Getting lost in history in Assassin's Creed Origins

By Andy Kelly

In Assassin’s Creed we usually visit civilisations at their peak, whether it’s Renaissance Italy or London at the height of the Industrial Revolution. Ubisoft could have done this for Origins too, taking us to the golden age of Ancient Egypt. But instead we visit this period of history in its twilight years. The pharaonic line is coming to an end and the Greeks have dramatically transformed the landscape, culture and religious practices of this part of the world.

This makes for a fascinating architectural contrast. In the largest cities you see statues of Egyptian gods crumbling and forgotten, outnumbered by pristine, polished marble statues of Greek legends. And even monuments, like the pyramids of Giza and the Great Sphinx, are already falling apart. There’s a tragedy to seeing this grand civilisation fade away as foreign invaders erect gleaming temples and acropolises across the desert.

It might be the best open world Ubisoft has ever created. While riding through the barren Green Mountains region on horseback, idly exploring with no specific goal in mind, I crested a hill and saw a sprawling Roman city resting in a misty valley below. It stopped me in my tracks. The scale is breathtaking, making even the vast cities of previous Assassin’s Creed games seem small in comparison.

Size isn’t everything when it comes to open worlds, of course. Just look at something like Just Cause, which is enormous but consists of little more than large swathes of dull, featureless countryside and a few unconvincing cities. Origins keeps things interesting by splitting its world up into distinct regions, from the oasis town of Siwa and the rocky canyons of the Black Desert, to the ruin-littered sands of Giza and the cultural epicentre that is Alexandria.

Crocodile tears

Faiyum is one of the prettiest and most interesting locations in the game. Founded to worship Sobek, who takes the form of a crocodile, this city is built around a network of canals and dominated by a beautiful, ornate temple dedicated to the god.

Inside, the priests worship a giant crocodile adorned with gold and jewels who they believe is the embodiment of Sobek, and one quest involves hero Bayek trying to find out why the sacred creature has mysteriously started weeping blood.

It took me a hefty 27 hours to finish Origins and there are still areas on the map cloaked in black, indicating that I haven’t travelled there yet. It’s obscenely huge, although the length is artificially extended somewhat by forcing you to reach a certain level before attempting the next story quest.

Exploring Egypt isn’t as thrilling as sailing the Caribbean in Black Flag, which remains my favourite entry in the series. But it’s a much richer, more convincing world overall, and a precious chance to step into history and experience it firsthand.

ZeniMax Online head Joseph Burba is among over 200 staff laid off at the Elder Scrolls Online studio last week as part of Xbox's recent round of mass layoffs. Burba has been with the studio for 14 years, and has worked on The Elder Scrolls Online since its 2014 launch. He was promoted to studio lead in July last year.

The news comes via Game File, who obtained a list of roles impacted by Microsoft's recent purge from the state of Maryland, where both ZeniMax Online Studios and its parent company, ZeniMax Media Inc, are based. In addition to Burba, ESO executive producer Susan Kath, game director Rich Lambert, and production director Ala Diaz have all lost their roles.

According to documents seen by Game File, all four will remain at the studio for "the next few months" to help transition a new leadership team, which will consist of ESO game lead Nick Giacomini, and business operations lead Josh Henderson.

"We have tremendous confidence in Josh and Nick, the future of this studio, and the continued growth of ESO," an internal memo penned by the outgoing leadership read. "With exciting experiences still ahead for our players as we wrap up work for Update 51 and beyond, we believe that your passion, creativity, and commitment to each other and the community will continue serving as the heartbeat of ESO."

ZeniMax Online has shrunk considerably since late 2024, when its headcount was roughly 461 if union membership is any indication. After layoffs in 2025 and 2026 the studio has lost at least 40% of its workforce. Lopping off executive staff is probably a quick and easy way to save money, but it also means destroying—especially in the case of Burba—decades worth of institutional knowledge.

It's unclear how "growth" will be achieved for ESO in light of how severely the studio's head count has contracted, but according to ESO community manager Kevin Gbolie, writing after news of the layoffs, "the plan is still to deliver great content, and we will hopefully have an update soon."

Last week's seismic Microsoft layoffs also impacted ZeniMax Media: of the 379 in total, 213 were from ZeniMax Online Studios, and 166 from ZeniMax Media, the latter including Bethesda Game Studios and Bethesda's publishing concerns.