Assassin's Creed Found some old map of Paris in AC Unity. Maybe this map would be similar'ish to the city in the new Paris DLC for Valhalla? |
- Found some old map of Paris in AC Unity. Maybe this map would be similar'ish to the city in the new Paris DLC for Valhalla?
- Assassin's Creed Origins | Welcome to Egypt Cinematic - 4K
- Which is the worst trophy/achievement?
- Dual daggers in valhalla are OP!
- Imagining a current gen Assasin's Creed that's actually about assassinations and stealth
- Anyone have any info on this black box copy of Assassin's Creed Revelations?
- [Spoiler] Theory - Snakes, eagles, squirrels and trees
- I just discovered a new ladder combat animation (AC1)
- AC games that allow multiplayer story mode
- EZIO AUDITORE 「AMV//GMV」FALL // Assassin's Creed II
- Helmet Armor In Option Wheel
- Assassin's Creed: The Series' Early Outfits Were More Than Just Amazing Designs
- [Might Contain Spoilers] Assassin's Creed Valhalla - E3 Predictions (Siege of Paris, Meteor DLC, Potential Litha Season, Netflix TV Series)
- All Assassin's Creed Games ranked on aesthetic?
- PS4 to PS5 upgrade questions
- Valhalla is the first game in the series that gave me fatigue in playing it. Anyone else?
- Assassin’s Creed Revelations Issues with locking on
- AC Valhalla's drinking mini game, does Eivor improve at holding his Mead? Detail or random fluke.
- Assassin's Creed Bella Ciao
- I was searching for the real life counterparts of the characters in AC1 and I didn't find any info on some characters online but I seem to have found fitting profiles for the others. These may have been found before online but I had trouble searching for them so I thought I'll put them here
- AC3 Privateer sequence 10 - Sea Wolves... optional objective stinks!
| Posted: 08 Jun 2021 10:42 PM PDT
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| Assassin's Creed Origins | Welcome to Egypt Cinematic - 4K Posted: 08 Jun 2021 06:59 AM PDT
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| Which is the worst trophy/achievement? Posted: 08 Jun 2021 09:36 PM PDT Which was more painful to complete: Odyssey's Hermes Homie or Origins Old Habits? For me, it was Hermes Homie because I was trying to find the one area I missed and the game did not make it easy to identify or keep track of what has been discovered. [link] [comments] | ||
| Dual daggers in valhalla are OP! Posted: 08 Jun 2021 11:02 PM PDT So, I played most of the game with a bearded axe as my main weapon and a light shield as the secondary weapon. Just now switched to a dual dagger combo with Ragnar lothbrok's dagger as my main weapon and kopis dagger as my side weapon (both maxed out) and the combination is absolutely deadly! Feels as if I am invincible. The thing which makes this combination even more powerful is that kopis dagger restores health on critical hit and since I am at a very high level my critical hit chance is very high. So, every second hit by the dagger combo restores my health. Can literally kill waves upon waves of powerful enemies (on drenge difficulty) with little effort with this setup. [link] [comments] | ||
| Imagining a current gen Assasin's Creed that's actually about assassinations and stealth Posted: 09 Jun 2021 03:25 AM PDT Safety and peace, reader. I've been a fan of AC since playing AC1 at release. As I've written on another sub, I still think the first AC is remarkable and in some terms superior to its sequels. Later Assassin's Creed games progressively failed to scratch that itch, and the modern trilogy just does nothing for me. I liked Origins because I like Egypt, but to me, it was not an Assassin's Creed game. More power to you if you enjoy this trilogy, and I certainly think they're fine games, but they sadden me because they're hanging around in a franchise that, for me, is about something fundamentally different. So I've been thinking about what I would want a current gen Assassin's Creed game to be like, in a timeline where Assassin's Creed developed as a stealth-assassination game rather than as an open world RPG. This post is basically my pitch of this hypothetical Assassin's Creed Sequel, where a current gen game is made as a direct sequel to AC1, retconning all the stuff that's come before. This has become absurdly long, so I don't mind if you don't read it. I'm interested in what you think should be part of the perfect Assassin's Creed stealth game. Please refrain from mentioning my adderall. It's also an exercise in tormenting ourselves, because it doesn't exist. Feel free to stop reading. As an antidote to the unstealthy, un-assassiny, collectathon Assassin's Creed games have become, this imagined Assassin's Creed Sequel (ACS) will (much like Islam) have five pillars: assassination, social stealth, open world, the creed, and modern day gameplay. AN ASSASSINATION GAME ACS should be as assassination-centric as Hitman, while maintaining what made the original so special to begin with: its open world and its social stealth. But this means that ACS is a game which revolves around assassinations. You will not be collecting flags, buying real estate, or doing races. You'll not be swordfighting if you can avoid it, because combat will be lethal and escape will be difficult. You will be doing assassinations. The flag collecting, real estate, races, and side missions of AC are all there to fill up the open world, which was entirely empty in the original AC a few weeks before release when they last-minute added some side content. Is an empty open world better? No. But in ACS, the activities in the open world should not be filler; they should all serve the core, which are the assassinations. In the original AC, assassinations were protracted affairs, which began by scouting; interrogating, eavesdropping, and pickpocketing. This was done in a very linear, GTA-like style (walk to the dot and do exactly as I tell you). People didn't like this and in response, the series has shifted away from assassination preparations in this manner to more story-focused missions in the same GTA-like style. ACS will stick to assassination preparations, but will make them far less linear and unscripted. DYNAMIC INVESTIGATION In ACS, assassinations are facilitated through intel. I'll go into detail on Intel further below. Generally, Intel is information relevant to the assassination the player can gather or stumble upon in the open world. This intel can be gathered dynamically instead of linearly, because the open world too is dynamic, instead of scenery in which linear missions are set. In ACS, the cities are not just filled with NPC's and guards. Targets are also persistent NPC's in the open world with their own routines and movements - with some unique events taking place only once. The player can either figure out these routines by tracking the target themselves, overhearing conversations, or by systemically stalking and infiltrating a target's Social Web. A target's Social Web inlcudes their lieutenants, their advisors, their confidants, their messengers, their servants and even their rivals - all persistent NPC's in the world going about their business, meeting each other in a chain of relations, with the target at the top. Just walking through the relevant city district will put you in contact with the outer fringes of a target's Social Web and allow you to work your way in. These are the people that will lead your investigation. Each city's Assassin Bureau or common rumours will give you tips on where to start looking, but in general, you will have to keep sharp eyes and ears out yourself - though eagle vision will lend a hand by highlighting such relevant NPC's. Once located, members of a target's Social Web can be eavesdropped on, interrogated, bribed, or pickpocketed dynamically, at the player's discretion. Each tactic, for each informant, will yield different results. The conversations between servants and masters may provide information about a broken wall - a convenient entry-point. The conversations between lieutenants and soldiers may provide information about a planned movement or appearance of the target. A pickpocketed letter may reveal discontent among the guards that the player can exploit. An interrogation of people closer to the target in the Social Web may provide better information, but the disappearance of such people will also make the target more paranoid and alert. Later on, players may also dispatch Assassins under their command to perform such missions for them. Information gained through eavesdropping, interrogation, bribery, or pickpocketing of the Social Web is called intel. Intel is information that facilitates an assassination in the broadest possible terms; it contains the following kind of information:
All this information can be gathered dynamically through the Social Web, through overheard rumours, or through the player's own scouting around. Furthermore, while there is Intel with a big I which will get stored in player databases for review, some information can be only overheard or seen or concluded by the player themselves and which will require attention to detail since they are information the player notices, but which are not spoonfed (or tracked) by the game. The Social Web means that creators will have to create characters, animations, and dialogue same as in more linear Assassin's Creed games; the largest difference is not what content they create, but how the player is presented with that content. In this way, it is very doable. For example, say a local underworld figure meets with the target's messenger every week, only one conversation need be written and animated, since it only has to be rendered for the time the player attends this meeting. DYNAMIC ASSASSINATIONS In old AC, assassinations could go wrong; you could get spotted and have to kill your target in a swordfight rather than a perfect surgical strike. In ACS, such a failure will impact the assassination effect. This is the effect an assassination will have on the city, your other targets, and your fellow assassins. City Some of AC's sequels have introduced dynamic changes in cities; in Brotherhood, for example, Rome went from a depressing, poverty-ridden hell-hole to a bright, prosperous place when Ezio rebuilt it. This was a very cool and visible way to show the impact of Ezio's actions on the city; in ACS, such developments will be assassination-driven, not renovation-driven. In ACS, cities and city districts have a number of meters which influence its appearance, its crowds, guard behaviour, and certain events. These meters are the CHAOS meter, the CORRUPTION meter, the OPPRESSION meter, and the PROPAGANDA meter. The Corruption meter represents financial inequality; the fuller it is, the more dilapidated the houses will be and the more destitute and desperate its citizens. The Oppression meter represents armed oppression by the target and their faction over the populace; the fuller it is, the more street intimidation by guards there is and the less freedom the populace (and you) have in certain area's. The Paranoia meter is part of the new notoriety system and represents the target's awareness that an Assassin is stalking them. The target's men will be more suspicious and more numerous, including undercover as citizens. The Propaganda meter represents the populace's indoctrination into believing the target's influence is positive. The CHAOS meter represents the aftermath of violent events, when panic, lawlessness, and riots grip the city and only slowly subside; such events include succesful or failed assassinations. When chaos is high, shops are closed and the Social Webs of other targets are disrupted. These meters interact with each other. If the propaganda level of a district is very high, there will be much more chaos when the target is killed, because they were a beloved part of the community. Targets have specific stats by which they contribute to one or more of these meters; this is why they are targets. Their presence contributes to corruption and/or oppression in a bigger or lesser way (or more rarely, chaos). Assassinating them drops these levels, bringing balance and peace closer to the city. Targets Other targets can be impacted by assassination. An especially brutal and public assassination will make other target's PARANOIA spike up, which means that their men will be more alert and more numerous, and that more area's become off limits. Such a system was scripted at a certain story point in AC one and functioned as the "notoriety system" in AC2 and Brotherhood. The first one was very static; at a certain point guards would insta-spot you - while the second one was way too dynamic, where ripping down four wanted posters would make guards forget about you again. Assassins You are an assassin, and you must follow the creed. Tradition demands that you strike with your hidden blade and kill your target in public. If you fail to uphold the way of the assassins and to display your RESPECT FOR THE CREED, you will disappoint your mentor and cause discontent among the assassins under your command. This leads to less rewards from your mentor and to less access to assassin allies and informants or other facilities such as shops. How to assassinate? Although some assassinations will come with specific directions from your mentor, in other cases you are free to execute the assassination you desire: in public, in private; with the hidden blade, from a distance, through poison; perhaps even make it look like an unfortunate accident. The crux here is that different types of assassinations have different consequences. An assassination in private will lead to less chaos and paranoia, and will leave you less notorious as less witnesses have seen you; an assassination that looks like an accident leads to no chaos or paranoia at all. This means that subsequent assassinations will be easier. On the other hand, such assassinations go against the Creed; they are a coward's weapon, and a low respect for the creed will leave you unable to access gear and robes intended for higher rank assassins. SOCIAL STEALTH The original AC was unique in its stealth. Not only was it open world, it also was not based on line of sight (like almost every other stealth game) or on disguises (like the assassination-focused Hitman series), but on hiding in plain sight, remaining an anonymous blade in the crowd. Furthermore, the promotional material and in-game missions focused on the public execution of the targets. The perfect Hitman assassination looks like an accident with no witnesses; the perfect Assassin's Creed assassination is a bloody spectacle with a huge audience. In this sense it is stealthy until it isn't anymore. Social stealth in AC is determined through low profile and high profile actions. In later AC's, the importance of low profile is lessened. In the original AC, just climbing a house would cause inordinate unwanted attention, whereas in later AC's, little else than lethal action would cause a guard to become hostile. In general, the social stealth system could use a more gradual approach beyond unaware / suspicious / aggressive. In RDR2 for example, minor offenses would cause the law to demand you leave, rather than invite the intent to kill. ACS has two detection systems. The first is the kind of ATTENTION the guard gives you: unaware / aware / attentive / policing / aggressive / chase. Unaware means that you are either not visible to the guard or are blending into your environment. Aware means that the guard can see you but is not otherwise interested. Attentive means the guard is watching you because you did something socially unacceptable but not illegal. In the policing state, you have done something illegal or bothersome; a guard will demand that you leave, but will not attack unless you ignore him. Aggressive means the guard is engaging in combat with you. Chase means the guard is attempting to close distance with you and attempting to guess your trajectory when you break line of sight. The policing response is a vital addition to the Assassin's Creed escalation of violence as shown in the first Assassin's Creed trailer; from hidden in the crowd to shoving your way forward to killing the target. The guards are an order-keeping force, not a military, and will not immediately use lethal force in response to a threat. Unless the guards are on the alert, aware of a lethal assassin threat, their first response to a non-violent high-profile action will be a policing response. The HEAD button should allow the player to attempt to defuse the situation or apologize. The second detection system is how quickly the guard will IDENTIFY you as a threat or an assassin, which is related to notoriety and paranoia. These have three stages: unaware / aware / suspicious. Guards who are unaware are not on the lookout for an assassin and will treat you as they would treat anyone else; only violence will provoke violence. Guards who are aware of an assassin will recognize you only if you draw their attention and they can see you for a set amount of time while they connect the dots. Guards who are suspicious are on the lookout, will recognize you quicker, and will do so even in low profile if you are too close to them. The status of a guard should be visible from their idle animations. Guards who have been aggressive towards you recently will remain suspicious for a while. You can't kill a guard's friend, hide on a bench, and then pass the same guard a minute later. The combination of these two systems, of ATTENTION and IDENTIFICATION determines a guard's response to you. To escape combat, you must simply remain in the unaware / aware bracket of the ATTENTION system long enough. Whether you do this by hiding physically in haystacks (or new hiding places such as dark side alleys or doorways) or by blending with the crowd is irrelevant. ACS should include AI improvements for guards to make them follow your "last known position" and "last known trajectory"; meaning that if you dash into a street, then immediately hide or blend in near a market stall, pursuers should not immediately begin searching, but assume you have run down the street and continue pursuit, running past you, before entering searching behavior. Context Stealth The AC series has a very simple blending/hiding system: either you are hidden (in a haystack, on a bench, in a crowd), or you are not. But because social stealth is not so much about visibility as it is about inconspicuousness, there should be degrees of blending, based on the context the player is in. These degrees of blending influence the distance at which you are hidden and the time it takes for a guard to notice you (if they are aware / suspicious.) For example; the player should not only be blended in a tight group of four people, as in AC2 and onward. A semi-full street of people should also already make the player more blended than an empty street. Instead of the player being blended or not, the player should have degrees of blending based on how many people are around him. This would make crowd stealth more intuitive rather than trying to keep the network of lines on the ground there. Specific kinds of NPC's should also be engaging dynamically in not socially acceptable behaviour, such as thieves, beggars, drunks, and thugs. Such NPC's should act according to their own AI impulses which could dynamically create distractions. Furthermore, the player should be able to blend in other contexts as well. For example, the player should be more blended when standing near a shop and facing away from the street, as if browsing. The LEGS button, if pressed while standing still, will become a BLEND action again like in AC1, but it will be context specific; the assassin will perform an animation appropriate to their environment; be it talking, sitting down, leaning against a wall, pretend to shop, pretend to be a monk, etc. The hood In AC1, the player's robes afforded him the possibility to blend with a group of monks. In ACS, the player could unlock different Assassin uniforms as they move up in rank. Each uniform could allow the player to more easily blend into specific contexts and crowds. A low-rank uniform could fit in well with dock workers, for example. This could be a tactical choice if the player can switch between them, but it could also be a developing difficulty if the player can't pick lower-rank robes, as more opulent / monastic-looking robes blend in with rarer groups of people. ACS will also add the option of the player to put their hood up and down by pressing triangle. Hood / no hood represent essentially two different descriptions that guards will be looking out for. However, there are slight differences. If guards are looking for your hood, they will overlook you if you are not wearing a hood. Yet if they are looking for you without your hood, they have seen your face, and will eventually recognize you even if you are wearing the hood. It is therefore better to wear the hood before going into situations where you risk aggravating the guard. Getting into violent situations with the guards while wearing your hood means they will be quicker to recognize you only when you are wearing the hood. If you are chased, changing your hood while out of sight during a chase increases the effectivity of blending. The guards are looking for someone with a white hood and would perhaps overlook the customer browsing the nearby stall quicker if he did not wear a hood at all. The same goes for the other way around. High level robes may come with capes or cloaks which one can wear thrown over the shoulder or covering the entire body. By combining changes of cloaks and hoods, players can effectively change their appearance on the fly - but this will only hold up under very, very fleeting scrutiny. It is only fit to escape guards who have lost line of sight and are in the chase; it will not work long against guards who are aware they have lost you and are actively searching for you. At high notoriety levels, the hood itself may be something the guards are looking for - depending on how you were dressed when you committed the assassinations you are notorious for. Notoriety Notoriety works through three ways. These are PARANOIA, FAMILIARITY, and INFAMY. PARANOIA represents a target's fear that an assassin might come for them. It is generated through (bloody) assassinations of other targets and the assassination of members of the target's Social Web. Paranoia heightens the speed at which guards will identify you as an assassin, and increases their presence on rooftops and the amount of restricted area's. A target's paranoia only has these effects on guards / soldiers under this target's command. Paranoia does not drop. FAMILIARITY represents how often you draw attention through socially unacceptable or conspicuous actions. It is generated through doing these in front of guards and, to a lesser extent, civilians. Familiarity drops on its own, but high familiarity makes blending more difficult, and makes it likelier that guards will approach you with policing behaviour ("not you again"). Familiarity is district-wide and encourages players to take a slow and methodical approach. INFAMY represents how well-known your assassination actions are. It determines how suspicious soldiers are. It is a sliding scale. At lower levels, ordinary guards remain unaware, with only high-ranking guards being aware of an assassin. At medium levels, ordinary guards will be aware, with only high-ranking guards being suspicious. At high levels, all guards are on the hunt for an assassin. A few citizens may even recognize you. They will make a ruckus, which essentially makes you as noticable as a high profile action to any guards present. Infamy drops over time, and can be lowered by killing propagandists - without witnesses. Notoriety-adjacent mechanics are TERROR and JUSTICE. Terror is generated by bloody assassinations and by combat kills without taking damage. The higher your TERROR is, the higher the chance that guards will not even want to engage you and will simply run away. However, a very high TERROR will also increase your INFAMY, making stealth harder. JUSTICE refers to how you are perceived by the populace. Killing only targets with a low propaganda rating increases justice, as do nonlethal takedowns of guards. Killing guards (unless oppression is high) or civilians drops your justice rating. Guards are also just ordinary men doing their job, and their deaths are an affront to the people. With a high justice rating, sympathizers in the crowd may come out to aid you in combat or delay the guards during an escape. THE CREED *Stay your blade from the flesh of the innocent. Hide in plain sight. Never compromise the brotherhood.* This is the Assassin's Creed. You must show your RESPECT FOR THE CREED if you are to keep the trust of your mentor and the obedience of the assassins under your command. This means that ideally, only the target dies, you are not detected unless it ends in the death of the target, and that you do not disobey your mentor or let assassins under your command die. There is another, unspoken part of the Assassin's Creed, which is that assassinations should be performed with the hidden blade and in public. These assassinations are acts of justice and necessity, done proudly and boldly in the light of day, not in secret as if shameful. PLOT AND SETTING Generally, this could be anything. However, in the spirit of AC1 I would like it to be A) set not more than 200 years from AC1 and B) include the Islamic World, which jells better with the real-world Assassins as an Islamic sect. On the other hand, Christians should be present because this jells better with the real-world Templars. Personally, I think a focus on Persia and/or the Balkan would be a good fit. Baghdad should definitely be one of the cities involved; Armenian cities could be the Christian areas. If set in Baghdad, the Mongol Invasion could be a threat in the storyline. But this invasion happened, so it is not something easily introduced as the "threat to be defeated", since it wasn't defeated. Alternatively, Al-Andalus during the Reconquista would be a fascinating setting, allowing the player to explore both Christian area's such as the Kingdom of Leon, including cities such as Leon or Castille, Iberian Islamic cities such as Cordoba (Qurtuba), and North-African Islamic cities such as Casablanca (Anfa). In terms of plot, it would be great to revisit the themes of ambiguity and neither the assassins or the templars being good or bad. What would be ideal would be if the player, through the development of the game, gets access to tools to achieve his goals of lowering corruption and oppression in a city that are very effective, but that run counter to the Assassin's goal of individual freedom and peace. The twist in the first game was that Al-Mualim had actually harboured goals similar to Templars; in Assassins Creed 3, there is a twist where your character has been a Templar all along - but what if the game actually has the player become Templarist in their own way? Templar and Assassin are not just clearly delineated groups in AC1; they are ideologies, means and methods. Al-Mualim was a member of the Assassins but a Templar in his aims. Could such a development be possible for the player character? It would be interesting to confront the templars not as targets, but as rivals, seeking to get rid of your targets as well. This is after all what the games are about: they share goals, but not methods. In terms of progression, the game should begin with a few assassination targets given to you by your mentor, then ramp up to assassinations with specific requirements. The final third of the game should see the player with a large-scale goal to lower corruption and oppression in a city and to approach this in the manner they see fit: work out who contributes to corruption and oppression, and who deserves to die. In effect, the player should be free to pick their own targets and plan their own assassinations. MODERN DAY STORYLINE This is honestly the hardest part of imagining an Assassin's Creed sequel and it is also where games later in the franchise dropped the ball the hardest. Where does AC leave us in terms of modern day plot?
AC's developments here have been:
I propose that ACS changes these developments. It should keep the reveal of the ancient civilizations having created humanity as a slave race (although deal with it differently), but ditch the apocalypse plot, for the following reason. The reveal of humanity as a slave race ties in with AC's themes of freedom and control. The apocalypse plot does not. So while it adds a threat to the modern day plot, it destabilizes the narrative themes. Firstly, the reveal of humanity as a slave race must be dealt with differently. Most importantly, I feel that individual members of the first civilizations should not be shown. Like the monoliths in 2001: A Space Odyssey, it is more effective and striking to show the unimaginable and clearly non-human creations of the forerunners than showing what they look like. It should be revealed second-hand, through images, ruins, or records - not through a hologram that shows a forerunner woman. The apocalypse threat should be done away with entirely. Instead, Abstergo and their striving for world domination should be the main threat. This ties into the themes of freedom and control, and it is a clearly understandable threat. We know about the pieces of Eden as tools of control; we know what is at stake. How are the pieces of Eden, tools for controlling humans, going to help against the solar apocalypse? We don't know. With Abstergo as the main threat, the stakes are clear: they must not get the pieces of Eden, because they could enslave humanity. The modern day plot should revolve around finding and destroying the pieces of Eden -- and about the temptation of using them against Abstergo. Being a Templar is not just being a member of Abstergo: it is seeking to control your fellow man. In the fight against Abstergo, Desmond's allies may easily fall to that temptation. A fertile ground for drama and ethical dillemma's. In synergy with making Abstergo the main threat, ACS should set up Desmond's escape, allowing it to take place at the game's end or at the beginning of the game's final act. To show the power and threat of Abstergo, the escape should be an immensely difficult and complicated feat that the player works towards throughout ACS. You can't just walk out. The modern day Assassins should not be the scooby gang. They should be as they are in Masyaf: bad ass and borderline unethical operators, but with modern day armaments. They should look and act as if they walked out of a Christopher Nolan movie. Portraying the Assassins as they ought to be in the modern day will be difficult for the engine as firearm mechanics are not really present, so it would make sense to portray them sparingly, and spend more time communicating with them in secret while preparing your escape, perhaps through holes in the Animus system, similar to the messages Subject 16 leaves behind in ACII. The final escape from Abstergo should test free-running (while escaping) and crowdblending (in the city). To be a believable conflict in modern times, the Assassins and Templars will have to use firearms, but Desmond does not have experience using these; either personally or from the bleeding effect, so it is those qualities that should be tested (or perhaps part of the escape preparations would be Lucy secretly having Desmond train firearm skills in the Animus). A cool final boss test of the stealth skills developed throughout the game would be for Desmond to kill Vidic, either at Abstergo, during the escape, or at his home. Additionally, it would be cool if Vidic is killed (perhaps off-screen) by Abstergo, to emphasize the threat and ruthless nature of the corporate Templar machine. The bad guy of AC1 has been crushed under the boot of the system you're gonna be taking on. TL;DR a pointless fantasy. But tell me what you'd like to see. [link] [comments] | ||
| Anyone have any info on this black box copy of Assassin's Creed Revelations? Posted: 09 Jun 2021 03:31 AM PDT So the other day I was browsing a local second hand shop and I found a weird looking copy of Assassin's Creed Revelations on PS3. It's a regular game box, except it's black (which looks cool tbh) and it includes Assassin's Creed 1 on the disc as well. I had a look online and it appears to be a special edition version of the game, however all of the images I've seen online have the game rated as 18, whereas my copy is rated 15. All of the pictures I've seen of North American copies are rated as Mature too, which is the equivalent to 18+ in NTSC regions, IIRC. My Platinum copy of Revelations is also rated 15 as well, so I'm assuming I don't have a weird misprint. Idk, just looking for some more context for this specific version of the game and if anyone here remembers getting it when it released. It's a cool looking version just because of the black box but I'm curious as to what other goodies came with this release of the game. Here's a couple of photos of my copy for reference And here's a photo of the same version, but with a different age rating [link] [comments] | ||
| [Spoiler] Theory - Snakes, eagles, squirrels and trees Posted: 09 Jun 2021 07:12 AM PDT So in this archived thread, somebody had questioned giant snakes in recent AC games: https://www.reddit.com/r/assassinscreed/comments/hgbtju/giant_snakes_odyssey_origins_and_valhalla/ Pointing out that snake imagery appears linked to the cult/order and somebody also pointed out obviously eagles represent the Assassins. What I haven't seen mentioned is... Norse mythology:
Snake stuff:
Squirrel stuff:
General stuff:
Less likely stuff:
I know there's a lot there, but my main questions are:
[link] [comments] | ||
| I just discovered a new ladder combat animation (AC1) Posted: 08 Jun 2021 07:01 AM PDT If you're locked onto an enemy as he is climbing a ladder, you can do a unique slash to make him fall off. I have never seen this attack before. [link] [comments] | ||
| AC games that allow multiplayer story mode Posted: 09 Jun 2021 01:07 AM PDT Hi all, I'm planning on purchasing one of the AC games. I'm not particularly a fond gamer, but since my country is restricting quite a lot of social gatherings, I'm kind of stuck at home doing nothing. I thought AC is a perfect fit to kill time and I was wondering whether any of the AC games allow multiplayer story mode. Idk the real term, but what I'm saying is are there any AC games that allow the story mode to be played with a friend? If so, which AC games are the best to do this? [link] [comments] | ||
| EZIO AUDITORE 「AMV//GMV」FALL // Assassin's Creed II Posted: 09 Jun 2021 03:55 AM PDT
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| Posted: 08 Jun 2021 02:34 PM PDT Who else thinks they should put a option on the down button wheel menu, that you can quickly take the helmet on and off, similar to the cloak option? But taking it off just makes it invisible really not affecting stats. [link] [comments] | ||
| Assassin's Creed: The Series' Early Outfits Were More Than Just Amazing Designs Posted: 08 Jun 2021 05:26 AM PDT
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| All Assassin's Creed Games ranked on aesthetic? Posted: 08 Jun 2021 05:00 AM PDT What games do you like for their time period/interpretation of that setting? Mine goes a bit as follows
1 . I believe for everything this must be in the top 3. Odyssey's Peloponnesian War was the stuff of dreams. This shit was rich. From the paintstaking reconstruction of the Athenian Agora and the Temple of Apollo at Delphi, to the epic battles you decide the result of throughout the world, as well as amazing naval combat, vibrant colors, an explorable world that has history everywhere you go, and the fact I have bias that I have towards this era. The fact that I can meet Alcibiades, Herodotus, Perikles, Socrates, and Cleon all in one day is beyond astounding. I love this world. Also Athens is pogchamp [link] [comments] | ||
| Posted: 08 Jun 2021 06:02 PM PDT I got some questions, since my retailer only have the ps4 version for the collectors edition instead of the ps5 and also my ps5 has not arrived. (Valhalla)
Appreciate those that responded, thank you in advance for answering. [link] [comments] | ||
| Valhalla is the first game in the series that gave me fatigue in playing it. Anyone else? Posted: 08 Jun 2021 12:54 AM PDT So small point of view/rant. First of I know, I know I'm late to the party. Normally I play the new AC games close to launch. Now however I only got around to it recently. I'm playing on ps5, don't know if that matters. Anyway, so this is the first game in the series where I thought by myself "this is the never ending story". I first did the main story until like the 4th area. After that I completed the whole main map except for the small treasures. Then went into those 3 extra maps and I was like yeah I'm not doing all that again so just stuck to the main story for those. I was like 220 power when starting the story from act 4. Anyway I'm now like 84 hours in or so power is 404. I still need to complete like 4 story related area's and then the north map. And I'm really like zomg this never ends. I find myself skipping through quite some story related dialogues in the area's you conquer because quite a few of them don't contribute to the overall story and are just, I don't know, uninteresting? I'm pushing on, but I don't think I will do much more then the story from now on. Maybe just maybe also clear the map in the north. I ran into something similar in odyssey where all the water and endless bandit camps was wearing me out. But I still platinumed that one and it was closer to 70 hours I think. Then there was origins which I did not platinum, but I still prefer that one out of the last 3 games with the more gigantic maps (origins/odyssey/valhalla). You might think I have a problem with big open world games. But I had no troubles finishing the witcher 3 with all it's dlc. I loved that to death and was never bored or felt pushed to play on. So I don't know what it is. Textbook wise it's better than odyssey. I even enjoy it much more then odyssey. But valhalla just feels like it's overstaying it's welcome. For me origins was just right in all departments. [link] [comments] | ||
| Assassin’s Creed Revelations Issues with locking on Posted: 08 Jun 2021 09:10 PM PDT So I'm replaying through the Ezio Collection and am now on Revelations. Up until this point locking on has been no problem, except in Revelations. I discovered it only works when you slightly press down on the trigger, is this common or is it just my game? [link] [comments] | ||
| AC Valhalla's drinking mini game, does Eivor improve at holding his Mead? Detail or random fluke. Posted: 08 Jun 2021 04:33 PM PDT So this is my first Reddit post, so please excuse me if it's lacking in anyway. I've noticed that when I'm doing the Drinking Challenges back to back or in a frequent kinda time frame. Eivor seems to hold his mead better during a drinking challenge. It seems to take a lil longer for the leaning left/right prompts to start appearing. Most of the time when it's been a bit of since I last did a drinking challenge, the Leaning prompts will start shortly into the second cup. But when playing the challenge back to back or in short periods of time I might be able to get to three cups or even a little further before the prompt starts up. Has anyone experienced this a well or is it just a random fluke that gets generated just randomly? I really feel like it's a neat lil detail Ubisoft put into the game but I've also seen a lot of odd glitches & just random hiccups within the game. Thank you too everyone who takes the time to read my question (that lol I'm sure everyone else could have asked it better while making it shorter) let alone respond. [link] [comments] | ||
| Posted: 08 Jun 2021 12:18 PM PDT
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| Posted: 08 Jun 2021 05:42 AM PDT Abu'l Nuqoud must be Abu al-Fadl Ja'far ibn Ali al-Dimashqi, a Muslim merchant from Damascus. This makes me think that other "fictional" characters such as Majd Addin, Tamir and Talal might be potrayed based on some real characters as well. Going to find those! Well, about Majd Addin, he is thought of by many as this guy:- [link] [comments] | ||
| AC3 Privateer sequence 10 - Sea Wolves... optional objective stinks! Posted: 08 Jun 2021 05:03 AM PDT I just can't get 100% on the Sea Wolves optional objective - complete the contract with minimal allied casualties. If I keep hard left as I've seen in some Youtube videos, the allies sail right in front of me as I'm trying to turn towards the enemies getting sunk in the process. If I go right as in some other videos to catch the wind, I can sink one ship fairly quickly but the others are then too far away to get back to before they are sunk. The allies in general are annoying doing their best scrappy doo impressions to go after the big ships on their own contributing nothing but getting sunk even more quickly. This is the worst optional objective so far and there have been some pretty frustrating ones! My ship is fully upgraded and I've tried the different cannons but none seem to be more effective than the others. Fire perhaps as I can open up a weak spot but even that is challenging. Please help! [link] [comments] |
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