Assassin's Creed II

Cultured

The original Assassin's Creed was one of 2007's most divisive releases, both critics and players conflicting over the title's merits. Like 2008 debutant Mirror's Edge, everyone was enamoured of the game's unique visual flair, unusual premise, and originality. Where views diverged, however, was in the realms of gameplay.

Assassin's Creed was viewed by some as repetitive and unrefined, while Ubisoft producer Jade Raymond became something of a punchbag for those who felt the game lacked substance. It is interesting to note that while the sequel looks to address many of the criticisms levelled against the still patently slick and ambitious original, Raymond has been nowhere to be seen. Assassin's Creed II is all about the game, and Ubisoft have certainly done very very well.

The plot has moved on somewhat from the original game, for starters, unwitting experimental subject Desmond escaping from the future lab of the first title alongside 'present day' assassin Lucy Stillman - only to find himself once again thrusting back into his assassin genealogy via the Animus 2.0 (you're on the side of the Assassins this time, the fulcrum in a future battle with the Templars - who are searching for the so-called Pieces of Eden). Altair and the Crusades era Holy Lands may have been compelling but the new setting delivered through Desmond's memories in Assassin's Creed II are equally as exotic and beautiful.

Stepping into the shoes of arrogant young nobleman Ezio Auditore da Firenze, this big-budget sequel has clearly stopped at nothing to evoke the look and atmosphere of the Italian Renaissance. Taking in the majesty of Venice, Florence, Rome and rural Tuscany there is a definite sense of scale and variety in Assassin's Creed II - and you can almost feel Ubisoft ticking off criticisms levelled against the first release. Indeed, the cities have got even more staggeringly immersive, although the aesthetics play second fiddle to improved and expanded gameplay for title number two.

The focus being firmly upon Ezio's tale, it is unsurprising that as with the first game Assassin's Creed II gathers pace slowly, the designers clearly keen to show off a spot of storytelling not to mention the world they have crafted - before filling it with blood and death. Ubisoft are desperate to flesh out this fifteenth-century assassin somewhat more fully than they did with his 300 year old ancestor (who we'll cunningly be learning more about in this sequel), and as such we'll be getting to know Ezio rather well, following the character in a sort of violent coming of age drama, as he sets out to avenge his murdered father - and wreak havoc upon the corrupt families that control Italian society.

Altair's narrative may have been highly politicised, a commentary on the factionalism of Holy Land politics and prejudices, but Ezio's tale will start out as a far more personal, family-orientated story, befitting the themes of the period and place. That's not to say that as with the first game a few famous faces won't be rearing their heads from time to time, Assassin's Creed II variously taking in Leonardo da Vinci, Niccolo Machiavelli, Caterina Sforza, Lorenzo de' Medici, the Pazzi Family and Pope Alexander VI.

After what amounts to a potted Ezio life story, the tempo picks up a notch, and it becomes apparent that from an action perspective we can still expect the same blend of open-world missions, taking place in vast, bustling cities (much more 'organic' they feel now, too), where you'll be running, fighting and climbing free running-style to assassinate key targets and thereby further the plot (as Desmond and co watch in from the future, gleaning vital information). Similarities abound inevitably, although Ezio's movement does seem a little more slick, while the assassination moves are also more excited and varied.

In a bid to make the world itself more appealing in a pseudo-RPG fashion, Ubisoft have gone to great lengths to ensure the side diversions are equal to the main story, offering up collectibles aplenty. Money is key, and with it you can also create your very own renaissance Des Res around the family villa in Monteriggioni. One particularly fun challenge involves the collection of treasure, via maps. Collecting feathers will also unveil narrative details and perhaps most cleverly of all this process works superbly in the context of the wider story (Desmond's tale), compelling the player to complete more than the linear missions, as you unearth the truth on the Animus and the future conspiracy you've become embroiled in. Personally, we rather liked the first game, but it has to be said this all feels so much better thought out and structured.

As I noted previously, there is an awful lot more diversity in mission terms, while the greater quantity of them in general - coupled with superb use of settings such as Venice - mean these key elements also represent a marked improvement over the first game. Some of the assassinations, especially later on, are devilishly satisfying - and you almost forget about the whole sci-fi oddness at times. It isn't all about plot progression either, and whilst not all the missions are as action-packed and liquid as the very best on offer, the game always seems to do enough to keep you moving forward, rather than reaching for the eject button.

Despite the original Assassin's Creed's less than well hidden inadequacies, we were bowled over by the sheer ambition of the title, the daring of the setting, plot and characterisation. That this sequel goes along way to addressing many of the previous gameplay concerns, while expanding on what made the first release such a wonderful slice of escapism, leaves us convinced that Ubisoft really are building a truly vital franchise that this sequel is a pivotal part of.

94%

By Luke Guttridge