Many attribute the French revolution to a working class uprising against poverty and oppression. Image credit: Scarecrow Fireplace-dwelling NPCs prove the value of dynamic crowds Granted, it's a bit less intuitive when you can't actually see what you're climbing on. The simple act of scaling a wall has become rote since the original Assassin's Creed released in 2007, but it's still a beautiful thing: close enough to reality that players can intuit their next action, but just far enough to thrill.
Just think of how many ways you can get up and down even the most mundane little shop. How's that for a back-of-box bullet point? But even if you prefer more tangible handholds, these sticky bits of imagination remind you of the tens of thousands of handholds, beams, gutters, and pulley systems that let you rocket across the city. Arno can take hold of nothingness at many points throughout Paris and remain perched as long as he likes - sometimes he can even suspend a fall mid-plummet and just float there, flailing his arms around like Kermit the Frog. But he can do something that would leave Altair, Ezio, Connor, and Edward literally grasping at his heels: hang on to thin air. He doesn't train an order of assassins to do his bidding across the globe. Image credit: = Reta Climbing invisible walls shows versatility of movementĪrno doesn't sail the ocean on his very own ship. Observe the thin, textured edges that hint at the world above without obscuring it - compare that view to your standard eagle's perches. As Arno plummets/splashes into an inexplicable body of invisible water, cast your camera upward and look at the cartographical care put into the city. Kind of a shame that a game which rewards exploration continually threatens to drop you into nothingness, right? But on the bright side, it does at least offer you a new perspective on the densely packed urban sprawl of Paris. Good news! You don't have to look very far to find one in Assassin's Creed Unity.
It's generally not a very interesting place to be, since most terrain doesn't have a texture on its underside and is thus transparent, but that doesn't keep people from seeking out portals to this uninhabited underworld. If you take much interest in game glitches, you're likely familiar with the concept of 'Blue Hell' - the space underneath a game world which players are not supposed to be able to visit. Image credit: Retro_Apocalypse Falling through the world gives you new perspective All these elements are amazing, even when they're laying in a jumbled heap. When Arno's ponytail goes rampant and whips around the city streets, appreciate that all those follicular simulations run every second you're playing the game, giving (usually much more subdued) life to his chestnut mop. Inspect the individual incisors you would normally only see in flashes. Look at how the eyeballs redden where they would otherwise recede into the eye socket. And so scenes that are more Mars Attacks than A Tale of Two Cities occasionally sneak into the narrative.Īfter you're done recoiling in horror, you can at least admire the building blocks that create these virtual actors. But despite spending what I must assume was a good amount of time and effort giving Arno, Elise, and all the other characters the constituent parts of human faces, Ubisoft doesn't appear to have dedicated nearly so much of its vast resources to making sure those faces fit together properly. OK, I like heads better when they're not just teeth, eyeballs, and hair, too.
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