Spoilers only discussed at the very bottom

This is a review of the first Valhalla DLC. For the main review see: https://backloggd.com/u/RedBackLoggd/review/1368448/

For a comprehensive breakdown of the game as a whole, please see: https://backloggd.com/u/RedBackLoggd/review/1368458/

For the second DLC, The Siege of Paris, please see: https://backloggd.com/u/RedBackLoggd/review/1368452/

For the third DLC, Dawn of Ragnarök, please see: https://backloggd.com/u/RedBackLoggd/review/1368455/

For the final story DLC, The Last Chapter, please see: https://backloggd.com/u/RedBackLoggd/review/1368457/

While best known for being Valhalla’s debut DLC, Wrath of the Druids was interesting in that it was also the first time the series indulged in non-sequential add-ons. What do I mean by this? Well, in prior titles, expansion packs followed the template laid out by most AAA games; create a mini-sequels of sorts that was either set after the events of the main game (Hidden Ones, Freedom Cry, Jack the Ripper) or filled-in some gaps during said game (Battle of Forli, Dead Kings).

In keeping with the proto-live service format of Valhalla, though, Wrath of the Druids’ primary purpose was to give players another reason to stay in Ubisoft’s world; thus, to prevent continuity errors/potential confusion from arising, all historical relevance has been tossed out. Wrath of the Druids may take place a year removed from the Battle of Edington, but you’d never know it because nothing is referenced or mentioned, not even in optional stationary, and while this is disappointing, I understand why Ubisoft did it: they were more interested in creating new adventures than pushing forward Eivor’s journey.

The question then is how well does Wrath do in this regard? All cards on the table, not too great. The biggest problem is that it feels less like a unique story and more like a glorified arc, which was not an inherently bad concept given the quality of many of Valhalla’s arcs; however, you guys need to understand, after 50+ hours of playing kingmaker, it was a bit tiring to do so again, especially with the setting being relatively unexceptional. Ireland is inherently indifferent from the fertile English countryside you extensively explored in the base game: rolling green hills, riverbeds tied to waterfalls, cloudy skies, etc…Sure things like rainbows and stone fences add a bit of personalization to the Emerald Isle (though rainbows were later added to the base game); however, it’s fundamentally the same landscapes you’ve already witnessed time-and-time again. And yes, I get that this is probably reflective of the real-life landscape, but perhaps that should’ve been a reason against going with it as a setting in the first place?

Then again, Skye island’s visual similarities were overridden by a strong plot, so perhaps it’s best to explain why I felt Wrath of the Druids faltered in the narrative department. The premise is you’re helping your cousin Barid secure favor with the High King of Ireland Flann so that he may preserve autonomy over his control of Dublin. Making this initiative tough are a cult of druids called the Children of Danu, who are intent on murdering Flann and sowing chaos throughout Ireland, leaving it up to Eivor to save the day.

If you started Wrath early-on in your playthrough of Valhalla, I could understand this tale being appealing. However, anyone who booted it up after completing the base game (as I imagine the majority did given its release date) will notice the eerie similarities to prior arcs: helping out a family member = Snotinghamscire; dealing with a dangerous clan = Glowecestrescire; fighting alongside a King dealing with political turmoil = Eurvicscire, and so forth….I’m not saying there isn’t ANYTHING unique here, it’s just burdened by the thematic familiarities of stories past, and, unfortunately, it’s not as though said unique elements were good enough to outweigh those similitudes.

The presentation of the Children of Danu, for starters, literally reminded me of the presentation of the coven from the first Twilight; a conveniently evil sect at odds with the peace-loving main hippies. You’ll have to hunt down a number of them outside the main story (in another reskinned Cult of Kosmos menu), wherein they’re treated as generic variations of the Order of the Ancients who, worst of all, lack Confession scenes that could’ve at least expanded upon the motivations of individual members (particularly aggravating given that The Hidden Ones DLC from AC Origins still had Confessions).

Other miscellaneous abandoned plot points include Barid’s son Sichfrith being at odds with his father only for this conflict to be tossed aside when he disappears (until the third act), and the Druids drawing their power from the Lia Fáil without a single explanation given for the stone’s power (not even a lazy Isu lore drop). In addition, a big quandary props up in the last third of the game wherein the writers evidently struggled to come up with a logical reason for extending the playtime and pulled out a nonsense plot twist from the blue.+

Don’t get me wrong, Wrath of the Druids’ story is enjoyable enough. It’s nice to spend extra time with characters you’d normally be one-and-done-with in an hour or two, and while they’re not particularly fleshed out, it does lead to the Fi Effect of you enjoying their company more than you normally would’ve courtesy of their extensive screen presence. But if you’re going in expecting something on par with past AC DLCs as far a deeper yarn or continuation of Eivor’s odyssey, you’re going to be disappointed. Heck, I wouldn’t be surprised if Wrath was originally meant to be a part of the vanilla game that Ubi had to scrap courtesy of time constraints.

Of course, with all of Ireland at your behest, you’re going to be doing more than just partaking in the campaign. In terms of side content, Wrath of the Druids hearkens back to AC Brotherhood via bringing back the renovation system and pigeon coop contracts. You’ll frequently come across tradeposts, have to retrieve their deeds, and then rebuild their various structures; doing so generates resources needed for contracts back in Dublin, the fulfillment of which grant rewards and increase the city’s notoriety. Just like with Brotherhood, it’s a very simple mechanic, and just like with Brotherhood, I loved it. Maybe it’s the old dopamine theory of short successes causing a positive feedback loop, but it made completing such endeavors worth the repetition. Unfortunately, yet again similar to Brotherhood, there are simply not enough things to spend money on, meaning you’ll cap out pretty quickly (leaving three evergreen commissions you can reap for infinite money ala ACB’s banks).

Besides that, new enemy types have been built to spice-up combat, the lion’s share of these being Druids. You’ll often face them inside clouds of hallucinogenic gas that amplify their speed and weaponry to supernatural levels, and while you’ll most likely be overleveled, some of these fights can actually pack a challenge, particularly in certain mysteries where you’re unable to stealth them. Werewolves are perhaps the most interesting archetype; chimeric visions of standard wolves inside the aforementioned mist. Pray you get the drop on them before said transformation, otherwise you’re in for a brawl!

Sadly, that’s about it as far as the side content. While you’re getting more than your buck’s worth, I can’t help feeling more could have been done. There’re no world events, no flytings, no tombs, and only a single legendary animal. Sure, you’ve got armor sets to loot, but at that point in your playtime they’re effectively meaningless besides being new aesthetic skins (and half of them don’t even have alternate versions when upgraded).

Voice-wise, Ubisoft went out and hired actual Gaelic-sounding VAs for the new cast, though their performances are hit-or-miss. Flann and Barid come out looking great, while a number of the other Irish Kings, as well as Sichfrith, falter under standard NPC mediocrity. Ciara, a poetess and Druid working for Flann, is the deuteragonist of the DLC and feels just as anachronistic as past female characters in this franchise; another one of those strong independent women capable of speaking her mind without getting thrown in jail. She’s brought to life by a singer named Julie Fowlis, and it becomes quite clear Fowlis was chosen primarily for her musical capabilities as, while her solo contributions to the OST are absolutely mesmerizing, she’s mixed as far as acting out Ciara’s more more emotional moments (succeeding at the playful c%cktease, but not so much with the angrier witch).

If there’s one thing Wrath of the Druids does objectively better than Valhalla, it’s the music. I found Max Aruj and Einar Selvik’s compositions to be more memorable than the base game’s due to a consistent Gaelic/Norse hybrid motif that encompassed synths, drums, and orchestral chords alike. Its biggest downside is it tends to suffer from the Call of Duty problem of sound mixers drowning out melodies with louder background beats (makes for a good action scene at the expense of memorability).

But yeah, there’s not much else to say. Wrath of the Druids is a fine diversion that ultimately pales in comparison to the standards of prior AC expansion packs. You won’t regret playing it, yet probably won’t take much from it.


NOTES
-Wrath of the Druids unfortunately has a lot of Valhalla’s technical shortcomings in droves. I don’t think a single mocapped scene was made here, the animators instead relying on the body motion algorithm that sees every character cross their arms like they’re trying to cover their nipples in the cold. The handicapped cloth physics are also on pristine display when large gusts of wind fail to move Eivor’s (or anyone else’s) cloak.

-Was not a fan of Ubisoft ascribing the ballad “Flann over Ireland” to a fictional character (Ciara) when it had a real-life poetess (Máel Muire Othain).

-Ciara is, tragically, subject to one of the most laughably bad consummation scenes in the franchise (which is saying something given the low quality ones in Odyssey).

-The OST is a bit of a cheat since it features three variations of the same exact song.

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SPOILERS
+After beating one of the main Children of Danu elders, the cult is effectively taken out of the picture….until Eivor learns that the abbot sent to oversee the adjudication of power is actually the leader of the group, having been using them in his opposition to Flann’s unification of pagans and Christians alike. This could’ve made for a decent revelation, but the way it’s thrown into the game comes across as a haphazard plot twist meant to artificially elongate the story. The Abbot’s motivations are hypocritical, it’s never revealed how he enlisted/learned of the Children (he has intimate knowledge of Ciara’s former role too), and his replacement plan for Flann is never laid out.

Following the disposal of the Children of Danu, Flann and the other kings opt to institute an inquisition to purge the country of pagans through forced conversions/exiles. It’s a fascinating development that’s sadly rushed and reduced to a simple boss fight with Ciara as she (rightfully) goes apesh!t as the prospect of her people being pogrommed, after which Flann magically decides to reverse course on the decision. Had this occurred instead of the Abbot twist and been expanded upon the way the anti-witch riots were at the end of the second Witcher, Wrath could’ve finished on a high note. As it stands, you get standard AC flair.
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