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Assasssin’s Creed: Revelations – Exclusive Sneak Peek

Assasssin’s Creed: Revelations – Exclusive Sneak Peek

There are fifteen minutes left before the end of the day which I have to write a post for your reading pleasure. I’ve decided I’ll write a quick run down of some exclusive footage I saw from Assassin’s Creed: Revelations – exclusive footage that wasn’t even shown at E3. Or at least, not as far as I’m aware.

What I saw was a kind of tech demo designed by the team using Assassin’s Creed: Brotherhood assets, but showcasing the kind of new and dynamic gameplay that we can expect from Revelations. It began with Ezio stood n a parapet high above the earth, standing over a long drop. Behind him a soldier drops Ezio’s hood and ties a noose around his neck, tightening it and preparing to push the assassin to his death. Just as the moment comes Ezio unexpectedly jumps himself, swinging himself 180 degrees in mid air and whipping up the loose length of rope as he does so. It swoops up and around his captor’s neck, pulling him to the decking as the rope tightens and sends a sharp crack of pain down the Ezio’s spine. He hangs on to prevent himself from being strangled, dangling in the air as the soldier above strangles instead under Ezio’s weight.

With less finesse than we’ve come to expect from him, Ezio attempts to remove the noose from around his neck, but suddennly the rope snaps and he falls into a crumbling rock face, sliding downwards while avoiding various bits of falling wooden debris. Throwing out an arm and grabbing onto a craggy outcropping saves Ezio from falling into the deep abyss below, which he uses to swing off and onto an adjoining rope bridge.

The bridge isn’t sturdy enough to support his weight, however, its ropes thrashing, twisting and tearing under Ezio’s weight. He escapes and bounds away across planks of wood, but not before a group of archers locate him. The camera swings out, viewing the action from an almost 2D platforming perspective, Ezio bounding from beam to beam while arrows whistle by. He fnally makes his escape, emerging onto an outcropping that looks out across a stunning vista – a palace bathed in a hazy, setting sun.

We were shown this bit of action to illustrate the seamless interweaving of set pieces and interactive gameplay that Ubisoft is pushing in Assassin’s Creed: Revelations. It’s as good as, if not better, than Uncharted, the action segueing between climbing and cut scenes with none of the connective tissue showing. It’s incredibly impressive stuff – if you saw the on stage demo of Revelations at Ubisoft’s press conference E3 you’ll know what we’re talking about.

I’ll sign off with a quote from the interview I did with creative director Alex Amancio, in which he describes the team’s approach to these action-intense sections of gameplay:

Our influences are more cinematic. People will obviously mention Uncharted but our goal is sort the more cinematic feeling rather than a specific game. That sequence you saw in that video, just to give you a little bit of context, was something we put together in January. When I started talking to you about having linear sequences that are more realisation-centric than gameplay/puzzle-centric, you know even internally we had some people internally that were like, ‘Yeh, but what do you mean?’ so we put that piece together in around three weeks using existing assets, just to show the sort of direction we were taking it in. But we want to push it even further, that specific example is during one of the linear sequences. We’re also planning the same kind of uses in the actual game, trying to avoid the cinematic/game, cinematic/game syndrome. We don’t want people to feel like it’s a cinematic, we want people to feel like they are playing the game and the game itself is the experience. Obviously, we know what the difference between a cinematic and in-game section is but hopefully, if we do our job correctly, the player won’t see the difference any more, the lines will at least be blurred. Hopefully, it’ll be this intense experience that is memorable rather than just showing you some exposition, then letting you play it, and then showing you more exposition. The game should be telling the story, the cinematics shouldn’t be telling the story.

The full interview and Assassin’s Creed: Revelations preview is available in this month’s issue of Play, out now in all good retailers or available through the Imagine Shop.




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