Assassin’s Creed Shadows is finally here, and it’s been a long wait. Ubisoft Quebec’s latest stab at the franchise drops us into feudal Japan’s Sengoku period—a chaotic mess of warring clans and stunning landscapes. This time, they’ve gone big with two protagonists: Naoe, a slick shinobi who’s all about stealth, and Yasuke, a hulking samurai with a real-life historical nod. The pitch? Old-school Assassin’s Creed vibes mixed with the sprawling RPG stuff we’ve seen lately. Does it deliver the Japanese epic fans have been begging for? Mostly, yeah—it’s gorgeous and fun as hell, even if it trips over itself now and then.

You’re thrown into a Japan that’s tearing itself apart, and Naoe and Yasuke are your guides through the madness. Naoe’s got this personal drive to save her clan, slipping through the night with a grappling hook and a bag of tricks—kunai, smoke bombs, the works. Yasuke’s the opposite: a big, brash outsider swinging a katana or smashing heads with a kanabo, bringing a fresh angle to the turmoil. Their stories kick off with a bang, and the cutscenes hit you right in the chest early on. But man, it drags in the middle—side quests pile up, and the bad guys (some shady Templar-wannabes) never quite stick the landing. It’s a decent tale, don’t get me wrong, just not the kind that’ll haunt you like Black Flag’s pirate glory days.

The world, though? Holy crap, it’s a knockout. Picture misty bamboo groves, cherry blossoms fluttering down, castle towns buzzing with life—then toss in storms or snow that change the vibe on a dime. It’s the prettiest Assassin’s Creed has ever looked, hands down. The sound’s just as good: a mix of thumping taiko drums and eerie flutes that ramps up the tension whether you’re sneaking or slashing. Naoe and Yasuke’s voice actors nail it, too, though I could do without the same villager muttering about rice prices for the tenth time.

Now, the gameplay’s where this thing flexes. Naoe’s stealth is a blast—darting through shadows, using the new light system to stay hidden, it’s the closest we’ve been to the old days in forever. Not groundbreaking, but damn satisfying. Then there’s Yasuke, turning fights into a bloody show with heavy swings and slick parries that feel ripped from a samurai flick. Switching between them keeps it lively, even if the game’s a little pushy about who you should use. Parkour’s better than Valhalla’s awkward lumbering, thanks to that grappling hook, but it’s still iffy in the wide-open spaces. And don’t get me started on the horse—it’s a nightmare, always snagging on trees, poles, or anything sticking out. I’d rather run or climb any day; it’s smoother and way less frustrating. The RPG bits—skills, gear—are deep enough, though the loot grind feels like Ubisoft’s same old song and dance.

There’s a ton to chew on here. Word is the main story takes about 40 hours to wrap up, which is beefy, and if you’re the type to chase every marker, you’re looking at 90-plus hours easily. Side quests can be hit-or-miss—some are gripping little dramas, others are just “go fetch this” nonsense. Building your shinobi hideout’s a cool touch, and with two playstyles to mess around with, you might dip back in for another go. It’s not begging for replays, but the length gives you room to play around.

Shadows isn’t flawless. You’ll hit the odd glitch—textures popping in, an enemy stuck in a wall—and its big ideas sometimes sprawl too far. But when it clicks? Sneaking across a rooftop as Naoe with the moon overhead, or Yasuke cutting through a rain-drenched battlefield—it’s magic. It’s not the end-all ninja or Samurai game (Ghost of Tsushima still owns that), but it’s a damn solid Assassin’s Creed. Worth the trip? You bet.