Assassin’s Creed: Valhalla (2020) is the latest instalment of Ubisoft’s hugely popular eponymous series. Set in the late ninth century, it brings the well-known tropes of the series’ narrative to the new settings of Scandinavia and England. The narrative and aesthetic intersect with the concept of northern medievalism and we may see similarities to other games such as The Witcher III. Both draw deeply on “non-traditional” instruments, namely a collection of historical and non-Western instruments, linked largely by the othering effect of their timbral qualities. Both also draw on the talents of musicians who base their practices explicitly on historical (and arguably mythical and folkloric) practices from the areas in which the games are set. But there is more going on here, too. Whilst the mythological portions of this game are focused on Norse mythology, they are also clearly futuristic. As with many AC games, if we move far enough into the past, we somehow reach the future. Indeed, the “modern-day” narrative of the game is now situated not today but in a hypothetical near future. Inception-like, Valhalla draws us deep into levels virtuality: avatars within avatars moving both backwards and forwards through time from a mythological future-like past, through a representation of a “real” ninth-century historical narrative, to the near future. Music, here, is crucial to the construction of both temporality and its deliberate disruption.