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 game 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 game 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 game 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 game 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.

"In the space of a single, terrible day and night, all your fighting men were swallowed up by the earth, and the island of Atlantis likewise was swallowed up by the sea and disappeared." -Plato
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Winterfell
The first episode of the final season begins, echoing the atmosphere of Robert Baratheon's arrival at Winterfell in the series' premiere. What a lazy screenwriting move for fan service. Jon discovers the secret about his mother and his heritage, in front of his father's crypt. Ned Stark's promise was fulfilled, a stroke of luck for D&D.
"You gave up your crown to save your people. Would she do the same ?"
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A Knight of the Seven Kingdoms
Then comes episode 2, where the heroes discuss future stakes, preparing for the Long Night, and what comes after the battle if it happens. Jon reveals the secret to Daenerys, who doesn't seem pleased to hear it. In short, nothing happens in this episode, it's boring.
"All my life, I've known one goal: the Iron Throne. Taking it back from the people who destroyed my family, and almost destroyed yours. My war was against them. Until I met Jon. Now I'm here, half a world away, fighting Jon's war alongside him. Tell me, who manipulated whom ?"
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The Long Night
Finally, the famous battle of the Long Night. We just see the Dothraki charging with flaming swords into the darkness, and then nothing. Everything is dark. We can't see anything. Maybe Daenerys at some point tries to roast the Night King, but it's unclear. Everything is black, everything is darkness and gloom.
"- I'm going now.
- Go where ?"
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"Nymeria, it's me, Arya. I'm heading north, girl. Back to Winterfell, I'm finally going home."
The Last of the Starks
After the credits, Jon Snow is giving a heartfelt speech for the fallen in the battle. Since we didn't see anything I suppose they won, probably because Jon finally killed the Night King and they are celebrating, but Daenerys is visibly disappointed that Arya is the hero of Winterfell, and she's upset that Jon refuses to cuddle with her because of the secret. She doesn't want Jon to talk about the secret because she doesn't want people to know they're engaging in incestuous cuddles. I think.
"Even if the truth destroys us ?"
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Anyway, it's very disappointing that the war against the zombies is already over; we should have had a whole season of the Long Night, in darkness and gloom, with an episode solely focused on strategy and the use of trebuchets. And then, when the heroes finally set out to take down Cersei, Daenerys falls into a lame, obvious, and avoidable ambush. Rhaegal dies stupidly, and Missandei is captured, then executed. Tyrion fails to save her, Cersei wins the final Lannister duel, and she angers the Dragon Queen enough to push her over the edge. In short, all of this was rushed and poorly written, nothing makes sense, I am shocked and angry. It's unfair. It's not right.
"If you want justice, you've come to the wrong place."
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The Bells
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The penultimate episode of the series begins with a letter. Varys wants to inform that Jon is the heir to the throne; he betrays the queen. In mourning, with Tyrion, Daenerys only talks about the secret about Jon. It's the end, Act V of the play, the young tragic princess is lost, and the comedic archetype can't help her, it's too late, it doesn't matter now.
"- Yes, she trusts you. She trusted you to spread secrets that could destroy your own queen. And you did not let her down.
- If I have failed you, my queen, forgive me. Our intentions were good. We wanted what you want. A better world, all of us. Varys as much as anyone. But it doesn’t matter now.
- No. It doesn’t matter now."
An extremely poorly written dialogue, obviously, probably one of the worst-written dialogues in the history of theater, cinema, and television. In my opinion, far too convoluted and boring, far too tragic for a TV series.
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Then the Unsullied come to arrest Varys, and he is sentenced to death.
"The Supreme Lord said: I am mighty Time, the source of destruction that comes forth to annihilate the worlds. Even without your participation, the warriors arrayed in the opposing army shall cease to exist." -11.32 Bhagavad Gita
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• Cersei should have won the battle; she had the scorpions, the Iron Fleet, and the Golden Company, and it was the logical continuation from the end of episode 4. However, it's worth mentioning that she had no elephants, which undoubtedly tipped the battle in favor of Daenerys and her dragon.

"I am not your little princess. I am Daenerys Stormborn of the blood of Old Valyria, and I will take what is mine. With fire and blood, I will take it."

• Daenerys goes mad in two seconds. She has defeated Cersei, the bells signal the end of the battle, she must decide how to deal with the final obstacle, the last step before the throne. So she kills the people who love Jon Snow and who don't love her, all because she wants to secretly kiss Jon. All these seasons, adventures, battles, endless moral dilemmas over ten years, all for it to end with a simple tragic love triangle. Truly, probably the worst episode of the saga and of history, so rushed and poorly written; everyone knows that characters must go mad talking to themselves in front of a mirror, not silently in a realistic and brutal way, otherwise the viewer is confused and lost outside their comfort zone.

"I don't want to be his queen. I want to go home."
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"The things I do for love."

• Jaime reuniting with Cersei is probably the worst conclusion for these two characters. The writers clearly didn’t understand their own story. Jaime's arc was about redemption, like Theon, exactly the same. The fact that Brienne fills the White Book of the Kingsguard with the line "Died protecting his queen." the most honorable death for a Kingsguard commander, doesn't matter, it's fanservice, lazy writing. Jaime should have stayed in the North and made baby Jaimes with Brienne. Jaime was supposed to save the world, not save Cersei. It's so sad; they only think about themselves and their children, Jaime and Cersei, nothing else matters.

"Nothing else matters. Only us."
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"When you play the game of thrones, you win, or you die. There is no middle ground."

• Jon is useless; he can't do anything, and yet, all this chaos is his fault too. Daenerys had told him not to tell others his secret. Jon understands nothing, he knows nothing, and so do we, immersed in the chaos and ignorance along with the inhabitants of King's Landing. It should have been an epic and glorious battle. War must be epic and glorious. We wanted epic, glorious fire and blood, not fire bloody and burning blood. It should have been a spectacle, not a terrible massacre. Is war despicable and out of control ? We wanted elephants, not dead children.

"It's your choice."
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"You know what’s wrong with honor ?"

• Euron Greyjoy is unbearable, as usual. It's as if they designed this character specifically to annoy us. He has no place in this story; he's just obnoxious. He destroyed Daenerys and Jaime, and he didn't deserve that honor. He's far too arrogant and not funny at all.

"If you think this has a happy ending, you haven't been paying attention."
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"Fire !"

• The fight between The Hound and The Mountain is great. Finally, something perfect in this episode. The Frankenstein's monster rebelling and destroying his creator in a fit of rage, Sandor Clegane finally getting his revenge, Cersei walking by indifferently. It was epic, glorious, and hilarious. There's even light breaking through the crumbling wall at the end, showing the way out and the solution for Sandor, just like in a Zelda game. Very straightforward, no questions left unanswered, no mystery.

"Sandor. Thank you."
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"Go home, girl."

• Arya overuses the hero's shield in this episode. She says goodbye to Clegane, who tells her to go home, and then the apocalypse descends on her. She gets hit by falling debris in the streets, trampled by the crowd, the bell tower collapses on her... yet she gets up each time after a black screen and the sound of a cannon. She's just meters away from the devastation and the dragon's fire, close to the terrified and helpless citizens like her, and despite the piercing, chilling violins of death, she rises again, amid the embers and ruins. The little girl and her mother are burned, turned into statues of ash breaking in the wind, while Arya and a mysterious white horse survive the end times and emerge from hell together. Unless Arya is a cat with nine lives, all of this is just plot armor, it makes no sense.

"There is only one god and his name is Death, and there is only one thing we say to Death: 'Not today.'"
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"There's plenty of pious sons of bitches who think they know the word of god or gods. I don’t. I don’t even know their real names. Maybe it is the Seven. Or maybe it’s the old gods. Or maybe it’s the Lord of Light. Or maybe they’re all the same fucking thing. I don’t know. What matters, I believe, is that there’s something greater than us."
The Iron Throne
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The last episode, after the bells. So this is how it ends. Daenerys has triumphed, Tyrion has realized his mistake, is imprisoned again, and makes Jon understand in one final conversation that he must choose, between his sisters and Dany, between the Starks and the Targaryens, between love and duty. It's all so tragic. Daenerys finally came home, the legend has triumphed, the dream has become reality. And then the prince steps forward, still plagued by doubt, imploring the young princess to cease her quest for power, to forgive. And Dany's words have meaning, echoing those Tyrion spoke to Jon. The fallen hero then understands that he cannot save both the world and the princess. The long tirades echo high in the halls of the kings who are gone, and the fallen hero murders his lover, not out of ambition for the throne, not out of anger or vengeance, but out of love for his sisters and the people. The tyrant is dead, sadly concluding the dramatic journey of a young innocent orphan that no hero could manage to save.
"When I was a girl, my brother told me it was made with one thousand swords from Aegon's fallen enemies. What do one thousand look like in the mind of a little girl who can't count to twenty ? I imagined a mountain of swords too high to climb. So many fallen enemies, you could only see the soles of Aegon's feet."
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Jon left the throne empty, accepting his judgment and the punishment of the dragon. Thus were extinguished the last Targaryens, in front of the object of all conflicts, high under the sky, above mortals, together. But Jon has a hero's shield too, so I imagine there's a chip scratching Drogon behind a wing, and thus he misses his shot and destroys the walls. And then the chip jumps onto the throne, so Drogon destroys the throne and the chip but he was too tired for Jon afterwards. Such lazy writing, utterly senseless, just for the symbolism of the dragon destroying the throne, the object of all the passions and dramas of this world, a satire of power and conclusion of the story.
"I told you it's difficult to explain."
Obvious fanservice, nothing complex or mysterious. But we don't know where Drogon is taking Daenerys, she has no mortal tomb. The mystery completes the legend, this girl was a shooting star until the end.
"I have been sold like a broodmare. I’ve been chained and betrayed, raped and defiled. Do you know what kept me standing through all those years in exile ? Faith. Not in any gods, not in myths and legends, in myself. In Daenerys Targaryen."
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And to conclude, the council scene, a calm yet very rushed and poorly written moment, as everyone knows. It's certainly officially announced by professionals somewhere. Once again, the creators understood nothing about the story and the audience's expectations.
Nothing funny, nothing complicated, nothing secretive, but the worst part is Bran's choice, it's not good, it's illegal, he cheated.
Then the beautiful visuals, the surviving Starks, and Ramin Djawadi's magnificent music for the last five minutes and the final credits, pure happy ending, pure fanservice, it's an absolute failure, the worst series finale in history, it's obviously a dox..., sorry, a well-known consensus. It's all a mix of fan service, bad writing, and being rushed, extremely well-balanced. GRRM would certainly have wanted at least three more seasons to properly tell the final scene between Jon and Daenerys.
So much wasted potential, D&D sacrificed the ending of the greatest series in history for Star Wars contracts they didn't even get. It's a scandal. Thankfully, no one talks about GoT anymore since that ending, except to reminisce about the golden age of season 4 and the seasons before.
Everyone agrees, it's a fact. It is known. GoT's ending is a beautiful disaster.
...
"- It's a long story.
- If only we were trapped in a castle in the middle of winter with nowhere to go..."
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...
"Be with me. Build the new world with me. This is our reason. It has been from the beginning since you were a little boy with a bastard's name and I was a little girl who couldn't count to twenty.
We do it together. We break the wheel together."
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"You are my queen, now and always."

Islam: Origins
Jibril (Gabriel) appears before Mohammed, drawing
The religion of the Law, which for 15 centuries prepared the chosen people for the coming into the world of the its Savior, the Incarnate Lord Jesus Christ, preceded New Testament religion. According to the Holy Apostle Paul, "the law was our schoolmaster to bring us unto Christ" (Gal. 3:24). It was all in all only "a shadow of good things to come" (Heb. 10:1). When the Savior came into the world, Old Testament religion had fulfilled its purpose. Our Lord Jesus Christ revealed to us the mystery of the Heavenly Kingdom and established the New Covenant, which was foretold by the prophet Jeremiah. "Behold, the days come, saith the Lord, that I will make a new covenant with the house of Israel, and with the house of Judah: Not according to the covenant that I made with their fathers in the day that I took them by the hand to bring them out of the land of Egypt; which my covenant they brake, although I was an husband unto them, saith the Lord: But this shall be the covenant that I will make with the house of Israel; After those days, saith the Lord, I will put my law in their inward parts, and write it in their hearts; and will be their God, and they shall be my people" (Jer. 31:31-33).
Man was redeemed from original sin and its consequences by the voluntary death on the Cross of Jesus Christ as Savior of the World. He entered into an entirely new period in terms of his relationship with God in comparison with the Old Testament: instead of the law, there was a free condition of sonship and grace. Man received new means for achieving the ideal set for him of moral perfection as a necessary condition for salvation.
Islam, having arisen in Arabia in the seventh century, appeared as the religion of the law six centuries after the God of the chosen people of the religion of the Law fulfilled its purpose.
The difference between the Old Testament religion of the Law and Islam is not only that the latter emerged more than two thousand years after God gave on Mount Sinai the Ten Commandments and other precepts that governed life for the chosen people. The most important difference is that the Law of Moses has a Divine source. The book of Exodus gives a narrative of the majestic Epiphany. "And Moses brought forth the people out of the camp to meet with God; and they stood at the nether part of the mount. And mount Sinai was altogether on a smoke, because the Lord descended upon it in fire: and the smoke thereof ascended as the smoke of a furnace, and the whole mount quaked greatly. And when the voice of the trumpet sounded long, and waxed louder and louder, Moses spake, and God answered him by a voice. And the Lord came down upon mount Sinai, on the top of the mount: and the Lord called Moses up to the top of the mount; and Moses went up" (Exod. 19:17-20).
The founder of Islam, however, did not have a Divine revelation.
How did Islam arise? We read about this in the Hadith “Al-Jamii al-Sahih”. A mysterious being began to visit Mohammed. He slept in a cave on the slope of Mount Hira. On the night of the 24th of the month of Ramadan in year 610 someone appeared to him in human form. This event is considered the beginning of Islam. This story about it is from the Sunnah: “[A]n angel appeared to him and bade him 'READ!' 'I am no reader!' Mohammed replied in great trepidation, whereon the angel shook him violently and again bade him read. This was repeated three times, when the angel uttered the five verses that commence the 96th chapter: 'READ! in the name of thy Lord, who did create—who did create man from congealed blood. READ! for thy Lord is the most generous.’” Mohammed puzzled over whether a demon or angel visited him. He confided his experiences in his wife Khadijah. I will introduce more of the story of Mohammed's biography, generally accepted by Muslims: “She said to the messenger of God, ‘O son of my uncle, are you able to tell me about your visitant, when he comes to you?’ He replied that he could, and she asked him to tell her when he came. So when Gabriel came to him, as he was wont the apostle said to Khadija, ‘This is Gabriel who has just come to me.’ ‘Get up, O son of my uncle,’ she said, ‘and sit by my left thigh.’ The apostle did so, and she said, ‘Can you see him?’ ‘Yes,’ he said. She said, ‘Then turn round and sit on my right thigh.’ He did so, and she said, ‘Can you see him?’ When he said that he could she asked him to move and sit in her lap. When he had done this she again asked if he could see him, and when he said yes, she disclosed her form and cast aside her veil while the apostle was sitting in her lap. Then she said, ‘Can you see him?’ And he replied, ‘No.’ She said, ‘O son of my uncle, rejoice and be of good heart, by God he is an angel and not a satan’” (Ibn Hisham, Biography of the Prophet Muhammad).

It is surprising how easily and, gently speaking, naively this question, which in the spiritual realm is a question of life or death, had been answered with the help of a woman. Before all else, an Angel is a bodiless being, and for his sight there are no actual barriers: one can see through even clothes. Clothes hide nudity only from the eyes of man. Even so, the body of man in and of itself is not something perverse or shameful. It is a creation of God. The lust of man is sinful as well as is carnal desire, but not the body. In paradise the progenitors were naked and were not ashamed (see Gen. 2:25). The nature of an Angel is inviolate. They are alien to passions of man. But if this was a demon, then he could easily resort to trickery. Knowing how they tested him, he especially would be able to take leave of himself, so that they would take him for an Angel.
The attitude of Islam towards the Bible
Islam emerged as something syncretic out of several sources: ancient Arabic cults, Judaism, Christianity, Hanifism (a pre-Islamic monotheistic movement in Arabia) and Mazdaism (an ancient Iranian religion). There is no doubt that the Old Testament holy books and the Gospel had an influence on the formation of Islam. In the Quran many people and events from biblical history are mentioned. However, these stories are presented completely arbitrarily and inaccurately.
According to the Quran, man was created from water. "It is He Who has created man from water: Then has He established relationships of lineage and marriage: for thy Lord has power (over all things)" (25:54). In another surah, it says: "Proclaim! (or read!) in the name of thy Lord and Cherisher, Who created man, out of a (mere) clot of congealed blood" (96:1-2). In another part it speaks about clay, "He created man from sounding clay like unto pottery" (55:14).
In contrast to the Bible, the Quran does not say that man was created in the image and likeness of God. This discrepancy is most profound. With God's image and likeness, man is summoned to commune directly with his Creator. He can become one with the Lord. This is not so in Islam.
The book of Genesis tells the story of how the entire family of the patriarch Noah (in Arabic, Nuh) was saved in the Ark. The Quran speaks about the death of Noah's son: "So the Ark floated with them on the waves (towering) like mountains, and Noah called out to his son, who had separated himself (from the rest): ‘O my son! Embark with us, and be not with the unbelievers!’ The son replied: ‘I will betake myself to some mountain: it will save me from the water.’ Noah said: ‘This day nothing can save, from the command of Allah, any but those on whom He hath mercy!’ And the waves came between them, and the son was among those overwhelmed in the Flood" (11:42-43). Another surah tells it somewhat differently: "(Remember) Noah, when he cried (to Us) aforetime: We listened to his (prayer) and delivered him and his family from great distress" (21:76).
There is no need to provide more examples. In the Quran, things are especially distorted when discussing New Testament events. Here the differences are purely fundamental. The Incarnation, the Crucifixion on Golgotha, and the Resurrection are all denied. Even the event of the Nativity of Christ, known to the whole world, is described very strangely. It is alleged that Maryam retreated to a faraway place and gave birth to a Son under palms (19:23). In this surah, called Maryam, She is called the "sister of Harun," i.e. Aaron. He indeed had a sister named Miriam, but she lived 15 centuries before the Nativity of Christ.
Probably due to so great a number of errors and distortions, many representatives of Islam, in order to escape from this quandary, allege that the modern Holy Scripture of Christians has been distorted (a circumstance known as tahrif). Immediately, the question arises: what evidence do they provide? There is no evidence. Characteristically, the view of Muslims toward the Bible has undergone significant change over the course of several centuries. Early Islamic writers such as al-Tabari and ar-Razi believed that the distortion comes down to tahrif bi'al ma'ni, i.e. the corruption of the meaning without changing the text. However, later authors such as Ibn Hazm and Al-Biruni introduced the idea of tahrif bi’al-lafz, i.e. the corruption of the text itself. At that, both of these positions have been preserved to the present day. Thus, the level of acceptance among Muslims of the Bible depends on one's understanding of tahrif. The very existence of these fundamentally different positions indicates that there is no concrete evidence.
It is impossible to ignore one interesting feature of the attitude that representatives of Islam have toward the Biblical text. In that they do not have their own "undistorted" biblical text, they cite our canonical text as undistorted. However, when they need to support a point, for example, negative examples from the life of Banu Isra'il (the children of Israel) with a reference to parts that do not conform to Islam, they proclaim the text to be distorted.
Muslims allege that the New Testament (Injil), which the Quran refers to positively, is not in fact the current four Gospels. We have already said that they do not provide any evidence. The falsehood of the accusation that Christians distorted the Scriptures stems from the internal inconsistencies of the very Islamic authors who wrote on this theme. According to the Quran, the New Testament was originally a true, sacred text. "And in their footsteps We sent Jesus the son of Mary, confirming the Law that had come before him: We sent him the Gospel: therein was guidance and light, and confirmation of the Law that had come before him: a guidance and an admonition to those who fear Allah" (5:46). In another section: "Say: ‘O People of the Book! ye have no ground to stand upon unless ye stand fast by the Law, the Gospel, and all the revelation that has come to you from your Lord.’ It is the revelation that cometh to thee from thy Lord, that increaseth in most of them their obstinate rebellion and blasphemy" (5:68). This excerpt clearly demonstrates that the Quran itself does not speak of the distorted Scripture, but about "rebellion and blasphemy" related to misunderstanding.
There is one part of the Quran (10:94) which is very problematic for Islamic commentators: "If thou wert in doubt as to what We have revealed unto thee, then ask those who have been reading the Book from before thee: the Truth hath indeed come to thee from thy Lord: so be in no wise of those in doubt." This ayat refers the Muslim "in doubt" to the authority of the biblical Holy Scripture. Abdul-Haqq writes: “The learned doctors of Islam are sadly embarrassed by this verse, referring the prophet as it does to the people of the Book who would solve his doubts” (Abdul-Haqq, A. A. (1980). Sharing Your Faith With A Muslim. Minneapolis, MN: Bethany House Publishers. As cited in Geisler, N.L. (1999). Baker Encyclopedia of Christian Apologetics. Grand Rapids, MI: Baker Publishing Group). According to the logic of this verse, the biblical Scripture was undistorted in the 7th century at the time of the Quran's creation. Then one must recognize that the current text is also correct, since we use manuscripts written over several centuries prior to the Quran.
Textual criticism of the New Testament has achieved outstanding breakthroughs in the 20th century. Currently, there are over 2,328 manuscripts and manuscript fragments in Greek, coming to us from the first three centuries of Christianity. The most ancient New Testament manuscript, a part of the Gospel of John 18:31-33, 37-38, is the Rylands Library Papyrus P52, dated 117-138 in the era of the reign of emperor Hadrian. Adolf Deissmann acknowledges the possibility of the emergence of this papyrus even under the reign of Emperor Trajan (98-117). It is preserved in Manchester. Another ancient New Testament manuscript is the Papyrus Bodmer, P75. The 102 surviving pages contain the texts of the Gospels of Luke and John. "The editors, Victor Martin and Rodolphe Kasser, date this copy to between 175 and 225 A.D. It is thus the earliest surviving known copy of the Gospel according to Luke available today and one of the earliest of the Gospel according to John" (Bruce M. Metzger. The Text of the New Testament. p. 58). This precious manuscript is located in Geneva.
Uncial script on parchment: leather codices with uncial script, (in Latin uncia means inch) letters without sharp corners and broken lines. This script is distinguished by its great refinement and precision. Each letter is disconnected. There are 362 uncial manuscripts of the New Testament. The most ancient of these codices (Codex Sinaiticus, Vaticanus, and Alexandrinus) have already been mentioned.
Scholars complemented this impressive collection of ancient New Testament manuscripts with the New Testament text, which consisted of 36,286 excerpts of the Holy Scripture of the New Testament found in the works of the holy fathers and teachers of the Church from the first through fourth centuries. This text is lacking only 11 verses.
Scholars of textual criticism in the 20th century did a tremendous job on the collation of all—several thousands of—New Testament manuscripts and identified all textual discrepancies caused by scribal error. An evaluation and typologization was performed. Precise criteria for determining a correct variant were established. For those familiar with this rigorous scientific work, it is obvious that allegations of the distortion of the current holy text of the New Testament are unfounded. In terms of the number of ancient manuscripts and the brevity of time separating the earliest surviving text from the original, no one work of antiquity can be compared with the New Testament.

Accusations that the Bible's text is distorted are puzzling. How could it actually have been done? How could Christians and Hebrews have come together to do this? Everyone knows the degree of their mutual [doctrinal—Ed.] alienation. And yet both Christians and Jews use one and the same canonical text of the Old Testament. Furthermore, the entire New Testament was preserved in the Chester Beatty Papyri, composed in approximately 250 A.D.
It is inconceivable to accept that under the conditions that existed in Christian society, hundreds of exemplars of the New Testament text were miscopied for the purpose of distortion.
On the Monotheism of Islam
Historians and religious scholars regard the three "Abrahamic" religions, Christianity, Judaism, and Islam, as monotheistic religions. For the researcher, the doctrinal principles that representatives of each of these three religions formulate are sufficient. However, on a theological level, the insufficiency of such a formal approach becomes clear. Monotheism is a necessary but not sufficient condition for true religion. Only a religion that has Divine revelation as a source has the true and spiritually accurate doctrine concerning God. Christianity not only maintains that God is the living, absolute source, "the only true God" (John 17:3; 1 Thes. 1:9; cf. John 5:20), but also teaches thoroughly and in depth of the nature of God as without beginning, without end, and of a perfect Spirit. The chief characteristic of the Divine nature is love. "God is love" (1 John 4:16). These words of the apostle contain the principal idea of the New Testament as the good news of salvation. The ineffable goodness of God created the world. The Lord housed man in paradise. Even after the Fall, God continued to love mankind. The greatness of God's love was revealed when the incarnate God died a most agonizing death for us. Christians know from not only the Holy Scripture, but also through the power of spiritual experience, that God is all-knowing and all-wise. The apostle says: "Neither is there any creature that is not manifest in his sight: but all things are naked and opened unto the eyes of him with whom we have to do" (Heb. 4:13).
God knows not only all that has happened, and all that is, but he has also perfect knowledge of the future. The mirror of the supreme Wisdom of God is the universe which He created, astounding man with its extraordinary complexity, beauty, and harmony. God demonstrates his ineffable Wisdom also in the dispensation of our salvation. "O the depth of the riches both of the wisdom and knowledge of God! how unsearchable are his judgments, and his ways past finding out" (Rom. 11:33).

True religion is not limited by the demand of worship for the Creator. Its ultimate goal is the spiritual unity of man with God. The Savior speaks about this in a prayer to his Father before his suffering on the cross: "That they all may be one; as thou, Father, art in me, and I in thee, that they also may be one in us" (John 17:21).
From the aforementioned characteristics of the Divine follows the concept of true, Christian monotheism. There can be only one all-powerful and all-just God.
The concept of God in Islam does not have a source of divine revelation. It developed on the basis of ancient Arabic religion. The word “Allah” was used in the polytheistic pantheon of Arabs to denote “God”: Allah (al - the definite article; ilah - god). Among the pagan Arabs, prior to their adoption of Islam, Allah was the supreme lunar deity, worshipped in north and central Arabia. The father of Muhammed, who was a pagan, was named Abdullah ("Servant of Allah").
In pre-Islamic times, the crescent moon was the symbol of the worship of the moon-god among the Arabs. This is confirmed by archeological evidence. The crescent moon was carried over as the main symbol of Islam.
Arabs of the Syrian desert called the wife of Allah as Al-lāt, and in the south of central Arabia, Al-‘Uzzá. In other areas of Arabia, they, along with Manat, were worshipped as the daughters of Allah. This genetic trail was preserved in the Quran. There is mention of this in the 53rd surah: "Have ye seen Lāt, and ‘Uzzā, and another, the third (goddess), Manāt? What! For you the male sex, and for Him, the female? Behold, such would be indeed a division most unfair!" (53:19-22).
In Islam, Allah is a created religious image by the human consciousness. He does not express the real almighty divine personhood. Consequently, monotheism in Islam is imagined. In a number of places in the Quran, he is endowed with intrinsically human characteristics and traits. Allah says:

• "Those who reject Our signs, We shall soon cast into the fire: as often as their skins are roasted through, We shall change them for fresh skins, that they may taste the penalty" (4:56);
• "...There is no help Except from God, the Exalted, the Wise: that He might cut off a fringe of the Unbelievers or expose them to infamy, and they should then be turned back, frustrated of their purpose: (3: 126–127);
• "The Hypocrites—they think they are over-reaching God, but He will over-reach them" (4:142);
• "And (the unbelievers) plotted and planned, and God too planned, and the best of planners is God" (3:54);
• “Many are the Jinns and men we have made for Hell: they have hearts wherewith they understand not, eyes wherewith they see not, and ears wherewith they hear not. They are like cattle,—nay more misguided: for they are heedless (of warning)” (7:179).

What a great difference! Christianity teaches that God "will have all men to be saved, and to come unto the knowledge of the truth" (1 Tim. 2:4), while Islam maintains that Allah created many people for Gehenna.
The idea of monotheism, (tawhid, from the verb wahhada—to reckon something as one) was formulated in the Quran in several surahs. For example, in the 16th surah, "The Bee": "For We assuredly sent amongst every people an apostle, (with the Command), "serve God, and eschew evil" (16:36). In the terminology of the sharia, anything people worship except for Allah is "taghut". Since Islam does not know of direct revelation, nor the holy Manifestation of God to the world, nor the unification of man with God on the foundation of love, its monotheism is imagined, formalistic and abstract, requiring not that man change himself or his way of life, but only worship and daily prayer.
Hieromonk Job (Gumerov)

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Surah Hud, the 11th chapter of the Holy Quran, stands as a powerful cornerstone of Islamic scripture. Named after Prophet Hud (peace be upon him), the surah unveils a tapestry of narratives, warnings, and messages of unwavering hope. Composed of 123 verses, this Meccan surah delves into the struggles of Prophet Hud and the consequences faced by those who rejected his call to monotheism.
A FOUNDATION OF UNITY: THE ONENESS OF ALLAH (SWT)
The very essence of Surah Hud lies in emphasizing the absolute oneness of Allah (SWT). Verses throughout the chapter serve as a clarion call to reject polytheism and embrace the worship of the One True God. In the opening verse, Allah (SWT) declares with a powerful oath:
“Alif-Lam-Ra. [These letters are one of the miracles of the Quran and none but Allah (Alone) knows their meanings]. (This is) a Book, the Verses whereof are perfected (in every sphere of knowledge, etc.), and then explained in detail from One (Allah), Who is All-Wise and Well-Acquainted (with all things).” (Quran 11:1)
“(Saying) worship none but Allah. Verily, I (Muhammad SAW) am unto you from Him a warner and a bringer of glad tidings.” (Quran 11:2)
“And (commanding you): “Seek the forgiveness of your Lord, and turn to Him in repentance, that He may grant you good enjoyment, for a term appointed, and bestow His abounding Grace to every owner of grace (i.e. the one who helps and serves needy and deserving, physically and with his wealth, and even with good words). But if you turn away, then I fear for you the torment of a Great Day (i.e. the Day of Resurrection).” (Quran 11:3)
This sets the stage for the overarching theme of divine unity. Verse 61 further emphasizes this message:
“And to Thamud (people, We sent) their brother Salih (Saleh). He said: “O my people! Worship Allah, you have no other Ilah (God) but Him. He brought you forth from the earth and settled you therein, then ask forgiveness of Him and turn to Him in repentance. Certainly, my Lord is Near (to all by His Knowledge), Responsive.”” (Quran 11:61)
Surah Hud reiterates this message throughout, culminating in a powerful statement in verse 123:
“And to Allah belongs the Ghaib (unseen) of the heavens and the earth, and to Him return all affairs (for decision). So worship Him (O Muhammad SAW) and put your trust in Him. And your Lord is not unaware of what you (people) do.” (Quran 11:123).
These verses leave no room for ambiguity. They serve as a stark reminder for humanity to turn away from idolatry and embrace the worship of Allah (SWT) alone.
PROPHETIC NARRATIVES: LESSONS LEARNED FROM THE PAST
Surah Hud unfolds a series of narratives that recount the stories of various prophets, including Noah, Saleh, Shuʿaib, Lot, and Moses (peace be upon them all). These stories serve a vital purpose: they highlight the recurring theme of rejection faced by prophets who urged their communities to believe in one God.
The People of ʿĀd and the Devastating Wind:
The story of the ʿĀd, a powerful and technologically advanced civilization, is recounted in verses 52-68. These verses detail how Prophet Hud (peace be upon him) warned his people of the consequences of disobeying Allah (SWT). He implored them to abandon their polytheistic practices and turn to the worship of the One God (verse 54). However, the ʿĀd remained arrogant and dismissive, ultimately facing a horrific punishment:
“And As-Saihah (torment – awful cry, etc.) overtook the wrong-doers, so they lay (dead), prostrate in their homes,” (Quran 11:67)
This powerful description serves as a stark reminder of Allah’s (SWT) power and the inevitable consequences of rejecting His message.
The Thamud and the Earsplitting Scream:
The story of the Thamud, another community mentioned in verses 61-68, follows a similar pattern. Prophet Salih (peace be upon him) warned them against worshipping idols and urged them to follow the path of righteousness (verse 61). However, the Thamud, known for their skill in carving dwellings from mountains, mocked his message and persisted in their disbelief. Their defiance resulted in a devastating punishment:
“And As-Saihah (torment – awful cry, etc.) overtook the wrong-doers, so they lay (dead), prostrate in their homes,” (Quran 11:67)
The Power of Supplication:
Surah Hud also showcases the power of supplication. Verse 56 recounts Prophet Hud’s (peace be upon him) plea to Allah (SWT):
” إِنِّي تَوَكَّلْتُ عَلَى اللَّهِ رَبِّي وَرَبِّكُم ۚ مَّا مِن دَابَّةٍ إِلَّا هُوَ آخِذٌ بِنَاصِيَتِهَا ۚ إِنَّ رَبِّي عَلَىٰ صِرَاطٍ مُّسْتَقِيمٍ” (Quran 11:56)
“I put my trust in Allah, my Lord and your Lord! There is not a moving (living) creature but He has grasp of its forelock. Verily, my Lord is on the Straight Path (the truth).” (Quran 11:56)
” فَإِن تَوَلَّوْا فَقَدْ أَبْلَغْتُكُم مَّا أُرْسِلْتُ بِهِ إِلَيْكُمْ ۚ وَيَسْتَخْلِفُ رَبِّي قَوْمًا غَيْرَكُمْ وَلَا تَضُرُّونَهُ شَيْئًا ۚ إِنَّ رَبِّي عَلَىٰ كُلِّ شَيْءٍ حَفِيظٌ” (Quran 11:57)
“So if you turn away, still I have conveyed the Message with which I was sent to you. My Lord will make another people succeed you, and you will not harm Him in the least. Surely, my Lord is Guardian over all things.” (Quran 11:57)
Through his supplication, Prophet Hud highlights the importance of seeking Allah’s (SWT) guidance and following the path of righteousness.
UNVEILING DEEPER MEANINGS
The Significance of Alif, Laam, Ra: The chapter begins with the mysterious Quranic letters, “Alif, Laam, Ra” (verse 1). These opening letters, known as the muqatta’at, appear at the beginning of 29 surah’s in the Quran. While the exact meaning remains elusive, Islamic scholars have offered various interpretations, adding depth and intrigue to Surah Hud.

• Divine Oaths: Some scholars believe these letters represent the names or attributes of Allah (SWT) himself. “Alif” could symbolize “Al-Awwal” (the First), “Laam” could represent “Allah” (SWT), and “Ra” could signify “Ar-Rahman” (the Most Merciful). By interpreting them as divine oaths, the very beginning of the surah emphasizes the importance of the message that follows and its origin from Allah (SWT).
• Mnemonic Device: Another interpretation suggests the letters serve as a mnemonic device, a tool to capture the reader’s attention and aid in memorization. The unique arrangement of these letters is thought to leave a lasting impression on the listener, encouraging them to delve deeper into the verses that follow.
• Inimitability of the Quran: Some scholars propose that the muqatta’at represent a challenge to the disbelievers of Prophet Muhammad’s (PBUH) time. By presenting a unique and seemingly random sequence of letters, they highlight the inimitability of the Quran. The eloquence and beauty of the Quran, they argue, transcends the ability of humans to produce something similar, even if they knew the meaning of the individual letters.

The true meaning of the muqatta’at remains a subject of scholarly debate, adding an element of mystery and intrigue to the beginning of Surah Hud. Regardless of the specific interpretation, these opening letters serve to heighten the reader’s awareness of the significance of the message that unfolds in the verses that follow.
Symbolism in the Stories: The narratives within Surah Hud are not mere historical accounts. They hold deeper symbolic meaning. The powerful wind that destroyed the ʿĀd can be interpreted as a representation of Allah’s (SWT) wrath and His power to inflict punishment upon those who defy Him. Similarly, the terrifying scream faced by the Thamud symbolizes the torment they will face in the afterlife for their rejection of the truth. By understanding these symbolic layers, readers gain a richer appreciation for the lessons embedded within the stories.
A Call to Action: Surah Hud is not simply a historical record; it serves as a call to action for Muslims in every generation. The chapter compels readers to reflect upon their own beliefs and actions. Are they following the path of monotheism and righteousness as championed by Prophet Hud (PBUH) and other prophets mentioned in the surah? By studying these narratives and their consequences, Muslims are encouraged to reaffirm their commitment to worshipping Allah (SWT) alone and living a life in accordance with His teachings.
In conclusion, Surah Hud offers a multifaceted exploration of faith, unity, and the consequences of disobedience. By delving into the deeper meanings of the text, Muslims can gain a richer understanding of the message and its enduring relevance in their own lives.