I’ve just finished playing Assassin’s Creed: Liberation, originally a PlayStation Vita exclusive, now bundled with the recent Assassin’s Creed III remaster.
It feels refreshing and fun to go back to a game that uses the old AC formula, but with a new location, story and character.
And even after a short time playing it, Liberation is probably one of my favourite AC games, easily passing III and Black Flag in my ranking of the series.
So I thought a little breakdown of what I loved about it, and hoped to spread the good word to some AC fans that may want to return to something with a classic feel.
Ragin’ Cajun: Why I love Assassin’s Creed: Liberation
As mentioned previously, AC: Liberation was originally released on the PS Vita in 2012, to tie-in with the mainline entry ACIII. With the smaller hardware, reductions were needed to be made, but every change seems to benefit the game.
Instead of an intensely expansive world, Ubiosft Sofia (creators of the Prince of Persia HD release as well as the AC spinoff, Rogue) decided to keep things small and contained.
New Orleans and the Bayou, the two main areas of the game, are comparable to AC2’s Florence or Venice than the sprawling maps in ACIII (here is a forum thread of players calculating the size of the cities).
Smaller design leads to more intimate and detailed sections of the map, and allows players to get quickly attuned to their surroundings.
The churches of New Orleans, with their towering spires, become waypoints, allowing players to orient themselves to the location without having to pull the map out every few seconds.
It’s similar to the original Assassin’s Creed in that regard; a small contained map, with distinct areas, and easy, identifiable landmarks. It helps the city feel rich and unique, directly because it is smaller.
This directions of scope is even found in the story and characters. While ACIII spends almost five whole sequences setting up the tragic backstory and family dynamic of its lead, Liberation does it in less than thirty seconds, with only around ten lines of dialogue.
It’s a masterstroke of character and lore-building and gets you right into the story. So let’s talk about that next.
2. The Story
Written by veteran narrative designers Richard Faresee (who worked on Revelations and III) and Jill Murray (who worked on Black Flag, its expansion Freedom Cry, and recently Shadow of the Tomb Raider), Liberation is one of the more unique narratives of the AC franchise, with it winning the Writer’s Guild of America Award for game writing for 2012.
After the Ezio Trilogy, Assassin’s Creed started to play with the formula for its stories. During AC2, Brotherhood and Revelations, the Templar’s were moustache-twirling bad guys worthy of a Saturday morning cartoon.
From ACIII to Unity, the mood shifted to portraying the Templars and Assassins as two side of the same coin, with more in common than what separates them.
Liberation follows this theme, but takes it even further, having a fun meta narrative within the story. Liberation is in fact a game created by Abstergo Entertainment, a video game branch of the Templar company, wanting to push their propaganda onto the public.
Your game signal is ‘hacked’ by an Assassin, who tells you the Templar’s are hiding the truth. The Templars doctor the events to suit their purposes, so you have to hunt down a ‘glitch’ known as ‘Citizen E’, which then reveals the truth behind each edited scene.
It’s a cool idea, echoing the interrogations and glitches from the first Assassin’s Creed, of a world beyond the one we are perceiving, of secrets and subterfuge that some of the other games have lacked (looking at you, Unity, where nearly every NPC knew who the Assassins were).
The “Full Synchronisation” elements (where players can complete extra challenges during missions) are well thought out and aren’t just added difficulty. Ever since the concept was introduced in Brotherhood, I’ve felt that this was the most ‘game-y’ aspect of the series and didn’t fit either with the mission or the previous freedom of gameplay choice.
Here the Full Syncs add to the narrative, giving hints to the main character, Aveline’s, backstory. For example, the first assassination of the game (and possibly Aveline’s first assassination) isn’t with a hidden blade but with a musket stolen from an enemy.
It’s such a small detail but adds a ton of information to Aveline’s first recorded kill just by what weapon was used.
The story, like all ACs, twists and turns, threading the role of women, race, and indigenous people, something powerful and note-worthy in a major franchise like it.
Another franchise staple, the First Civilisation, is present, but it isn’t treated with the same world-shattering aspects like previous games.
It’s a small thing in the grand scheme of the game (and has a nice twist at the end), so I’m happy that this series thread is kept to the background.
But the high point of the story is it never loses sight of its lead. The story is squarely on the Assassin, Aveline de Grandpré. We see her triumphs and defeats, and turning from naive freedom fighter, into stalwart Assassin, and finally someone who can see from all sides, and carves out a path of her own.
Speaking of which…
Aveline is such a cool character. While it would take another three years until a female protagonist became a lead character (Evie Frye sharing with her brother Jacob in Syndicate), Aveline is no slouch when it comes to characterisation.
Aveline is constantly torn between two worlds, playing all sides, creating an interesting dynamic not only in story but also gameplay.
The most on-the-nose is her status in New Orleans. Born to a white wealthy merchant and a slave mother, Aveline has known both the stuffy aristocratic life afforded to her by her father, but also the hardships of slave life, even having nightmares of being snatched with her mother by traders right off the street.
Throughout the game Aveline switches outfits, from her Assassin ‘robes’ to ball gowns to slave attire, each one with their own abilities and quirks.
Her Assassin outfit is the one suited for combat, allowing for all her weapons and tactics, and also shows some cool details on her personality. For instance, instead of the trademark hood, Aveline uses a tricorn hat, allowing her braided hair to flow freely.
It’s a small detail but something that gives her an edge, of defining herself by her own skills and attire, not standing by the tradition of the Assassins.
When in her ‘lady’ outfit, Aveline can ‘charm’ guards away from their post and has lower notoriety, but is only limited to her hidden blade and can’t freerun.
When dressed as a slave, Aveline also only has her hidden blade, but can blend with other slaves and free-run, while gaining higher notoriety when doing ‘high profile’ actions.
While incredibly gendered, it adds a small layer of choice and tactics to the game, using Aveline’s duality as part of gameplay, with Aveline even altering her speech when wearing different outfits. It’s a great mechanical example of one of the tenets of the creed, “hide in plain sight”.
Storywise, Aveline’s status as an Assassin also rides the dual aspect. Neither her father or mother are Assassins, a far cry from the rest of the series where it is usually a family tradition.
She may be inexperienced, but Aveline has already earned her hidden blades, allowing the narrative to skip the ‘origin’ story and get right into the main events without showing us her discovering the Brotherhood.
The only person who ‘knows’ about her rooftop exploits is Gérald, an employee of Aveline’s father, who holds down Aveline’s base of operations in New Orleans. Gérald gives Aveline information and equipment and knows of the Assassin/Templar conflict, but he is not immersed in the Assassin life.
Aveline is alone in her pursuit, not chasing down her family’s murderers or looking to gain back her family’s honour like other AC leads, but just watching over New Orleans, leaving only when needs must.
She helps free slaves and guides them to the bayou, she disrupts over-zealous colonial rulers and greedy merchants, and kills any Templar that sets foot in her town.
Aveline’s actions sometimes bring her into conflict with her mentor as she goes against Assassin dogma, not in a ‘trying-to-be-edgy/I-don’t-play-by-the-rules’ way, but as Aveline’s internal struggle with the tenets of the Creed and wanting to act.
It’s such a departure from the rest of the series, but every other attempt at ideas like this in later games has come across as being contrarian for the sake of it (mostly in AC: Unity).
While Aveline is cool and calm under pressure, smart and resourceful, she isn’t afraid to lose her temper or her composure.
There are several stand-out scenes near the end of the game which top any other moment in the series with their levels of emotion, pathos, and engagement.
4. The Combat
Liberation uses the same combat as ACIII and Black Flag, but has its own quirks that for me add to Aveline’s characterisation and to the game as a whole.
Aveline has the regular assortment of swords, daggers, hidden blades, and accessories, but the animations and their usage are so powerful.
Take the sword for instance. While other Assassins are usually hacking and slashing (such as Connor), Aveline’s sword-work is based more on cut and thrusts, disengages and parries.
It’s more intricate and indicates some formal training, indicative of her childhood in one of the more affluent families of New Orleans.
Her short blade is at the complete opposite end of the social scale. In the first mission of the game Aveline frees and slave and then fights off the enraged owner with his own sugarcane machete.
In another slave encampment, she wrestles away a slaver’s whip before turning it on him, and uses it to hang her enemies from tree branches.
It’s a powerful image of a young black woman using the tools of her oppressors against them, similar to Lincoln Clay’s rampages in Mafia III, a game which also stars a bi-racial main character fighting against the systemic racial prejudice of the time, also set in Louisiana.
In the same camp where Aveline gains the whip, she builds her own hidden blades. Pickpocketing materials from around the camp; a small plank of wood here, a kitchen knife there, and finally a few soldier’s belts, Aveline lashes them all together to re-arm herself.
It’s a cool moment after a long while of having to work around enemies rather than face them head-on, now being able to break free and take on the rulers of the camp.
For many missions Aveline has to use her fists, which adds another layer to her characterisation. It’s mentioned in dialogue and appears in-game when she wears the slave disguise, Aveline is attacked by thugs that roam New Orleans.
In direct opposition to her bladework, Aveline’s hand-to-hand combat is brutal and lacks formal training. She swings wide haymakers, incorporates stomps and flying knees, it is the exact type of combat I would expect someone who had to fend for themselves on the street would have.
And since the game is based off the updated ACIII engine, there is less of the stop/start counter combat from the earlier AC games.
I did’t have much hope for Liberation when I first booted it up.
I wasn’t a major fan of either ACIII or Black Flag when I first played them, only really feeling the series had won me back when I played Syndicate.
And as the game was a PlayStation Vita exclusive when it first game out, it gave the impression Liberation was an also-ran, a stop-gap that played safe and didn’t offer anything of value.
But I gave it a chance and found myself relaxing into it, feeling comfortable in my controls and abilities, challenged by new locales and events and spirited away by an unspoiled story, but having a sense of familiarity, old yet new.
It’s been almost five years since AC has leapt from action-adventure to the RPG crowd, and I don’t fault it. Sale numbers and audience reception to Origins, Odyssey and Valhalla have been phenomenal.
But if you a looking for a change of pace, a palette cleanser between the big, bombastic games, something that tells a small story in a larger frame, or is just a nice reminder of a time and gameplay styling that has been absent, then AC Liberation might just be right for you.
It’s been a pleasure to play as Aveline, and my only wish is that I wanted more.
I recently finished Assassin’s Creed: Syndicate’s Jack The Ripper downloadable add-on. It was a fun little side story featuring some stand out moments and mechanics, but what really sucked me into the story was the change to the playable character, Evie Frye.
Evie and her twin brother Jacob, the two playable characters in Syndicate, are in their mid-to-late twenties during the course of the main story. The Jack the Ripper DLC is set twenty years after the conclusion of the Fryes’ narrative, making the twins both over forty in the game. Jacob is missing from the story, having being kidnapped by Jack, meaning the entire narrative is played from Evie’s point of view.
And that struck me as something quite unique. When was the last time I had played as a female character over forty years old? Heck, when had I ever played as a female character that made a point of them being over thirty?
The gaming landscape is becoming more diverse with each game that comes out. Characters that are male or female (or in some cases neither), black, brown, or white-skinned, and LGBT+ are increasingly common on our screens. The only outlier is age, I can’t remember a playable character with graying hair or a few wrinkles.
Well, apart from male characters.
Some of the biggest characters in gaming are men in their later years, such as Ezio Auditore in Assassin’s Creed and Sam Fisher from Splinter Cell/Rainbow Six (around fifty years old), Max Payne in Max Payne 3 (forty-eight years old), Joel from The Last of Us (late forties), Geralt in The Witcher (late forties), and Solid Snake in Metal Gear Solid 4 (who even though is canonically forty-two years old, looks closer to eighty), yet I couldn’t think of a single female character that could fit the same age bracket.
So I went for a look.
More Than A Number? – A Search For Older Female Characters
First, some people might take umbrage at my liberal use of the phrase ‘older female characters’. One person’s idea of old might be another’s thought of coming into the best years of their life. I’m going to use the phrase ‘older female characters’ just as a catch-all term, but I’m trying to match male for female characters, like the male characters listed before.
And secondly, this is only for PLAYABLE characters.
The first older female character that came to mind was Iden Verso, the lead character of EA’s Star Wars: Battlefront II. Iden is a member of Inferno Squad, the special forces of the Sith Empire, and her story plays out from the end of Return of the Jedi, as she slowly changes sides from the Empire to the Rebels.
Iden’s story comes to close a few months after the destruction of the second Death Star when she is still in her thirties, but the rest of her story continues in a downloadable epilogue, dubbed Resurrection. Here, Iden, now with graying hair, brings herself back into the fight against the First Order. However, these final levels amount to three playable sections out of thirteen overall levels.
Evie and Iden are of the same cloth; the most elite warriors of their day, brought out of retirement to bring the fight to enemies once again (funnily enough they almost mirror each other, being brought away from familial duties by the disappearance/death of a loved one, to do battle against a former friend turned enemy).
And after Iden and Evie, I had to do a deep dive to find some more older female characters, which was much harder to do that I previously thought it would be.
First was Selene, the main character of the recent sci-fi-Souls-like Returnal. Selene is middle-aged in the game, but is just as smart, capable, and agile as any of the thousands of playable white men in her same age category. Without giving much away, Returnal is all about the passage of time, and so an older character with skills and knowledge that a younger person does not possess factors in pretty well.
Another character is the ‘Crime Granny’, Helen Dashwood, from Watch Dogs: Legion. This character, despite being nearly eighty years old, became the stand-out character of the E3 Reveal Trailer, and when she became freely playable in-game, we found she was just as capable as any of the other resistance fighters. However, Helen must come with a caveat; she is an optional character to play as, as all characters in Legion are, and so doesn’t carry the same weight as Evie, Iden, or Selene.
Rainbow Six: Siege has twenty-five out of its sixty-one operators identifying as female. Most of these characters are actually in their thirties, with only a few outliers in their late twenties. The oldest is the Peruvian operator Amaru, who is forty-eight, but the oldest male operator is Zero (Sam Fisher under a different codename), who is sixty-three in the game.
One place I didn’t think would have older female characters were fighting games. While all fighting games have at least one old man archetype (usually doing some powerful ancient martial art), I didn’t realise that Chun-Li from Street Fighter is fifty-three in the most recent game. The same goes for Sonya Blade from Mortal Kombat, who in MK11 is now well into her fifties. But while these are both kicakss older characters, would we ever see Chun-Li reach the same age as Gen, one of the older men of Street Fighter, who is believed to be in his seventies?
So from everything above you could say there are quite a few older female characters. But all of these characters come with asterisks; most are character selections, or if they are the main character then they are relegated to a downloadable extra or an epilogue. Why is that? Why have older female characters not taken centre stage like older males?
Plausibility is out of the window. Iden and Evie are raised from birth to be fighters. Selene is an accomplished astronaut. Helen is a retired police engineer. All of Rainbow’s operators are hand-picked due to their combat skills. Chun-Li and Sonya have dedicated themselves to perfecting martial arts. Each of these women have learnt the skills to be competent and capable video game protagonists.
Is is just…the ‘M’ word? Possibly. But I would also posit that age factors into that discussion as well, as a younger woman on the cover is an easier sell than an old-age pensioner in the same position.
But then I have to think, are people coming to these games for the female characters, and not say the frenetic multiplayer, or the fact it’s another Souls-like game, or high review scores, or the myriad reasons that people chose to play their games?
Again, possibly. But somewhere there is someone playing the game because there is a woman in the main role. Anecdotal evidence aside…it’s me. I was drawn to Evie Frye for being the first female Assassin in the series, in the same way as I’m drawn to Kassandra and female Eivor. And upon learning that Evie was approaching middle-age in Jack the Ripper, I was hooked.
An older character can give us something unique, bringing up questions that have rarely been explored in gaming like ageing and the concept of change. Losing skills that were once easy, a defiance against advanced/unemotional responses in war and peace…or even just to see a character grow and mould over time.
Not to mention, women are going to have different responses and issues to grapple with than their male counterparts, would this not also be something new and interesting for the industry to show?
And even if a game doesn’t tackle personal drama and age is relegated to cosmetics, just making the character look older would be something special.
I want to see Lara Croft raiding tombs in her 50s.
I want to see Chun-Li with graying hair still being able to go toe-to-toe with Ryu.
I want to see Ellie in TLoU3 be older than Joel was in TLoU2.
It’s possible and there is no real reason why it can’t be so.
2021 marks the twenty-fifth anniversary of the Tomb Raider franchise.
While there is no new game on the horizon, Crystal Dynamics, the main studio that has been creating Tomb Raider since 2006, did announce something big, something to change the landscape of the franchise.
Up until now there have been three separate timelines of Lara Croft; the original Core Design era, the first reboot by Crystal Dynamics (often referred to as LAU, the letters of the three games of said reboot), and most recently the trilogy known as the Survivor timeline, starting with TR: 2013.
While these separate timelines have had crossover characters and reimagined scenes, they are mostly thought of as three interpretations of the character…until now.
In a video celebrating the anniversary, it was revealed that whenever the new game will be revealed, it will incorporate every single Tomb Raider game before it, creating the newly-dubbed Unified timeline.
While the Unified timeline has been announced, there have been zero hints as the chronology or where the series will pick up afterwards. But as someone has more than a passing interest in last twenty-five years of Tomb Raider, I thought I would give a go at laying out a possible timeline, trying to knit it all together in one continuous line with as little breaks as possible.
Tempus Fugit – Tomb Raider’s Unified Timeline (in what I have to admit amounts to fan-fiction)
We start with the plane crash over the Himalayas. This was the backstory for Lara in both Classic and LAU timelines, with the only differences being age of Lara (21 in the original, 8 in LAU) and Lara’s mother, Amelia being present in the latter.
I think the new series will keep the LAU ideas but age Lara up, maybe into her early teens. This allows them to neatly tie up the mother/father storylines of the new games into the Classic games.
Trekking through the snow after the disappearance of her mother, Lara finds a need to be on the edge of life (as laid out in the Classic timeline), and she starts to head to all sorts of places with her father, Richard Croft, alongside his friends Conrad Roth, Werner Von Croy and Charles Kane.
One of the expeditions is a fateful trip to the Angkor Wat in Cambodia with only Werner and Lara present (as seen in Tomb Raider IV). Werner is injured by a trap Lara told him about but he dismissed as ‘hocus-pocus’, and as the tomb starts to collapse, Lara escapes, leaving Werner behind.
A search and rescue is ordered (maybe even led by Roth and Papa Croft) but they find Werner has already escaped using the magical artefact, the Iris (that Werner was searching for in Cambodia in TR4, and which it is shown has teleportation powers in Tomb Raider: Chronicles). Despite escaping, Werner now has a permanent limp (even being wheelchair bound for a while) and has a grudge against Lara for leaving him.
Richard Croft is unsure of putting his daughter in danger and tries to stamp out her need to experience the wild, sending her to Ireland with the butler Winston. Lara still manages to get into scrapes as she explores the haunted Black Isle (as seen by the Ireland levels in Tomb Raider: Chronicles).
Richard Croft is now invested in the mysterious and magical, inspired by Werner’s experience with the Iris. He starts neglecting Lara to do more search into immortality and items to bring back the dead, or finding where his wife vanished. This leads Lara to become increasingly reliant on Conrad Roth.
Roth, seeing that Lara will continue to travel the world, starts to train her in some skills like trekking, rock climbing, and even archery.
At around this time, Richard Croft exits the story. In the Survivor timeline he is murdered in his office, but I believe they will have him disappear while working in the field (as seen in the LAU timeline).
This leads into…
There’s no getting around it, the Survivor games are seen as Lara’s introduction to being the ‘Tomb Raider’ so this bit has to go first.
Everything in the 2013 reboot, Rise of the Tomb Raider, and Shadow of the Tomb Raider, as well as little bit of the comics happens in the Unified timeline. Roth goes with Lara, hoping to mentor her better than Werner all of those years ago.
The only caveat I will make is that by the end of Shadow of the Tomb Raider, Trinity, the nefarious organisation that Lara has been battling with since the reboot began (and was instrumental in the death of her father) are wiped out, or are brought down enough that they will never return.
With the death of many of their high-ranking operatives at her hands, Trinity goes away, and Lara starts to enjoy life again, even starting to do some archeology (ya know, the thing she got a degree in).
She leads an archeological dig to Paraiso in Peru, but soon tragedy strikes when the dig site is attacked by a monstrous shadow being (as seen in TR: Legend, the first of the LAU games) and kills nearly everyone else on the dig.
After all these expeditions and seeing the countless deaths of her friends and colleagues, Lara decides it is time to head out into the world alone. She also vows to keep as many powerful artefacts in her possession, lest Trinity or another similar force gets their hands on them first.
As time has gone on, Lara has encountered many treasure hunters and explorers, searching for the same artefacts as she does.
Some notable ones are Pierre Dupont and Larson Conway (from the Classic series) and Carter Bell (from the side game Temple of Osiris and the comic books) as well as her old mentor Werner Von Croy.
As seen in Tomb Raider: Chronicles (and the first expedition of Lara being alone) she battles against Pierre and Larson for the Philospher’s Stone. She meets them again later when Lara is hired by Jacqueline Natla to find the pieces of the mythical Scion and uncovers the remains of Atlantis (as seen in TR1/Anniversary).
Next, Tomb Raider II, sending Lara all the way from Venice, to the Indian Ocean, Tibet and finally China.
Soon after she heads to Russia after hearing about an underwater reconnaissance for a mysterious artefact. She calls one of her father’s old friends, Charles Kane, for assistance, due to his knowledge of countries that used to be behind the Iron Curtain (as seen in Chronicles and referenced in Anniversary).
When Kane tells her she will be going up against the Russia mob, Lara replies, “Dealt with mafiaoso before, unpleasant memories,” showing that this section happens after TR2.
After Russia, Lara learns that Werner Von Croy has been doing tests on the Iris that he escaped with in Cambodia.
From the cutscene at the beginning of TR4, Lara knows that this artefact is dangerous, so breaks into Von Croy’s HQ in New York (as seen in Chronicles) and steals the Iris (as the Iris can be seen in Lara’s treasure vault in TR3, showing she came into possession before the events of TR3).
Lara stealing the Iris widens the rift between Werner and Lara, but also ends Lara’s insistence on being alone during her expeditions. To break into Von Croy’s building, she needs help from a man called Zip, a former employee of Von Croy’s.
Using his knowledge of the building was instrumental for Lara, and so she hires him as a general tech advisor and aide. While she is out in the field, he stays behind at Croft Manor.
Before fully hiring him though, she has one last trip by herself in the form of Tomb Raider III. It is here though where she realises that she’ll need some extra help.
The amount of high-tech security she had to bypass in TRIII, not to mention the many hours of research to find her next destination have obviously taken a toll on Lara. She wants to be out in the world, not be in her manor doing thousands of hours of research.
So, alongside hiring Zip as her tech expert, she also hires Alistair, an old history colleague who helps research the places she needs to go to find her next artefact.
This leads into the Legend storyline, which then leads into Underworld (part of the LAU timeline). In Underworld Croft Manor is destroyed, Alistair is killed, and Lara does battle with Natla for the final time.
Lara once again is reminded that everyone around her is unsafe because of her, and so she severs ties with Zip, with only Winston staying with her.
Final Years (Death and Resurrection)
Leaving Winston to manage the rebuilding of Croft Manor, Lara heads back out into the world, alone, and into the story of The Last Revelation.
Learning that Von Croy is doing an excavation in Egypt for the fabled Tomb of Set, Lara sets out to beat him to the punch and steal whatever artefacts are buried in the tomb.
She does so, and inadvertently unlocks the Egyptian god of chaos from his prison. So begins a race against time between her and Von Croy, with him unaware of the larger implications of Set coming to destroy the world.
Von Croy is possessed by Set, but Lara manages to seal the evil god away beneath the Pyramids of Giza. As she exits the tomb, she sees Von Croy standing before her. The tomb starts to collapse and Von Croy offers his hand, seeing Lara in the same position as he was all those years ago.
Lara is still unsure whether Von Croy is under the influence of Set though, and so sadly falls into the tomb, presumed to be dead (all seen in TR4).
A memorial service is held for her (as seen at the beginning of Chronicles) at the recently rebuilt Croft Manor. While everyone else left her for dead, Von Croy is busy digging through the pyramid, eventually finding her.
It’s never actually explained how long Lara is buried underneath the pyramid for, but for the Unified Timeline, I’m going to say it was anywhere from a couple of weeks to a full month, with Lara barely surviving.
Having been buried alive, Lara is no longer the seasoned raider she once was. This can be seen in the next and final game in the Unified Timeline, Angel of Darkness. She does not have the strength, stamina, or reserve she was once known for, now she is cold, ruthless, and angry.
At the end of the game, where she once again saves the world but at the cost of Von Croy and her new friend Kurtis, she walks off into the darkness…
Where to go now?
Let’s do a bit of a time scale. TR 2013 to Shadow is approximately five years. That puts Lara at 26 years old.
After a few more years of archeology with groups, ending with the massacre at Paraiso, Lara is now into her thirties.
Everything from Paraiso to the destruction of Croft Manor is would estimate to be another five to six years, meaning Lara starts her trip in Egypt at around 35 years old.
After the events of The Last Revelation, she takes a few years before Angel of Darkness starts. So in my approximation of the Unified timeline, Lara is nearing her forties.
I think this is where the Unified timeline will pick up. Keeley Hawes (voice actress for Lara during the LAU reboot and the ‘Lara Croft’ spin offs games) is returning to the series for the new Tomb Raider: Reloaded mobile game.
Could this mean she is coming back for the mainline series? It would fit age-wise, with Lara and Keeley Hawes being within the same range.
I also think the Angel of Darkness ending leaves the door open to a new game. I don’t think Crystal Dynamics will make a sequel to Angel of Darkness (two were planned, but when AoD was a commercial and critical failure, all future sequels were scrapped), but they might take aspects of the Lara we last saw in that game.
Lara was a lot colder in AoD than she had been before, jaded by her experiences and not being able to climb and jump as well as she used to. I’m not saying the next game has to be about building Lara up again into the Tomb Raider, but maybe showing a harder, colder edge.
But then we also have all the returning characters from all the timelines; Jonah, Zip, Charles Kane maybe, Winston obviously. These character will allow our heroine to take a breather, to smile, to be happy. That would be the best compromise between Core and Crystal’s two sides of Lara.
Fans should rejoice. Everyone is getting their Lara back. And I for one can’t wait to she where she takes us next.
Banner Photo Source: “Evolution of Tomb Raider (Lara Croft) 1996 – 2014” by blazeofmind.
Death and mourning aren’t explored much in gaming.
Sure, every now and again you’ll get some big budget, AAA video game where the main hero or heroine will lose someone close to them. The main character will shout, scream, maybe even cry, before they steel themselves and return to their gameplay activities.
You may get a little scene at the end of the game where they look longingly into the sunset and think of their lost friend or companion, but for the majority of games, the grief is tied solely to the moment.
It just so happens that I played a game earlier this year, When The Past Was Around, a point-and-click puzzle game, that tackles the issues around grief and death; the empty space, the silence now they are gone…and succeeds in perfectly evoking those feelings.
I wanted to share this game with you, its beautiful hand-drawn art, its excellent musical score, and small yet powerful story, and how it manages to capture the idea of grief into a way only games could do.
Mild spoilers ahead.
When The Past Was Around & Dealing with Love, Loss, and Death
When The Past Was Around follows a young girl called Eda. She’s in her mid-twenties, recently moved into her own place, and is in a bit of a funk. We learn through her photos that she was once a violinist, but gave up when she was younger, and is now trying to get back into it.
It’s a simple scene, with only four photos chronicling Eda’s childhood, yet gives us so much on her mental state and her personality; talented, passionate, yet prone to criticism and overwhelming anxiety, all conveyed through through single snapshots of her previous performances.
Eda keeps a music box with an owl as the centre piece. One afternoon she hears the same tune the music box used to play (the one that inspired her to learn violin) being played on the street. She follows the sound, almost floating towards the music, and finds the violinist playing to patients in the child hospital.
The she sneezes, interrupting the performance, but coming face-to-face with Owl.
Yes, a man-sized owl, named, well…Owl. The game follows Eda and Owl’s time as a couple, until tragedy strikes, with Owl dying, and Eda being heartbroken.
Many stories that deal with grief usually personify it; a shadow, an item of clothing, something that ties the present to the past. So here, Eda’s lost love is an owl, and ties well into concept of grief and loss.
Throughout the game, the concept of fallen feathers stretches from starts to finish. The end of every chapter is signalled with a feather, such as in Eda’s finding one in a cardboard box when she’s unpacking, or when she is wearing Owl’s old scarf. Collecting these feathers are what unlock the next memory as she gets closer to Owl’s departure from the story, and that’s their real meaning.
The feathers are tokens of the memories that Eda and Owl have together, and as she collects them, more are taken away from him, until there can be none left. It’s and excellent metaphor for the passage of time, and yet cruelly bittersweet.
The game switches between the memories of Eda and Owl together, and Eda at the graveyard at the ‘end’ of their story. During her time at the graveyard she is seemingly haunted by a shadowy silhouette of a man, enclosed in a giant bird cage.
When Eda finally reaches the silhouette after reliving all of her memories and collecting Owl’s feathers, the feathers attach themselves to the shadow man, revealing that he is Owl. It’s a great moment, showing how Eda’s memory of Owl had changed over time, and how he effectively became ‘entombed’ inside her head, only being set free once she looked back over her time with him.
There is zero dialogue in the game, which I think is to its benefit. While it would have been easy to add voices to the characters, the silence of the protagonists allows the story to reach a broader audience and speak to more people. It’s that old adage of actions speaking louder than words, as Owl and Eda mentally and physically get closer (literally, they move closer to each other as the game progresses).
Some people may not be able to relate to Eda and Owl’s if they had talked about their love of the violin or the name of the stars in the night sky, but they can relate much more to a feeling or an emotion that the characters are going through, which the game captures perfectly.
Part of that excellent communication of emotion comes from the fantastic artwork by Indonesian artist Brigitta Rena. The character models have a stunningly simplicity to them, yet are incredibly expressive. The animations are through a standard fade effect between each character stance, bringing a dream-like quality to most scenes, but also capturing incredible immediate snapshots as there will be many moments of stillness, highlighting the emotion of the scene.
While the characters are simple, the backgrounds are incredibly detailed, and given the feeling of being ‘lived-in’.
Those backgrounds are a key part of the game’s core loop, as the player must find hidden objects to progress in the story by moving objects around. The game presents it as being constructive or destructive, clean vs. cluttered.
The cleaning and constructive might task you with tidying up Eda’s bedroom, putting posters on her walls, or hanging the washing up.
Construction is the main engagement when Eda and Owl are dating, including coffee and tea at Owl’s home, going to the beach together, or camping out overnight and looking at the stars.
In each of these scenarios the player has to ‘build’ the setting around them; collecting seaweed and shells to go in a glass bottle (which the couple keep in their apartment), setting up the campsite and building paper windmills, or even fixing Owl and Eda’s drink of choice at his house.
These little constructions exaggerate the fact that we are essentially going through Eda’s memories of Owl, and so she would focus on all the small things that she remembers from those times, the things that make it ‘her’ memory.
When the gameplay switches to destruction, you might find yourself smashing countless plant pots, throwing books off shelves, or pulling down curtains.
These aspects perfectly match up in the order of the story, with Eda being tidier when she is with Owl, but messier both before she met him and after he is gone, for different yet obvious reasons. Her final scene with Owl where Eda searches for his pills uses the clean vs. cluttered to great effect, as players have to frantically search the apartment, pulling books off shelves and knocking over chairs in a desperate bid to find them.
Music also plays a strong part of the story, with both Owl and Eda playing the violin, and music being the thing that brings them closer together. There is a leitmotif that runs through the entire game (the same one played by Eda’s music box), which subtly changes with each chapter.
At the start when Eda has given up on playing the violin, the stringed instrument is removed from the soundtrack, instead a mournful piano plays in the background. As soon as Owl enters the story, the violin features again, playing a much more cheerful tone. As their relationship grows more instruments and accents are added.
By the final scene when Eda is alone once again, the piano has returned, but her memory of Owl is so strong that the violin jumps in, with the entire song picking up speed as it reaches the climax.
Even the title references music, with a stylised repeat sign incorporated into it. This sign in sheet music indicates a section to be played more than once, referencing Eda’s journey back through her life.
When The Past Was Around is a whole package of a game wrapped up in around an hour, maybe little over if you are intent on finding all the hidden clues that inform more about Eda and Owl’s relationship.
For anyone looking for a short game with fantastic visuals, a great sense of gameplay as narrative, or just something a little different than anything else on the market, When The Past Was Around is heartily recommended.
I love Splinter Cell. I am a massive fan of James Bond and spy stories in general, so the main crux of Splinter Cell, being a super secret stealthy agent, greatly appeals to me.
I’ve loved every game in the series, from the hard-as-nails original game to the modern and fluid games like Blacklist. Every game brings something new to the table, with ethical tales of the horrors of war, torture, war profiteering and the US government spying on its own people, with the series rarely dropping into po-faced American jingoism.
There have been recent rumours of a new Splinter Cell game coming in the near future. Indeed, it has been seven years since the last full game, Splinter Cell: Blacklist hit our shelves, with nearly every other game in the Tom Clancy pantheon getting regular updates.
Talking of those other games, Splinter Cell has been keen to get involved, with leading man Sam Fisher featured as a special guest in the most recent Ghost Recon games (Wildlands and Breakpoint), as well as a leaked Splinter Cell-inspired operator for Rainbow Six: Siege. Why would there be all this push for the series if no new game was to be announced?
Well, as a fan who has waited a very long time for a new game, I thought I would have a go at what I would want to see in a new Splinter Cell game.
Play It Again Sam – What I Would Like To See In The Next Splinter Cell Game
An easy one to start with, Sam Fisher needs to be in Splinter Cell. He is the face of the franchise and cannot be allowed to be absent from the game.
There was a big row during the release of the last game, Blacklist, as Michael Ironside, the iconic voice of Sam Fisher, was recast with Eric Johnson. Lots of fans were angry over the change, seeing Sam losing a big part of his character with Ironside being replaced.
Ironside however has voiced Sam during his last two cameos in the Ghost Recon games, so it seems as if Ironside is returning to the role.
This puts Sam in a precarious place though. Sam is fifty-five years old in Blacklist, and in his most recent appearances sees him going grey and wrinkled. Sam is a superman, but his is still only human. I think it would break the laws of physics to see a pensioner taking on heavily-armed militias all around the world.
So there are two compromises; Eric Johnson (or another actor) returns to give us a younger Sam, essentially rebooting the series, or Sam moves into a support role with Ironside voicing him and a new Splinter Cell agent steps into the frame. It looked like in Blacklist they were going to do that with the character of Briggs, but it is unclear what they will do now.
2. No Open World
The company in charge of Splinter Cell, Ubisoft, are known for their open worlds. Everything from Assassin’s Creed, The Crew, Far Cry, and other Tom Clancy properties The Division and recently Ghost Recon have all been set in expansive environments, ranging from cities to entire countries.
While Ubisoft would want to get another open world extravaganza out of their properties, it would not work for Splinter Cell.
Splinter Cell is all about sneaking and stealth, unseen and unheard. High-security buildings and compounds are Splinter Cell’s bread and butter, it doesn’t need a whole country to explore.
This quite nicely leads onto my third point…
3. Level Design and Locations
What I also love about Splinter Cell is the…mundanity of the locations. Let me explain. Most spy thrillers and games take place in exotic locations, partly inspired by the ‘travelogue’ aspect of James Bond films. Splinter Cell rejects those ideas.
Locations from the games are noticeably different and much more lifelike. Sure, every now and again you’ll get a standout level such as an oil tanker stuck in frozen waters off the coast of Japan, a high-security bank in Panama, a terrorist-owned villa-turned-fortress in Malta, or the 88-floored Jin Mao Hotel in Shanghai.
But for every mind-blowing location, the others are nice and tame in comparison; office buildings and embassies across the world, a police station in T’blisi , abandoned factories and dockyards in London, a shopping mall in Chicago, and an overnight train heading from Paris to Nice. This is the essence of Splinter Cell, the normal and drab turned into the battleground for tense spy vs. spy standoffs, with the fate of the world hanging in the balance.
When Splinter Cell decides to come out of the shadows, it needs to stick to single levels.
4. A Blend Of Stealth And Combat (and Player Freedom)
Splinter Cell has always been about sneaking around in the shadows, slipping unnoticed by the guards and enemies, or silently taking them out when nobody is looking.
The fifth game in the series, Conviction, turned this on its head and made aggression a core tenant. The next in the series, Blacklist, alsofollowed this push towards combat, but adding back the stealth experience.
While I sometimes like the ability to go full Rambo on enemies, it doesn’t scream Splinter Cell to me. The majority of the game should be stealth, sneaking around in the dark with your night-vision goggles, being a ghost.
However, giving Sam every single ability under the sun is a great way to let players play how they want. Lethal and non-lethal hand-to-hand combat, gadgets to distract, incapacitate and complete objectives, aggressive ways to move forward like breaking open doors, and if needs be, some combat in there as well.
Conviction and Blacklist both implemented an upgrade system where players could choose to customise their equipment. While Conviction was limited to just combat, this made the upgrades skew towards that. In Blacklist, players could choose between stealth-focused and combat-focused upgrades. This would work…until mandatory stealth or combat sections would start, leading to many level restarts on my end.
If players are going to be given freedom of choice, then every situation and level has to be built for it. A great example would be the modern Deus Ex games, where nearly every situation and scenario can be tackled from any and every angle.
5. The Story (And The World Of Spies)
I won’t write a summary or synopsis, but rather a few things that might be cool to see.
The games are set in the modern day, focussing on what could be the next big threat to come along. These have included North Korea, former Soviet states, Indonesian rebels, Iranian hit squads, war profiteers, and traitorous United States officials, as well as the identikit Middle Eastern terrorists that littered shooters for the better part of a decade. While Blacklist was an interesting proposition (former spies becoming turncoats), I wouldn’t mind going in a different direction, namely the Cold War in the 1980s.
The Cold War gives Sam the greatest of stages as a spy. The setting gives the all-American spook some beautiful Communist-controlled nations to visit such as Cuba, Russia, and the best setting for any Cold War spy, Berlin, complete with Wall. The time period also allows Sam to face off against his Soviet counterparts. In Conviction and Blacklist players were introduced to Agent Kestrel of Voron, the Russian equivalent to Sam’s Third Echelon. Having East vs. West as the backdrop allows for tense spy battles as each tries to outwit the other. The 1980s also allows the game to have ‘prototype’ gadgets like the iconic trifocal goggles, OPSAT computer and trusty SC20k rifle. It doesn’t need to be an origin story or Sam’s first mission as a Splinter Cell, but just a retro-fitted adventure.
The stories have always been the usual Clancy fare about rogue nations and terrorist cells, hoping to cause damage to America. Sam works for the NSA, who are specifically based on protecting the United States, whereas the CIA focus their tasks on foreign interests. This has always led Sam and the NSA into morally dark territory, where they are spying on the CIA, FBI, the government, US citizens, and carrying out illegal assassinations (known as the ‘Fifth Freedom’ in-game). That darker edge is always an interesting angle, with Sam not always agreeing with his superiors. Add the murky ethical questions with all the declassified defections, false nuclear alerts and NATO/Warsaw Pact war games from the entire history of the Cold War, it is a great canvas for the game to build on.
Another note to mention, during his excursion in Wildlands, Sam was shipping out on a mission due to an “empty quiver” (codeword for a missing, lost, or stolen nuclear weapon). Could this be the plot of the next SC game? It wouldn’t be first time for a Tom Clancy property; the book The Sum Of All Fears also focuses on a similar premise. Aside from the original Rainbow Six, the games have strayed further from Clancy’s original text. Is this a sign they’ll be making their way back?
In the final cutscene during his mission in Wildlands, Sam remarks that “they don’t make ’em [spies like him] anymore.” It’s a sad remark on the nature of stealth games. Metal Gear Solid has gone the way of the dodo. Thief has slipped back into the shadows.
Hitman is still going strong, but had to go through a whole heap of publisher interference, a radical change of release, and finally developer IO Interactive going independent, all while Hitman 2 was still in development.
Aside from these games, there isn’t a true stealth game left in the market. Sure there are games like Alien: Isolation and Deus Ex which have stealth elements, but they are both influenced by other genres, namely survival and RPG respectively.
With Rainbow Six Siege now entering its fifth year, alongside the release of The Division 2 and Ghost Recon: Breakpoint in 2019, Ubisoft look set on bringing back their Clancy properties.
It took eight years between Rainbow Six: Vegas 2 and Siege. It took five between Ghost Recon: Future Soldier and Wildlands. It has been seven years since Splinter Cell: Blacklist. With all the Clancy properties on the rise (not mention Sam’s appearance), along with no true stealth competitor left in the market, the time is now for Splinter Cell to come back.
I love Splinter Cell and its lead Sam Fisher. I am a Tom Clancy fan and love playing the games bearing his endorsement filled with his pulpy action and ultra-competent badasses.
While Rainbow Six and Ghost Recon have the fun of being a member of an elite squad, Splinter Cell always held more of a draw for me. Perhaps it was because a fan of James Bond, being a lone operative and relying only on your wits and tactics to survive seemed much more thrilling.
While I did enjoy the first four games in thefranchise, with Chaos Theory being the best of that set, I am only truly a mega-fan due to the fifth entry, Conviction. This may raise some eyebrows among other SC fans as Conviction is seen as a lesser game for its shift towards action and linearity, but I love Conviction for its story and presentation.
While the narrative is the usual Clancy stuff about secret government conspiracies, industrial espionage, and spy vs. spy standoffs, the story of Conviction is a good deconstruction of the entire series to that point. However, the deconstruction only works if you pick the non-canon ending.
Everybody Walks – How Splinter Cell: Conviction’s Ending Deconstructs The Entire Series
All games have messages. There has been debate recently with games like Modern Warfare (2019) and The Division 2(another Clancy game), over messages and political leanings in games. Splinter Cell, along with other games in the same stealth genre, are not immune to adding messages and themes in their games.
The Metal Gear Solid series was famously anti-war and dealt with themes of marginalised servicemen and women, the military-industrial complex, and the repercussions of Mutually Assured Destruction.
The earlier Hitman games had subtle hints on the dogmas and doctrines of Catholicism such as original sin, the capacity for God, and absolution (so much that they subtitled the fifth Hitman game Absolution).
Splinter Cell’s overarching theme is family and friendship. From the beginning of the series there has always been a sense of camaraderie, of not just co-workers, but of intimate connections. These can be seen both in the larger frame of the story as well as in individual scenes.
During the first three games Sam has a tendency to crack some jokes and have some light-hearted banter with his handlers over the radio. He argues with Grim over whether lasers or a 90s spy thing or 70s spy thing in Chaos Theory, discusses relationships and religion with Frances in Pandora Tomorrow, or asks a guard he has taken hostage if the coffee machine in the room uses ground or dried beans, again in Chaos Theory.
In terms of the story as a whole, friends and connections to Sam appear in every game. His daughter, Sarah, has been a major figure from the start. Her inclusion gives Sam something to focus on outside of work. In the ending cutscene of the first game when Sam laughs at the news covering up all the spy intrigue, Sarah says she hasn’t heard him laugh like that, “…since the Reagan administration!”
Sarah is also the focal point of the Conviction storyline. Sarah is supposedly killed by a drunk driver at the start of the previous game, Double Agent, but it is revealed her death was faked so an enemy agent couldn’t use her as leverage over Sam. Upon hearing his daughter’s voice for the first time in three years, Sam audibly clams up, stuttering over his words. His reunion with her later in the game has no dialogue, just a look between the two before they embrace.
During the events of Pandora Tomorrow, the second game, Sam saves an old army buddy, Douglas Shetland, from a guerrilla camp. In the sequel, Chaos Theory, Shetland is a valuable asset to Sam, helping with logistics and even offering him a job at his mercenary company if Sam wanted to leave the spy work behind. However, Shetland had been using his contacts to fuel a war between the United States, Japan, Korea, and China, and Sam confronts him at the end of the game. Sam and Shetland level their weapons at each other as Shetland starts to monologue about his reasoning. He ends with, “You wouldn’t shoot an old friend…” Sam can either shoot him, or if Shetland goes to shoot, Sam ducks and stabs Shetland with his knife, before pushing him off the roof they were on. Sam replies, “You’re right Doug, I wouldn’t shoot an old friend.”
During Double Agent, Sam has conflicting allegiances between the NSA and the terrorist group John Brown’s Army (JBA). He obviously doesn’t align with the JBA, but does emotionally connect with Enrica, the weapons expert of the JBA. The two become romantically involved and plan to run away together by the end of the game. Enrica is killed by another Splinter Cell just before the finale. Sam murders the Splinter Cell in a fit of rage before fleeing.
Another major event that happens in Double Agent is the death of Irving Lambert, Sam’s boss and friend. Lambert is taken hostage by the JBA, and Sam is forced to either shoot him or blow his cover. It is confirmed in Conviction that Sam did in fact shoot Lambert. When the scene is referenced in Conviction, the narrator, Victor Coste, says, “Lambert died that day by Sam’s hand. And so did Sam.”
Victor Coste is another of Sam’s army buddies and tells the story of Conviction via flashbacks. During the Gulf War Coste saved Sam after enemy forces captured the latter. Upon saving Sam, Coste chuckles, “You don’t leave a brother behind Sam. You don’t leave family.” Another theme present in Conviction is paranoia, with the voice of Sam, Michael Ironside stating in an interview, “Sam doesn’t trust anyone…” (1:31). His former handler, Grim, has seemingly become a turncoat, both helping and hindering Sam. It is seen through flash-forwards that she shoots Sam and captures him for the bad guy, Tom Reed.
Grim holds Sarah hostage and forces Sam back into duty if he wants to see her again. During the climax of the game Grim reveals that it was Lambert who faked Sarah’s death to make sure Sam couldn’t be compromised. She plays Sam a recording Lambert made before he died, explaining his motives and saying how he, “…lied to his [my] best friend.” Grim follows up by saying that she never held Sarah hostage, “That was just a bluff to get you in the game and for whatever it’s worth…I’m sorry.”
And we finally get to the ending of Conviction. After killing all the remaining Splinter Cells and saving the President, Sam has the traitorous head of the NSA, Tom Reed, at gunpoint. There are two options; kill him dead or spare him. Killing him is the canonical ending. Sam has been ‘activated’ again by the events of the game and is back to being a spy. In the final custscene of the game he breaks Coste out of the prison cell that he has been telling his story from (with Coste repeating his line about being ‘brothers’).
In the non-canon ending, Grim shoots Reed. The game ends with the following conversation.
Sam: You didn’t have to do that.
Grim: I disagree.
Sam: There was a time where you wouldn’t have said that.
Grim: Things change Sam.
Sam: Yeah, things change. Remember what you told me Anna, when this was over? Everybody walks. I’m walking.
Grim: You can’t. There is too much left to do.
Sam: Ask Lambert. I’ve done too much already.
Grim: Sam, please. I don’t know who else I can trust.
Sam: Trust? Funny you should say that. Goodbye Grim.
Throughout the entire series of Splinter Cell, Sam has always had his morals. Even when friends have become enemies, such as Shetland, he has always rationalised killing them, seeing them as bad guys.
After all that he has seen over the narrative of Conviction and the revelations of Grim and Lambert, he is an old and broken man. He may have got his daughter back, but he has lost everything else. And when Grim tries to reconcile and make it just like the ‘good old days’ Sam snubs her. It makes total sense that he would walk just like he did after Lambert’s death.
While I enjoy the sequel, Blacklist, I feel that the original run of Splinter Cell should have ended here with Sam coming to terms with his former allies and retiring into the sunset. Blacklist could have been a reboot as they changed the entire principal cast, with a new voice for Sam and Grim (as well as not having Sam Fisher, who is pushing fifty-four in Conviction, still be a spy).
By the time of Conviction we see those friends and relationships finally break down and rot, held together by only lies and deceit. It is a beautiful melancholic arc that punctuates the end of not just Michael Ironside’s last performance as Sam Fisher, but the last performances of the original voices of Grim and Lambert, Claudia Besso and Don Jordan respectively.
So while it was good to see Sam back in action both in Blacklist and more recently in Ghost Recon: Wildlands, it is here where Sam’s story came to a fitting end. When Sam leaves the Oval Office, he has nothing but Sarah. After years of field work where he would never get the recognition for his sacrifices, losing friends and lovers, until he can longer trust those he never thought would betray him, he still has a reason to go on.
It is the best ending the man could hope for despite the circumstances and one of my favourite narrative conclusions.
The first Assassin’s Creed broke all sorts of records. What started as a spin-off of the then still popular Prince Of Persia series sold over eight million copies in 2007-2008, an impressive feat for a new IP even at a major AAA studio.
According to MCV, it debuted at No.1 in the UK charts, snatching the position from under probably the most influential game of the 2000s, Call Of Duty 4: Modern Warfare.
With Assassin’s Creed being one of the biggest-selling new IPs in history (it is currently 18th of all time), Ubisoft knew they needed to have a sure-fire hit follow-up. This seems to have been the intention from the beginning, with AC1’s producer Jade Raymond stating in an interview,
“We did ask ourselves the question, you know if we do create a game that is successful, how do we make sure there is a structure, an overarching kind of meta-story that can continue to play out…that was one of our aspirations…” (2:03)
Tripling the size of the team in Ubisoft Montreal, with 75% of the original creators working on the sequel, Ubisoft sure had the pedigree. And with so many features that were missing in AC1 due to development times, the team now had the ability to implement them. Raymond mentioned this in the same interview,
“…we didn’t succeed on all of the fronts and we realised some of the things some of the ideas we tried turned out great and some of the ideas we tried didn’t turn out, and because we were trying to innovate so much we kind of ran out of time to do some of the things we wanted to do.” (4:16)
You have to remember, Assassin’s Creed 1 was built with an entirely new engine, and Raymond said Ubisoft were looking to, “…redefine gameplay…” (1:43). Possibly overly ambitious, but that’s why a sequel seems perfect. Ubisoft wanted a sequel soon, with only two years of development time given compared to the four that the original had got. The first major change would be started with Assassin’s Creed 3, whose production ran concurrently with a second team in Montreal.
But the developers didn’t need a grand vision. They had the perfect base, and now the time and the resources to nail the formula down.
Gameplay and Missions
Even though I just said Ubisoft had the perfect base to create a sequel from, all of it pretty much went out the window from the start. Creative Director Patrice Désilets said in an interview that,
“…we got rid of the entire structure of the first one where we had the investigation part and then the assassination parts. That’s gone.” (0:57).
What the team kept were the missions. The five or six different missions types in AC1 were taken and expanded upon, with Désilets saying there would be around sixteen different mission types for the sequel (0:39). He expanded upon this by saying that missions would be knitted together to create unique scenarios, such as starting with an escort, then a chase, followed by an assassination.
What helped was that in theory they were working from scratch again. Ezio at the start is not an Assassin. Desmond is the exact same. When Lucy breaks him out of Abstergo and takes him to the Assassin hideout, she says,
“We’re going to train you. Turn you into one of us…if you can follow in [Ezio’s] footsteps, you’ll learn everything he did…years of training absorbed in a matter of days. (8:30).
Instead of starting with a Master Assassin like with AC1 before having all your powers taken away, this time the gameplay and the story would work in tandem. The missions evolve as the game goes on.
In Sequence 1 we have a bit of fighting, a bit of chasing, hiding, and climbing. Each mission is self-contained, focusing on a single aspect of gameplay, maybe two. Most of the missions in Sequence 1 are also in service to the narrative. The gameplay is wrapped around either setting up the wider narrative or adding something to the supporting cast e.g. delivering a letter to disguised Assassin spies, or beating up your sister’s unfaithful fiancée.
The first three sequences follow this learning template, only opening up until Sequence 4. The world is shrunk, but not distilled. Sequence 2 (the first sequence with an assassination mission) gives you everything you would need; weapons training, social stealth, traversal, and lets you play. Even if you muck up your inaugural assassination the target does not flee or fight back, allowing you to take the kill without being overwhelmed like if you messed up the first assassination in AC1.
As the game goes on we find more and more intricate missions, just like Désilets mentioned, with several styles of play weaving between each other.
Along with these new mission types, AC2 has added several new moves to the assassin’s repertoire. I believed that AC1’s gameplay state was one of flow, using timing and precision to effectively play the game. AC2’s mission statement has changed to one of speed.
Most of the new moves are directed at making Ezio as nimble as possible. In low profile mode, the previous ‘blend’ button became a fast walk, allowing Ezio to gain ground without sacrificing exposure. In a similar vein, the crowd systems were overhauled, allowing Ezio to blend with any gathering of NPCs and not just specific groups.
Climbing and traversal were also beefed up with Ezio now able to sprint across beams and scale walls quicker with a jump grab ability.
During combat, the A button, previously the dodge button, now allows Ezio to pirouette around his adversaries, allowing him to stab them in the back for a one-hit kill.
The biggest change was to combat, speaking of which…
AC1 had five weapons, four of which were of any use (what was the point of using fists aside from the occasional interrogation?). AC2 expanded with not just new weapons but new fighting styles.
Using the R1/RB button would bring up the weapon wheel, with the four directions of the D-Pad allowing for quick selection. The throwing knives, previously a sub category of the dagger, were given their own slots, as well as new additions of smoke bombs (useful for escaping sticky situations) and a moneybag (for drawing crowds and stalling enemies).
The fists became useful during earlier missions, where Ezio was without a sword or blade. Using a similar counter to the first game, Ezio could now disarm enemies, using their own weapons against them. This extended out to all weapons, allowing Ezio to pick up battleaxes, lances, and, err…sweeping brooms. Any of these larger weapons could be bought from stores across the land, each one with stats making them quicker or more deadly.
The former battleaxes and lances could also be upgraded, allowing Ezio to throw the axe or sweep enemy legs with the lances. Throwing knives were also given a boost, allowing three knives to be thrown simultaneously to disperse crowds of enemies. In a similar vein the fists can be upgraded to throw sand.
More ranged options were developed, with one of the later sequences giving Ezio a hidden gun. While a little preposterous, the dev team balanced it well. It takes a long time to aim a shot, with a long reload time and loud gunshot. This meant it could only be used at the most important moments, rather than a squad-devouring machine like it became in ACB.
The signature Hidden Blades were buffed for the sequel (the most noticeable being that they are now plural). Gone was the counter-only method, allowing the blades to counter, parry and combo into gruesome kills. A poison blade was also added as a distraction method.
But the greatest change were the opportunities now offered to the player. Air assassinations (now helpfully explained in a tutorial), haystack drags, bench reversals, they gave players a large opportunity to experiment and play stealthily.
But with the Hidden Blades becoming top dog, everything else felt like an afterthought. Swords and daggers, so important in the first game, became useless. Hidden Blades could counter kill in one hit whereas other weapons could take two or three counter hits to kill an enemy.
There were times in AC1 where you had to run. In certain sections of the city such as Acre’s Arsenal, it was nearly impossible to clear all enemies from your sight (that’s why the Sibrand assassination mission in the Arsenal was great). AC2 has the opposite issue; it is easier to kill everyone before moving on. Even in the only mission where it is encouraged to flee (Sequence 1, Memory 12), when you are disarmed and cornered after your family have been murdered, you can still fight back using your fists and actually win.
With new weapons came new enemies. While AC1 had different rankings and skills (such as Captains being able to grab the player and throw them), AC2 made these changes more distinct. Agile guards who could out-run Ezio, Brutes with heavy weapons and would not retreat, seekers with the lances and checked haystacks for Ezio hiding in them, these would throw some x-factor into the sequence, making a carefully laid plan have to adapt.
In response to the enemies, Ezio had helpers in the cities he visited. Courtesans who could act as mobile cover and distract guards, thieves that could follow him across roofs and distract guards, and mercenaries that could remove unwanted guards, these became valuable assets that could aid in granting greater access to a target. In the sequel the factions were added to with the Brotherhood coming to assist Ezio in battle, but it is cool to see the germ of an idea here in only the second game.
Overall, the combat was buffed enough to make combat a little more forward. It would be for another game, the next one, where combat went from an advantage to an absurdity.
The setting of Renaissance Italy was a stroke of genius.
Similar to AC1, the game takes place in several cities the player can travel between. These include big cities like Florence and Venice, smaller outposts like Forli and Monteriggioni, and the countryside such as Tuscany, San Gimignano and the Apennine Mountains.
I have previously written about how each place in AC1 has a different tone to them, such as Damascus being bright and cheerful and Acre being grey and depressing. A few of the cities do have this feeling, with Florence (the opening city of the game) having a sense of warmth to it, and Forli looking like Acre 2.0. But I think the cities have moved beyond tone and focus more on player traversal.
While each city in AC1 was distinct, their traversal was very similar. In AC2, each city feels unique in how the player works their way through it. Venice has many tight-knit alleyways. Tuscany and San Gimignano focus on extreme verticality. Forli is flat and low. Florence is the only one that seems so generic, but in a good way. It has a bit of everything, teaching us the mechanics before sending us out into the world.
“Unsurprisingly, the design team talk of long field trips to each location, with artists taking thousands of photos and hours of video footage.”
The designers were so dedicated to representing the cities that they hired Maria Elisa Navarro, a Professor of Architectural History and Theory, as a historical consultant. In a great interview with architect Manuel Saga, Navarro explains how she was brought on board to help not only with architectural inaccuracies, but also with wardrobe and hair styling.
In AC1 the narrative had Altair heading between the three cities and his base in Masyaf, with new parts of the city unlocked as the game progressed. This was to aid non-mini-map design (read the ‘Visual Signifiers and the Mini Map’ section in the AC1 retrospective for more details). From the start of the game, the entire map of the city is open to the player.
While AC2 still included the mini map, the want for accuracy feeds back into the original idea for AC1 to be played without the need for a mini-map. Now with recognisible landmarks such as St. Mark’s Square in Venice or the Santa Maria del Fiore (Duomo) and Giotto’s Campanile in Florence (along with the brilliant database that lists buildings, people and documents), players were able to guide themselves around the city without needing a map.
One of the odd map’s inclusions of AC1 was the Kingdom, a crossroad between the four main cities. AC2 has some countryside, but it is linked with the main cities. It becomes an integral part of the locations (such as the assassination mission of Jacapo De’ Pazzi at the isolated Anitco Teatro Romano, a Roman theatre in the Tuscan countryside), rather than feeling like a timewasting slog during the previous game.
Monteriggioni would take the place of Masyaf, owned by Ezio’s uncle Mario, (yes, they did make a “It’s-a me, Mario!” joke). A safe place outside of Florence, the villa and surrounding town has a few nooks and crannies for curious players, whereas ones who just want to get back to the stabbing can spend as little time there as possible.
The cities were magnificent, each with their own unique quirks and feels. But one thing made them feel extra special…Jepser Kyd. And so it is probably time to turn to his contribution to Assassin’s Creed.
Eight minim notes in 4/4 time in F Major. D, F, G, A, D, F, G, F.
That sequence is imprinted on thousands of gamer’s minds.
Jesper Kyd had worked on quite a few games, notably the Hitman series by IO Interactive. He worked on the soundtrack for first Assassin’s Creed, creating music that evoked the location, using Middle Eastern instruments, percussion, and singing styles, with a hint of synthesizers and reverb to hint at the modern aspect of the game.
With Assassin’s Creed II, he emboldened the score with sweeping strings and operatic style vocals, meshed in with electric guitars and remixes…and in the process created one of the most iconic (real iconic, not Ubisoft iconic) musical scores in gaming.
Just like with the architectural styles are different, each city has its own soundtrack. Florence’s soundtrack is usually light and melodic (reflecting the warm notes in the level design). Even with tracks such as ‘Darkness Falls in Florence,’ it still uses richer instruments that the rest of the OST.
Tuscany is stripped back, with fewer instruments and focusing on small bursts of melody, which feels reminiscent of how the location is wide-open spaces with a few noteworthy constructions dotted in between. Forli is heavy on percussion and deeper notes, evoking the drab and grey surroundings of the wetlands and industry.
And Venice likes to focus on minor keys, starting small in stature before building up with more instruments and higher notes, very much like starting a climb in the city. And ‘Venice Rooftops’ is a kicker of a track, effortlessly rising and falling, feeling almost like the ups and downs of parkour.
But there is one track that stands above them all.
Even now, ten years after AC2 came out, ‘Ezio’s Family’, the track I alluded to at the beginning of the section, is the de-facto theme for the entire series. It is continually referenced in later games in the series, such as Rogue’s ‘Main Theme’, Unity’s ‘Le Roi Est Mort’, Syndicate’s “Frye’s Family” or Origins’ aptly titled ‘Ezio’s Family (Origins Version)’. It’s a beautiful canon style track, effortlessly building, adding anachronistic instruments, getting higher and louder until it quietly returns to the opening notes, simultaneously changing and unchanging at the same time.
Just…if you have never heard this piece before, here it is. Have a listen. And if you are an AC fan, prepare to fall in love again.
This piece opened up the game. Ezio and his brother Frederico admiring the night-sky of Florence from the top of a church, then the camera pulls back, the music swells and the logo indents itself. I think this also started the trend of the series indenting the title with the characters perched somewhere high. Seriously, every game up until Syndicate had the characters looking out over the landscape as the logo popped up.
Anyway, back to ‘Ezio’s Family’…it’s perfect. And while AC1 had some good tracks, none of them have stuck with me like AC2. Every subsequent game’s OST, created by talented composers like Lorne Balfe, Elitsa Alexandrova, Brian Tyler, Austin Wintory, Sarah Schachner, and most recently the composing duo The Flight, is compared to Kyd and his revolutionary work.
I realise writing this section, it is pretty short, but I feel it doesn’t need any more discussion. This is one of the greatest soundtracks that gaming has ever and will ever produce and Jesper Kyd is such a talent.
The Story & The Characters
The story of AC2 is still considered one of the best narratives of the seventh generation and of the series as a whole. Part of that comes down to the main character, Ezio Auditore.
Where previous main character Altair was sour and serious, Ezio was fun and playful. Where we were thrown straight into Altair’s story, we followed Ezio from birth to middle age, filled with both victories and losses. And while Altair’s motives were understandable, Ezio’s connected on a deeper emotional channel.
Aside from an odd birth scene where we control Ezio as he is brought naked and screaming into the world, the narrative really starts on the Ponte Vecchio, with a now 17-year old Ezio before he becomes an Assassin. He is a privileged noble kid, getting into fistfights, boasting of nights spent with wine and women. It’s been thirty seconds and we have learnt the basics of the character; he is charming, he likes a laugh, and when it gets violent he can hold his own.
He is a pastiche of classical literature, part Zorro, part Casanova, and part Monte Cristo, containing all the endearing qualities why we love those characters without any of the downsides.
The narrative drives like a bullet, none of the fluff or side-quests of a latter day Ubisoft game, and I think that’s another reason why the game is loved. Even with fourteen sequences (two as DLC), Ezio only takes until the finale of Sequence 1 to get his hood and Hidden Blade, and is driven to make the men who killed his father and brothers pay. Even though Ezio starts the narrative worried and alone, facing off against a threat too big to comprehend, he gains friends and allies; mercenaries, thieves, and courtesans, who all believe the same creed. The scene at the end of Sequence 11 where all previous allies come to Ezio’s aid and fight alongside him is one of the high points for the level of fan service.
Another of Ezio’s friends is Leonardo Da Vinci. While later games would sometimes bash the player of the head with historical figures here it feels restrained, using the name but not having Ezio comment on the Mona Lisa or reference certain codes involving Jesus’ descendants. Leonardo starts as a lowly painter who Ezio’s mother is patroning, but eventually he turns into something like a quartermaster by supplying our hero with weapons and equipment. He even takes Ezio in when the Auditores are fugitives, seeing it as a sense of duty to help out the lost and scared Ezio. His ever-jovial nature and wide-eyed wonder is always endearing, giving a lot of the early story points levity, and many of the late-game plot points a sense of satisfied contentment.
With Ezio doing most of the heavy lifting narratively, the modern day plot and Desmond got to grow a litter more. Gone are the sterile hallways of Abstergo and monologues of bad guy Warren Vidic, here Desmond is supported by a relatively warm cast of Abstergo turncoat Lucy, tech support Rebecca, and historical consultant and professional sarcasm champion Shaun Hastings, the latter voiced impeccably by Danny Wallace. Apart from one scene halfway through the game showing that Desmond has started to learn the skills passed through the Animus, we don’t really get much else on the main man. Yet the moments where he gets to interact with his Mystery Machine assortment of chums, either in person or through voicemail in the Animus, never fail to bring a smile to my face.
Another modern day addition were the Glyphs. Hidden around the architecture of Italy were symbols (much like those on Desmond’s floor in Abstergo), left in the Animus by a previous Abstergo test subject, #16. Finding all of these Glyphs and deciphering their codes focusing on everything from Tesla to Milton, unlocked a hidden video featuring the Apple and the Ones That Came Before, adding more to the modern day plot line before it became a main thread in the sequel Brotherhood.
While the baddies of AC1 are varied and well-acted during their scenes on screen, many are simple outlines, with stories hinted at in their mannerisms and through half-told whispers in the investigation leading up to the assassination. Most are kept to their occupations; a Slave Trader, a Doctor, a Scribe, a Merchant King. In AC2 we get to spend time with the new bad guys, both in cutscenes well before their assassinations and through the database entries voiced by Danny Wallace. It helps keep us involved by knowing who we are killing and why, a problem that I feel has plagued my enjoyment of other AC games. Here you learn about these characters, how they conduct themselves, how they got to their positions of power, which makes it all the more satisfying to finally take them down.
Speaking of the assassinations, I previously praised the first game’s assassination sequences and said AC2’s are as linear as possible. Nearly every major assassination up until Sequence 7 (when Ezio arrives in Venice) has Ezio chasing his target rather than waiting for the right moment. Even later missions like Sequence 9, set during Carnevale, has only one way to complete it. But I forgive the game because of its uniqueness; having you kill a target during Carnevale using a handcannon, throwing a monk from the tallest tower in San Gimignano, jumping onto a bonfire to ease a target’s suffering, using a hang-glider to enter a target’s palace, these are all completely original ideas that help make the sometimes standard and linear assassinations feel grand in scope and spectacle.
Ezio has had the longest run of all AC series leads, fronting two/three major release (Revelations is different in that he shares it with Altair) as well as featuring in smaller titles like Discovery on Nintendo DS and Rebellion for mobile devices. His legacy spans not just across games, but books and animated short films. As Associate Producer Julien Laferrière said in an interview with Eurogamer,
“We made three games with Ezio because people loved Ezio.”
It was nice to see the Renaissance hunk return after AC2 to stalk his way around Rome and then Constantinople, and during that time see a marked change on the man. We’ve had characters get older as games have gone on, Joel from The Last Of Us and Solid Snake in Metal Gear Solid are two that come to mind, but I think AC was different in showing Ezio before and after the change into the hooded killer. He starts as simple spoilt noble kid having to mature beyond his years before becoming an Assassin, then graduating to Master and Mentor, and achieving the rank of Assassin General in Revelations.
Looking back at AC2’s ending, before we knew if we would ever see Ezio again, the final moments in the Vatican Vault are oddly chilling. The Assassins have told Ezio that he is the Prophet, the Chosen One, yet when he enters the First Civilization Vault the goddess Minerva greets him then dismisses him, talking instead to Desmond. Here is a man who has spent his whole life dismantling corruption and evil in the name of a higher cause, finding out that he is merely a pawn, with no greater significance.
Imagine if Ezio’s story stopped here, and the next entry was Connor in AC3. We’ve spent 20+ hours with this character, only to find at the end that he isn’t destined for greatness. At the same time this realisation dawns on him we are pulled away, leaving him in the dark. He has spent over twenty years with one goal in mind and now at what should be the apotheosis of his life, he is scared and alone, just as he was in Sequence 1. That image is haunting.
Altair’s ending in AC1 was much the same, realising there was a world and a story greater than his own. This can be seen by reading in his Codex, unlockable text files hidden throughout AC2. Yet Altair understood his ending, Ezio does not, literally saying to Minerva that he has “so many questions.”
I hated this ending when I first played it, only seeing it as a cliffhanger, rather than the gut-punch existential dread I now see it as ten years on. Many of the games in the series follow this thread, with Connor and the Temple, Edward and the Observatory, Arno and the Sage and the Fryes with the Shroud. These men and women, spanning centuries, who glimpse a story bigger than heaven itself, only to realise that their goal in the grand scheme is to procreate enough so that hopefully one of their descendants becomes the mythical ‘Desmond’. It is only by Revelations, when Ezio is into his fifties that he finally understands that he is nothing but a conduit, a lightning rod that allows Minerva to speak to Desmond.
The last media appearance of Ezio is in Assassin’s Creed: Embers, a short animated film detailing the last days of Ezio’s life. In the film it shows a man withered by old age, trying to aid both his family and Chinese Assassin Shao Jun, who has come to speak with the famous Italian Batman. The ending reinforces Ezio’s final words in Revelations, showing that with time he has settled as a man who knows too much but can never do enough.
One other aspect must be mentioned when it comes to the legacy of AC2, one that still lives to this day. The original run on PC is ‘protected’ by DRM software (digital rights management), an attempt to stop people pirating the game. In an effort to stop this, AC2 was only playable when connected online. No internet connection…you won’t be able to play the product you bought (leading to many frustrated consumers when the company servers go down). Ubisoft still uses these practices today, with AC: Origins doubling-up with two different DRM products. I thankfully never came across these with the console version, but it still needs to be mentioned as it is a very important point of the game’s history.
I will admit, coming back to this game was hard. I had fallen in love with game series before, most notably Timesplitters and the early Lego games. Assassin’s Creed was one of the first major series I played on the seventh generation, and I saw the remarkable jump from AC1 to AC2 in the span of switching out one disc for the other. When I returned after ten years to the first game there was an odd feeling of comfort, settling back in with ease.
I was a little worried that with AC2 I was going to have the reverse. Several games I loved when I was younger have not got better with time. And while I noticed a lot more hand-holding and linearity with the recent playthrough, it still has that charm almost ten years later.
Ezio is one of the biggest draws to replay. I think he is one of the best examples of “people want be him, or people want to be with him”, an all-round top lad whose sense of honour and personal drive keeps us engaged. Another highlight to returning are the locations. The cities are also so much fun to move through and completely different to the Holy Land Of AC1, or the other big-budget open world games like GTAIV‘s Liberty City the previous year, or war-torn Paris in The Saboteur the same year.
The villains are fun, the soundtrack is awe-inspiring, and even poor old Desmond gets to flex his protagonist muscles both in and outside of the Animus. Most of my grumbles are nitpicks; DLC disrupting narrative flow, overpowered attacks, and only a few instances of linear design. None of these spoil the game to any large degree, they can even be a benefit for those more casually inclined, with DLC only being an issue for those that played it in chronological order (I’ve written more about that here).
When I played AC1 for a retrospective I said it felt a lot like a blueprint of games to come. AC2 could almost be the opposite side of the coin, refinement while also laying foundations for later games. While we still have the upgrades and items available for purchase, they don’t swamp out the gameplay.
Assassin’s Creed II took what worked in the first, added its own flavours and tone, and became one of the most adored games of the seventh generation and the series as a whole. It’s a beautiful game and still deserves to be played today.
I was rather excited when I picked up Call Of Duty: Modern Warfare (2019) on opening day. It has been nearly a decade since Modern Warfare 3 came out, and I was interested to see what this supposed reboot would bring to the table.
After Modern Warfare 3, Call of Duty kept pushing and pushing further into science fiction, with 2017’s WWII as the outlier by being set during, well…World War 2.
Then the series jumped forward again the following year and ditched single player in Black Ops 4. So with a return to both single player and the setting that made Call of Duty the household name it is, I was looking forward to it.
I wasn’t the only one. At the time of writing the reveal trailer for Modern Warfare sits at over thirty-three million views, with a 99.7% positive like-bar. That is phenomenal. The game has received generally favourable reviews, despite some controversy over rewriting history about locations and atrocities mentioned in-game.
I’ll be going on a whistle-stop tour of everything I felt during the campaign, so there will be some spoilers. It is less of a review and more of an impression. Enjoy!
“Let’s Do Dis!” – A Look At The New Modern Warfare
Modern Warfare was a sensation back in 2007. While games set in a modern conflict had existed before then, nothing had really grabbed hold of the zeitgeist aside from the sci-fi romp Halo 3 two months earlier.
It was clearly a market that wanted something before it knew what ‘it’ was. MW1 was both a crazy power fantasy willed into existence to satiate public opinion on two Middle East conflicts that had outlived their welcome, but also a brutal critique on the nature of said conflicts and the forces that conducted them. The new Modern Warfare continues the former thread, but never follows through on the latter.
While MW1 had major set pieces take place on highways, dusty streets, and palaces (all iconic imagery of both invasions in Iraq and Afghanistan), the new Modern Warfare tries to echo more recent events with levels set in urban areas as a first responder, suburban anti-terror operations, and protecting an embassy from waves of enemies.
It feels odd to play some of these missions as the game is obviously making references to certain real-world events (anyone who says that “The Embassy” mission is not a reference to Benghazi is just wrong, plain and simple) because when someone says “terrorist”, these are the first things that come to mind; atrocities and rabid hordes.
But this isn’t new. The Modern Warfare series has always used real life events to influence its campaign. After Somali pirates infamously took control of the Maersk Alabama freighter ship in mid 2009, the next modern CoD game, Modern Warfare 3, had a level set in a shipyard in Somalia.
MW1 had its Middle Eastern sections set in a nameless region, but by the time MW2 and MW3 rolled around they were much more upfront with their locations, with Afghanistan getting prominent billing as the first location of MW2. The new Modern Warfare creates a fictitious country to set part of its conflict in, Urzikstan (cos if its got a ‘Stan at the end it must be full of terrorists, right?) with the characters speaking Arabic, just to fill in another stereotype (and not say any of the other languages spoken in the bordering countries of Georgia, Russia, or Turkey).
We sadly don’t get much information on Urzikstan during the campaign. It is the background to a three-way war between Russia, freedom fighters (backed by the USA) and a terrorist group, Al-Qatala. It would have been interesting to see what the battle in Urzikstan was about, and what each group was fighting over.
The whole game is like this, no narrative fluff to give flavour or even context, it is just a succession of scenes ripped from the headlines. An action game like this can get away with exposition in the form of mission briefings, but here “show don’t tell” has been skewed so much that we aren’t shown why we are fighting, just that we are.
I only learnt that the Russians invaded Urzikstan to stop terrorists heading into Russia from a loading screen. It would have been good to know that before the game dropped me into a firefight and told me to shoot all the Russians on sight.
The invasion plot gets even more ridiculous when it turns out the Russian leader, General Barkov, has apparently got so much influence over the Russian Government that they simultaneously endorse his actions and believe he has gone rogue. It’s another reductionist quality brought over from the original game, “These are ultra-nationalists, not like regular Russians. These are only the bad ones.”
At least the game deals with its Arabic characters better (relatively speaking). There is a split between the freedom fighters and the terrorist organisation Al-Qatala. It’s better that having all enemies as the monolithic Arab ‘other’, dressed in identikit robes and turbans that MW1 ignited. But again, we have no reason other than a short freeform poem read by bad guy “The Wolf” at the beginning of the game telling us what Al-Qatala’s aims are. It is mentioned during “The Embassy” that Al-Qatala was once supported by the West, but it is never addressed again in-game.
On the freedom fighters side, having their leader be a kickass woman was a charming turn. Come to think of it, a lot of the characters are rather refreshing. The main British character, Kyle Garrick (who is revealed to be fan favourite character Gaz at the end of the game) is Black British, which adds a nice bit of diversity to the series and the industry (I can think of only one other Black British character in gaming, that being Dudley in the Street Fighter series).
The main American character, CIA operative “Alex”, (his name is always in quotations, which is cute) has some good conversations with rebel leader Farah, giving them a few more shades that just “Gruff Military Type #147” and “Silent Female Warrior #12”. For a moment I thought we were about to get a “ships in the night” romance from the two, considering all the longing looks and shy smiles that they share in later scenes. Their relationship is natural and isn’t rushed, feeling like the two have actually started to care for each other away from the battlefield (I never thought I would find and praise a display of mutual sexual tension and chemistry in a CoD game!).
Series icon Captain Price has a nice showing of softer tones when coaching Garrick, with Barry Sloane doing a fantastic job of replicating the iconic Billy Murray voice from the original game while putting his own spin on the character.
But apart from these isolated scenes, most of the rest of the game veers from scene to scene trying to outdo itself on shock value. The opening warning labels of CoD have almost become a staple of the series in of itself. Ever since MW2 let you shoot up an airport, the series has been trying to make a level that is guaranteed to send tabloids into apoplectic rage.
In the new Modern Warfare we have terror attacks in Piccadilly Circus, chemical warfare, child soldiers, a waterboarding mini-game, and play Russian Roulette as part of an interrogation. Another part that ticked me off were the American Marines cheering and oo-rahing like a bunch of drunken fratboys as they gun down and blow up bad guys, without a hint of self-awareness.
MW1 had some, shall we say, morally questionable scenes. One that sticks with me has secondary villain, Khaled Al-Asad, tied to a chair as Captain Price beats him to a pulp. However, one dramatic scene that is remembered from the original game is a nuclear weapon going off and killing the playable character. It was shocking, but didn’t feel as uncomfortable as threatening a man’s unarmed wife and son with a loaded pistol, something which I did during the campaign of the new title. You are able to skip the torture in one scene, but all it does is fade to black and skips to the next part.
And yet the game seems to just brush it off without lingering. In the original Modern Warfare the SAS toughs are seen as violent thugs, ready to throw allies off cliff edges and repeatedly stab enemies in an act of mutilation. In the new story, they still have that ruthless streak but it is moralised in dialogue by them saying that the world needs people morally questionable people to act. It feels even weirder when I realised that we weren’t playing as a squad of SAS or US Marines, but just a ragtag collection of shooters. Captain Price is seemingly known throughout the military world and can be called by a CIA handler to help kill some terrorists on his off days.
Part of the reason Call of Duty gained prominence when it first came out was that the player was part of a squad and wasn’t a one-man-army. In the new Modern Warfare quite a few of the missions feel like we are fighting entire battalions by ourselves.
The game pulls me in two different directions. It looks beautiful, sounds great, is responsive, and the acting is phenomenal, but nearly everything that is wrapped around the game puts me off. And while it seems to want to be taken seriously, it starts throwing out memes and references to the original such as reusing the iconic lines, “check your corners,” and “your fruit-killing skills are remarkable”. The references weren’t even in the lighter scenes, thrown in the middle of a terrorist event and stealth mission as a nudge and a wink.
Even still, I am excited by the return to the modern day. I enjoyed the original Modern Warfare Trilogy and enjoyed the Medal of Honor reboot that was set during the 2001 Afghanistan invasion.
I want to see where the series goes after this, but this time it just wasn’t my type.
It has just been over one year since Shadow Of The Tomb Raider was released. I wasn’t bowled over by the game (Rise is still my favourite of the new reboot series), but it had enough to keep me engaged.
However, I feel a need for change is coming on again. 2013 was a revelation, creating a Tomb Raider game and a Lara we hadn’t seen before. Rise built upon its predecessor’s work and tweaked and refined the experience.
Shadow… it feels a bit like replication. It is a very good replication and has a few nifty surprises hidden in its backpack, but it is not so much a step forward rather than a step sideways.
I don’t think this is just personal bias. For all the talk of Shadow being the final event that turned Lara Croft into the Tomb Raider, it felt like a story being stretched further than it needed to be.
So, with the reboot trilogy finished, let us throw a few ideas around that I would want to see in a new Tomb Raider game.
Where Should Tomb Raider Go After Shadow Of The Tomb Raider?
A Different Lara
One of the things I find fascinating about Lara is that in twenty years she has gone through several redesigns but remains instantly recognisible. That may be a statement on female characters in gaming, but also could be because of her iconic outfit and accessories.
Now that we’ve had half a decade of hyper-realistic Lara, I wouldn’t mind a touch of cartoon styling for her next appearance. I don’t mean make her the impossibly proportioned character from the 90s, but something a bit more…Amazonian (a descriptor that was actually used in The Angel of Darkness at 1:03:16).
Lara is meant to be this kickass character able to throw herself up sheer cliff faces and fight a whole manner of creatures, so make her the peak of ‘killer kickass’. Shadow teased us with a character model with biceps before they nixed the idea. Let’s see that this time around.
My main two ideas for a cartoony Croft were Gridlock from Rainbow Six Siege and Laura from Street Fighter V (seen down below respectively). Both these women look like (and can) go toe-to-toe with any male character in their games, and I think it would work well seeing a physically imposing Lara, showing how she has changed over time. I wouldn’t even mind if they kept the scars from Rise and Shadow, another token of the change and history of the character.
With a less realistic design we could change Lara’s movement as well. I’ve recently been replaying Legend and one thing that struck me was that Lara’s movement is…goofier?
For example, instead of just climbing up a ledge, Lara will fling herself up using only her upper body strength and onto her feet. If a player continues to tap the Roll button, Lara will throw herself into a gymnastic display worthy of an Olympic gold medal. I haven’t even mentioned the swan dive and handstand that she could perform in the original series. I like these more over-the-top approaches.
In terms of character, yeah, I kind of want to see a more playful Lara next time around. Rise had a few moments, but I felt Shadow had hardly any levity (although that game was about the apocalypse so I’ll let it slide). And regarding her parents, it’s been cleared up, let’s move on.
A Reworked World
It was quite a big step in 2013 to have Tomb Raider set in an open world, although it seems rather obvious. Previous games would have massive levels (with some in TR4 actually having multiple points of entry and having to return to a few of them several times), but 2013 nailed a great formula.
But just like a change regarding Lara, I am feeling an itch for a change in the level design. While I was playing Shadow I went for a trek and found some interesting places and hidden nooks, but then when I returned and spoke to the NPC to start a mission, the NPC took me through a whistle-stop tour of everywhere I had just been. It felt so weird to play through, and this would happen multiple times throughout the game, to the point where I stopped exploring (which is the antithesis of the game’s vision).
However, going back to a more linear frame would hamper the series, as it seems to have flourished now it has more room to play around with. So let’s make a compromise; a big but linear hub world, with several paths leading to several tombs. These tombs can be signposted by small but very deliberate signs like rocks in an odd formation or a broken tree (similar to the Monolith Puzzles in Shadow,which I suggested could be a gameplay feature back in 2017).
Once we play through the tomb we return to the hub world and follow another path to another tomb. The hub world could be a mash-up of Prince of Persia and Mirror’s Edge, with Tomb Raider’s aesthetic and individual trappings giving the world flavour (come to think of it, with all that climbing, surely Lara Croft would have learnt some gymnastics or parkour?).
The hub world also allows us to open up geographically. While I enjoyed the single locations of the past three games (with Yamatai and Siberia having some geographical variety), the hub world allows our explorer to find all the pieces to a treasure in one location (after finishing all the tombs), before heading off to a new location with its own hub world and selection of tombs.
One request though, cut the collectibles, at least in the hub world. I get anxious whenever I access an open world map for the first time and all the items load in, and I can’t be the only one (not to mention ‘Touch The Shiny Thing’ doesn’t exactly get my blood racing). Keep the secrets to the levels and leave it as that. However, a counter argument to this would be,
“Why have an open world if there is nothing to do in it?”
This is a valid question. So I propose another solution to go with the level-based secrets; unmapped locations.
While Assassin’s Creed 4: Black Flag and Skyrim had some locations off their maps, the main game that gave me this inspiration was the original Mafia.
Mafia had an open city to drive around in, but many prominent locations were just off the map edge, giving the countryside a sense of danger and making any mission set outside the city tenser. There were several places in the city of Lost Heaven that the player was under no obligation to visit, such as the Lost Heaven Lighthouse or Dam. I think something like this but for Tomb Raider, like a disguised path leading to an optional tomb or puzzle, would be a good addition.
Part of Lara’s iconic image is the twin pistols. They were missing from the reboot series, instead replaced with another now-iconic weapon, the bow.
Whoever the developer of the next game ends up being, the bow has been an integral inclusion of the rebooted Tomb Raider games and it would be a little sad to see it leave after three games.
The pistols were seen for one small scene near the end of the 2013 game, with Lara wielding akimbo pistols to shoot bad guy Mathias off a cliff edge. However I thought the dual pistols scene looked silly (even in a game about Sun Queens and zombie samurai) because the game had been aiming for realism for the past 20+ hours. If the series were to take a less realistic slant then twin pistols could make a return, complete with flips and kicks.
In terms of gameplay, of Lara is already throwing herself over ledges and walls why not have her take a leaf from Max Payne or Rubi Malone and fly through the air? TR has dabbled in bullet time before, both in set pieces and player enabled so it might be a cool thing to include.
The main reason why I wanted to mention combat is violence and death. The older Tomb Raider games got away with some gruesome deaths by their lack of graphics. Spike pits, being set on fire, drowned, shot, stabbed, eaten alive, blown up, disintegrated, all that jazz got Tomb Raider an 11+ rating.
Over time the series has fluctuated between 11+ and 16+, with the reboot being the first time that the series broke the 18+ rating. President of Eidos Interactive, Ian Livingstone, said the change was made to deliver the “gritty realism” that players wanted.
And I get it, the market in 2013 was heading in that direction. However, a lot of the violent deaths in the reboot felt that they were going for shock value (especially that spike through the neck, you know the one I’m talking about, 2:02).
The market today is a lot more colourful and cartoony. I want Tomb Raider to be playable to anyone who wants to pick up the controller, and I think taking that step back on the snuff film aesthetic would be a bit more refreshing.
I’m not going into an in-depth “what-I-would-write” post, but there was a tease at the end of Shadow as to where Lara would be going next before it was patched out. On Lara’s desk in the original epilogue scene, there was a letter addressed to her from a Jacqueline Natla. Natla was the head baddy in both Tomb Raider 1 and the remake Anniversary.
I don’t want this to be the next Tomb Raider game. That story has already been done twice and I don’t know what making that game a third time will add to the experience.
So instead, I propose this. This is the trailer to the Hitman reboot, released in 2016.
To fans of the Hitman franchise (such as myself), this was a geek-out moment. All of the kills featured come from the previous games.
The sniper kill is “Kowloon Triads in Gang War” from the original Hitman game. The sushi death is from “Tracking Hayamoto” from Hitman 2. The drowning man is Fritz Fuchs in “Traditions of the Trade” from Contracts. The cello player is Don Fernando Delgado in “A Vintage Year” from Blood Money. And the final bullet through the one-way mirror kills Dom Osmond during “Hunter and Hunted” from Absolution.
There was a lot of grumbling in the Hitman community as to what it meant to the legacy of Agent 47 when 2016’s Hitman was referred to as a reboot. Fans were assuaged when we heard David Bateson’s voice in the “Sapienza” trailer, and this trailer was even better. We weren’t losing the character’s history, this trailer showed we were continuing on from Absolution.
I think this would be a good way to reintroduce Lara. A trailer in a similar style, seeing Lara at Yamatai, Kitezh, and Paititi (the reboot games), then St. Francis Folly (TR1), Venice/Barkhang Monastery (TR2), River Ganges/RX-Tech Mines (TR3), Valley Of The Kings (TR4) and beyond would be a great moment. It would allow Lara to grow beyond the reboot without throwing out the character established in the past three games.
Call it a soft reboot; heading back to square two, restarting the series but with the knowledge and experiences of previous games filling in Lara’s backstory.
Speaking of all of that established lore, a soft reboot allows us to keep the excellent Camilla Luddington as Lara and bring back many characters. Winston and Jonah are a given and I would personally love the return of Sam, Zip, and Alister as periphery characters.
One thing I would love to see in Tomb Raider are rival archeologists. We had Pierre and Larson in TR1/TRA and Chronicles, Von Croy in TR4, Chronicles, and Angel of Darkness, and Carter Bell in The Temple Of Osiris. It would be fun to have a story where Lara is facing off against people who are just as smart and slick as her. There is even a multiplayer component there, having players face off against each other if the developers wanted to.
I remember when Shadow was first teased, Square Enix said in a statement that it wouldn’t, “…be very long between the official reveal and when you can play.” With Shadow Of The Tomb Raider: Definitive Edition releasing earlier this month, a new lease of life has been given to the instalment.
There will probably be a moderate wait before any new moves for the franchise are announced. Square Enix, working with Eidos Montreal on Shadow, were able to deliver a relatively quick follow up to Rise as most of the pieces were in place. But for now they should have some time to relax, celebrate their success, before coming back with whatever new ideas they want to explore.
The reboot was a much needed boost for Tomb Raider. It brought me back to the series, and brought in a whole new set of fans. I don’t want to forget it, but I think Tomb Raider needs to strike out again.
During the late 2000s and most of the 2010s I was the owner of an Xbox 360. I think my main reasoning behind choosing that system was that all my friends had one, so if I wanted to play with them, that would be the console.
Before I had chosen a 360 I was scouring through games that looked interesting to me and I remember one catching my eye. I remember going into game stores and continually picking up one box and reading and re-reading the back cover.
That game was Uncharted 2: Among Thieves. I knew nothing about the series at that part of my life, but I was already hooked. I mean, it looked like a modern Indiana Jones game. Anyone who knows me knows I love Tomb Raider, so another treasure-hunting simulator would be right up my street.
But alas, when I finally picked up an Xbox I realised that Uncharted was a PlayStation exclusive title, therefore I couldn’t play it (and I was not the position to buy a separate console). So Uncharted moved to the back of my mind until I picked up a PlayStation 4 in mid-2018.
With Uncharted being one of Sony’s premiere exclusives, the first three games were given a quick polish and sent out as a boxset to customers. I quickly bought the collection and settled down for some classic shooting/platforming fun. I mean, these games were beloved, how could they be anything more than excellent?
What Spending 100+ Hours With Nathan Drake Looks Like
I felt very confused while playing Uncharted 1. Here was this game, lauded as inspirational and influential in its design and gameplay…yet all I could think was single sight plains, flat geometry, and tedious whack-a-mole gameplay.
I died many times just to try and speed up the process; it felt like my life was ebbing away from me as I continued to play. The only time when it livened up for me was when the Nazi Mutants appeared, changing gameplay into a more run-and-gun affair. This was on normal/moderate difficulty setting (because ‘normal’, as the word suggests, would be the standard way to play the game), yet it was like pulling teeth.
I rationalised my thoughts by thinking, ‘Maybe this was standard for 2007.” However, 2007 also gave us Assassin’s Creed (genre-defining), Bioshock (narrative behemoth), CoD4 and Halo 3 (game-changers). Even Tomb Raider Anniversary, much maligned by its own fanbase, felt fluid and fast, the complete opposite of UC1.
So maybe this was just a blueprint game, one that would get better with subsequent titles.
I put those bad feelings aside as I booted up Uncharted 2: Among Thieves. This one was going to be good. It is generally accepted as the best game in the series.
There have been times where I have played games I haven’t enjoyed. There have been games I’ve actively disliked. But never have I played a game that has made me waver in my love of the medium.
Most of my complaints for UC1 were back, but tenfold. Long flat corridors or arenas, plinking away from behind cover with ineffective weapons, I could feel that draining sensation again.
The gunplay was serviceable, but it was nothing compared to the climbing. In most platforming sections, Uncharted 2 switches to a cinematic camera. I’m all for the cinematic approach to games, especially when it heightens the gameplay.
I hated Uncharted 2 from the very first sequence because of that bloody camera. Climbing up the train cars is a moment most gamers found thrilling, but because of the camera switches I couldn’t even figure out where to go.
The angles would throw off my depth perception, making me push forward and die when I should have been pushing sideways. Dying over and over again two minutes in because the game is giving you insufficient information will drive anyone to anger.
Even the introduction of Chloe Frazer hardly tempered my loathing. Just like UC1, the game picked up during the final stretch at the monastery, mainly due to the excellent level design and geometry, and the inclusion of the Nazi Mutants again.
As I booted up Uncharted 3: Drake’s Deception, I was worried. Was this third entry going to be more of the same? What was wrong with me? Was I playing the game wrong?
I knew I liked third-person shooters; I’ve spent unknown hours with several 007 games, I love all of Remedy Entertainment’s work, Spec Ops: The Line is my favourite game of all time. Even at the same time of playing UC2 I played The Order: 1886, Ready at Dawn’s Victorian-steampunk shooter PS4 launch title. I loved that game and still hope to see a sequel some day.
So, I started Uncharted 3…and a new feeling came over me. I was having fun. Good-hearted, honest fun. I thought there had to be a catch, but none came. It was a blast.
The fights and shootouts in London, the rooftop chases in Colombia and Yemen, the attack on the citadel in Syria, the shipyard/sunken cruiser (with a beautiful cinematic camera, this time not obscuring the way to go), the cargo plane…repeat, THE CARGO PLANE, the horse ride into the desert, then finishing off once more with an ancient city crumbling to dust, I loved it from start to finish.
Upon finishing UC3 I had a lull in my games at the time, so I went back to the first two games and cranked up the difficulty to Crushing. I had nothing to lose if I didn’t enjoy it, but I adored every second.
I don’t know what came over me, but it was like experiencing the game for the first time again, but this time being the game that everyone told me it was. Even in Uncharted 2, it seemed all the levels I had hated had switched positions, making the final push towards the monastery even better.
Uncharted 4 follows in UC3’s stellar footsteps. I’ve always liked when Nathan has had someone to bounce off like Charlie or Chloe, and Sam is a great addition to the narrative. Throw in some excellent set pieces and locations and delving into the married life of Elena and Nathan (something seldom seen in games), I think this one might be my favourite one.
So what changed? Well, obviously the graphics and design became better and more intricate as subsequent games were made, but what about that turnaround for UC1 and UC2?
As I said previously, I’ve played my fair share of third-person shooters, but I wasn’t exactly raised on them in same way I was raised on racing games or Tomb Raider. Looking back at my favourite TPSes, most come from the PS2 or 360 generations. I haven’t played a straight, linear shooter since Spec Ops, because they aren’t really made as much any more.
Sure, there are shooting games galore, but not many single player shooter games. Even Amy Hennig said they are “…a harder and harder proposition.” (Takahashi, D. 2019). The closest I could think of besides The Order: 1886 was Ghost Recon: Wildlands, which is another open-world extravaganza from Ubisoft.
That might be the reason. It is enthralling to see a gameplay or mechanic that hasn’t been felt in over a decade, to see a simple beginning-middle-end structure with some shooty bits in the middle. I know, what a concept!
But that sounds offensive, ‘I only liked your game because I had nothing else to play,’ that is definitely not the case. I must come clean and say the problem was probably me.
I just needed time. I came to Uncharted with my own ideas on what it would be and my own biases. I wasn’t on the game’s wavelength, and I found it increasingly hard to get a handle on.
It may have taken a few games to get me to understand, but I get it now.