"Mindless consumerism wins the day again."

(Pics inside)
As I like to brag about things I buy, here's my collection od Cyberpunk-branded stuff, excluding digital goods.
I don't like dust collectors, so my collection lacks figurines or keychains. I prefer physical media that I can enjoy by flipping pages and watching pictures. Collection is still incomplete, my ambitions won't let me rest until I waste all my money for more stuff with "Cyberpunk 2077" logo on it.
Night City Radio Deluxe Vinyl Set
To start with the most recent hunt: Radio Deluxe Vinyl Set includes two bright yellow-colored records and 12-inch felt turntable slipmat with radiostations logos (too big for my turntable) and extra packaging. Tracklist includes "No Save Point", "Night City", "PonPon Shit", "Delicate Weapon", "I Really Want To Stay At Your House", "Hole In The Sun" and others. The only flaw is lack of "Makes Me Feel Better" in the songs selection.
Edgerunners Vinyl Soundtrack and Phantom Liberty Vinyl OST
Yellow vinyl strikes again in more vibrant, lemonish version. There's an Edgerunners logo with sandevistan visual effect from the show printed on the both labels. Package includes two-sided sleeve with David Martinez and Lucy, OBI-like strip, cardboard insert with Lucy art and credits. Track listing includes "This Fffire" by Franz Ferdinand, which is opening theme from the show, Akira Yamaoka compositions and selections of songs from the anime and the game by Marcin Przybyłowicz and P.T. Adamczyk, like "Cloudy Day". The songlist is crowned with "Let Me Down" by Dawid Podsiadło.
Phantom Liberty OST has very similar packaging - Vinyl and cardboard insert with Songbird art, tracklist, credits and note from composers P.T. Adamczyk and Jacek Paciorkowski. I find this one more appealing visually, probably because of elegance of black and red mix and classic black vinyl, compared to Edgerunners' edgy yellow. The record's opening "I'm a Netrunner" gives the chills, there's no better track to start audio from Phantom Liberty. It also features "Hardest to Be" and Idris Elba "Choke Hold". Again, the final track of the compilation is Dawid Podsiadło's song titled "Phantom Liberty". Only thing I'd like this release to have is "Phantom Liberty" lyrics printed on the insert.
Cyberpunk 2077 3LP Soundtrack box set
This one is special, it's a 100-pieces limited copy signed by Marcin Przybyłowicz and P.T. Adamczyk. It includes a selection of OST tracks, with "V theme", "Rebel Path", "The Streets Are Long-Ass Guts", "Wushu Dolls", "Scavenger Hunt", "Patridiots", "Been Good To Know Ya", "Never Fade Away feat. Olga Jankowska". Also, it features Samurai EP in badass gatefold package, with brief info about Refused band.
vinyl collection in whole
In regard of music, the only thing I'm missing is Kerry Eurodyne's guitar, because the gonk who initially wanted to sell it to me changed his mind and now is straight up lying that someone stole it from his apartament. Also, original Johnny Silverhand's Deluze Orphean signed by famous actor Keanu Reeves was sold at charity auction in 2023 for ~7700 usd.
When it comes to other media, I mostly own paper - comicbooks and artbooks.
(comic)books
My cellulose set includes (left to right, top to bottom):

• "No Coincidence" by Rafał Kosik;
• "World of Cyberpunk" in both regular and deluxe versions - the deluxe one is exactly the same as basic version, but comes with set of gadgets like extra cardboard packaging, custom textured cover with Night City map art, temporary tats (XD), Johnny Silverhand poster and vehicles postcards. Funny thing is, it's more difficult now to buy regular version than deluxe one;
• Limited edition of official game's guide coming with premium access code for Piggyback interactive map;
• Limited "Art of Cyberpunk 2077" artbook - 216 pages of concept arts explaining different fashion styles, gangs design, some weaponery concepts, cars and main and side characters. It's basically physical, richer version of official digital artbook, and as far as I know it's the same one that was included in collector's edition. It's fascinating thing to see for one reason - some of character concepts visible on artbook's pages evolved into ingame characters in basically unchanged visual form;
• Steelbook;
• DVD box including OST on CD;
• "Your Voice" comicbook in hard cover - I don't know much about this edition, why it is so small and where it was initially released. It's in polish, smells like poligraphic chemicals and it's the same thing as its bigger brother. Definitely rarest and most mysterious thing in my collection, if someone knows its origin, please share your wisdom;
• Comicbooks - Trauma Team, Where's Johnny, Your Voice, Big City Dreams, You Have My Word and Blackout;

And that would be it. My next objectives are upcoming comicbooks and maybe collector's edition. Steelbooks would be nice addition too.

Hello, I'm hoping to collect information on this bottle of Macallan 42 Year, 1969, Rarest of The Rare - Duncan Taylor. At first the fill seemed low, but looking at hundreds of advertisements and images, 90% of all posted pictures show that this is the fill level.
My understanding is that the wooden box is made from the staves that actually held the whisky. The last photo I added was from the internet. Why is the case different.
Out of the 148 bottles made, we're only so many barrell shaped or made from the cask would? This makes sense, but if so, how many bottles were made of cask and how many out of non-cask wood. Plenty of mystery and intrigue around this whisky.
Thanks in advance for any and all input.

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, prone, 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 current-gen 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 skills tree 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" (provisional 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 kill with 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 (provisional 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 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 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 because it was a rich period with so much to talk about and we didn't feel the need to change it. 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 game 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.

On this day 116 years ago in Kharkov Nikolay Dmitrievich Pilchikov – scientist-physicist, inventor in the field of radio engineering, author of works on optics, terrestrial magnetism, electrical and radio engineering, radioactivity, X-rays, electrochemistry, geophysics, meteorology – was shot in the heart.
At about seven o’clock in the morning of 6 May 1908, a shot rang out in a ward of an expensive Kharkov hospital. Breaking open the door locked from the inside, the doctors saw its only patient – it seemed that his life had been cut short in his sleep. The man was lying in his bunk, as if he hadn’t woken up yet. And if not for the bloodstain on his chest, no one would have realised the tragedy. A revolver lay on the tea-table beside the bed. It was from this revolver that the bullet that had pierced the scientist’s heart had been fired. Could a man who was undergoing medical treatment have carefully placed the gun beside his tea glass and folded his arms across his chest after shooting himself at point-blank range? Nevertheless, the “cadaver book” records ruled the death a suicide.
For some reason forensic experts did not do dactyloscopy – the investigation was not puzzled by fingerprints on the black “bulldog”, which became the murder weapon. And the authoritative professor Nikolai Bokarius, whose name now bears the local Institute of Forensic Medicine, even described Pilchikova’s case in a textbook for lawyers and doctors as an example of temporary purposeful capacity of suicides with fatal gunshot wounds in the heart area. At that, the luminary recommended to take into account not only anatomical features of the injury, but also the functional state of the central nervous system. The picture was completed by the conclusion of pathologists, who found in the killed after the autopsy of the corpse modifications in the structure of the brain.
A purely “police” justification for not considering the murder version was the fact that the incident took place in a locked room on the first floor (as if this could be an obstacle to unauthorised entry).
And a week after the scientist’s death, on 13 May 1908, the head of the police department received a report from the head of the Kharkov security service about the unreliability of the “extreme leftist” Professor Pilchikov, who was known for his active participation in “criminal agitation activities of engineering students”. This was confirmed by a search of the scientist’s house, during which propaganda literature from the period of the first Russian revolution of 1905 was found.
What was Professor Pilchikov doing before he was “worked out” by the police? The scientific fate of Nikolai Dmitrievich was as unusual as his death was mysterious and the fate of outstanding discoveries inexplicable.
The scientist, whose life was cut short at the age of 51, was not only a physicist, but also a lyricist: he was no less talented in composing poetry, painting pictures and playing the violin. But he considered his life’s work to be his scientific career, which was unusually successful.
The son of a public and cultural figure, who was a friend of Taras Shevchenko, was born on 9 May 1857 in Poltava, and already during his studies in gymnasium showed remarkable abilities in exact sciences. Entering the Faculty of Physics and Mathematics of Kharkiv University, he experimented in new at that time experiments in the field of sound recording, while still a student invented an electric phonograph.
After graduation, the graduate was left to work at the Department of Physics. His first scientific monograph was devoted to optical analysis. Later the scientist made a number of discoveries on the topics of scattered light polarisation and atmospheric ionisation, atmospheric electricity and geomagnetism, radioactivity and X-rays. Pilchikov was awarded the Silver Medal from the Russian Geographical Society for a series of studies of the Kursk Magnetic Anomaly, during which iron ore deposits near Prokhorovka were predicted.
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After defending his thesis at the University of St. Petersburg, the master of physics was appointed privat-docent of the Kharkov University, and two years later he went to practice at a magnetic observatory in Paris, where he discovered flaws in the design of the seismograph and offered his mentors a way to correct them.
Soon the young professor of Kharkov University becomes famous outside Russia, becoming a regular at international scientific conferences and a member of the Toulouse Academy of Sciences.
Nikolay Pilchikov returned to Kharkov as a university professor, where he created a meteorological station that still exists today. To study the upper atmosphere, the professor developed a stratostat and then a high-altitude spacesuit to equip the pilot. The atmospheric optics researcher created his own seismograph and designed equipment to determine magnetic pressure.
Having moved for some time to Odessa (to work at the Imperial Novorossiysk University), in 1894 the scientist invented an original lamp for the study of X-rays, called “Pilchikov’s focus tube”. The optical and galvanic version of the study of electrolysis developed by him made it possible to obtain images on metal plates – so the inventor became the author of electrophotography or photogalvanography.
And on 25 March 1898, Nikolai Pilchikov demonstrated for the first time a device working with radio waves of a certain length and rejecting interference. During his experiments in Odessa he lit a lighthouse with the help of radio waves and moved a railway semaphore, blew up a yacht and made a cannon fire.
The scientist characterised his contribution to radio physics as follows: while Popov and Marconi were looking for a way to transmit a signal over the greatest possible distance, he was solving the problem of cutting off wireless power transmission from extraneous electrical waves. Thus appeared the first device with a protector – a security filter, allowing only the waves addressed to it to reach the mechanism and protecting the equipment from atmospheric and radio interference. The scientist not only designed and manufactured different types of the first protectors, but also tested them in practice.
With the help of his revolutionary device, Professor Pilchikov made it possible to create radio-controlled mine boats that could sink enemy ships without a crew and fire on enemy targets. In proposing the idea to the Russian military, the inventor characterised it as a way of detonating objects at a considerable distance without cables or other visible communication.
Applying for financial assistance from the military department, Pilchikov planned to spend 15,000 roubles on laboratory equipment, manufacture of devices and their testing with the support of the Sevastopol naval forces. For his part, the scientist undertook to keep the know-how in strict secrecy and not to publish any information about the development in scientific literature. As a result, this circumstance may have contributed to the fact that the scientist’s works disappeared and he himself may have been eliminated.
Military engineers discussed the professor’s petition for research funds with reference to foreign experience. Specialists compared Pilchikov’s achievements with the developments of foreign scientists experimenting with wireless telegraph, to whom the authorities did not refuse anything. For example, Preece was authorised for experiments by the postal department of England, Marconi obtained in 1897 large sums of money from the naval department of Italy, and the Berlin scientist Slaby received aeronautical parks, watercraft and troops of the Potsdam garrison from the Emperor of Germany. Pilchikov, on the other hand, had a much more extensive programme and was naturally expected to produce the most ambitious results.
On his return to Kharkov in 1902, the professor continued his research in the best-equipped physical laboratory of those times, the local University of Technology. He was also allocated a ship “Dnestr” and funds for marine experiments. On the ship in 1903 the scientist equipped a receiving radio station, and on the Chersonese lighthouse – transmitting.
Alas, neither the scheme of those protectors, nor the content of the experiments, nor their further fate are known today. In the archives we found only information about a letter of gratitude to Professor Pilchikov from the Commander of the Pacific Fleet. It was dated the beginning of September 1904. It is clear that in the midst of the war with Japan secret military developments could be of interest to both belligerents. Moreover, other external enemies were also interested in preventing Russia’s military advantage.
Professor Pilchikov’s research competed with American experiments in the Maritime Ministry under Tesla, who was also working on the task of wireless control of a minelayer from the shore. This is a case in science when “an idea is in the air” and the same discovery is independently made by scientists at different ends of the world.
It is believed that the first radio-controlled telemechanical system in the world was developed by Nikola Tesla – he patented and presented an unprecedented ship model in the summer of 1898, but came to the discovery the day before, in spring. And “Russian Tesla” Nikolai Pilchikov tested a similar invention in March of the same year, which was reported in a note in the “Odessa Review”, which for some reason remained unnoticed by the scientific community.
The “two Nicholas” had a lot in common, despite the fact that they lived and created on different continents. Scientists were almost the same age. Both had no family – neither wives nor close relatives. Both were undividedly attracted to physical science – the mysteries of radioactivity, X-rays and lightning. But to Pilchikov did not appear one day George Westinghouse with a million dollars for four dozen patents. And an understanding friend, as Tesla had in the person of Katharine Johnson, next to Nikolay Dmitrievich was not there either…
Being left without further state support, Pilchikov could not complete the work on his wireless protector. In 1905 he left to observe the solar eclipse in Algeria, from where he returned with failing health. Ill-health was aggravated by an acute feeling of loneliness.
1908 was a fateful year in the fate of the scientist. It was the best time of the year, the beginning of May, a time of intoxication with life and romantic dreams. But for Pilchikov, the “delight of nature” had no inspiring meaning: five days before his own birthday, he went to a psychoneurological clinic. And it happened under very mysterious circumstances.
According to police reports, the owner of a private hospital and a well-known doctor I. Y. Platonov received a call from an unknown man on 3 May with a request to hospitalise Nikolai Dmitrievich Pilchikov. It was asked to prepare a separate room where the patient would be alone.
When the professor appeared in the clinic, the doctors saw nothing critical in his condition. He was elegantly dressed, and in his hands held a suitcase with papers. Two days later, a shot rang out in the ward, and the papers were gone. Not a single piece of his war work was found among his household belongings. The blueprints of inventions of world importance, which the scientist had not even had time to patent, disappeared.
Wasn’t the murder then the final fat point in the planned operation? And didn’t the inventor-physicist take with him to the ward what the special services hunting for his military developments were tracking down?
Perhaps it was in the hospital that Nikolai Pilchikov, who had a premonition of trouble, tried to hide from his threatening pursuers? Or maybe they put him there so that it would be easier to realise what they had planned? And who were these mysterious killers?..
We will probably never get answers to these questions. But it is known how the brilliant ideas of the tragically departed scientist were put into practice.
In 1913, the first radio-controlled aeroplane took to the skies. Four years later, a German boat controlled from a plane blew up the quay in the English harbour of Newport. In the same year, 1917, a German ship was damaged by a British minelayer guided from a radio-controlled aeroplane. In 1925 the first mine without wires appeared. And in 1943 the Soviet troops destroyed the Nazi headquarters with General von Braun in Kharkov occupied by the enemy by controlled explosion from Voronezh.
Radio warfare has long been supplemented by radio defence, where the first role is played by devices like Pilchikov’s protectors. Thanks to radio defence, in 1944 the British were invulnerable to German fighters in the Libyan desert. Radio locks of increased complexity are used in satellite navigation and launching systems for space and military rockets. And all responsible radio electronic equipment is protected from interference by modern devices working on the principle of Professor Pilchikov’s protector – the “Russian Tesla”, who became a hindrance to someone himself…
Source: Vyacheslav Kapreljants