Changes
The mechanics of Assassin’s Creed II remain, unsurprisingly, mostly unchanged from its predecessor. Combat is crisper and allows for more variety, and the addition of money to the franchise allows for weapon and armor upgrades, plus investments in your home town of Monteriggioni. Also added are air assassinations, where Ezio is able to leap from above to take out his targets in one swift movement.
A less welcome addition is the inclusion of quick-time events, where you have to press the correct button when prompted during a cutscene. If successful, you might get to witness a new line of dialogue of a new animation. Unfortunately, in the PC version of Assassin’s Creed II you are not told which key to press, but which ‘hand’ to use, represented by a symbol. I don’t know about anyone else, but when playing a game I learn which keys perform which action, not the symbols associated with them.
I can deal with QTEs as long as they are optional (which they are in Assassin’s Creed II), but I have to admit, I completely freaked out when I missed my chance to give Leonardo a hug.
Also added is notoriety, a system which ensures that your actions have longer term consequences. Perform enough unsociable actions and you’ll become notorious; guards will be aware of your every move, and the tiniest provocation will have them running after you in no time.
Notoriety adds a much needed element to Assassin’s Creed – repercussions for your actions after the initial transgression brings a hint of realism to the game. Unfortunately it’s far too easy to reduce your notoriety: take down four wanted posters and all of your crimes will be forgotten.
Assassin’s Creed II also brings a day-night cycle to the game. Certain missions will alter the time of day, but a natural cycle occurs at all other times. Again, this was a nice little touch but could have been executed better. At night, the darkness is more like dusk, and doesn’t really impact upon gameplay. You can still see perfectly, and the cycle is so quick that the transition from night to day isn’t as significant as it should be.
Still, that makes it easier to eliminate all of the conspirators, which is ultimately your task in Assassin’s Creed II. The game ends when Ezio confronts the Pope, Rodrigo Borgia, has several fist fights with him, but ultimately spares him. In the same sequence, Desmond gets a warning from a Roman goddess about the end of the world being nigh (I’m not even joking).
Coming of age
Ubisoft Montreal improved upon the original Assassin’s Creed game in almost every way. With the addition of a quest system, inventory and a little bit of gondoliering, Assassin’s Creed II has depth, a compelling story (that ends with a speech from a goddess) and an engaging setting that makes you yearn to play for hours on end. Assassin’s Creed II is less repetitive than its predecessor, but still punishes you for playing cautiously. Missions can be completed much more quickly and easily by running straight into combat, rather than using your surroundings and stealth to reach your target.
The quick-time events are jarring, as is the constant hand-holding during the tomb segments. Further, the storyline is completely linear, and there’s almost no replay value, especially now that there are other Assassin’s Creed games to get sucked into.
I can forgive the spoiler in the options menu, I can forgive the lack of challenge in most of the missions, but I cannot get over missing out on hugging Leonardo da Vinci. And why do Venetians instantly drown when they touch water?
Minor quibbles aside, Assassin’s Creed II undoubtedly smooths out many of the bumps the first game had; polishes the combat, free-running and storytelling, and delivers content of far greater quality and in much greater quantity than the original. It is rare to find a sequel that solves all of the problems of its predecessor, but Assassin’s Creed II comes very close to that feat.
Did you enjoy ‘Assassin’s Creed II’?
Next time we will explore Rome in an Assassin’s Creed: Brotherhood retrospective.
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