First reported on by Bloomberg (opens in new tab) and still to be confirmed by Ubisoft, Rift apparently began life as yet another expansion for Valhalla, but became a standalone game late last year. It’s said to star Basim, the assassin who first teaches Eivor how to wield a hidden blade, and to be less sprawling than recent entries in the series. For Creedheads of a certain age, that’s a thrilling concept. With a generation’s distance from the franchise fatigue that led Ubisoft to pivot towards Witcher-esque exploration, the idea of returning to busy streets in a cramped city sounds like bliss.

Daylight robbery

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Ranking the best Assassin’s Creed games

Assassin’s Creed is often talked about as a stealth game that, over time, became an RPG – but that’s an oversimplification. In the beginning, going wholly undetected was impossible. While Altaïr’s peers preached subtlety in approach, they never gave him the tools to follow through, leaving him bereft of smoke bombs, poison darts, coin bags, or any of the other gadgets that might have made it viable to distract his enemies. Investigating a target often involved fighting openly in the streets, and crowd-blending was only doable when a scholar’s morning walk happened to converge with your own.

Haystacks and benches? These were means of escape, not of getting in and out unseen. Even if you were to somehow reach a target quietly, a cutscene might be deployed to uncloak you, cueing up a messy chase sequence in the aftermath. Anything to get you back on the rooftops – the only place where the game truly made sense. Of course, 2007’s Assassin’s Creed was a commercial success despite its shortcomings. And in its immediate sequels, Patrice Désilets and team developed novel stealth concepts that better delivered on the fantasy of killing unnoticed. Assassin’s Creed 2 introduced air assassinations, as a way of conferring a covert advantage to players who found a path along the gutters. And it declared that three was a crowd – allowing Ezio a kind of conditional invisibility so long as he could find a few fellow Italians to brush shoulders with.

Most brilliantly, it traded the scholars for prostitutes who, with a small monetary incentive, would surround and cover Ezio as he stalked the streets. A shrewd reimagining of Halo’s shield, this barrier was slowly stripped away as the women peeled off to occupy nearby guards, leaving Ezio all-but naked if alternative shelter wasn’t found. This, finally, was social stealth as Ubisoft had first pitched it.

Over time, more traditional forms of stealth bled into Assassin’s Creed too – ideas crossing the membrane from other nearby Ubisoft games, as they so often do. By the time Unity came out, the cover stealth system that had defined Splinter Cell: Conviction was present and correct – as was the indicator that rendered your last-known-position as a translucent ghost. The influence of Far Cry’s outposts was clear, too, in Black Flag’s plantations – stealth puzzles which required you to study the patrol paths of your opponents, before picking them off in the correct order to evade detection.

Yet Black Flag’s swashbuckling premise ultimately became the turning point for the series – proving the potential for Assassin’s Creed as a broad action-adventure. With Unity launching in a buggy and finicky state, and the audience palpably tired of familiar stealth mission formats, Ubisoft recognised an opportunity – allowing the Black Flag team to double down on RPG action with Origins, and directing its other Assassin’s Creed studios to follow suit.

Infinity and beyond

Ever since, the publisher has distanced itself from the social stealth fantasy it once sold to the public. It must have been a relief to leave behind the unsolved problems of a premise that was, necessarily, fuzzy. Just as all social interaction is opaque and subjective, so too is the stealth derived from it. When is a person hidden in plain sight? What does that look like, exactly? These aren’t questions that naturally lend themselves to the binaries of player-facing game design. Yet, in Ubisoft’s absence, others have moved the form along. IO Interactive has folded Assassin’s Creed 2-style crowd-blending into the toolset of Hitman’s Agent 47 – alongside poisons, overheard conversations, and disguises that act as keycards, allowing access to forbidden areas. The resulting World of Assassination trilogy has shown that social stealth can be both a commercial prospect and critical catnip. Surely, Ubisoft has taken note.

With Rift, it has a chance to capitalize on that appetite – as well as the nostalgia of fans who, by this point, miss the distinct style of the ‘00s Assassin’s Creed games. These are time-poor 30 somethings who would fall over themselves to play a fully featured stealth game with a 20 hour runtime, just the way they used to make ‘em. Unity was already leaning towards Hitman, with main missions that offered various scripted angles of approach, and IO could do with a true competitor to keep it hungry.

If Rift turns out well, then Ubisoft could have a subseries on its hands – which would suit it perfectly. As an enormous global company which handles development internally, one of its biggest problems is ensuring every team has something to work on. Rather than continuing to oversaturate the likes of Valhalla with samey expansions, it could dedicate some of its workforce to a parallel vision of the Creed. If the mysterious online service Assassin’s Creed Infinity will indeed tackle more than one historical setting simultaneously, as Bloomberg has reported, then surely it can encompass more than one genre too. That way, Ubisoft can more easily avoid the repetition that forced Assassin’s Creed’s developers to abandon social stealth in the first place. 

“Have you forgotten the meaning of subtlety?”, Jerusalem bureau head Malik once asked Altaïr. Rift is Ubisoft’s chance to prove that it has not.

The best stealth games will keep you concealed in the shadows. 

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As outlined by Eurogamer (opens in new tab), digital media culture student Lars de Wildt interviewed a number of Ubisoft developers in 2019 for their article ‘Marketable religion: How game company Ubisoft commodified religion for a global audience’. 

In a footnote within that article, de Wilt says that they pieced together an “original plan” for the end of the series, stating that “briefly put, the third game would end with a resolution of the conflict in the present day, with Desmond Miles […] taking down Abstergo using the combined knowledge and skills of all his ancestors, including AC1’s Altair and AC2’s Ezio.”

Desmond wouldn’t only be taking down Abstergo, however, but fleeing from the end of the world – the third game would have been set in 2012, coinciding with the end of the Mayan Long Count calendar – in what original creator Patrice Desilet described as “a freaking spaceship.” Desmond would have gone into the unknown with ally Lucy – who was named for the famous Australopithecus fossil – to allow the pair to act as the Adam & Eve of a new civilization.

These plans exist from a time when Assassin’s Creed was still intended as a trilogy, and never came to pass. Desmond’s story did wrap at the end of the third game, but that only happened after Ezio had played out his own trilogy, and Desilet had departed Ubisoft. Even Lucy had long-since been shuffled off this mortal coil, and Abstergo remains a notable series antagonist today, even after a total of twelve mainline games and a number of spin-offs.

The past looks very different to original plans, but Assassin’s Creed Infinity is the future of the series.

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Both the new DLC and comic book are set in the Asgardian dreamworld from Assassin’s Creed Valhalla, with Eivor taking on the mantle of the Norse god Odin. 

In Dark Horse Comics’ three-issue series Assassin’s Creed Valhalla: Forgotten Myths, three other figures from Norse mythology step forward – Thor, Baldr, and Heimdall. The warriors three come together after a fire giant from Muspelheim is looming at the borders of their lands, the Æsir. But when they take on the fire giant, the trio learns that an entire Muspel army is amassing ahead of an invasion – and they must try to find peace before a war breaks out across the Nine Realms.

Minor spoilers ahead for the Dawn of Ragnarök DLC…

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From the advance description of the Dawn of Ragnarök DLC we know that Baldr will end up being taken prisoner by the fire giant Surtr, and Odin must step in.

Assassin’s Creed Valhalla: Forgotten Myths will be written by Alex Freed, with art by Martin Tunica and colorist Michael Atiyeh.

In the DLC, you (as Odin/Eivor) will venture out to both Muspelheim and Jotunheim to rescue Baldr.

Assassin’s Creed Valhalla: Forgotten Myths #1 (of 3) goes on sale on March 16, 2022. The Dawn of Ragnarök DLC debuts six days earlier on March 10.

For more, be sure to check out our first look at the upcoming expansion in our Dawn of Ragnarök preview. 

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Fans of the series have been speculating for years now about the possibility of the series going to the East and with Ubisoft having had their games set all over the world, fans think it’s about time.

The artwork that was posted to Bigorgne’s ArtStation account in 2017 has been circulating around the official Assassin’s Creed Reddit (opens in new tab) with discussion about whether or not the paintings could be pointing to a Eastern setting in a future Ubisoft title. 

One painting in particular, titled ‘Fortress’ depicts traditional Asian architecture, possibly Chinese, surrounded by what looks like a small village and a patrol of guards. The thing that makes the piece seem to be linked to an Assassins Creed game are the two figures mounted on horses, garbed in the iconic Assassin hoods. The second piece of fan art, ‘Forest (opens in new tab)‘, features a large tree with a twisted trunk giving off a fantastical feel, as well as another hooded figure with dual blades on their back.

It’s unclear whether these pieces of art were an early concept for an unannounced Assassin’s Creed game or if it’s purely fan art from the concept artist, however in 2018 art from another Ubisoft concept artist, Michele Nucera, was shared via his ArtStation as well. The concept art was titled ‘Vikings Village’ and was later linked to the latest entry the Assassin’s Creed series.

The only time we’ve seen the series have the Assassins go East is in the sub-series Assassin’s Creed Chronicles, but they were not mainline games in the franchise, so fingers crossed it’s an area that Ubisoft are planning to explore at some point in the future. 

Speaking of Assassin’s Creed, here’s everything we know about Assassin’s Creed Valhalla.

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“For years you have lived by the tenets of the Creed. It’s time to join the Brotherhood. Don the mantle of The Auditore to lead as a Master Assassin. Just like its namesake, The Auditore combines years of legacy and tactical functionality. Outfit yourself in this sleek design and impeccable fit to venture forth and uphold what you believe in.”

The collection includes three premium items at the moment: The Auditore for men, The Auditore for women, and the unisex Auditore cape. I say “premium” because the cape alone costs $175, while the hooded jackets will run you $525. One Twitter (opens in new tab) user asked the designer why the pieces cost what they do, and received the following reply: “Design complexity, durability of materials, and American-made production.”

The Auditore jackets are available in Assassin White, Wetlands Ebony, and Roman Gilded Onyx, while the cape only comes in ebony and onyx. You can pre-order (opens in new tab) your Assassin’s Creed jacket and expect it to ship December 23, but act quick because it looks like supplies are limited.

Keep an eye on discounts on Assassin’s Creed and a ton of other games with our guide to the best Black Friday game deals (opens in new tab).

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Still, what the Animus does isn’t as important to Assassin’s Creed as what it allows the series to do. Ubisoft’s games, insistent as they are on wrapping a present-day frame narrative around their adventures, needed a link between now and the past. A time machine would be problematic, raising insoluble questions and risking paradoxes, so the Animus is the perfect solution. It lets the present-day cast have intimate knowledge of the past but no way to influence it. It can even threaten game-ending desynchronisation should you try to, say, assassinate the wrong people to alter the outcome of the Third Crusade.

This is the Animus’s other handy function: it allows the impositions of the series’ video game nature to hide in plain sight, cheekily staring the player in the face even as it contextually excuses them. The real reason you can’t pick your own assassination targets is that Ubisoft hasn’t built an epic, branching narrative. You can’t massacre civilians on the streets either, because it doesn’t fit the story. Attempt to do so and the Animus will threaten to cut you off. The hero of Prince Of Persia’s 2003 incarnation chided players when he died as part of a plot device that saw him relate his own story. The Animus goes further and forbids you from going off script.

But while the Prince was merely storytelling, the Animus is simulating. It’s a computer program and makes no attempt to hide the fact. This is the irony of Assassin’s Creed: Ubisoft realises its historical settings with unrivalled attention to detail, and then constantly reminds you that they’re fakes. There’s that UI for a start, superimposing flickering wireframe glyphs upon interactive objects. More subtly, there’s the way the series never seeks to find narrative excuses for its limits. It’s practically traditional in Grand Theft Auto, for instance, that some sort of natural disaster or terrorist warning will shut off access to the full city in the early stages of a game. Assassin’s Creed doesn’t need to find organic reasons to prevent the player wandering off. Its walls aren’t even invisible – they’re crackling fissures that demonstrate the simulation’s opposition to your independent action.

There’s an upside to this, though, and it’s that Assassin’s Creed is supremely comfortable in its nature as a game. The Matrix might have beaten Ubisoft to dropping its hero into a pure white space, but that doesn’t change the elegance of the fact that Assassin’s Creed’s loading screens are just that. Its menus are the same. Similarly, when Desmond is reminded of the basics at the start of each instalment, he scales abstract, textureless geometry. Few games are so barefaced in showing you the building blocks from which their worlds are made, and even fewer have a means to do so.

For all the meta potential of the setup, however, Assassin’s Creed has always stopped short of something as obvious as putting a controller in Desmond’s hands. Indeed, as the series has progressed, it’s blurred the distinction between its simulated world and its ‘real’ one. The first game let you potter around Desmond’s laboratory prison at predetermined points. The controls were sluggish, interactivity was limited, and the tasks were dull. It was as boring, in other words, as doing chores having just switched off a video game. Later entries relied upon the so-called ‘Bleeding Effect’, an elegant means of transferring Animus gameplay into the real world, but one that has come at the expense of the contrast between the present day and virtual space.

One area where Assassin’s Creed has truly embraced the Animus’s role as a surrogate game console is the multiplayer, where Templar trainees engage in deathmatches in order to hone their skills. The great gimmick of the mode has always been that to blend into environments you must behave in the slightly stilted, prescriptive nature of an NPC. Matches often devolve into rooftop chases, of course, but as a concept it is massively daring. Most games want you to invest in their simulated worlds, but Ubisoft asks you to embrace the Animus’s artificiality and replicate it.

And there are hints this attitude is bleeding back into the main game. Complete AC3 and your after-credits task is a collect-a-thon that lets Connor unlock ‘Animus hacks’. These exploits turn you invincible or invisible, let you switch season from summer to winter, or change day to night. They’re cheats. But, intriguingly, they’re cheats integrated into the fiction of the game. They might be endgame toys, but there’s no reason why future games couldn’t let players tear at the fabric of this self-consciously virtual world in more subtle ways.

While the Animus is no longer quite as obvious in the more recent entries in the series, you’re pulled out into the real world far less often, it’s still always there in the background, justifying that futuristic glitches within its historic worlds. But as the series becomes increasingly more tired, does it need a frame narrative at all? Do its doggedly researched worlds have to be self-consciously fake? Is it time to retire the Animus, or to make better use of its unique, explicitly simulated space?

Read more from Edge here. Or take advantage of our subscription offers for print and digital editions.

The post Why Assassins Creeds Animus is more than just a plot device appeared first on Game News.

Due to start filming in September, the adaptation stars Michael Fassbender and Marion Cotillard and will be directed by Justin Kurzel who has already worked with the pair on this year’s Macbeth.

Previously rumoured to be starring as Desmond Miles, Fassbender – who is also on producer duties – has been tight lipped on setting and storyline but has discussed the rich world that the Assassin’s Creed universe offers. In an interview with IGN (opens in new tab) he said “we’re working very hard to make sure that we’ve got the best and most exciting, original package.” The Spanish Inquisition has been a rumoured setting and given the fact that Assassins change on a yearly basis now, it wouldn’t be too much of a leap of faith to forge some new characters rather than rely on one from six games ago.

Given that the poster is covered in the distinct lines of the Animus, it’s clear that whatever the time period, the past and present division will take a starring role rather than being unfortunately sidelined like in recent games. We’ll have to see what E3 2015 (opens in new tab) brings but the current official release date is listed for December 21st next year.

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Above: Expect a Hollywood Assassin’s Creed to play out on a larger scale than 2009’s Lineage shorts

While the deal has yet to be finalized, it’s expected that Ubisoft’s film division would retain a high degree of control over the property, though Variety speculates that the picture could be of a large enough scale that both studios would bankroll the production. Ubisoft confirmed that its brands command “high interest from top Hollywood studios,” though neither company would comment further on just how far planning has come. It’s unclear, for instance, whether Ubi’s plans for a 3D Creedwould come wrapped into this deal (especially given the diminishing returns shown on 3D pictures since that announcement).

The last big-screen adaptation of an Ubisoft property was 2010’s Prince of Persia: The Sands of Time with Disney. Sony’s own gaming properties also enjoy varying stages of big-screen development, most notably in the form of the company’s ongoing efforts to realize an Uncharted movie.

Oct 20, 2011

Source: says Variety

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This wasn’t the only video we got from Ubisoft today, as the second one we received is a much more informal look at Ezio assassinating in style. Wielding almost every weapon we’ve seen in the series to date, this violent montage gives you a smattering of kills that should satisfy the most bloodthirsty of Ass Creed fans. Revelations hits store shelves worldwide November 15.

Sep 29, 2011

The post Assassins Creed Revelations hookblade explained in elegant and grisly detail with new trailer appeared first on Game News.

A conveniently skewed view of history. Corrupt religious leaders. Serious men in silly white dresses who leap flamboyantly about withknives strapped to their wrists.Jade Raymond. What do these things have in common? They’re hallmarks of Assassin’s Creed, which has quickly grown from a single, divisive game to one of the most popular franchises of the current console generation.And if you’ve been paying attention, you know that makes it a perfect target for our continuing Week of Hate coverage. Specifically the part of thatcoverage in whichwe take a moment each day to nitpick a beloved series to death.

1. The spinoffs
suck

It may seem like we’re reaching if the first thing we pick on isn’t even part of the main series, but if you’re hunting for glaring flaws in the Assassin’s Creed franchise, this is the most obvious. Not every game in a series can be great, but it’s hard to think of many that havehad such a clear divide as”console good, handheld bad.” However fantastic the central Creed games might be, their handheld spinoffs – specifically Altair’s Chronicles, Bloodlines and Discovery – look like a bunch of stunted, malformed clones next to the (doubtless embarrassed) originals.

Art by Alex Barrett

Chronicles wasn’t terrible. It also wasn’t Assassin’s Creed, instead giving us a Saturday-morning-cartoon plot and a version of Altair who used a grappling hook to dodge death traps installed on the roofs of small houses. Discovery was a perfectly good Sonic the Hedgehog clone ruined by clunky stealth elements, and Bloodlines – while being the only handheld game to successfully replicate AC’s freeform exploration and climbing – was dull, brown and hampered by too-small explorable areas and idiotic enemies. With the 3DS and NGP bringing more muscle to the table, it’s possible we’ll see an AC spinoff that breaks the trend in the near future, but we’re not holding our breath.

2. The first game was
outrageously repetitive

For its time, the first Assassin’s Creed was revolutionary, and the thrill of being able to freely run, climb and kill in a huge, open re-creation of Crusades-era Jerusalem was intoxicating. However, that intoxication made it easy to ignore the fact that AC was actually a very short game, padded out with grindingly repetitive side tasks. And for those without the patience for grinding repetition, it was hell.

Above: It feels like we followed and beat up like a dozen of this exact guy

Follow that guy. Pickpocket that other guy. Save that citizen. Climb that tower. Go and collect a bunch of flags within the time limit for your incompetent friend. And then when you’re done, get teleported all the way back to your headquarters so you can backtrack through miles of countryside, head to the next city and do it all over again. It might not have been so bad if not for the fact that many of the side tasks weren’t optional. You actually had to complete a few of them before you had enough “intelligence” to assassinate each of your targets, meaning that the interesting parts of the game were withheld until you’d accomplished enough arbitrary bullshit.

3. Beggars

Because fuck beggars.

Above: Seriously, we’re sick of their shit

4. A history of
horrible DRM

The PC release of the first Assassin’s Creed was apparently a hugely pirated game, and publisher Ubisoft didn’t want its sequels to suffer the same fate. Their solution? One of the most horribly draconian DRM solutions ever devised, which required a constant, uninterrupted connection to Ubisoft’s authentication server just to play the game.

Above: GHHGHHGHGHGHHHGN

If your wireless connection briefly hiccupped, Assassin’s Creed II would immediately kick you out, with no chance to save your game. Ditto if something went wrong on Ubisoft’s end. The DRM made the game practically unplayable for some, and while it was eventually toned down and then removed entirely, the fact that it was ever there in the first place was a slapto the face to PC gamers.

5.
Brotherhood%26rsquo;s ending

After we settled accounts with the Borgias in Ezio’s timeline, the modern-day location of the Apple was revealed. As Desmond, we hunted through the Coliseum for a secret chamber – finally, the answers to Assassin’s Creed’s apocalyptic mysteries were within our grasp! And then… THIS happened:

Great. Not only did we not get any answers, but we got a whole bunch of new questions, the biggest being “Wait, what just happened?” Why did Juno hijack Desmond’s body to stab Lucy? Whose voices did we hear over the credits? We won’t know until Assassin’s Creed III, because there’s apparently nothing people who’ve bought a $60 game like better than a massive cliffhanger.

Apr 26, 2011

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1. The spinoffs
suck

It may seem like we’re reaching if the first thing we pick on isn’t even part of the main series, but if you’re hunting for glaring flaws in the Assassin’s Creed franchise, this is the most obvious. Not every game in a series can be great, but it’s hard to think of many that havehad such a clear divide as”console good, handheld bad.” However fantastic the central Creed games might be, their handheld spinoffs – specifically Altair’s Chronicles, Bloodlines and Discovery – look like a bunch of stunted, malformed clones next to the (doubtless embarrassed) originals.

Art by Alex Barrett

Chronicles wasn’t terrible. It also wasn’t Assassin’s Creed, instead giving us a Saturday-morning-cartoon plot and a version of Altair who used a grappling hook to dodge death traps installed on the roofs of small houses. Discovery was a perfectly good Sonic the Hedgehog clone ruined by clunky stealth elements, and Bloodlines – while being the only handheld game to successfully replicate AC’s freeform exploration and climbing – was dull, brown and hampered by too-small explorable areas and idiotic enemies. With the 3DS and NGP bringing more muscle to the table, it’s possible we’ll see an AC spinoff that breaks the trend in the near future, but we’re not holding our breath.

2. The first game was
outrageously repetitive

For its time, the first Assassin’s Creed was revolutionary, and the thrill of being able to freely run, climb and kill in a huge, open re-creation of Crusades-era Jerusalem was intoxicating. However, that intoxication made it easy to ignore the fact that AC was actually a very short game, padded out with grindingly repetitive side tasks. And for those without the patience for grinding repetition, it was hell.

Above: It feels like we followed and beat up like a dozen of this exact guy

Follow that guy. Pickpocket that other guy. Save that citizen. Climb that tower. Go and collect a bunch of flags within the time limit for your incompetent friend. And then when you’re done, get teleported all the way back to your headquarters so you can backtrack through miles of countryside, head to the next city and do it all over again. It might not have been so bad if not for the fact that many of the side tasks weren’t optional. You actually had to complete a few of them before you had enough “intelligence” to assassinate each of your targets, meaning that the interesting parts of the game were withheld until you’d accomplished enough arbitrary bullshit.

3. Beggars

Because fuck beggars.

Above: Seriously, we’re sick of their shit

4. A history of
horrible DRM

The PC release of the first Assassin’s Creed was apparently a hugely pirated game, and publisher Ubisoft didn’t want its sequels to suffer the same fate. Their solution? One of the most horribly draconian DRM solutions ever devised, which required a constant, uninterrupted connection to Ubisoft’s authentication server just to play the game.

Above: GHHGHHGHGHGHHHGN

If your wireless connection briefly hiccupped, Assassin’s Creed II would immediately kick you out, with no chance to save your game. Ditto if something went wrong on Ubisoft’s end. The DRM made the game practically unplayable for some, and while it was eventually toned down and then removed entirely, the fact that it was ever there in the first place was a slapto the face to PC gamers.

5.
Brotherhood%26rsquo;s ending

After we settled accounts with the Borgias in Ezio’s timeline, the modern-day location of the Apple was revealed. As Desmond, we hunted through the Coliseum for a secret chamber – finally, the answers to Assassin’s Creed’s apocalyptic mysteries were within our grasp! And then… THIS happened:

Great. Not only did we not get any answers, but we got a whole bunch of new questions, the biggest being “Wait, what just happened?” Why did Juno hijack Desmond’s body to stab Lucy? Whose voices did we hear over the credits? We won’t know until Assassin’s Creed III, because there’s apparently nothing people who’ve bought a $60 game like better than a massive cliffhanger.

Apr 26, 2011

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The post 5 reasons to hate Assassin’s Creed appeared first on Game News.