![]() ![]() Ezio was such a likeable guy, but Connor comes off as a blank slate. Speaking of characters, I felt that most of the characters were very well portrayed, save for the new protagonist, which is a huge shame. It’s particularly satisfying to traverse through the trees, which feels very different from rooftop jumping of the series’ past. I also love the worlds they’ve crafted, from the bustling city streets of Boston, to the wilderness of the Frontier. Having a better understanding of American history over the Renaissance also gave more weight to the proceedings, as I came into it knowing some of the major characters and events that took place. It expertly weaves in a number of different plots and subplots into a cohesive experience in a way that kept me enthused throughout. The strongest of which is by far the story, which is extremely well done. ![]() Moving the series from the Renaissance to the American Revolution brings forth a number of fresh opportunities. Unfortunately, this same ambition is the root cause of its many shortcomings. In fact, had it delivered on everything it set out to do, this really could have been one of the best games ever. Sporting a new world, a new main character and numerous revisions to its gameplay, Assassin’s Creed III has no shortage of ambition. Though I’ve gotten some enjoyment out of these two games (more the first than the second), I’ve been waiting with bated breath for the real next step in the series. They didn’t do much to push the story forward, and their gameplay innovations varied wildly from great (the ability to call out fellow assassin’s for help) to bafflingly awful (tower defence). Ever since Ezio’s debut, the last two spin-off titles felt like cash-grabs to strike while the iron’s hot. Ambition hasn’t been part of the Assassin’s Creed playbook for awhile now. ![]()
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