Assassin's Creed
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Assassin’s Creed III’s narrative is unprecedented in scope and in ambition; it is a major triumph, decidedly epic in construction. Consider most obviously the opening prologue, total manifestation of epicness. Spanning roughly five or six hours in length, it is fair to describe the prologue – and by slight extension the entire narrative proper –
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Assassin’s Creed: Revelations’ conservatism is its greatest failing; departures from the established series formula are slight, signaling originality’s painfully-felt absence. Some pushbacks inevitably exist, of course, and greatest departures – greatest injections of vigor and emotion – are intimately connected to the narrative proper, confined in ambition though still seizing upon epicness despite that confinedness.
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When considered alongside its immediate predecessor, Assassin’s Creed: Brotherhood is defined by relatively constrained ambitions; epicness is rejected. Far from a failing, the narrative ultimately benefits from its hyperfocusedness, the core plot spanning a scant six or seven years, while Assassin’s Creed II’s narrative unraveled over some winding two or so decades; succinctness is totally
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Assassin’s Creed II’s central narrative is ambitious in nature, chronicling multiple decades of the player character Ezio Auditore’s existence, a profound character and a singularly likable one – Ezio anchors the narrative, and even as it periodically loses its way, he is always present to instigate redirection, a return to profoundness and emotional and cerebral
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The video game landscape upon Assassin’s Creed’s release in 2007 was vastly detached from the video game landscape of today, and this difference is especially applicable to the open-world genre, which has now ascended to a position of dominance. The genre was indeed thriving in 2007, though the great potentials attached to the genre were
Games With Grey 