Why Assassin & # 39; s Creed Must Forget the Modern Times – The Function of the Reader

A reader claims that today's storyline is the worst aspect of Assassin & # 39; s Creed Origins and stops the entire series.

There are two currents among fans of Assassin & # 39; s Creed, those who love the tradition and like the contemporary sections and those who are in for the historical fun and modern sections see it as a distraction. I belong in the last of these two camps. I have finally completed Assassin's Creed Origins and I am more determined in my belief that if a series of Assassin's Creed is likely to just drop the modern day parts, and in a few words I will accurately explain why I am right and you are mistaken.

For a negativity, let's take a quick wash in a hot tub with great positivity and talk about some good points from Origins, of which there are many. The first is the graphics, oh my god the graphics. What a drop-down wonderful game, a fantastic showcase for a 4K screen and the increased power of modern consoles. My special highlight is when you travel from point to point, it is possible to let Baek follow the road and automatically drive himself. You can then switch to his floating eagle buddy Senu to scout ahead, to make the drums and to take up the landscape – which was varied and interesting, for me a real wow moment and one that I did not tire of.

Traversal and battles were much improved in this iteration. I noticed that there were far less frustrating moments when I was stuck on a fence post and Baek tried to lure it away from my TV via the medium of screaming, although I felt I needed to scale the windows rather than going through them. then it was completely necessary. The battle was tough but a bit of a note. In the harder fights it was varied and better to get involved in a blow than in previous games. To top it off, I am still slowly going through the discovery trips and am very impressed by the level of involvement in the historical details that they contain.

The open world, which is the culmination of most of the larger Ubisoft games, is coming back and it was astonishingly huge. It seems that the entire Nile Delta, or at least a shortened version of it, has been put into play, from the great deserts to the bare rocky mountains and the lush riverbank; you have a perfect impression of how ancient Egypt may have looked, its dependence on the great river, the relationship between the people and the animals with which they shared the water, and a complex layered society that goes through a tumultuous period of its history. But along with the open world also came the insoluble problems.

Open worlds have big problems, primers among them a lack of focus or urgency that can get narrative impulses from a game. When you can postpone addressing the big bad event until you feel like it, it loses its premonition and never feels like the threatening catastrophe it should be.

To this must be added that no open world game has, as far as I know, placed in the square circle, not even like Skyrim or The Witcher 3. Both genre-defining, timeless games have Alduin the world-eater and Eredin of the Wild Hunt circle around in the air waiting for our hero to get his archery skills in order and erase every card and every Witcher report is nailed to even the smallest two-bit village board. The story is side-lined and forgotten in Assassin & # 39; s Creed this is doubly true for the absolutely forgettable modern day sections.

The thing that I think it likes to do from Skyrim and The Witcher, that raises them above Assassin's Creed and leaves the The main storylines in these games to remain memorable is that their by-product content is usually strongly related to the global danger, well written and compelling. Some types of search are reused as an opportunity, but there is enough variation within each template to make them worthwhile. Assassin & # 39; s Creed on the other side crams the game to the absolute gills with ancillary activities but so much of it is shallow, simple and so mercilessly copied and pasted that you have had enough of it. The fatigue of getting another identikit camp down is routinely and uninspiring by the end of the game, which actually leads you further away from the plot.

As far as the story of Assassin & # 39; s Creed is concerned, I have a very vague knowledge of what is going on. That there is a forerunner race that has stopped a solar flare, but also wants to destroy mankind? There are two groups that are waging war to control mankind: the Assassins and Templars. Templars advocate order over the free will and the Assassin proponents make free will unloaded by order (both positions are valid and do not exclude each other I have always thought).

This predecessor race has left behind all kinds of powerful, evocatively-named artifacts such as the apple left behind from Eden that perform McGuffin's role for most entries. I know who Desmond Miles is and I know that by staying in the Animus for a long time, the skills and abilities of your ancestor can bleed into your consciousness. I got the impression that after Assassin & # 39; s Creed II the conspiracy filled with & # 39; Thunderbirds & # 39; and became less logical than a drunken Donald Duck.

It was then that I lost the thread and at the same time the modern sections lost their appeal. If you do not know or consider the overarching conflict important, then you have no interests in that story, and that is where I am at the moment. And judging by how scaled down the modern sections are, I think that Ubisoft is in the same boat.

So, we are on the point with Assassin & # 39; s Creed where we have to keep in mind a barely legible story about Absertgo chasing chunks of Eden with disposable characters dressing in hipster gear. Occasionally we hear Danny Wallace's crisp voice as he complains about the awkward situation in which his newest Beats protagonist with headphones has gone and I turn off faster than a clone droid that has blown up the mother ship.

Is it high time that this haughty nonsense was omitted? I would say that is indeed true. I would say that every game can be just a story about Assassins fighting Templars and that's it, no window dressing or extensive plot diversion. If they want to go further and Ubisoft has aspirations to make Assassin's Creed more than the disposable blockbuster of the game industry, they can try to make the story of most of the game more memorable.

However, with the drawbacks inherent to the open world format, this will be a more difficult solution than simply emergency landing, which would require the type of reconstruction that Isambard Kingdom Brunel would be proud of.

By reader Dieflemmy (gamertag / PSN ID / NN ID)

The function of the reader does not necessarily the opinion of GameCentral or Metro.