Assassin’s Creed’s Discovery Tour offers a compelling model for one part of museums’ digital future: let people move through a reconstructed place, explore at their own pace, and follow expert-curated routes that explain what they see. It does not show that museums will become video games or that virtual experiences will replace galleries. It shows how interactive worlds can make history feel spatial and approachable—and why museums may use similar tools to extend access beyond their walls.
What is Assassin’s Creed Discovery Tour?
Discovery Tour is a collection of educational, violence-free experiences built around selected Assassin’s Creed settings. Ubisoft describes the tours as free exploration combined with guided stories curated with historians and other experts. Rather than play the main games’ combat-driven missions, visitors can investigate environments and follow interpretive routes through subjects such as architecture, art, politics, religion, philosophy, and daily life. Ubisoft’s current overview covers Ancient Egypt, Ancient Greece, the Viking Age, and a mobile and web experience about Medieval Baghdad.
The series began with Discovery Tour: Ancient Egypt. In its 2018 announcement, Ubisoft described it as an evolution of the Animus Database and a way to make Assassin’s Creed Origins more accessible to teachers and students. Visitors could follow illuminated paths at their own pace, stopping at stations about landmarks, geography, daily activities, and historical figures. Ubisoft said it was available as an update for Origins owners or as a standalone PC purchase. The announcement describes that original release; access and platforms differ across the later experiences.
How do the Discovery Tours work?
Explore freely or follow a route
The game-based tours let visitors move around recreated environments, while guided tours provide a more directed way to encounter places and historical themes. That combination matters: a visitor can choose what to investigate, yet still have the context and interpretation that an unstructured virtual landscape would lack.
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Learn through a specific setting
Egypt, Greece, and the Viking Age are presented through game worlds built for those settings. Ubisoft says the three game-based tours were made with support from external specialists. It also says it worked with McGill University’s Technology Learning & Cognition Lab on curriculum guides for teachers. Those are Ubisoft’s descriptions of its development and educational resources, not a guarantee that each tour is comprehensive or that every reconstruction settles historical questions.
Baghdad uses apps rather than a game-world tour
The Medieval Baghdad experience is a mobile and web experience, not simply another edition of the three game-based tours. Ubisoft describes it as including codex material, interactions, and minigames. This distinction is useful when considering what “Discovery Tour” means: it is a broader educational product family, not one identical format released across every setting.
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What does this have to do with the future of museums?
The strongest connection is access. A digital environment can let people examine a reconstructed place or encounter cultural material they cannot readily reach in person. That can be valuable for collections or sites that are geographically distant, fragile, not normally on display, or otherwise inaccessible. Discovery Tour demonstrates one way to make a setting navigable and interpretive rather than presenting history only as text, images, or a linear video.
There is evidence of audience interest in this broader idea, though it should be read narrowly. The University of Glasgow’s Museums in the Metaverse project reports that more than 2,000 people worldwide took part in its survey; 79% of respondents expressed interest in using digital technology to explore cultural collections currently inaccessible to the public. That is the project’s reported result, not an estimate for all museum visitors and not proof that people prefer virtual museums, that digital exhibits increase physical attendance, or that games are the best way to provide digital access. The project’s 2025 summary and report record provide the survey context.
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Murray Pittock, the University of Glasgow’s pro-vice principal of special projects and a co-author of the report, interpreted the findings this way: “Our research reveals a clear appetite for immersive digital experiences, with people eager to interact with cultural artefacts in new and exciting ways. This shift in public expectations is already visible in the growing popularity of virtual reality cultural spaces globally, and our findings at Glasgow are helping chart a course for how museums can embrace this digital future.” His statement is an interpretation of the project’s findings, not a prediction that museums will adopt one particular technology or format.
What can a game-like museum experience do—and what can it not do?
| Experience | What it can offer | What it does not replace |
|---|---|---|
| Free exploration in a reconstructed world | A sense of spatial layout and the freedom to inspect a setting at an individual pace. | Direct encounter with an original object, including its material qualities and physical scale. |
| Curated digital tours | A guided narrative connecting locations with historical themes and information. | A museum’s broader curatorial responsibility, provenance research, or the full range of scholarly debate. |
| Digital access to collections | A way to encounter material or places that may be inaccessible to a visitor in person. | The social, sensory, and site-specific experience of visiting a physical gallery or historic place. |
These are differences in format, not a head-to-head quality ranking. A carefully designed digital experience can make context and movement easier to grasp, while a physical museum can bring visitors into contact with original objects and their setting. A game’s visual reconstruction is an interpretation; it should not be mistaken for the object itself or for a complete account of the past.
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Will virtual museums replace real museums?
Nothing in the available evidence establishes that they will. The Glasgow survey indicates interest among its respondents in using digital technology to explore inaccessible collections; it does not measure whether those people want virtual visits instead of physical ones. Discovery Tour is best understood as an example of how interactive interpretation can complement other ways of learning: it can open a door to a place or topic, while museums retain distinct roles in caring for objects, explaining their histories, and supporting in-person encounters.
So the headline works as a design argument, not a settled forecast. Some future museum experiences may borrow Discovery Tour’s combination of navigable space, self-paced exploration, and guided interpretation. Whether they do—and how they balance access, scholarship, accessibility, and physical visits—will depend on each museum and audience.
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