? The myrrh-bearing women. When love is beautiful, authentic, and true, it never abandons a person who has been left alone. To the contrary, a person who loves is ready to follow one who has suddenly found himself alone and in grief—no matter how heavy and dangerous the context of the real circumstances is—and think nothing of it.
The myrrh-bearing women also did this amazing thing. When we meet lonely, abandoned, and unneeded people, let us also learn from the women, the bearers of this myrrh of love, and be close to them.
The words I heard in an interview on a television program with the most worthy Metropolitan Bartholomew (Anani) seared my heart for life. He was asked, “What was the most painful thing in your life?” He replied:
“The most bitter thing for me will always be that my parents died all alone, without comfort, because I was in prison and couldn’t be with them.”
So, when someone dies, you need to be there with him, not leave him alone. You need to hold his hand, stroke his forehead, speak affectionately with him, and be attentive to his every move as he departs from this life. After all, he has become so important and precious to you that you cannot leave him at his moment of death.
Death can also be emotional and spiritual when you are abandoned by all, when everyone is mocking you—deservedly or perhaps undeservedly. But there is another kind of death—loneliness. But if you have a person who truly loves you, you will not be alone.
The second excellent lesson that we can learn from the myrrh-bearing women is that when we truly love God, we receive more than we expect. For here is what love actually means: receiving something of which, as you know in the depths of your soul, you are unworthy. Love is what you will never deserve to receive! You are so unworthy in comparison with the one who loves you so beautifully and abundantly, and you know that you do not deserve to be loved with such strong love as that with which he loves you.
There have been many cases in our lives when each of us as felt conquered by the love we received. Perhaps we expected to be scolded, spat upon, but we received love instead. This is an extraordinary virtue. Why? Because such love possesses enlivening power. And love is always good and tender, and hides a delightful nobility. It never wounds.
The souls of the myrrh-bearing women were torn apart by the sorrows of Passion Friday. They went to seek Christ the crucified, Christ the mocked, Christ the spat upon and tortured… They sought this Christ from early morning in order to perform the appropriate rite over Him Whom they loved. Otherwise, they would not have dared to go out in the dark—after all, at that time there was a patriarchal mentality. Women did not have the same freedoms as they do today. But these women, these bearers of the myrrh of love, ignored all danger.
They could have thought that those guarding the grave would chase them away. But they didn’t think anything of the sort! They had only one thought: to take care of the crucified Christ. And to their great surprise and horror, as the holy evangelists write, they found the tomb empty (in fact, it wasn’t empty—it was filled with the light of Christ’s Resurrection) and they received the tidings that Christ was no longer there! The angel said to them:
“Why seek ye the Living among the dead? He is risen! Go and tell the apostles that they will meet Him in Galilee, as He told them before.”
How excellent, how wondrous is God when you love Him as these myrrh-bearing women did! They thought that they would see Christ dead, crucified on Great Friday. But to their great joy they met Christ resurrected; Him Who conquered death for our sakes and deified our human nature making it just as bright, beautiful, and filled with nobility and with His Resurrection. Only sin spoils and blackens each of us—and how horrible it is to bear the burden of sin.
When you truly love, as did these women, these bearers of the myrrh of love, God always gives you more than you deserve; more than you expect.
And the final thing that we can learn from the myrrh-bearing women, from Mary Magdalene who also goes out early in the morning and sees the grave empty. She meets Someone in the garden where the Christ’s tomb was. And she thinks He is the gardener. She asks Him from a soul darkened with pain:
“Where is the Lord? Perhaps you have taken Him from there and put Him in another place?”
And Christ answers her, but she does not recognize His voice. You see, when we love someone very much, we know every modulation and tone of his voice; these are distinguishing signs for us: “This is the person I love!” The person’s voice means so much to you that as soon as you hear it you feel at peace, and the muddy waters of your soul become clear. But Mary Magdalene did not recognize Him them. She only recognized Christ when He called her by name:
“Mary!”
And she answered with all simplicity:
“Rabboni (Teacher)!”
What can we learn from this? That every time God calls us by name, the name we received at Baptism, we are revived. In the Gospel of John it is said that the sheep know their shepherd by his voice (cf. Jn. 10). We can recognize the Shepherd by His voice only at the moment when He calls us: The Shepherd calls His sheep, He calls them to the Kingdom of God.
When God calls you by name, only then will you recognize God, as it happened with Mary Magdalene.
“And springs well up, sweetly calling us by name.”
This, I think, is what we learn from the women, the bearers of the myrrh of love:
When we love, we do not abandon a person who is alone, sad, and abandoned, when he is experiencing the most acute need for help.
When we love someone very much, we receive much more than we deserve. This is what happened to the myrrh-bearing women who sought Christ as dead, but met Christ Resurrected.
The myrrh-bearing women became the first missionaries of the Risen Christ.
When God calls you, you learn to recognize Him and delve more deeply into Him.
May God help us to emulate these women, these bearers of the myrrh of love, so that each of us might become bearers of Christ’s love!
Source: PravoslavieRu
Bishop Ignatie (Trif)

https://www.famitsu.com/article/202405/5194 (translated by DeepL: there are probably translation errors)

Shadows is the next step forward for Assassin's Creed

Mr. KARL ONNÉE, Producer
--First of all, let me say "Thank you" from us Japanese, as "Assassin's Creed" is finally coming out, which is set in Japan!
KARL: Thank you for coming here today. I have been wanting to do this work for years, so my dream has come true.
--Why did you choose the Azuchi-Momoyama period as the setting for this work?
KARL: I chose it because it is a very rich period in history. It was a time of war and political maneuvering, a time of change from rural to urban areas, and also the birth of art. I also chose it because it was the start of the unification of Japan. It was a pivotal moment for Japan. Together, these elements provided an excellent canvas on which to tell the story.
--What kind of image do you have of the Azuchi-Momoyama period?
KARL: This was a time when the feudal lords of the warring states were fighting for power in the name of unifying the country, but it was also a struggle for control of trade. Portuguese missionaries and merchants came to Japan together. The Portuguese missionaries and merchants came to Japan together, and people who wanted a beautiful country and peace. This is the kind of image we have, but I think there was a mixture of various cultures and people's thoughts. And of course, there were the warring feudal lords. These are great canvases for the story.
--What do you think should be inherited from "Assassin's Creed" and what are the unique aspects of this game?
KARL: When people think of "Assassin's Creed," they think of stealth, but shinobi fantasy is not only a perfect fit for an "Assassin's Creed" game, it also fits the DNA of the "Assassin" brand.
What we wanted to do with "Assassin's Creed Shadows" was to push stealth even further. We started this effort with the previous game, "Assassin's Creed Mirage," but we wanted to take it further with new features. Systems such as light and shadow, grappling ropes, belly crawling, and a variety of tools available in the game provide a new experience.
The gameplay is also enriched by two characters, Naoe, a shinobi, and Yasuke, a samurai. Players will explore and discover Japan through the eyes of Naoe, a local, and one non-Japanese outsider. The game is more dynamic than ever before, pushing the limits of technology and offering an experience exclusive to the first state-of-the-art consoles.
The gameplay is also enriched by two characters, Naoe, a shinobi, and Yasuke, a samurai. Players will explore and discover Japan through the eyes of Naoe, a local, and one non-Japanese outsider. The game is more dynamic than ever before, pushing the limits of technology and offering an experience exclusive to the first state-of-the-art consoles.
--The "Assassin's Creed: Valhalla," released in 2020, is based on the theme of "Vikings" and has been a huge sales success. As a Japanese, I feel that from a global perspective, the Japanese "shinobi" theme is even more niche, but what is your current response?
KARL: I would like to talk about how it compares to "Viking" fantasy. Both shinobi and samurai are exciting and celebrated as fantasy with power, and are widely discussed in pop culture, and we are very much inspired by them.
Shinobi were on our radar from the beginning because we thought they fit well with the "Assassins" brand, but we felt that incorporating a powerful samurai would create two different gameplay experiences and give us the opportunity to tell the story from two different perspectives. We feel that this is a powerful motif that can compete with the "Viking" motif.
--How did you like the setting of Japan as a subject matter for the latest model?
KARL: I think it was perfect. For example, the "Global Illumination" technology allowed us to explore the response of light and shadow. Some consoles are still called "Baked GI", but by using dynamic lighting and the power of the new hardware, we were able to explore the creativity.
We are now able to express not only light and shadow, but also the dynamism of nature in greater detail. Naturally, since it is set in Japan, we have never dealt with so many trees, and thus so much data, in previous works in the series. We also needed more data to seamlessly move various things at the same time because of the seasonal changes. The latest models have allowed us to realize our vision, and our ambition for this film and for "Assassin's Creed" will continue.
--Assassin's Creed Mirage marks the 15th anniversary of the game. Can we consider this work as the next step forward for the next generation of "Assassin's Creed"?
KARL: You are absolutely right. Mirage" was a tribute to existing works, but this film is the first step into a new era. We are in the era of modern equipment. With the new generation of our engine "Anvil", plus the opportunity to create a new era by using the power of the latest consoles, we are able to do what we wanted to do with "Assassin's Creed Shadows".
With technologies such as global illumination and dynamism, we are now making the game we really wanted to make.
--What are the four pillars you are focusing on in the development of this game?
KARL: We are focusing on four pillars.

• The first is to create an authentic and dynamic world.
• Second is the story, introducing a new form of storytelling to "Assassin's Creed" by introducing two characters with different stories and perspectives.
• Third, there are two different action sequences. Samurai and Shinobi each have their own training elements and unique weapons. For example, in castles, each has a different positioning that they excel at, which makes a big difference in how they play.
• And finally, there is stealth. We are promoting the importance of stealth more than ever with new systems such as light and shadow, objects in the environment, depression, and grappling ropes.

-- The launch is scheduled for November 15, 2024. What is the current development status?
KARL: Development is going very well. We are proud to say that we have done a good job, but of course it is not finished and there are still glitches. This is the result of all the work we have done so far. We are very happy with how things are going right now, and we hope you will stay tuned for more news.
-- I understand that "Assassin's Creed Infinity" was announced at the previous Ubisoft Forward and that this title will be included in the game? Also, what is the development status of that game at ......?
KARL: "Assassin's Creed Infinity" is introduced as an Animus Hub (*a hub that will function in the future as an entry point for the series), which we will talk about at a later date.
--What is your message to your fans around the world and in Japan?
KARL: We are humbled that our dream of creating a game in this setting has come true. This is a setting that our fans have been anticipating for a long time, and for us it has been a wonderful experience to work on a game that we have always wanted to make.
This game is the result of our love. We hope you enjoy it. We look forward to talking more about it in the coming months.

The Shinobi Assassin and the Legendary Samurai. Experience the different fighting styles created by these two characters.

(left) Mr. JONATHAN DUMONT (Creative Director), (right) Mr. CHARLES BENOIT (Game Director)
--When did you start the development of this work?
JONATHAN: Development began about four years ago, and research into the time period in which the film is set began immediately. There were a number of cool subjects that brought us great characters and story plots. I had a gut feeling that this was going to be a very good game.
--Was the Azuchi-Momoyama period chosen as the period setting from the pre-development stage? Did you have an idea for a major point in Japanese history, such as the end of the Tokugawa Shogunate?
JONATHAN: I started from the beginning of my study of Japanese history, but I began reading with the feeling of a student. Following the Socratic principle, you took the attitude of knowing nothing. As I read on, I found some very interesting settings.
I focused on the Azuchi-Momoyama period because I felt it was an extremely important period for Japan. It was a time of warring states, the need to unify the country, and the need to defend itself against the growing influence of other countries.
It was a grand and complex period, and there are many stories that can be told from different angles. Among the heroes of the unification of Japan, Tokugawa Ieyasu, Toyotomi Hideyoshi, and Oda Nobunaga are best known among the outstanding characters in Japanese history.
Not only war, but also politics are involved, and they are moving toward the peace that will eventually come, with a good ending waiting somewhere in the middle. I strongly felt that this was a wonderful and interesting period that deserved to be featured.
It was also a time when the foundations of the arts were laid. Castle towns were built, the world changed, and people's relationships with each other and with art, as well as their inner lives, also changed. It was very interesting to explore this period, and I was strongly attracted to the characters who lived in this time.
-- Why did you choose the title "Shadows"?
CHARLES: From my point of view, there are two reasons. Shinobi hide in the shadows, so "Shadows" is of course inspired by that. In a way, this embraces the "Assassin" brand and shinobi.
There are other aspects to "Shadows" as well. There are "hidden things" in the game that must be discovered by the player, but they are hidden in the darkness in some way.
JONATHAN: Both characters are in a way connected to being shadowy heroes living in the underworld of this era. It's a cool title, if you can think of it this way.
--Why did you choose two main characters and two fighting styles? Also, what kind of combat action can the Shinobi and Samurai experience respectively?
JONATHAN: One of the reasons for the separation of the two styles is that from the beginning of development, we wanted to have two distinct and cool archetypes to play with: the samurai and the shinobi.
We also wanted to make sure that this fantasy was as close to reality and expectation as possible without being diluted. I also often felt the need to have two points of view in the development of the story, since history is rarely clearly black and white. The two protagonists provided interesting dynamics and perspectives on how to approach the game.
CHARLES: I think it is very interesting that in combat, both the samurai and the shinobi have special types of weapons. Therefore, the style of combat in this work is built on a more weapon-based approach.
There are weapons that only Samurai can use, and the same goes for Shinobi. The player can get a good feel for the two different fighting styles. And it is possible to switch between them.
--What weapons can Naoe and Yasuke use?
CHARLES: Both players have different types of weapons. For Naoe, we went for a more classic fantasy type shinobi. The chain scythe is a weapon that covers a wide area and can only be used by Naoe.
In addition, she also has a dagger used at close range, which can be combined with a hidden blade (Hidden Blade). Naoe can fight very quickly and efficiently with these.
On the other hand, Yasuke, who excels at overpowering with force, is given more types of weapons, some of which are firearms type weapons. They also have the typical samurai bow.
--Why did you choose to make the shinobi Naoe an original character and the samurai Yasuke a historical figure?
JONATHAN Even though they are well known in Japan, at least in North America, not much is known about farmers, what happened to them, and where the Shinobi came from.
So we decided to introduce a figure from Iga who is shrouded in mystery. We considered historical figures from the region, but we preferred a sense of mystery, so we came up with Naoe as someone who may or may not have actually existed.
As for Yasuke, from the beginning we thought that a story about the arrival of the Portuguese would be a very good way to tell the story of the crisis in Japan. The team liked the character Yasuke, and we thought we could use him to show the promise of discovering Japan.
We thought that if we started with a samurai already in Japanese society, he would be a very interesting and intriguing character, with concepts that we don't necessarily know. And it would also be interesting to see what happened to him. He starts out as a character who is already rooted in history, and we are curious to find out what happens to him.
I thought they would make a cool team, complementing each other in terms of storytelling, physique, and family background.
--What did you keep in mind when creating the scenario where the two main characters switch? What were some of the challenges?
JONATHAN: I wanted the audience to feel that "both are the main characters," but this was more complicated than it seems. Their stories overlap in places, but I wanted to make sure that as the game progresses, you gradually discover more and more about both characters. They have similar goals and motivations, but they are not 100% the same, which made it complicated and difficult to maintain their individual personalities.
Naturally, the quest can be played by either character. If a quest needs to be started by one character and completed by the other, the settings must accommodate both play styles. Thus, although it can be complicated, there are many opportunities to tell the story from one of the two perspectives.
Having two different points of view is a lot of fun, but there were some complications, such as having to use new technology in the conversation tools. There were some cool things, however. It is interesting that in the conversational scenes, the player decides which of the two protagonists speaks and they ask for different things. This is cool in a way.
CHARLES: Both characters are attacking the castle and at some point the player is asked if they want to continue with Yasuke or Naoe, both are interesting. At various points the player must make these choices.
The stories are independent, so if you want to know more about Naoe's or Yasuke's past, you can play as one character and delve into that character's story.
--Are there areas of action that differ, such as places that only Naoe, a shinobi, is allowed to enter?
JONATHAN: There are areas where both Naoe and Yasuke have different areas of activity. I can't go into details because there are a few surprises, but since Naoe can use a hooked rope, there are places that are almost exclusively accessible to her.
The world is designed to be enjoyed by both characters, and players can switch between the two at will.
Of course, if you want to reach the final point of the world or reach the summit through the ruins, then perhaps Naoe is the better choice. However, if you want to break through the fort head-on alone and open the way, Yasuke seems like a better choice. Of course, you can play with either character.
CHARLES: Each character also has specific actions. Naoe can hook the hooked rope to a specific spot and move like a pendulum, or hook the hook to a high spot and climb the rope to get to where she wants to go faster than Yasuke. However, Yasuke can use a shoulder bash to break down reinforced doors.
Yasuke can also perform parkour very efficiently in a more daring way. What can be felt when Yasuke performs parkour is how the crowd reacts. Because Yasuke is a samurai and exudes dignity as a superior class, the crowd reacts accordingly. Naoe, on the other hand, gives the impression of being more integrated into the world.
--Can you both use the Hidden Blade, Hawk's Eye, and other Assassin abilities?
CHARLES: Without spoiling anything, the traditional skills of the Assassins are mainly for Naoe. However, there is another mechanism called "Kantori" (tentative name) that can be used when you want to find an enemy or target person, and this can be used by both of them.
You can use free aim to look around, but you cannot see through walls. Yasuke can also be killed by stealth, but in a more direct and easier way. Even with stealth, there will be some sound, so it is a "stealth-like" approach.
JONATHAN: Kantori (tentative name) can be used to find many things in your current location. It is a very good guide for a certain area, but it does not take all the fun out of exploration. It is a good guide because you can learn a little more about where you want to go, but you are left with the surprise of discovering something.
-- Is there a skill tree that makes Naoe more combat-oriented or enhances Yasuke's stealth?
CHARLES: Both have skills that are more combat-oriented and stealth-oriented. Also, some equipment has effects such as increased resistance when attacked. We also offer perks that enhance your abilities in combat.
Naoe, enhanced to be more combat-oriented, has an advantage in melee combat compared to Naoe, enhanced to be more stealth-oriented. Both have a range, but cannot go in completely opposite directions. There is some overlap between the two, but we have made sure that the characteristics of each ability are properly felt.
--Please explain the skill system.
JONATHAN: Both characters share XP and level up together, but the rest of the system is a bit similar to that of "Assassin's Creed Odyssey".
XP and character abilities are available, weapons can be crafted to some degree, and various upgrades can be made as the game progresses. Weapons are not stand-alone, but for two, so each weapon has its own unique skill system. Players should not feel any discomfort, but this is a very different part of the game from the past.
CHARLES: There are two things that were very important to us in terms of skills.
First, we have to be very aware of archetypes. In Japan, there are distinct archetypes, such as the armor-clad samurai, the revolting monk, and the bandit, which are quite different. We try to make it clear to the player who is stronger, and we try to make that part of the leveling process as important as possible. Samurai are always stronger than bandits.
Secondly, player skill is added to the mix. The better you are at timing, reading attacks, understanding weapons, etc., the better you will be and the further ahead you will be.
--What is the volume of the map compared to past works? I would also like to know how you decided on the scale of this work.
JONATHAN: The biggest difference is the scale ratio. The mountains are not the actual size, but we wanted them to be true forests, consisting of trees of a certain size, so that you feel you are in a forest. To achieve this, we needed space.
We also decided to keep it close to a realistic scale, so we could feel the breath of many things. When we visited Japan and saw the castle, we were so glad we made this decision. Japanese castles are huge! Of course, we had seen pictures of castles before and thought they were big and magnificent, but when we saw them in person, they were astonishingly large.
And I wanted more space to explore the castle. Castles were built to be large battlegrounds, you know. You need space to build intricate walls for defense.
The overall scale of the map is similar to the size of the map in Origins. However, the scale ratio makes it feel more realistic. The open space leads to secluded areas throughout the game, which will be fun to explore. This sense of scale is a very interesting aspect of this film for us.
CHARLES: The story led us to choose which locations in Japan we would choose. The major events in Kyoto, around Osaka, and around Azuchi Castle took place in the same area, so we were able to focus on that.
JONATHAN: Of course, we had to choose a size that matched the game, but I think it was the perfect size for this story and type of game.
--Since the game is set in the Warring States period, is there a system that allows players to participate in battles?
JONATHAN: We see several battles in the story, and the battle at Iga is playable. There are other battles as well, but I can't talk about them right now. The game is set in the Warring States period, but it is not only about battles. It is a game that allows you to travel and discover that world.
--What challenges have you faced and what have you been able to achieve as a result?
JONATHAN: By making the big decision to go completely modern and demanding a very high level from the "Anvil" engine, we were able to increase the number of particles, create a more realistic atmosphere, and expand the graphical possibilities of the changing seasons.
This allowed us to work on a fresh new Assassin's Creed. This was a great opportunity for us to take a big leap forward in graphics.
CHARLES: Also, thanks to the new global illumination system, we were able to take advantage of light and shadow, which had a huge impact on the gameplay and stealth approach. For example, enemies became aware of our presence through our shadows, enemies gathered for warmth under a fire in the winter, or shadows through shoji screens depicted enemy presence, giving a new dimension to stealth.

By having two main characters, it is possible to show a wider range of angles and different perspectives.

(left) BROOKE DAVIES, Associate Narrative Director, (right) SACHI SCHMIDT-HORI, Narrative Consultant
--Did you choose the Azuchi-Momoyama period as the period setting from the pre-production stage?
BROOKE: I joined the project after the choice of period had been made, so the Azuchi-Momoyama period had already been chosen. This period offered so many wonderful opportunities from a narrative perspective. The complexity and duality of the period is well reflected in the characters of Naoe and Yasuke.
--What were you aware of and what were the challenges in creating a scenario where the two main characters switch?
BROOKE: From a storytelling perspective, I see it more as a wonderful opportunity than a challenge. When I write a story, I try to show rather than tell, and having two characters allows me to show what's going on from a wider range of angles and different perspectives. I hope this will encourage players to want to share their feelings with them.
--What do you think are the most important points in bringing original characters and historical figures into the game?
BROOKE: Both offer different and unique opportunities. With regard to Yasuke, I found him very interesting historically because we know some things about him, but there are many unknowns. So we needed to fill in the blanks in the story. It is important to note that Yasuke is a historical figure.
And in the case of Naoe, an original character, we were able to draw the story freely to some extent. The fact that she is a member of the Fujibayashi family and that her father is Masayasu Fujibayashi Nagato Mamoru allowed us to place her firmly within the setting. Because Yasuke is a real person but appears as a foreign-born samurai, the Japanese-born Naoe is on equal footing with Yasuke, although she has a different perspective.
--Will other historical figures appear besides Nobunaga Oda and Yasuke?
BROOKE: You will meet Luis Frois (a Jesuit missionary) at the meeting in Azuchi Castle. Also, Nene and Oichi will appear. The Japanese art renaissance that began in the Azuchi-Momoyama period blossomed in the Edo period, and you will also meet Sen no Rikyu, Kano Eitoku, and other important figures.
--Please tell us what year the story will be depicted.
BROOKE: I can't tell you what players will see, but I think it covers a part of the Azuchi-Momoyama period, from 1579 to 1584.
--I think the appeal of the series is to depict the struggle between the Assassin Order and the Templars while taking into account the history, but I would like to ask if there were any difficulties in putting the Azuchi-Momoyama period into it.
BROOKE: I don't want to mention the Knights Templar because I don't want to spoil anything, but the fascination and dynamics of this period are very interesting and provided wonderful opportunities for storytelling.
--How did you go about creating a world with a realistic feel of the Azuchi-Momoyama period?
BROOKE: We were very lucky to work with the Environment Team. The visuals they created for the game provided a great backdrop for the story.
The in-world experience added so much to the story. What we see from the stories and characters of this time period is complexity. I also believe that many of the people surrounding the World had their own struggles.
It was a very difficult time historically, and we see duality. Nothing is ever clear-cut and black and white. In warfare, two groups face each other and are confronted with different perspectives. But in the midst of it all, there are glimpses of hope for the future as we know it, which will later blossom.
--What advice did you actually give?
HORI: One scene that left a strong impression on me was the scene where Nobunaga's sister, Oichi, remarries Katsuie Shibata. In the original story we received, it was thought that the two families decided on their own without regard to Oichi's intentions, and Katsuie was portrayed negatively because he was more than 20 years older than Oichi.
So I spoke with BROOKE and the team and asked them to change it. Oichi had young children after the death of her husband Nagamasa Asai, so if her remarriage was to Katsuie, a trusted man who had served Nobunaga, she would have married him as a matter of course. When I explained that it was better to portray it in a positive light, it was a new discovery for the BROOKEs, and they were very moved by it. The rewritten version of the episode was very moving.
The other scene is the tea ceremony scene featuring Sen no Rikyu. Chanoyu is widely known to be translated as tea ceremony, but experts say it is a mistranslation. After researching the misunderstanding over here, I advised them, as far as I could understand, not to use a teapot or tea leaves, for example.
--Even we Japanese have a strong image of "ninja" as a fantasy. Did you encounter any difficulties with the theme of "ninja" in order to achieve a high level of fidelity to the historical reconstruction?
HORI: Ninja are certainly a fantasy, so I think it's a good thing that we can express ourselves creatively and without reservation. However, there are also dedicated ninja fans and communities around the world, and I am not sure to what extent they see the ninja as a real existence, or as an entity that existed in history.
Therefore, the extent to which ninja are represented in the game depends on the level of tolerance of the avid shinobi fans. I discussed this with the members of the development team. We did not have a specific policy on how much to express, but made decisions on a case-by-case basis. We decided on a case-by-case basis. We would say, "This is an acceptable creative expression," or "This is stereotypical", so let's not do that.
--I'm sure there are many references, but which one left a particularly strong impression on you?
BROOKE: The first book I looked through was "Nobunaga no Kouki" by Ota Ushiichi (Azuchi-Momoyama period, military commander and military history author). I was impressed by his personal observations as he recounts the details. We can learn a lot of historical facts from reading history books, but this author incorporated his own views so that I felt I could understand even his character and what it was like to live in that era, and I was completely drawn in. I was thrilled to be able to portray this time period and the people in this book.
--The drama "Shogun" which is set in a similar time period, has been a hit, and I hope that this work will attract the same kind of attention from game fans. I understand that you have prepared a "Discovery Tour" that allows visitors to freely walk around the game world with historical explanations.
BROOKE: I can't answer about the Discovery Tour today, but I am glad to see that interest in the setting and time period of the game is growing. I look forward to the day when we can bring this film to you.

Gathering a lot of information to recreate 16th century Japan and build a living world

(left) THIERRY DANSEREAU, Art Director, (right) STÉPHANIE-ANNE RUATTA, Historical Supervisor and World Director
--Please tell us what kind of materials you used as references to describe the field and the characters' costumes in the Azuchi-Momoyama period.
THIERRY: I have been working with experts and consultants for a long time, but for the characters, I referred to museum exhibits and books for their appearances and costumes. I visited several museums, did my research, and checked the materials with STÉPHANIE-ANNE.
Based on these, we created the characters. We also referred to descriptions in the books about the colors and the flags people carried. We used multiple sources, but we have checked them for historical accuracy.
STÉPHANIE-ANNE: For several years we had the help of experts, but we also did research with a Japanese studio and team. We used different kinds of sources to make sure the team got it right and had all the information they needed to reconstruct what Japan looked like in the 16th century.
We used museum databases, as THIERRY mentioned, but we also used inscriptions, scientific books, articles, and medieval depositions. For example, the Principles of Nobunaga has been translated into English, so we used that as a reference to describe 16th century Japan. I also referred to the documents of Luis Frois from the same period, which compare European and Japanese society.
--This period was also a time when there was a large influx of immigrants. Will you also depict the episodes, lifestyles, and culture of these people (missionaries, merchants, etc.) as well as Yasuke?
STÉPHANIE-ANNE: Yes, it is important to introduce the presence of Portuguese missionaries and merchants in the 16th century. They influenced the course of warfare during this period and the changing power of certain merchants in Japan.
--I am wondering what castles, shrines and temples that symbolize the Azuchi-Momoyama period will appear in the game. Although the game is set in the Kansai region, is the Osaka Castle built by Toyotomi Hideyoshi ......?
STÉPHANIE-ANNE: The era is represented by the construction of various castles and castle towns, so players will discover a wide variety of castle types and castles destroyed in battle. The Azuchi Castle, which is related to the name of the era, will also be featured.
THIERRY: Himeji Castle, Osaka Castle, and Takeda Castle are also available, and it is wonderful that players can visit and play in these castles. I think this is one of the strengths of the franchise, but all of the castles are based on actual historical blueprints, which I think is very unique, both as an experience and a learning opportunity.
The Koyasan Okunoin Cemetery is the oldest graveyard in Japan, which can also be seen in the game. There are too many to mention them all, but thanks to STÉPHANIE-ANNE and the experts, I think they are well described and it is wonderful that players will be able to travel to these places.
--The architectural style and decoration of the buildings is a different culture from the previous works in the series. What were you conscious of in recreating the culture and what were the challenges? I am also interested in the possibility of diving on the "Shachihoko".
STÉPHANIE-ANNE: The building team did a lot of research, and then we checked the results with experts and asked them to add the elements needed to build a great castle. We did research to recreate the decorations of not only the castle, but also the temples and shrines, and also to find out what materials were used to make them.
THIERRY: The colors also change over time, so we made adjustments to that as well. Of course, this is "Assassin's Creed," so you can climb anywhere and jump from almost anywhere. Exploring is fun.
--Japanese period games tend to be rather subdued, but were there any barriers to making it a worldwide production?
STÉPHANIE-ANNE: It's a game based on history, and we want players to have the opportunity to play with history. This period is so fascinating and celebrated, and has had such an impact on pop culture, that we were fortunate to have the help of renowned experts to make sure we had all the information we needed to faithfully recreate medieval Japan in the 16th century.
We maintained historical fidelity in this film because it was a rich period with so much to talk about and we didn't feel the need to change it. It is a rich setting, so there is an experience that goes into fantasy, but keeping it authentic was our primary goal.
--In the main storyline, can we experience famous episodes from the Azuchi-Momoyama period (such as the Battle of Nagashino, the Honnoji Incident, the Battle of Komaki and Nagakute, etc.)?
STÉPHANIE-ANNE: You will have to wait a little longer for that.
--In the recent series, "Origins," "Odyssey," and "Valhalla," you can enjoy the connection to mythology and fantasy elements based on mythological themes. Will this work also contain elements based on Japanese mythology, yokai, and other fictional creatures?
STÉPHANIE-ANNE: That is a very good question, but I will answer this one later.
--This work also reproduces the four seasons of Japan. Which season did you start first? And which seasons were particularly difficult to express?
THIERRY: I started with spring. We all know about cherry blossoms, and I think they are the most symbolic Japanese element for foreigners. And the big difference is winter. I wouldn't say that winter is more complicated because it has many different expressions, but it was very different from spring, summer, and fall, and the challenges were also different.
--What was particular about the representation of water, such as waterfalls, rivers, lakes, etc.?
THIERRY: All of the water topics were very important to us. We knew that there is a Shinto belief in waterfalls and rivers, and that they are important places in the Japanese eco-system. Even the blueprints of the suburbs are lined with irrigation canals, and they even go into the houses. Thus, we knew that water is a key component of Japanese culture, especially for agriculture.
This is why we installed drains everywhere in this work. The presence of water in the Japanese landscape was different, so we took it seriously and treated it as an inviolable part of the Japanese landscape and way of life.
--What are some of your favorite places, castles, or cultures that appear in your work?
STÉPHANIE-ANNE: That's difficult.
THIERRY: My favorite is Takeda Castle. It is on top of a high mountain and is called the castle in the sky, and I like this location. I can't say it's fair because we built it ourselves, but there are many other great places to visit.
It was a lot of work to create the forest, but I really enjoy looking at the landscape. I also like how all the ecosystems interact with each other, such as the clouds in the weather system. It's not a location, but I enjoy it because it encompasses the whole game.
STÉPHANIE-ANNE: I was impressed by the "Rakuchu Rakugaizu," Japanese folding screens from this period. I was fascinated by the fact that just by looking at them, one could come into contact with the vivid world of this period.
The artistic touch is something special. I have never seen anything so full of art. I truly admire the artists of this era.
THIERRY: I also think the most striking thing for me was the harmony of nature and architecture. I visited the site and found many places, and I could see how everything was deliberately composed.
I was told that trees were planted while the chedi was being built at the time, but everything looked perfect. Also, the culture loves the age and values it, so they cherish moss and things that have taken root there. Japan has maintained these places so they still exist and are still in use.
I realized that we are dealing with a subject that has a long history. It is also a culture that values space, living space. These were the most exciting discoveries during my travels in Japan.