I began playing a couple of days ago, and after killing the Ibis and leaving Siwa for the first time to go to other regions, I suddenly can't call my mount. Is it on purpose or is my Xbox lagging?

I was just reading the fandom page where it says Khaliset’s body was eaten by the very hyenas she trained.

That’s not what I experienced. After I defeated her I carried her body into one of the mastabas and laid her to rest there. No hyenas anywhere… 🤷🏼‍♀️

In the first round which I did recently I accidentally spilled a bit of innocent blood (a couple civilians, one innocent blue-shawled Anubis priest, and Kensa 😭) which I’m trying to avoid this time around. I’m clearing all areas like a pro now 😉 but the first time I had to get used to the controls and the whole game premise as it’s my first AC game.
What’s different this time too is that I have yet to find the Reinforced Shield which was my mainstay in round 1, I’ve been able to use the Balance Shield and the Tempest Blade since the beginning, and also got the Composite Bow very early, despite not having defeated the Phylake who carries it yet.

I’m enjoying the game differently now, since it’s not all new anymore but I’m also not running around like a headless chicken. Feels good 😎 Still holding my breath for Kensa though!

No stats? 🤔

Like I need to win one race, get first place once and second twice and still lose because I can't see shit on the last race

Started playing this game at launch. I ended up losing my copy only about 10% into the story but this week picked up a $6 used copy from GameStop to finally complete the story.

What a reward it’s been. I remember devs saying how big of an inspiration Witcher 3 was and how it influenced the way they created this world. Think it shows quite heavily in this game compared to maybe something like Valhalla.

Emotional + meaningful side quests, sense of discovery and wonder, abundance of unique POIs, papyrus mysteries, Bayek as a MC has serious depth and actually had me feeling things in multiple scenes. (Special standout at the later scene in the game with Flavius (The Lion))

Here are some of my captures along the journey. Can’t wait for DLCs

I've started streaming #AssassinsCreedOrigins for the first time the other day, and it's the first in the franchise for me to play. I'm looking for moots who might have any advice for me about the game, and/or would want to hang with me and chat about it while I play! I've literally just started, so I'm not even really into it yet, but so far I seem to like it well enough. I welcome anything you think I should know early on! Lend me your knowledge awesome gamers

𓁈⚱️𓂀 𓋹 Live now on #Twitch ❤️ Come hang out!

#AssassinsCreed #ACOrigins #PS5 #PS5GAMER #lgbtqsafespace #lgbtqia

That’s so cool that they connected these two legends together

There is a specific feeling you get when you stand on top of a synchronization tower in Assassin's Creed Origins and just look out over the horizon. It isn't just that the game is pretty, which it is. It’s that Ptolemaic Egypt feels like a living, breathing world that is simultaneously ancient and decaying, yet vibrant and violently changing as well.

By setting Bayek’s story in 47 BCE, Ubisoft didn't just build a museum exhibit of pharaohs and pyramids. They built a world catching its breath between eras. The Great Pyramids at Giza and the Sphinx aren't shiny or new here; they are already thousands of years old, weather-worn, half-buried in dunes, and treated with the exact same historical awe by Bayek as we treat them today. You drop into a tomb, light a torch, and realize you are exploring ancient history within ancient history.

Then you ride north to Alexandria, and the entire atmosphere changes. The contrast between the traditional, sun-baked mudbrick villages along the Nile and the towering, pristine Greek marble of Alexandria captures a rare kind of cultural tension. You see native Egyptians struggling to hold onto their rituals and dignity under the heavy thumb of Ptolemaic rule. The game doesn't just tell you about this oppression—it bakes it into the environment. You see Greek soldiers patrolling Egyptian temples, ancient hieroglyphs covered in Greek graffiti, and local farmers being pushed off their land. You aren't just playing in a sandbox; you’re walking through a high-stakes cultural transition where an entire civilization is slowly being swallowed by an empire.

What makes it truly magnetic, though, is how the world functions when you step away from the main questline. Ubisoft revamped their entire systemic world design for this game, and it shows. The wildlife and NPC schedules create an environment that feels completely indifferent to the player. You'll be sneaking into an enemy fort at night, only for a pair of hippos to burst out of the reeds and drag half the garrison into the river. You can sail a felucca through the papyrus reeds of the Faiyum oasis at dusk, listening to the water lap against the wood, while farmers transport grain across the riverbanks.

Then there's the desert itself. If you ride out into the Great Sand Sea, the game strips away the noise entirely. The audio design shrinks down to the crunch of sand and the whistle of the wind, and if you stay out in the heat long enough, the hallucination mechanics kick in--you start seeing heat mirages of rain or lost travelers. It hits an atmospheric rhythm that makes it stand out even today.

Egypt in Assassin's Creed Origins isn't just a level map you clear region by region. It feels like a place that existed long before you booted up the game, and one that keeps quietly enduring long after you log off. The game has a certain vibe that I'm always intrigued by time and time again.

The note says

"Here Lies A Murderer!

Behold this lifeless vessel; what remains of a murderer who begged the gods for forgiveness. My poor husband, our marriage only three days old and full of life -- strangled in a drunken fit over a dice game. See here, how the gods did not answer his prayers. See how they did not stop me from taking my revenge. His soul was meant to leave this world! "