1520s China, 1840s India, and 1910s Russia are the episodes to expect (the first being out by the time you read this), and all star characters who’ve previously appeared in comics, novels, and animations, powering such a potent whammy of fan service it could give you a black eye.
While keeping the same template, each episode pushes different playstyles. China’s Shao Jun is confident in a brawl, armed with a boot-mounted pop-out blade she uses to punt people in the face, and a Scorpion-style rope dart with which to yank them down ledges.
The next episode takes place in British-occupied India. Although Arbaaz Mir wields a scimitar and chakram, he’s more at home navigating perilous architecture rather than villain-shaped people. One tense section set in a crumbling cave sees players leap between brittle stalactites and falling rock faces without room for even a single slip-up.
“Going to russia is Creed’s most modern setting yet”The trilogy concludes in post-Revolution Russia with Nikolai Orelov, and it’s Creed’s most modern setting yet: a monochromatic world featuring sniper rifles, trams and spotlights.
It’s amazing just how effortlessly ubisoft boils down Assassin’s Creed without compromising its core. enemies have awareness cones that can be manipulated with whistles and firecrackers. Movement is fluid, with players able to dash between hay bales, pillars, bushes and windows. And parry-centric combat meant as a last resort is satisfying. even dramatic set-pieces survive the transition: in China, Jun must run flat out to escape a boatyard set aflame by Templars.
So, three brand new settings for you. Now shut your face.
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