Assassin’s Creed, remember how sillable you were

Assassin Creed Shadows is especially for me, in the sense that I often do not sit in all the games I am not particularly interested in more opportunities to see the storm and gales, orange kumquat leaves up by horse legs, and the light from the distant lightning bolt. It was a weather change game from the theme of the idle conversation into a loud talk. When I miss the game, I will remember the great water on the horse’s back towards the destinations that part of me desires not to exist, so I can continue to continue the water forever.

The moments of beautiful, gloomy realism made the whole game worthwhile for me, but they had to pay the price until I decided to make the most of my Ubisoft+ month and play Assassin Creed Syndicate. In the end, I was not made from fifteen. I have been playing for five years now, and while sometimes attacked by so many great improvements that the series has existed for many years, there is something Syndicate whose darkness: charm. A silly attraction I felt was at Odyssey, but that darkness traded with ambition for a Gravitas never came to me.

The main enemy gang, The Blighters, has a comic book, bound to them, besides a shameless game in their large red jacket (there is also a combo clock on UI. I completely forget this). Gray morality and complex motivation and real characters are of their value in certain contexts, but they do not attract half of the joy to divide a humorous evil. The first Syndicate’s goal is an industrious scotch egg of a man named Rupert Ferris, whom we were introduced through a scene where he stormed into a factory and shouted on how an injured child was cut into his key point. It’s just a good level of stupid.

He has little in common with Dayyos in moral conflict and the steadfast lords of the darkness and more with a villain Hitman. In the dark, when Naoe wanted to stab a man, I was only accompanied by it because Naoe’s suffering was recognized very convincingly. Here, I want to stab Ferris, and I am very happy to do it. The enemy is set intentionally in easy stabbing locations, from which they will continue the long, evil rebellion that you plan to cut by cutting your ears from the back. There is very little awareness of the grim obligations of the darkness, just an OL’s big knife party with a few vibrant disturbances.

And the setting pieces! Smashing the horse rugs on the way to escape. Jump through the train to put out the fire. Struggling! Naoe’s hook is definitely more suitable for this period, but I feel Ubisoft Trod too light in accuracy with the cost of silly joy. Why will you give up something interesting and liberated like the Zip lines of Syndicate? You have relied on pop culture Shinobi that any grasp of realism is basically Moot, why not go fully?

I also did not realize that I missed the classic AC experience about arguing with a man with a hole in the throat after accepting. Yes, it doesn’t make sense, and can only be explained to the Animus magic that these games have tried to stay away. But it is very unique and strange and identifiable of Assassin’s Creed. Exchange a call card, even a written in a stupid font, for a history lecture feels like a poor trading.

“BLESS ‘ER! She disappeared Scatterbrained”, the people on the road commented when Evie slipped through. That is, the unexpected truth of this series is every main character that it can gather Will always be like that Humorous humor. It is a series of conspiracy theories and night superheroes to perform the ridiculous feats of mythical sports. Assassin’s Creed, perhaps, is the most commercial series that has ever solved the sneezing of Ledonibbly, through Animus, as the intrinsic part of its novel. But the more it tries to make its basic Silliness, the cracks begin to display. This is not a series I seek or expect to tell stories seriously. It is the silly science fiction in the most beautiful memories I have from it is the top of the Pope or playing pirates. Go to Scatterbrained again, I said.