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Assassin's Creed (PlayStation 3) artwork

Assassin's Creed (PlayStation 3) review

"Assassinís CreedÖ "

Assassinís CreedÖ

People either loved it, or hated it. Fans made it the fastest selling franchise of all time. They called it gorgeous, stylish and incredibly intuitive. Critics and cynics said the exact opposite--claiming it was slow, redundant and agonizingly bland. Given the history of games with such exposure, Creed may be doomed to a debate more fierce than the great Chrono Cross debacle of 2001. So before that starts, I take it upon myself, using my superior deduction skills to finally determine whoís right.

They both are.

The story is a mix of both positive and negative aspects, and starts out very confusing. Instead of taking on the role of a monk-like assassin during the Third Crusades, I initially found myself playing a timid bartender named Desmond in a modern day setting. Heís laying there, on a futuristic apparatus, while a doctor and his assistant are spewing scientific jargon. OddÖ I havenít felt this out of place since I was playing Roxas in Kingdom Hearts II. But thatís only the beginning, and Creed introduces a very unique twist, and ingenious idea by way of a second plotline seen through Desmondís own toils and torments.

Desmond is actually a distant descendent of Altair--the assassin I was expecting to play. And locked within Desmondís genetic coding are memories from Altair--memories the doctor wants. For what reason, itís not yet apparent, but to get them, the doctor manipulates you back into the strange machine known as the Animus. A device that digs deep in to your psyche and extracts them by forcing you to live out your ancestors past.

Itís here where Altair takes over, but at the beginning heís nothing like an assassin. Heís brash, arrogant and has no problem announcing his presence to the intended target. On the first mission I played, that ego becomes his undoing. Instead of safely leading his team to success, he taunts their victim and walks right into a trap. Most of Altairís team loses their lives, and one his arm.

As punishment, Altairís status as a top-ranking assassin is revoked. Heís forced to re-learn the creed and codes of his brotherhood, through nine different missions, and nine assassination targets.

When the game gets into the action, I understood why so many people raved about Creed. Altair has a vast array of skills and tricks he can use to accomplish his daunting task. He can slow his pace, bow his head and use his disguise as a monk to join a group of them and sneak past armed guards into the city or a secluded area. He can re-work his entire demeanor to portray himself as a peaceful priest to avoid a suspicious soldier.

Or, he can cast it off instantly and charge down the streets at a blinding speed to escape pursuers, with the speed and grace expectant of an assassin. Drive him towards a wall and heíll instinctively clamber up and work his way towards the nearest foothold. Heíll automatically zigzag to to the next niche while you do nothing more than move the analog stick. This is crucial for working your way to the top of the cityís highest towers, one of the gameís most important and memorable tasks. Altair sits perched atop the tower, the camera pans around him and draws back, unlocking a part of the map that was once clouded over. The gameís incredible graphics and beautifully rendered medieval landscape give a view unlike any other. The first time I stood on a fifty-foot structure and watched this, it blew my mind. Then the game encouraged me to jump. I soared off to see the ground rush up at a nauseating rate, only to land harmlessly in a pile of hay. My once blown mind was now fully scrambled.

And there was only more to come. Altairís inhuman acrobatics also lend to his survival. The swift killer can leap across rooftops with ease, over huge gaps between buildings with little effort and over carts as if they were matchbooks. He can balance on vertical poles with one foot, or swing one-handed from horizontal ones. Altair can even hop on a rafter and immediately sprint across faster than most people could run on solid ground. All of this is done seamlessly and without a pause in the assassinís movement. Chases, even random explorations were far more intense, allowing me to focus on the action, instead of what I needed to do next on the controller.

But by far the most exciting thing Altair can do with his skills is end someoneís life. He can be slow and silent. Heíll bow his head, clasps his hands in prayer and sneak up to an enemy. He grabs them by the shoulder and buries the hidden blade tucked under his sleeve in their stomach. Before they even fall to the ground, Altair goes back to his somber state, leaving other guards in a panic looking for the culprit.

Or he can take the more stylish route, and announce his presence. He charges forward, shoves crowd members aside and leaps into the air. The soldier turns on him, tenses, sets to cry out a warning but itís already too late. Altairís weight drives his enemy to the ground and the blade gets buried in his victimís jugular. Altair is up in a blink, racing through the streets as the alerted guards attempt to hunt him down.

The first time I did any of those things, I was awestruck. Even the fifth time it was exciting. But the game forces you to endure the same tasks nine times: surveying the city, pick pocketing, eaves dropping, gathering Intel until finally you assassinate your target. Very little is revealed story wise--even with the occasional swap to Desmond--throughout three quarters of the game. Minus Altair not jumping where you wanted, or not being able to swim, the repetition was Creedís biggest drawback. Itís bad. Iím not going to lie. In fact, it was so dull a lot of people called it quits halfway through. I was almost one of them. Tragically I would have--and some gamers did--miss out on one of the most mysterious and intriguing endings of all time. The last twenty-five percent of the game blazes by at a fevered pace and throws you into battle after epic battle, culminating in one of the most intense and chaotic finales that left me wanting more of the game to play; left me eager for the sequel.

Call me crazy, again, but Iím a fan of Assassinís Creed. I loved it for the same reason I do The Exorcist or The Lord Of The Rings trilogy. A majority of it, yes, is drab and repetitive. It drags in most places but thereís no denying its style and ability to deliver a twisted, compelling story when youíve all but lost hope. Assassinís Creed is so close to greatness that I canít help but hope for it to achieve that with the sequel. Itís not flawless by any means, but if Ubisoft listens to the fans as well as the critics for Assassinís Creed II, it could be marked as the foundation for a very promising future.

True's avatar
Community review by True (July 08, 2009)

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EmP posted July 08, 2009:

I can deny the game's style and ability to deliver a twisted, compelling story. It's easy! It's got the style of an overweight granny in a boob tube and the story's clearly been written by a untalented fanficer with a looser grip on history than Willis Carto. All that awful music must rot your brain.

Other than the fact you're completly wrong? Good review.

PS -- Creed'll never be the next CC!
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zippdementia posted July 08, 2009:

Emp is right. Assasin's Creed will never be the next Chrono Cross.
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radicaldreamer posted July 09, 2009:

I got a few comments.

First, it might seem like a very small semantic complaint, but I think it makes a difference: did you mean that the story has both positive and negative aspects? Saying that the story "is a mix of aspects" seems like it suggests something else, like maybe positive and negative story events. At the very least I think it's an unusual way of phrasing. The following description, while interesting, does not really clarify this statement about positive and negative.

Next, one recurring element in your writing I noticed ever since you first came here is the presence of fragments. Other people have even mentioned it, but probably haven't explained it. The one in this review is:

A device that digs deep in to your psyche and extracts them by forcing you to live out your ancestors past.

I think you do it when you use a writing technique that involves following a noun (usually an object) immediately with a definition of it, or at least that's what happened in this case. It's hard to explain very clearly what does and does not constitute a complete sentence; it's kind of something some people just know. The more grammatically correct thing to do is to join this dependent clause to the sentence before it with a comma, or sometimes a colon or semicolon. While I'm on this passage, I think it could be consolidated to something like:

...the doctor forces you back into the Animus, a device that extracts your ancestor's memories from the depths of your psyche by forcing you to relive them.

Granted, I imagine you're trying to write reviews almost weekly for TT rounds, and the time constraint results in less revision.

Last thing I have for now is the use of the word 'expectant' seemed a little jarring, I thought it could and should have just been 'expected.' Actually, I had never even heard of the word until now, so I dictionaried it to try to figure out what it means and how it's different from 'expected.' From what I gathered, it seems more for the purpose of describing the person or entity doing the expecting, and is thus more synonymous with 'expecting' than 'expected.'

Finally, I disagree and thought the ending was kind of retarded. I thought it went from medieval religious and political conspiracy to...some guy pulling DBZ powers out of his ass. Good voice acting though.

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