Most players will likely spend the first six hours of “Assassin's Creed III” wrapping their heads around the profound size and ambition of the game. Ubisoft Montreal and its sister studios around the world have crafted a prodigious and complex game rich in theme-driven storytelling and diverse gameplay. From riding the towering waves of the Atlantic as they crash against your ship to witnessing the first shots of the American Revolution — and on to the conclusion of the present-day story line introduced in the first franchise entry — “Assassin's Creed III” delivers everything the series has promised, and throws in a little more for good measure.
“Assassin's Creed's” greatest allure has always been melding real history with a conspiracy-laden fiction, and colonial America is rife with moments, personalities, and events worth exploring. Colonial-era Boston and New York are the liveliest and most authentic open cities I've encountered in a game, from the squealing pigs to the newsboys hawking papers. The wilderness that separates the two is vast, and filled with plenty to do. Many missions are set in the frontier, and in between those missions you can hunt animals, bring down enemy forts, climb cliffs and trees, and explore hidden caves, just to name a few of many diversions. As an open wilderness zone, the frontier shines, though long runs to mission objectives can get tedious.
Along with providing a greater sense of place than its predecessors, “Assassin's Creed III” is more deeply rooted in historical time as well. If new hero Connor isn't involved in every memorable moment of the American Revolution, it's only because he can only be in one place at a time. Flinging boxes of tea into the Boston Harbor and running between cannon blasts at Bunker Hill, the game feels more cinematic and scripted than it has before. Many times, this approach results in thrilling intensity, but some missions subtract from player agency by leading players along with a string of breadcrumb objectives. Other sequences recall the free-form assassination sequences of the first game in the series.
It's a mistake to think about the game in terms of a critical path of core missions. Instead, “Assassin's Creed III” excels by providing meaningful story-based content everywhere you turn. One main thread may provide the tale of Connor's lifelong struggle against the Templars, but another line of missions describes his home life and the people who come to live beside him. A different story takes Connor out onto the seas of the Atlantic to confront a mysterious threat to the colonies. Yet another details how the men and women he gathers to join the Assassin order come to fight at his side.
The storytelling that weaves through these many threads is stellar. Rather than hiding from the complex themes of freedom versus control at the heart of the series, “Assassin's Creed III” confronts them head on, and tells a nuanced and adult story about the price of liberty, the dangers of extremism, and the connections that bind family. An impressive cast of voice actors supports the thoughtful writing by bringing the characters onscreen to life. The game also fleshes out the antagonists in a way that only the interactive medium could achieve, shaping them into characters that surpass stock villainy.
Combat and free-running remain gameplay staples, but both are improved. Platforming and traversal is streamlined through simpler controls, but I had more control over my character, not less. Climbing is more natural than ever, and the new tree navigation is a cool new trick in the arsenal. Meanwhile, combat takes major strides forward by giving more offensive tools to the player. Battle animations often result in incredibly cool takedown sequences, even if the new combat mechanics occasionally exhibit jarring shifts between actions.
When you're done with the story, you owe it to yourself to engage with the exemplary multiplayer. Most of the excellent modes of previous entries return, but everything feels refined and the interface doesn't get in the way of the mental game of cat and mouse.
“Assassin's Creed III” is the culmination of a story and gameplay model that's taken five years to polish. While not perfect, it makes a convincing case for the freedom and storytelling potential inherent to games over other mediums. An overwhelming experience in its own right, “Assassin's Creed III” is the crown jewel on an already excellent series, and it sets the mind reeling about the potential for where the story goes from here.
'Assassin's Creed III'
9.5 (out of 10)
PlayStation 3, Xbox 360
ESRB rating: M
On the Xbox 360
The editors of Game Informer Magazine rank the top Xbox 360 games for the month of November:
1. “Assassin's Creed III,” Ubisoft
2. “XCOM: Enemy Unknown,” 2K Games
3. “Halo 4,” Microsoft Studios
4. “Need For Speed: Most Wanted,” Electronic Arts
5. “Hitman: Absolution,” Square Enix
6. “Borderlands 2,” 2K Games
7. “Dishonored,” Bethesda
8. “FIFA 13,” EA Sports
9. “NBA 2K13,” 2K Sports
10. “Call of Duty: Black Ops II,” Activision
Game Informer Magazine
In the news
Google Street View takes on the Grand Canyon
Recently, the team at Google Street View sent some of its members down the Bright Angel Trail and then out the South Kaibab Trail to collect 360-degree imagery of one of America's most spectacular, mind-blowing natural wonders.
Over the last five years, the Google Street View team has used all sorts of vehicles to help it collect imagery of places such as Antarctica, the Amazon and the Great Barrier Reef, including cars, vans, trikes and snowmobiles.
But to photograph the trails of the Grand Canyon, the team broke out a brand new piece of equipment: the Trekker.
The Trekker is a backpack with a round camera system sticking out of the top. Nathan Olivarez-Giles, a Wired reporter who was there as the engineers descended into the canyon Oct. 22, describes the packs as looking like “a “Ghostbuster's” Proton Pack with an oversized soccer ball mounted on top.”
Now the Street View team just has to process the images and stitch them together. The team says they should be available for armchair explorers to peruse in a few months.
— Deborah Netburn, Los Angeles Times