One of the most memorable moments in the entire Assassin's Creed series occurs early in Assassin's Creed III. Haytham Kenway, having assembled his band of assassins in the New World (or so the player believes), embodies the series' charismatic protagonist archetype. He wields a hidden blade, displays the charm of Ezio Auditore, and initially acts heroically, rescuing Native Americans and battling British soldiers. The revelation that he is, in fact, a Templar, comes only with his utterance of the familiar phrase, "May the Father of Understanding guide us." This surprising twist perfectly encapsulates the series' potential.
The first game introduced an intriguing premise—locate, learn about, and eliminate targets—but fell short narratively. Both Altaïr and his victims lacked personality. Assassin's Creed II improved upon this with the more iconic Ezio, but its adversaries remained underdeveloped, as exemplified by the lackluster Cesare Borgia in Assassin's Creed: Brotherhood. Only in Assassin's Creed III, set during the American Revolution, did Ubisoft dedicate equal effort to developing both hunter and hunted. This created a seamless narrative flow and achieved a balance between gameplay and storytelling unmatched since.
Despite the generally positive reception of the series' RPG era, many believe Assassin's Creed has been in decline. While explanations vary—from increasingly fantastical premises involving gods like Anubis and Fenrir, to the inclusion of romance options, or even the controversial use of a real historical figure like Yasuke in Assassin's Creed: Shadows—I argue the decline stems from the series' abandonment of character-driven storytelling, lost within sprawling open worlds.
Over time, Assassin's Creed has incorporated RPG and live-service elements: dialogue trees, XP systems, loot boxes, microtransactions, and gear customization. However, this expansion has resulted in a sense of emptiness, not only in the numerous repetitive side quests, but also in the core narrative.
While Assassin's Creed Odyssey boasts more content than Assassin's Creed II, much feels underdeveloped and wooden. The player choice system, intended to enhance immersion, often has the opposite effect. Extensive scripts, accounting for multiple scenarios, lack the polish of earlier, more focused narratives. The tightly written scripts of the action-adventure era fostered sharply defined characters, unaffected by player-driven choices that might force a character to be compassionate or brutal on a whim.
The writing has also suffered in other ways. Modern games often rely on the simplistic good (Assassins) versus evil (Templars) dichotomy, whereas earlier installments explored the complexities of this conflict. In Assassin's Creed III, defeated Templars challenge Connor's (and the player's) beliefs. William Johnson suggests the Templars could have prevented genocide. Thomas Hickey criticizes the Assassins' mission. Benjamin Church highlights the subjectivity of morality. Even Haytham undermines Connor's faith in George Washington, revealing Washington's role in the destruction of Connor's village. The game concludes with more questions than answers, strengthening the narrative.
The enduring popularity of "Ezio's Family" from Assassin's Creed II's soundtrack highlights the impact of character-driven narratives. Assassin's Creed II and Assassin's Creed III prioritized character development, with the music reflecting Ezio's personal struggles. While current games offer impressive visuals and expansive worlds, I hope the series will return to its roots, delivering focused, compelling narratives that recapture the magic of the earlier installments. Unfortunately, in the current gaming landscape, this may no longer be considered a viable business strategy.
