#the main game and Atlantis DLC are great though

[ilikedetectives]

Hii! I love your digital photography and content in general ❤️

I would like to know, what DLC are you referring to when you talk about the cursed Odyssey DLC?

I loved that game and your shots of Kassandra are just incredible!

Hi anon, thank you I'm thrilled to hear you enjoy my work 😊

It is Legacy of the First Blade DLC where regardless of what sexuality you play Kassandra/Alexios as, the DLC will force a wlm romance because the 'plot' demands a child, even if players refuse the love interest in the "option". So when you refuse, it ends with the LI coming back and bam, baby.

Before the backlash, the game will give you a "Growing Up" trophy after having the baby, because fuck you players for wanting choices in a dlc of a choice-based rpg game. Sorry you can choose to have orgy with a goat involved, kill your own family, and let the leader of the Cult live (after kissing her), but the decision to have a baby is too big for players.

Context for the baby? Kassandra is in the middle of a war, where Athen and Sparta at each other's neck and both have corruption from within due to the Cult. Mercenaries on all sides and want to hunt her down at any moment. She recently lost Phoibe, who essentially is her adoptive child (this pain still hurts her after 1000 yrs). Btw Kassandra is immortal (main game plot), she lives from 438BCE all the way to 2018 so idk why bother with bloodline. Anyway, so ofc having a baby in the middle of all this plus taking 1-2yrs off to play house is a great idea.

This lousy plot is only to connect Odyssey and Origins together, because bloodline, which is ironic because bloodline has been irrelevant since Black Flags (Animus got an upgrade) and said bloodline in Origins (essentially Kassandra's descendant, Amunet/Aya's only child, Khemu) got killed off in the few hours. So all of this just to say, oh Kassandra and Amunet are related, but nothing else meaningful comes out of that. And anything from this dlc is never mentioned again in any story going forward (which is good imo), even in the new Kassandra crossover in AC Valhalla they mentioned Phoibe.

In terms of chemistry Kassandra has with the dude, I'll put it this way: Kratos has better chemistry with his dead wife who never appeared on screen. Actually, I rather choose the dude's father, he's a true gilf.

So when I hear about something similar with Minthy, saying I feel like I somehow dodged a missile is an understatement.

[ryanmeft]

Assassin's Creed Locations Ranked Part 4

After a bit of a hiatus so I could work on my book and write movie reviews, we're back with part 4 of my list ranking every playable location in the Assassin's Creed series. As a refresher, a playable location is an area you can freely traverse and explore for secrets and missions, so places like Portugal in Rogue and the hidden tombs in II don't count. This entry covers some great historical and mythological locations that didn't quiiiiite make the top ten. We'll cover the top ten next time, so stay tuned to see which of those ten ended up where, and to get incredibly angry at me when your favorite isn't where you wanted it to be. Fun times! Here are the links to the previous three parts. Now, let's get moving. Part 3: https://ryanmeft.tumblr.com/post/731083916756336640/assassins-creed-locations-ranked-part-3

Part 2

Part 1

15

Atlantis (Odyssey: The Fate of Atlantis)

Odyssey’s Fate of Atlantis DLC had three chapters in three different places from Greek myth, but ever since our first tantalizing glimpse in a sidequest, visiting the fabled city itself was the big draw. It didn’t disappoint. Not only was the self-contained story pretty good, but Atlantis was successfully brought back closer to Plato’s description of concentric circles and military culture. There were both towering spires and underground secrets, and intrepid explorers could even carry themselves out from the artificial metro area to the more natural borders of the land. Atlantis promised a lot, and delivered on it.

14

Rome (Brotherhood)

A lot of people were probably kind of puzzled at the fact that, aside from a brief mission at the Vatican, we never visited Rome itself during Assassin’s Creed II. If you happen to also be my particular kind of crazy, you may know that the Renaissance was driven by the other cities in Italy, while any part of Rome not directly under church control had long since degenerated into a disease-ridden backwater virtually irrelevant to world progress. Brotherhood captures exactly that. This Rome is a dim shadow of the capitol of the ancient Empire, consisting almost entirely of wasted ruins of once-great temples, shabby houses, and pushy merchants hawking their wares. It’s not without some remnants of grandeur, but it evokes more sadness for a lost era than anything else. And naturally, the hidden tombs are still the highlights.

13

Elysium (Odyssey: The Fate of Atlantis)

The first of three areas you’ll visit in this episodic DLC, Elysium is, like Aaru, an idealized, paradisaical version of ancient Greece, with flowing fields of flowers uninterrupted by man and sparkling, wide rivers circling around the feet of towering clifftop cities where gods and accomplished mortals drink and feast in idyllic surroundings. Ok, I may be exaggerating that last bit, as the game doesn’t render the inhabitants of paradise in any real way---no Piece of Eden-induced apparitions of Hercules or Odysseus will be found here. Elysium so thoroughly evokes heavenly bliss, though, that it’s not hard to let your imagination fill in the blanks. In some ways, it’s even better than the normal Greece of the main game, because it’s contained enough that it never outstays its welcome.

12

Paris (Unity)

Due to being borderline unplayable at launch, Unity remains a divisive entry in the series, but there’s one thing practically everyone can agree on: revolutionary Paris is jumpin’, man. Moving up a generation, Ubisoft Montreal took full advantage of the extra horsepower to massively increase crowd sizes and behaviors, the scope of the environment, and to render famous landmarks in exquisite detail. Paris is a place where the revered meets the depraved, from the towering spires of Notre Dame to seedy-but-lively cafes to grisly murders in dark alleys, all set to the backdrop of a violent revolution. The great accomplishment of Unity’s Paris is that the city is an ancient place with a life apart from the famous events of the late 18th century.

11

Ireland (Valhalla: Wrath of the Druids)

Much like how it is an extreme disappointment to see the fertile history of China’s Warring States Period relegated to a B-list mobile game, it was also a bit of a sting when we realized the only Ireland we were likely to get from the series was this DLC. Still, the Emerald Isle got a better shake than China likely will. Mechanically, there’s no differences in exploration or traversal, but the famously greener pastures, the shadowed, rocky paths that feature in so much Irish folklore, and the renowned passage tombs successfully make it feel like you’re in a new place. The story is even interesting, which is quite frankly more than you can say for most of the open world game DLCs. Still, if we never return to Erin for the more dramatic later periods in its history, it’ll be a shame.

And that's it for this entry! Come back next time to see which games shook out where in the top ten, and remember to please share my blogs if you like them.

[saberamane]

So hear me out on my preference. AC Origins was my first ever AC game, and I loved it. Exploring Egypt was so much fun. Exploring tombs, the pyramids, the sphinx, all great.

But it was soo long. And most of the map, which was beautiful, wasn't even used in the main story, or even side quests. A lot of the space was pretty much pointless besides some 'filler' stuff like a bandit camp or something with a chest.

Then, DLC was released. Both of which featured new maps to go with the storyline, once again neglecting the parts of the original map that still was just 'side area' and not necessary to visit for any other reason besides map completion.

The DLC was good, but... you added more area to explore, when you could have just had it explore the main map which you already made so big.

And then I played AC 1, Ezio trilogy, AC 3, and Syndicate. All of which were fantastic (aside from some aggravating glitches and 100% mission requirements.) And what did they have in common?

Manageable map sizes. (Besides Kingdom in AC 1, fuck that place) The areas were still big enough to get lost in and need a map, but you could complete a whole area in a handful of hours. And have fun doing it.

Origins map was fun for about...20ish hours. After that, getting all the synchronize points, clearing all the forts and camps got really tedious. (Not the tombs, I loved the tombs. Put more tombs in.)

Not saying the previous games were perfect. All the flags in AC1, the feathers in AC2, the faction quests in Brotherhood, AND the war machine 100% requirements were quite tedious. And the flying pages in AC3, ugh!

But in reality, all those games were long enough to be fun, but not so long as to tire of them.

Now then...AC Odyssey? UGH. The map is massive. Once again, like Origins, most of it is pointless to the main story, and only more relevant if you hunt down all the Cultists. But even then there are still areas you never have to go to except for exploration.

And with the sheer size of the map, the map icons are so hard to see. (I forgot to mention that about Origins, the map icons there are practically invisible with all the sand background, 3 feet from the screen and I still couldn't tell if something was checked off as done.)

And the side missions are copy and paste. The same dialog between player and NPC, likely the same NPC model each time, the same roster of missions on repeat, the same closing dialog when you've completed the mission. You're padding out an already massive game.

Over 80 hours in Odyssey just to explore the map. Thats getting the synchronization points. The forts and camps, tombs and caves, leader houses etc.

After FINALLY finishing what I could of the map, I finally got on with the main storyline (basically, I hadn't even found my mother yet) And the storyline was a bit disappointing. I finished it in a couple hours. Basically, as with all RPG's, the reason you can't finish the story is because you have to grind to be strong enough. If you've already dont that, the story is literally just go here, do this, fast travel here, do this.

I didn't feel there was really any connection between the characters. You're suppose to be sad that things happened, and mad that the cult was behind it, but...

You go from seeing your character being a young child, basically killed by your dad, to a grown man/woman who has their own house, works as a mercenary, and is overall far better off than aot of other people you see around the map. Why should I be sad for them?

There seems to be an emphasis on making a huge world that is copy and pasted over and over, with your character not really mattering and having very little character growth.

And then DLC!

Legacy of the first blade was...eh. At least it used parts of the map the main story didn't, though. But again is was just the cult all over again, wanting your character dead because of their lineage.

Fate of Atlantis though... I'm not done with it yet, but it's basically just a reskin of Origins' curse of the pharaohs dlc. Your character goes to the 'underworld' and fixes...stuff.

Im hearing good things about Mirage, with it being smaller and back to the actual 'Assassin's hiding in the dark to serve the light' and not 'let's see how many enemies I can kill in open combat before I die'.

So what brought this on? Apparently the next AC game, 'Red', is taking us to feudal japan...and back to the rpg game elements. So I guess get ready to literally explore the entirety of Japan in the next AC game.

I don't understand Ubisoft, Assassin's Creed games are about Assassin's. About killing the bad guys from the shadows. Why have you gone to this RPG formula when you've been told time and again that's the worst part of the games?

[spartan-officer-brasidas]

It seems like a few of you agreed that Ubisoft mishandled the Gods in more than a few ways, and I’m still mad about it so I just want to go through and explain how they were so poorly represented. I will concede that there are more than a few ‘right’ ways to represent a God and it all comes down to your own interpretation of the Gods and their myths, but I think in general, Ubisoft really fell short. My personal interpretations come from my major in Classics and my worship of the Greek and Roman pantheons, so my opinions on this will reflect those interpretations but feel free to have and share your own!

Let’s start simple. Juno. Juno is a really interesting Goddess, both in religion and in the games. I, personally, don’t do anything special for Hera/Juno/Uni, but I know that she is an incredibly loving Goddess and is remarkably loyal to her husband and those she holds dearly. Now, I think Ubisoft did Juno okay, only because her loving and loyal nature can make her a fierce enemy, and I think Ubisoft showed that well. She, from my knowledge, is a main antagonist in the series, and given that “modern” Rome is a part in Ezio’s story, that makes sense. Juno was NOT a supporter of the foundation of Ancient Rome. She made several attempts to keep Aeneas from getting to Italy and she is openly not a fan of Aeneas, given his Trojan heritage and his role in Rome’s founding. Basically, her being an antagonist makes sense and I don’t think it really devalues her as a Goddess at all.

This is, unfortunately, where the praise ends. I’ll just go in order, so Persephone is next. Persephone is, perhaps, the biggest victim in this mess Ubisoft created. I would like to first clarify a few things regarding Persephone as a Goddess. How you choose to view her relationship with Hades doesn’t really matter to me—that’s something only you can decide, but there are a few aspects that are important to consider. First of all, beyond the initial kidnapping and drama with that, there’s not too much suggesting they had a rocky relationship. There were a few minor hiccups, but nothing major. And two, going on Ancient Greek standards, Hades did nothing wrong. Now, kidnapping is bad, we know this. Except, Hades didn’t really kidnap her, per se. He asked Zeus for her hand in marriage and Zeus agreed. Hades actually did the “right” thing, though in a twisted way that really isn’t acceptable in today’s standards. All that said and done...all I can say is what was Ubisoft thinking? I mean, Persephone is routinely a benefactor for heroes *who come to her* and she is mostly portrayed as incredibly benevolent. The fact that Ubisoft made her a borderline tyrant with a unreasonable desire for total order and control and made her relationship with Hades one of the worst depictions I’ve ever seen is upsetting. It’s tragic, really. I almost feel like I have to personally apologize to Her whenever I think about what they did to her.

I’ll keep Hermes and Hekate short and sweet because they got off a bit easier than Persephone did. All I have to say is both Gods are insultingly shallow in the dlc. Hermes is blinded by his love for Persephone, and while he definitely did pursue her in the myths, he didn’t dwell on the unrequited feelings—he is a powerful God of many things, he doesn’t need to dwell on it. And Hekate was given the short end of the stick between the two and she became the backstabbing friend. We honestly don’t learn much about her at all and she’s made to be extremely unlikable, which is not the aura given from the Goddes Herself. It’s a shame what happened to these two.

Now we will move to Hades. My biggest issue with Hades is actually the whole issue with continuity between Jupiter/Zeus/Tinia being the same but Pluto/Hades/Aita not being the same, but alas, Ubisoft totally butchered his character as well, so I can put aside my grievances about the continuity. Hades is portrayed as this chaotic antagonist who really only has his own benefit in mind which is...an extremely confusing interpretation. I mean, Hades is, IMO, the least chaotic God out there. And even more so, he isn’t a vicious leader like they make him out to be. Sure, he maintains order in the Underworld with an iron fist, but that’s just the issue. The Hades seen in Odyssey is...not that. He doesn’t maintain order at all, and yet he’s doing something with a very aggressive iron fist. He’s power hungry, angry, and violent, and all of that goes unchecked until Kassandra/Alexios rolls around to stop it for the time being. The Hades I worship isn’t like that at all, and I don’t think the Ancient Greeks viewed him that way either, though I can’t say for certain.

Charon is next and I don’t have too much to say about him. He’s just so forgettable in my opinion. Charon is the ferryman of the dead, so I suppose he’s not supposed to leave a lasting impression, but he takes on the role of maneuvering you through the Underworld—a job he, historically, doesn’t have. His job is to take you across the River Styx and then be done with you. It’s a relatively minor complaint really, but I would’ve liked to see his character fleshed out a bit more.

Down to the last three, and Poseidon is up. The issue I have with Poseidon is kind of a personal one. Poseidon, while not one of my primary deities, is one of those that I frequently turn to and worship more frequently, so naturally his rather bland portrayal was disappointing at best and insulting at worst. I personally don’t think he gets much character development at all, which is unfortunate because Poseidon, as a God and in the myths, is incredibly complex. He’s a great asset if he’s on your side, but he can also be a very formidable foe, and they seem to want to show those two sides but they really fall short on both. Now, this could be related to the fact that of the three dlcs, Atlantis truly felt the most rushed. You have hardly any time to really take in the story and the whole thing just seems like one big after thought, and Poseidon, unfortunately, took the hit with that. Also, he just passes judgement and in a way rule over Atlantis over to a mortal, which I get is important to the story, but why? That’s so not how things are done.

Now we have Aita. So for those of you who don’t know or haven’t figured it out by now, Aita is the Etruscan God of the Underworld. I’ve already explained my main issue with him, and how he and Hades should be the same, but honestly, that’s the least of the crimes committed against him. In my opinion, Ubisoft has completely striped Aita of his Godhood. All of the other shown deities have this natural feeling to them that Aita lacks. He seems so lackluster standing next to Juno and he’s reduced to this scientist role, which—don’t get me wrong—is neat and powerful and all, but this is the Etruscan god of the underworld! Why should he linger in the shadows of Juno when he could be an equal to her, all things considered! I know the Etruscan gods/pantheon are not as widely known, but that doesn’t make them less godly, and what they’ve done to him is upsetting to say the least. I would love to see some other Etruscan gods, like Tinia and Uni, and I would like for them to be treated with the respect they deserve. More people could know about this fascinating culture and religion! Is that too much to ask?

Finally, we get to Aletheia. Now, she is a bit different in that I don’t know of many myths surrounding the goddes of truth, and it’s totally possible that she may solely be a representation of truth more so than a character in the myths. Aletheia’s story was...anticlimactic. I honestly don’t think her story got resolved at all. Ubisoft left me feeling like there was more we needed to know about her, and they also implied that she isn’t exactly a good guy. I mostly just want more from her. I think if they play on Juno being related to her, they could really make a very good story, but as it is, Aletheia got put on the back burner, and that? That is unfortunate.

This is already a very long post, so I won’t continue, but I would like to mention that characters like Adonis, the Greek heroes, Elpis, and Atlas received similarly disappointing treatment from Ubisoft. Let me know if you want me to make a post about them! I encourage you guys to share your own thoughts on this! Different perspectives yield different reactions and I’d love to see y’alls, so feel free to share! I will remind you that these are living Gods. Part of why this was so upsetting is because I research these gods as part of my studies and because I actively worship many of Them. Seeing Them reduces to these characters was...not the greatest feeling in the world. It’s important to separate the characters from the myths and even the myths from the Gods themselves, but what Ubisoft did was make a character that loosely relates to the myths—not the Gods Themselves as well. Just as Zeus is so much more than his myths, Persephone is more than the character Ubisoft gave us, so think critically when absorbing content about religious figures. All Gods of all religions are deserving of respect, and Ubisoft did not do a great job with that. I can only hope they will do better for the Viking Gods.

[gamerszone2019-blog]

How Assassin's Creed Vikings Could Bring the Franchise Full Circle

New Post has been published on https://gamerszone.tn/how-assassins-creed-vikings-could-bring-the-franchise-full-circle/

How Assassin's Creed Vikings Could Bring the Franchise Full Circle

After Assassin’s Creed made its debut back in 2007, the battle between The Templar and The Assassins went on to have 9 main series games before Ubisoft finally decided to slow things down a bit. Five years and four games after the completion of Assassin’s Creed III, Assassin’s Creed: Origins, later followed by Assassin’s Creed: Odyssey, served as origin stories for the Brotherhood of Assassins.

While both games brought a lot to the table regarding the establishment of the Hidden Ones (the pre-Assassins Assassins), they also leave some big questions lingering in the air: how will the rumored Vikings-era Assassin’s Creed lead into the formation of the Assassins Brotherhood, and what does it mean for our modern-day heroes?

SPOILER WARNING! This article contains spoilers for the Assassin’s Creed franchise.

Layla and the Staff of Hermes

Origins introduced players to Layla Hassan, an employee of Abstergo Industries who’s on her first mission for the company. After (somewhat reluctantly) joining the Assassins at the end of Origins, she returns in Odyssey fully immersed in the Brotherhood with a longing to learn more about their history.

This time around, she finds herself exploring Greece through the eyes of Kassandra*, who ends up on a quest to secure missing Precursor artifacts and protect the underwater Isu city of Atlantis – which Layla eventually discovers for herself. Surprisingly, she finds Kassandra at its gate, kept alive by the Staff of Hermes. Kassandra urges Layla to maintain a balance between order and chaos and passes the Staff to her. But Layla is corrupted by the Staff, losing control of her newfound power and attacking her friend and colleague, Victoria, resulting in the Isu Aletheia deeming her not worthy of wielding it.

After this incident, though, she’d still probably be working with the Brotherhood, so it wouldn’t be too surprising if Layla’s historical research within the Animus in the next Assassin’s Creed took on a different purpose. Perhaps her corruption from the Staff was a moment of realization for her, of the ultimate power that Isu artifacts wield and how terrifying they would be in the wrong hands.

Looking ahead, Layla’s path could lead her to a place of wanting to find and destroy all of the artifacts rather than giving them to the Assassins or Templars. Considering Kassandra’s plea in Odyssey about maintaining a balance between order and chaos – which The Templars and Assassins mirror respectively – Layla could even end up working against both organizations in order to maintain that promise.

Of course, this all depends on how the Judgement of Atlantis DLC plays out – though how much light it will shed on Layla’s story remains to be seen.

Ragnarok and The End of The World

Norse mythology is considered a chronological set of tales, with Ragnarok being its grand apocalyptic finale. The word itself refers to the destruction of everything – the Great Wolf Fenrir swallows Odin, the Sun turns black and the world floods, to be born anew in the next life. Going back to Kassandra’s warning to Layla in Atlantis, an imbalance in order and chaos – perhaps the Templars having so much more power and influence than the Brotherhood – could be foreshadowing of a similar catastrophic event occurring during modern times, especially considering that Ragnarok means “Fate of the Gods” in Old Norse. Similar to how Odyssey made use of Greek Gods as Isu figures, Norse Gods would likely become Isu figures as well.

There’s no reason we couldn’t see Thor wielding his mighty hammer Mjolnir.

“

The Norse tale of Ragnarok even parallels the events in Assassin’s Creed that chronicled the Second Disaster and Juno in the modern-day timeline. The Gods of Asgard meeting on the battlefield of Vigrid to fight the forces rising up to fulfill the prophecy of Ragnarok, despite knowing that it was a lose-lose situation, is strikingly similar to Desmond and the Assassins entering the Grand Temple in the hopes of preventing the Second Disaster at the end of Assassin’s Creed III. Plus, they knew that even if they did, they would release the Isu known as Juno, who aimed to bring about the demise of mankind (just like Odin and his men knew that going into battle wouldn’t stop the prophecy’s destructive outcome). Even though Juno is dead now, perhaps there are other Isu with similar goals that could reappear to try and connect with Layla.

Even the name, “Fate of the Gods,” fits in with the Assassin-Templar conflict. The former’s mission has, for millennia, been to keep the Pieces of Eden left by the Isu out of Templar hands in order to prevent the end of the free world. As far as the modern-day timeline goes, a Nordic Animus adventure would be the perfect way to maintain the popular mythological action of Odyssey, while propelling Layla’s story forward with new “gods” and creatures from Norse lore.

If Precursor tech could be responsible for creating Medusa or the Minotaur, there’s no reason we couldn’t see Thor wielding his mighty hammer Mjolnir, or Fafnir transform from dwarf to dragon. Odyssey and Origins proved that the “magic” of mythos could work within the AC framing, as well as provide important context for how the conflict between the Hidden Ones and the Order of Ancients(the proto-Templars to the Assassins Hidden Ones) evolved after Bayek and Aya’s journey in Egypt.

Bringing Historical Timelines Together

Origins ends in 43BCE, with Bayek and Aya defeating the Order of Ancients who wielded Pieces of Eden in Egypt and early Rome. From there, they cement the foundation for the Brotherhood, with their aim being to protect the free will of the world from the shadows. It’s not until 1191, more than a thousand years later, that we pick up their story, in the original Assassins Creed.

The Viking era lasted (approximately) from 793 CE to 1066, so its timeline would be the perfect bridge between Origins and Altair’s adventure in the original. More specifically, the tail end of the Vikings age could be an exceptionally interesting place for the in-Animus story to explore next. The disappearance of the Vikings was gradual and due to a number of things; mainly, their way of life just couldn’t keep up with the changes occurring in Europe.

Assassin’s Creed has always focused on this dynamic, from the spread of Christianity in the Middle East during the Crusades to the introduction of new technologies during the Rennaisance to the advent of democracy and politics in Ancient Greece. The world is always changing, and the end of the Viking age would be a natural extension of the conflict between “tradition” and societal advancement.

Every IGN Assassin’s Creed Review

Being a raider, or “Viking,” was considered a desirable occupation for younger Norse men, whereas older folk were expected to settle down on their farms and raise a family. At the beginning of the Viking age, raids were extremely common, and almost always led to fame and wealth for those participating. Over time, European societies began evolving their way of life and assembling well-trained, effective armies that could easily defend themselves from raids. In turn, this made raiding less profitable, which led to a smaller number of wealthy Norse men and a large number of unemployed men who were forced to work their land in order to earn a decent wage.

Also at this time, the Christian Church had arrived in Northern Europe and had frowned upon the act of raiding because it didn’t stand with their belief system. Because of this, and mainly the fact that raiding was no longer profitable, the Vikings stopped the raids and instead started working to match the civilized standards that the rest of Europe was beginning to set.

Knowing this history, a Viking raider would make for an ideal Assassin, while European society, with fortified armies that the Vikings are unable to keep up with, is a natural extension of the Order of the Ancients (to later become the Templars at the start of the Crusades). Watching Norse society begin to evolve and change in the face of defeat could serve as an interesting lens to explore the balance of order and chaos.

Considering a part of the Viking’s demise was also due to the spread of Christianity throughout Europe, which led into The Crusades brought on by the Latin Church, this would provide the perfect link to Altaïr’s story in the first game. It wouldn’t have to, by any means, but it would certainly be interesting to see the series revisit a character it sidelined more than a decade ago. It isn’t until 1050 CE, in the Levantine sect, where The Hidden Ones officially become the publicly named Assassins Brotherhood, and if Ubisoft does want to explore those early years again, a Vikings-era game would be the perfect way to bring all of the franchise’s narratives full circle.

Allowing Layla to explore the Viking period could be the perfect way to bring her Assassin narrative to a close. Not only is this era ideal for uncovering more Isu artifacts, but Norse prophecies, such as Ragnarok, would serve as a great parallel for the modern-day timeline, hopefully unfolding into a fresh and riveting storyline.

Ultimately, where the next installment of Assassin’s Creed takes us remains a mystery (for now). Regardless, it will be interesting to see whether it leans into Odyssey’s focus on RPG elements, reverts back to its action-stealth roots, or embraces an all-new style of gameplay — where or whenever that may be.

Where do you want to see Assassin’s Creed 2020 take place? Let us know in the comments!

*According to Ubisoft, Kassandra is the “canon” protagonist of Assassin’s Creed Odyssey.

Hannah Hoolihan is a freelance writer, you can follow her on Twitter and Instagram @hannah_hoolihan.

Source : IGN