Unveiling Assassin's Creed Mirage: Explore Ubisoft's Immersive Journey through Historical Baghdad

Highlights

Assassin's Creed Mirage meticulously crafts the world of Baghdad, ensuring authenticity by representing multiple backgrounds and languages.

The depiction of Baghdad in the game involved altering geographical features, such as relocating mountains and rivers, for gameplay purposes, as well as enhancing the appearance of domes with vibrant colors for visual indicators.

Designing the House of Wisdom required merging different architectural descriptions of buildings and courtyards found in historical texts and other renowned centers of knowledge in the area.

Assassin's Creed Mirage has made its much-anticipated debut, captivating fans of the franchise, history enthusiasts, and newcomers alike. Ubisoft Bordeaux and its accompanying studios poured their hearts into creating this immersive experience set in the world of Baghdad. Countless hours of meticulous research were dedicated to authentically crafting the rich historical backdrop.

In a recent interview with Game Rant, Ubisoft historian Raphael Weyland offered insights into the development of Assassin's Creed Mirage. Topics discussed included the important aspects of Baghdad that were highlighted, the creative liberties that were necessary, and other fascinating details. The interview has been condensed and edited for clarity.

Q: Were there any particular aspects of authenticity or historical accuracy that you wanted to prioritize in the game?

Weyland: Absolutely. One major aspect that I wanted to ensure was the diverse population within the city. It was vital for me to portray inhabitants from various backgrounds, not just those who spoke Arabic or practiced Islam. We incorporated characters who spoke Persian, Chinese, Hebrew, and even Greek. This was crucial to depict the city as it truly was during that time period. Although it was a challenging endeavor, we dedicated time to recording individuals in multiple languages and guaranteeing their accuracy. I take great pride in the fact that we were able to accomplish this.

Q: For sure. When I first heard "malakas," I lost it. On the other end of the spectrum, I was curious if there's anything you know of that was cut for accuracy?

Weyland: Although there were no significant cuts made, we did make additions to the game. One noteworthy addition was the inclusion of unveiled women, as there were individuals from various religions who either wore or didn't wear veils during that period. We wanted to accurately reflect the diversity that existed at the time. However, I cannot recall any specific instances where we had to eliminate content due to it being nonsensical, presenting a false representation, or deviating from the city's true nature.

Q: Can you discuss some of the creative liberties that were employed in portraying Baghdad as a whole?

Weyland: Sure, I can provide three examples. Firstly, when you're in the city, you can see mountains in the distant background. However, in reality, there are no mountains near Baghdad; they are approximately 300 kilometers away. To enhance the gaming experience, we decided to relocate the mountains closer to the city. This way, when you transition from being an apprentice in Alamut's mountains to returning to Baghdad, you get a visual sense of the distance you've traveled.

Secondly, we also adjusted the placement of the rivers. Originally, they were not positioned close to each other in reality. However, by moving them closer in the game, we were able to reduce the map size and avoid the need for artificial barriers. Utilizing the rivers as natural boundaries was a practical and aesthetically pleasing solution.

We utilized the strategy of exaggerating the size of the walls to create a constant sense of intimidation. Additionally, we added colors to certain domes that didn't originally possess them, in order to assist players in recognizing their location within the city. For instance, if you spot green or blue minarets, it signifies that you are in a specific neighborhood. However, in reality, there were no set rules like "only this color is allowed in this neighborhood." Implementing these tactics aimed to enhance gameplay, even though it deviated from reality.

Q: As a Ubisoft historian, you mentioned receiving peculiar inquiries about mundane tasks like house cleaning, things that students would never think to ask in a classroom setting. With that in mind, were there any questions during the development phase that fueled your zeal, propelling you to burn the midnight oil in pursuit of uncovering the answers, so to speak?

Weyland: Before I began my research, there were many questions I didn't have answers to. Every morning, I found myself in the same situation because there was so much information to absorb.

One particular aspect stands out among the rest. Our role involves assisting in the creation of flavor lines. These lines are not vital to the storyline, but they add authenticity and create a sense of a lived-in environment. You would hear these lines on the streets, and they make you feel like the world is tangible, with other individuals existing around you who are unrelated to your own experiences, yet still real.

They approached me, saying, "We are in the soap market, do you happen to have any soap-related content?" Regrettably, I had nothing to offer.

However, I came across a fascinating anecdote about soap merchants who shaped their soap bars to resemble cakes. On occasion, they would jest with travelers and foreigners, claiming, "This is a cake." Astonishingly, this trend caught on, and people began creating cakes that mimicked soap bars. Just imagine starting to wash yourself, only to realize that it is, in fact, a cake. It's a humorous reference that I stumbled upon while going through texts, much like a typical morning in my life.

Q: Could you talk about the process of designing the House of Wisdom as it exists in the game?

Weyland explained that the building in question is a fictional amalgamation of various structures, libraries, and centers of knowledge. They relied on textual descriptions to shape its design, as the descriptions provided details about its purpose without specifying its appearance. For instance, it mentioned the presence of a large courtyard, prompting the question of what surrounds it. Weyland inquired about the existence of buildings, rooms, multiple floors, and the number of courtyards, seeking clarification on these aspects.

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We extensively researched various universities and libraries during that time period, including locations like Cairo in Egypt and Iran in the Middle East. Over the span of approximately 100 years, we gathered information and combined it to create this unique structure. However, it is important to note that this building does not replicate any specific existing structure. Instead, it represents a synthesis of multiple buildings that shared the common purpose of being centers of knowledge.

Q: It's challenging to determine quantitatively, but how much of your time do you estimate was dedicated solely to game research?

Weyland: Most of the time, I am focused on research. There is also writing and presenting involved. Prior to joining the project, I spent a year conducting my own research, while the team had already conducted their own. We also collaborated with external historians who dedicated weeks or months to the project. Therefore, in total, it could be estimated that one person's work is equivalent to approximately two years. Nevertheless, it is important to acknowledge the concept in history that we build upon the knowledge of those who came before us—we are like dwarfs standing on the shoulders of giants. When I read information in a book, like about soap, it signifies that someone put in years of effort to gather that knowledge, which I can absorb in just a minute. Thus, I am indebted to those giants who have helped me. Ultimately, our efforts in the game are an amalgamation of centuries of collective human knowledge. Although I cannot provide a specific number of hours I work in a year, it can be described as substantial—let's just say it's a lot.

I know some people just hate research, but it also just sounds like a lot of fun. I mean, I know it's work, but...

A: For those in the Assassin's Creed fandom who have always cherished the franchise's portrayal of history, what message would you like to convey with the release of Mirage?

Weyland: I can relate to them because, as I grew up, I was one of those individuals who found Assassin's Creed fascinating. It allowed me to dive into history and actively participate in it. While I generally enjoy playing historical games, Assassin's Creed offers a unique experience compared to others like Total War, where you take on the role of a general overseeing everything from above.

In Assassin's Creed, you're right in the midst of the action, walking the streets alongside people who speak the appropriate languages. It's like being a part of living history, almost like a fantastical adventure. So yes, I am one of those people. I would gladly let them know that I'm happy to join them.

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Assassin's Creed Mirage is available now for PC, PS4, PS5, Xbox One, and Xbox Series X/S.