Early in Assassin’s Creed 3, there’s a moment that stands out as one of the most unforgettable in the franchise. We start by following Haytham Kenway, who seems to be rallying a team of assassins in the New World. The hidden blade he wields and his charismatic nature, reminiscent of Ezio Auditore, lead players to believe he’s on the side of the Assassins. He even heroically saves Native Americans from captivity and fights off arrogant British soldiers. But everything flips on its head when he utters the phrase, “May the Father of Understanding guide us.” That’s when the shocking truth hits: we’ve been aiding the Templars, the sworn enemies, all along.
This twist perfectly captures what Assassin’s Creed is capable of. The series began with a fresh concept of hunting targets you truly understand, but the original game didn’t quite deliver on character depth, leaving protagonist Altaïr and his foes bland. Assassin’s Creed 2 improved things with the charismatic Ezio, but his enemies still fell flat, and the series hit a high note with Assassin’s Creed 3 during the American Revolution. Ubisoft expertly crafted both hunter and hunted, creating a seamless narrative that hasn’t been matched since. The game achieved an ideal balance between action and storyline that made for an unforgettable journey.
As we move into the series’ RPG-focused phase, it’s clear that both fans and critics have mixed feelings. While the newer installments have gained some positive feedback, there’s a strong sentiment that the series is losing its way. Discussions abound over what’s causing this slump—whether it’s the fantastical directions involving battles with mythic gods like Anubis and Fenrir, or contentious elements like real-world historical personalities, such as the African samurai Yasuke in Assassin’s Creed Shadows. Despite my fond memories of the older Xbox 360/PS3 versions, I believe the issue lies not in these elements, but in the loss of storytelling fueled by richly developed characters. The narrative depth seems buried beneath an expansive game world.
Assassin’s Creed has evolved, weaving RPG elements into its foundational action-adventure gameplay. It’s introduced dialogue choices, XP systems, and customized gear. However, these additions, while broadening the scope, have inadvertently diluted the intimacy. The world is vast, yet lacking the substance that once defined the series—character-driven stories that feel fresh and meaningful.
Games like Assassin’s Creed Odyssey boast enormous content, but can often feel hollow. Interacting with computer-generated characters becomes glaringly noticeable compared to the depth of earlier characters. While having dialogue choices aims to enhance immersion, the scripts often feel stretched, compromising the depth and polish seen in the streamlined storylines of the past.
The storytelling excellence of the franchise’s earlier years is missed. Assassin’s Creed 3, in particular, skillfully blurs the line between Assassins and Templars, challenging players’ perceptions. Each conquered Templar offers a perspective that makes protagonist Connor—and players—question everything. Characters like William Johnson, Thomas Hickey, and Benjamin Church reveal complexity within their motives, turning the narrative into a profound exploration rather than a simple battle of good versus evil.
Reflecting on what made the earlier games so gripping, the track “Ezio’s Family” from Assassin’s Creed 2 strikes a chord with fans, becoming iconic for its emotional ties to personal stories rather than just its historical backdrop. While today’s iterations showcase impressive worlds and graphics, I yearn for a return to the more focused, emotionally rich narratives that first drew me into the franchise. However, with the current trend towards large-scale sandbox experiences in the gaming industry, it seems unlikely. Despite the financial success of wide-ranging adventures, my hope remains that one day, the franchise will rediscover its narrative roots.
Tim Brinkhof is an experienced freelance writer with a passion for art and history. Having studied journalism at NYU, he has contributed to notable publications such as Vox, Vulture, Slate, Polygon, GQ, and Esquire.
