Format: Xbox Series X
Genre: Action
Developer: Ubisoft Montreal
Publisher: Ubisoft

Take everything written about this game's immediate predecessor, and apply it here: while convincingly frigid and mountain-peaked, the ancient ice-capped opening Norway zone is monotonous and unexciting, aside from its technically interesting tesselated ground surface. The subsequent ninth century English countryside is even more impressive than was Ancient Greece in "Odyssey" however, with the dynamic weather system creating slicing rainstorms and dense morning fog with equal aplomb. There is some laziness at play, such as the "copy and pasted" user interface and animation systems, while the "woke" factor with the optional female protagonist is off the charts. All the same and on the balance, Valhalla is one handsome historical romp.

Always more of a technical wizard than bonafide composer of much skill, Jesper Kyd-- of Amiga demoscene, "Sub-Terrania", and "Messiah" fame-- headlines a collaboration to create the typical Hollywood-esque orchestra music. While this reviewer can't stand the general style, bits of it-- such as the "Out of the North" song-- actually manage to be somewhat memorable, and fit the action. The game's environmental sounds, from rainfall to the shattering sound of smashing ore deposits, pop from the speakers. The title's voice acting is a strong point, with the male protagonist's breathless delivery especially fitting the character and setting.

At times, Valhalla feels like a commercial total conversion of "Odyssey" rather than a brand new game, so much of it has been lifted straight from that title: the player controls, movement, and combat feel essentially identical, as does the map functionality, the ship battles, the "assassinate secret society" members aspect, and even the bird mechanic. Added to these components are some base building-lite, crew management-lite, and the startlingly realistic ability to "raid" cathedrals with said crew-- raids which send women and children screaming for succour. The game's opening Norway area-- an extended tutorial in all but name-- stretches on for what feels like forever, but once the full slate of mechanics becomes unlocked in England, the title's interplaying systems begin to shine.

There are a couple of elephants in the room with this title: first, there are the "woke" factors, which see "strong, independent womyn" continually thrust unrealistically into combat roles; and second, the fact that this is a title directed by a Muslim-- who in fact was fired mid-way through development for manipulating women into relationships-- which involves the burning down and desecration of Christian churches. The reverse would obviously never fly, but forget the double standard. All in all, Valhalla feels a bit like an annual sports franchise entry: a veritable re-skin of its immediate precursor. It's still a polished and strong game by open world standards, but if the next release in the series isn't more inventive, the formula will undoubtedly begin to feel as matted and stale as a viking beard.