Even the greatest heroes can't live forever. And so it goes for Ezio
Auditore di Firenze, who finally steps aside to make room for new
champions in Assassin's Creed: Revelations. This is another quality
entry in a quality series, and it unleashes you in a visually stunning
re-creation of 16th-century Constantinople. Additions to the movement
mechanics make exploring the city a joyous exercise in high-flying
parkour, with you as Ezio leaping across rooftops and flinging yourself
up exterior walls like a Renaissance superhero. Like many sequels,
Revelations giveth, and Revelations taketh away, so you lose certain
elements (horses) in favor of a slew of new ones (bomb crafting). Lots
and lots of new ones. Assassin's Creed: Revelations is sometimes a lumpy
Frankenstein's monster of a game, half-formed appendages stitched into
place regardless of whether they belong there or not. Thankfully, when
Revelations remembers to be an Assassin's Creed game, it soars into the
Turkish skies, reminding fans why they fell in love with this
freewheeling series.
Expectedly, Revelations isn't all Ezio's story. It's also Desmond's. You
remember Desmond, the bartender-cum-assassin whose mind is probed to
discover truths that could potentially prevent the earth's destruction.
Desmond looks different than you might remember: faces have been
redesigned, features elongated, making your old comrades-in-conspiracy
feel a bit unfamiliar, as if they have had plastic surgery since you saw
them last. In any case, Desmond's mind is a prisoner within the Animus,
the machine that allows his associates to tap into his ancestral
memories. This computerized sanctuary is presented as an island, where
shimmering doors leading to who-knows-where punctuate a virtual seaside.
Here, Desmond and the enigmatic Subject Sixteen explore the bartender's
memories and regrets in long conversations that illuminate Desmond's
former life.
In Assassin's Creed: Brotherhood,
Desmond was becoming a full-fledged assassin, and you guided him
through dank caves and across rooftops as a sort of Ezio-lite. The
character arc matched the gameplay arc: Desmond was gaining confidence,
and this was reflected in his ever-improving abilities. Revelations
tries a more thoughtful approach but falls short. Subject 16 starts as a
mystery and remains one, making for an unsatisfactory replacement for
the team with which Desmond has typically interacted. Meanwhile, Desmond
passes through those shining portals and into his own memories. These
memory levels are made of gray columns and tiled floors that glisten and
undulate like digital rivers. You move through them in first-person
view while Desmond talks himself through the pain of his past. This
synthetic cyberspace makes for an effective backdrop, but the
accompanying gameplay is anything but fun. You create blocks and ramps
out of thin air to pass through these levels, but moving across them
feels flat, and jumping is inexact. The flatness turns to frustration as
you encounter gusts that move the blocks you create, and deal with
energy fields that cause them to dissipate. These levels are one of
Revelations' many attempts to force elements into a game that doesn't
benefit from them.
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