View Full Version : Assassin's Creed 3: Creative Discussion

05-01-2011, 03:49 PM
*Warning: Possible Unintentional Meta Spoilers*


It seems that Ubisoft have been recently revealing various hints about the identity of the next Assassin's Creed game. General chatter seems to indicate the next game will be called 'Assassin's Creed: Revelations'; of course whether or not this is another spin-off in the same vein as Brotherhood, or the next instalment in the series with a whole new character and era remains to be seen. Of course, being a mildly creative person, with too much time and access to the Internet, I wondered what sort of plot/game/character developments I would like to see in the next 'proper' instalment of Assassin's Creed.


Personally I would like to see the next game take place in the 19th century, perhaps starting around the year 1859, then like Assassin's Creed 2 advancing over the course of 20-25 years, ending in the late 1880's. Whilst I do not consider it my place to discuss what direction Desmond and Lucy's meta story arc takes (since I'm sure Ubisoft already has this planned out), I think it is valuable to throw some ideas around about the 'Ancestral' or 'Historical' story ark. The setup of the plot this time around, following on from the events of Assassin's Creed: Brotherhood, might involve retrieving a Piece of Eden that would confer the 'knowledge' that is spoken of in the final scene of Brotherhood. That would be sufficient grounds for Lucy and Desmond to go back into the past once more in order to follow the memories of another ancestor who came into contact with the Piece of Eden that grants this mysterious 'knowledge.'

Act 1: London

The game would start in Victorian London, where (like Ezio in the second game, but not quite so young and boyish), you start as an ordinary mook, Garrett Ray, a German-English businessman and completely unaware of his Assassin heritage who gets his affairs royally messed up by the Templars. You start as a successful factory owner who is muscled out by an aggressive and ruthless Templar-owned competitive monopoly, has his home burned down (whilst his wife and children are still inside) and factory confiscated. After being thrown out onto the streets as a penniless bum, you are accosted by hired cockney thugs and left for dead in a back alley.

Before bleeding to death though, several Assassins swoop down and whisk you away to their hideout, located in the crypt of St Paul's Cathedral, where after receiving medical attention and recovering from your wounds, you find that the conflict between the Assassins and Templars has reached a peak, and risks spilling into open war on the streets of London. With your family dead and your business and reputation destroyed, you have nothing to lose and volunteer to join the Assassin's order, but only initially as a recruit (nobody joins the army as a General after all). From there you are trained in the techniques of the order, ranging from hand-to-hand combat, including use of dual-hidden blades and intricate sword play, to the use of newly developed firearms technology. The equivalent of your Da Vinci is the Assassin's in-house mad-scientist William Thompson (a.k.a. Lord Kelvin, the mathematical and scientific genius who devised the first and second laws of Thermodynamics and created the Kelvin scale), who promises to provide you and the other assassins with an array of prototype weapons ranging from the practical to the ridiculous. The leader of the assassin's order in London is none other than William Ewart Gladstone (yes, 'that' Gladstone).

William Gladstone, Master of the Assassin's Order in England

The Assassin's have, naturally, had to adapt to the times, and since the garish white robes worn by past assassin's are no longer practical on the streets of 19th century London, the new uniform is a set of black robes and overcoat, concealable fold down top-hat (one of Lord Kelvin's more useful inventions), sword-cane and leather gloves. Of course the symbolic Assassin's hood is still part of the uniform, but our character will only remove his top hat and put up his hood during certain assassination missions or free-running sequences, after all it would be improper for a man to be seen without his hat. London guards would range from ordinary baton-wielding members of the Metropolitan Police Force, to rifle-armed redcoats, to members of the elite Royal and Coldstream Guards.

An Assassin from the London branch wearing the sword-cane and overcoat

Like all previous Assassin's Creed games, the Assassins have developed ever more creative weapons and methods of killing (dual hidden blades, poison, smoke-bombs). This time, the game has a more intimate focus on preparation and planning, as well as rewarding cunning and subterfuge appropriately - Gladstone does not appreciate 'sloppy' kills. Before a mission, you will be able to select disguises, plant agents and devices in the field (other assassins, cockney pickpockets, triggered explosives), tailor your weapon and armour to whatever enemy type that you expect to encounter. For example, if you anticipate a large number of rifle wielding enemies then it might be beneficial to equip Lord Kelvin's prototype bullet 'resistant' ribbed iron armour. On the other hand if you anticipate large groups of weaker enemies, then you may wish to invest in taking area of effect weaponry such as grenades or incendiary weapons. Of course, what information you have available and what weapons technology you have at your disposal will depend entirely on which side missions you have decided to partake in. By running missions, accepting contracts and completing challenges, you gain expertise and money which can be invested in Lord Kelvin's research. The currency system would work much as it did in previous games, except this time the currency that you use would have to change as you move around the world to different cities. Money will also be generally harder to come by, especially without the equivalent of Monteriggioni to rely on as a cash-cow. You might find that you have to stop progressing through the story to secure extra funds for weapons, armour, medicine or repairs. This might involve going on a pickpocketing spree in Camden Town, robbing a bank or taking on high-paying private contracts.

Unlike previous games, instead of just attacking outright, many Guards and Policemen will give pursuit and try to subdue and arrest you before employing deadly force. Of course though, if they've just seen you run somebody through with your sword-cane, then they are not going to ask many questions before firing at you. Guards will also have the power to search you at random, but this will occur rarely, only if you are acting very strangely whilst highly notorious, or are entering a sensitive/restricted area where high profile figures are known to be. This would mean that choosing to approach your target at street level or by free-running across the rooftops could mean the difference between success and failure.

Dual wielding weapons will also be possible, but carries with it its own set of advantages and disadvantages. Dual wielding would introduce the possibility for double kills whilst in static combat, and would also increase the damage dealt when inflicting a successful hit. However, your character would be generally slower and have a much smaller window in which to perform counter-kills. It would also take longer to recover from strong attacks which miss.

Firearms will be available, this period being well into the age of gunpowder, but they will still largely be secondary to your mle arsenal. Your character will have a wide range of firearms to choose from, including single-shot pistols and rifles, and moving up eventually towards higher end models including a six-chamber revolver, given to you by Lord Kelvin after he received it from a 'special client' (a.k.a Samuel Colt) in the United States. However, you will be limited in the number of weapons that you can carry. You will be allowed your sword-cane, your hidden blades (including one special attachment), one small weapon and one ranged weapon, either a rifle or pistol. Whilst the rifles are much more powerful and likely to score a one-shot kill if aimed properly, bear in mind that they take much longer to reload and will be discovered quickly by guards attempting to search you. Pistols on the other hand are weaker and generally less accurate at long range, but much faster to reload and easily concealable from the eyes of guards attempting to search you.

London Rooftops, looking across to St. Paul's Cathedral

Being the descendant of Altar Ibn-La'Ahad and Ezio Auditore, you pick up the necessary assassination skills remarkably quickly and take down a number of high profile Templar targets in London, including perhaps a fight in an industrial factory, where you have to dodge flying sparks, molten iron and fast-moving steam powered machinery to wreak your revenge on the Templar businessman who destroyed your factory and murdered your family. A rooftop chase of the supposedly fictional Dr. Jekyll/Mr. Hyde, who was in reality an escapee from a failed Templar project to create a breed of super-strong soldiers, eventually capturing him and inducting him as an Assassin so that he might wreak revenge on his cruel creators. At several points throughout the story, you notice briefly that you are being followed by a fellow in what appears to be customised assassin's robes, and wearing a black thieves mask but are unable to catch a glimpse of him for more than a few seconds.

As your story progresses and you continue to perform assassination missions, the running battles between the Assassins and the Templars in London become increasingly tipped in favour of the latter group. In an act of desperation, Gladstone personally asks that you assassinate the, then Prime Minister, Henry John Temple, 3rd Viscount Palmerston, a notorious and high ranking Templar whose support of the Templars in London threatens the very existence of the Assassin Order. Also his aggressive stance on foreign policy threatens to spark off a series of bloody and pointless wars around the world. With Palmerston removed, Gladstone hopes to stand for public election later that year and put the Assassins into the driving seat of power.

This involves you infiltrating the Palace of Westminster (a.k.a. The Houses of Parliament) and chasing Viscount Palmerston through the halls of Westminster, culminating in a confrontation in the bell tower of Big Ben. It just so happens that, with your blade to his throat, Palmerston reveals that he was the one who gave the order to burn down your home and destroy your business ("Nothing personal old bean, it's just business.") In a fit of rage you hurl him through the clock face, but as he is falling to his death, the black robed figure who has been following you all this time, jumps from the top of the tower in a 'leap of faith' and deploys a Da-Vinci-esque flying device, catching Palmerston and landing safely. You must then fight your way back out of the Houses of Parliament through an entire company detachment of the Black Watch, who are secretly the personal bodyguard to high ranking Templars in England.

The Palace of Westminster at sunset, as seen from the South Bank

After escaping, you make your way back to the Assassin's hideout, where you find Gladstone conversing with an unknown man in his office, whom you recognise to be the individual who rescued Palmerston from certain death. You attempt to attack him, but Gladstone intervenes before you can kill one another. The mysterious man is an American gentleman, and somewhat of a dashing rogue. He introduces himself as John Wilkes Booth. Gladstone explains how at the last minute he was persuaded that killing Palmerston would be a mistake, since the power vacuum would only be filled by another Templar, and Gladstone's chances of securing election to the office of Prime Minister would be scuppered. Gladstone then admits that after the failed-assassination of Palmerston, it would be in the best interests of the order to lay low for a few months, try to establish friends and connections in the city for a fightback against the Templars.

John Wilkes Booth

You, together with John Wilkes Booth are to travel around the city as a team (much to your chagrin), performing numerous tasks to bolster the Assassin's reputation, funds and numbers. This might include robbing the Templar-controlled Bank of England and making off with many thousands of pounds in swag, distributing seditious pamphlets, looking for new recruits and covertly 'removing' businesses with known connections to the Templars. Your final mission in this Chapter would involve you going on an excursion out of London and infiltrating Windsor Castle during a Royal Banquet attended by Queen Victoria and Prince Albert, both of whom are known to sympathise with the cause of the Assassins. You are to 'requisition' the famous 105 carat diamond the 'Koh-i-Noor' from the Royal collection. Unbeknownst to yourself and John Wilkes Booth, the diamond is actually a Piece of Eden, and Gladstone wishes to place it safely in storage where the Templars cannot reach it, as part of the Assassin's ongoing mission to catalogue and hide all Pieces of Eden. What Gladstone was not aware of, was that this Piece of Eden possessed life-extending properties and was being used to keep the typhoid-ridden and cancerous Prince Albert alive and in good health. With the real Piece of Eden removed by you and John, and a counterfeit put in its place, Albert dies in his bed that night, 14th December 1861, much to the lament of Queen Victoria.

Prince Albert dies in his bed at Windsor Castle, 14th December 1861

The Templars seize this opportunity and blame the Assassins for the death of Albert and try to poison Victoria and the public against you. Although the Queen does not believe the Templar lies, Palmerston and his Templar associates whip up public opinion and, with the use of his own Piece of Eden, sends a torch-wielding angry mob towards St. Paul's cathedral in a final attempt to drive you out. Whilst you and John Wilkes Booth (who you have found to be quite likeable, if only somewhat mischievous) marshal the Assassin forces to repel the mob, Gladstone approaches you and asks that you take John and Lord Kelvin and leave London for America, New York to be specific. There is a Royal Navy ship, HMS Whiting generously granted by Queen Victoria, waiting at Greenwich to take you down the Thames and across the Atlantic. Just as the mob breaks down the cathedral doors, you, John and Lord Kelvin exit into the streets above via a secret tunnel leading out of the crypt.

Once you have made your way towards Greenwich and are safely aboard HMS Whiting, a messenger appears, informing you that Gladstone and the Assassins have managed to beat back the mob and the Templars, and have escaped to find a new base of operations. Gladstone has also sent you a sealed letter, addressed directly to you. With this news, you instruct the captain to haul up the anchor and set-sail for New York. Whilst en route you encounter what is at first believed to be a French ship, flying the flag of neutrality (since Britain and France were not at war in 1861-62). The captain signals to approach the friendly ship and exchange goods and news of America; but you, in a moment of uncontrolled Eagle vision, see that the men onboard the other ship are hostile, and that the French flag is a phony and disguises the Templar cross. Warning the captain before the other ship comes too close, you spoil their ambush and turn the tables on them, firing a volley of cannon-shot and disabling their main mast and rudder. You board the Templar ship and begin fighting the crew in hand-to-hand combat, eventually seeking out the Templar captain and assassinating him. You retrieve a series of encrypted documents, as well as a host of false flags and naval ensigns from the Captain's cabin, before you scupper the ship, sending it to the bottom of the Atlantic. Unable to explain how you came to see the Templar ship using Eagle vision (you are, at this point, unaware that you are a descendant of Altar and Ezio), you turn to the letter given to you by Gladstone, hoping that it will provide some answers. Inside he explains how he believes that you are descended from one of the seven ancient Assassin bloodlines, which one precisely he cannot say, but the speed with which you acquired the skills taught by the order and your fledgling Eagle vision ability is more than enough evidence to demonstrate that you come from at least one of the bloodlines.

The HMS Whiting at sea

Act 2: New York

Upon arrival in New York in February 1862, you are greeted at the harbour by a large and jolly fellow who introduces himself as Allan Pinkerton, head of the Union Intelligence Service and the leader of the Assassin's Order in America. At this point, Desmond would interject and postulate that he thought that the US Intelligence Agency were the precursor to the modern-day Secret Service, the Presidential bodyguard. At which point one of his companions would point out that the modern day Secret Service is almost entirely made up of assassins, unbeknownst to the Templars. Who better to protect the President against potential assassins, than those who spend their lives mastering the art of assassination? Unfortunately any Templar backed President might find that his Secret Service bodyguards are somewhat inattentive at that critical moment (*cough* JFK *cough*).

Allan Pinkerton, Head of the Union Intelligence Service and Master Assassin of the Assassin's Order in North America

Pinkerton takes you on a brief walking tour of New York, where you see that the Union war effort is in full swing (1862 being right in the middle of the American Civil War). Columns of blue-uniformed Union soldiers march past in the streets, propaganda posters adorn the wall, recruitment officers shout themselves hoarse and a new song resounds through the streets, 'The Battle Hymn of the Republic' (first published in February 1862 in 'The Atlantic Monthly'), upon hearing which Pinkerton remarks that he and the composer, Julia Ward Howe, are close friends, and he thinks the tune is quite good. You however, assert that it'll never catch on.

1860's New York isn't quite the sprawling city of skyscrapers yet, in fact the first official skyscraper in Manhattan won't be built until 1902. Nevertheless, New York is an architecturally eclectic city, with buildings ranging from twenty storey Parisian-style apartments, to the slums and wooden shanties of the immigrant districts. Having recently (1860) adopted the English model of the Metropolitan Police force in New York City, the majority of guards will either be policemen, Union soldiers or militia and vigilantes in the slums, collectively equipped with batons, revolvers, rifles and a variety of makeshift mle weapons.

New York, c.1862

Pinkerton then escorts you to the Assassin's New York headquarters, a star-fort located on Bedloe's Island in New York Harbour generously granted by the federal government a year earlier when the Assassin's pledged to fight on the side of Abraham Lincoln and the Union in the Civil War. The island is, at this time, missing the Statue of Liberty which will make the island famous when it is dedicated in 1886. Once inside, you give Pinkerton the encrypted documents. He then calls in a young man, who he introduces as Friedrich Kasiski, a German cryptologist bought from the Prussian military and smuggled into America by the Assassin's under the pretence of using him to decrypt Confederate communications. You give him the documents and he retires to his office, that he might study and decode them. In the meantime, Pinkerton brings you up to speed with the events of the Civil War so far and how the Templars and Assassins are involved.

The Civil War is going poorly for the Union at this time, although General Ulysses S. Grant has just won the first victory for the United States at Forty Henry in Tennessee, Jefferson Davis, leader of the North American Templar Chapter has just been inaugurated as President of the Confederacy, and Assassin spies in the South have reported that the Templars are using an unknown Piece of Eden to construct the world's first iron-clad ship, the CSS Virginia. Pinkerton informs you that the last few decades have seen the Templars become increasingly more confident and open in their strikes against the Assassins, and though the Confederacy is not strictly a Templar state, many high ranking figures in its hierarchy are members, and either way, the Confederacy has good reason to seek the support of the Templars. The Templars publicly support the notion of slavery, indeed, they believe it to be the natural state of mankind and will fight anybody who wishes to oppose that.

Conversely, whilst the Union, led by President Abraham Lincoln, fights against the Confederacy, there are many within their ranks who are doubtful that emancipation could ever work practically. At the moment, the Assassins are encouraging Lincoln to adopt a firm abolitionist position and are working with the President to draft some sort of 'Emancipation Proclamation' - but, Pinkerton assures you, it remains a work-in-progress.

Pinkerton wants you and John Wilkes Booth to remain in New York and 'hold-the-fort', whilst he and several other Assassins return to the side of President Abraham Lincoln and protect him from Templar attacks and help him and his general conduct the war effort. There is plenty of work to be done in New York to help the Union and the Assassins; tracking down and eliminating Confederate spies, assassinating troublemakers in the Irish immigrant community, destroying Templar enclaves in the city and, with encouragement from John Wilkes Booth, following up mysterious clues found in London that point to some kind of hidden treasure. In the meantime, Lord Kelvin and Friedrich Kasiski continue their work, providing help in whatever way they can, either in the form of information, weapons or other technology.

After a certain amount of time has passed, and you have completed a sufficient number of missions in New York, some time in early September 1862, Friedrich Kasiski will announce that he has successfully decoded the letters captured from the Templar ship. The letters contain details about Confederate and Templar military strategy for the coming year, including a proposed Alliance with Great Britain through Viscount Palmerston and plans to use a Piece of Eden, discovered in Arizona by the Templars in 1845 in the battle against Union forces. (One of the main reasons the United States under the command of Templar President James K. Polk was so keen to start the Mexican-American war in 1847 was in order to acquire further territory in the West, which was believed to contain more Pieces of Eden). This Piece of Eden is believed to possess the ability to cause great devastation on the battlefield through some unknown method, although it is clearly something that Union forces would not be able to counteract with their bayonets and cannons, and could potentially end the Civil War in favour of the Confederacy.

It is clear that if the Templars intend to use the Piece of Eden, they will only do so when the greatest opportunity for devastation and destruction presents itself, in the hope that inflicting such a devastating blow to Union morale will end the war once and for all. At this point an Assassin messenger comes into the room and informs all those present that the Confederate Army under the command of General Robert E. Lee had crossed the Potomac River and is making headway into Maryland. Union forces, accompanied by President Lincoln and Pinkerton are marching to meet them. Battle is expected to commence in the next few days or weeks.

You, John, Lord Kelvin, Kasiski and several other high-ranking Assassins convene in Fort Wood to discuss the best course of action. Sending any reinforcements would be a pointless move, since it would be impossible to transport any force large enough to make an impact on the outcome of the campaign in such a short time, and they would most likely just become victims of the Templar's secret weapon anyway. The situation seems fairly hopeless, that is until Lord Kelvin mentions that the Order does have its own Pieces of Eden, and these could be used against the Templars, if not to counteract their Piece of Eden then at least allow the Union forces a fighting chance at victory. Such a notion is completely unthinkable, since the Assassins are forbidden to use the Pieces of Eden they have in their possession for any purpose, even to defeat the Templars. Any Pieces in the possession of the Assassins are sealed away inside vaults deep beneath the Earth, each of which is locked using an impossibly complex and arcane set of mechanisms that would require both great physical skill and keen perceptive abilities to overcome.

Friedrich Kasiski admits that he knows the location of the North American Vault - beneath the Washington Monument. Though currently under construction as of 1862 and only currently reaching half of what will eventually become its final height of 555 feet, the vault was completed many years before, indeed before Washington D.C. was even conceived as a city, by the first Assassins to come to North America in the early 18th century. Indeed one of the reasons that Thomas Jefferson (himself a member of the Assassin Order) ordered Washington D.C. to be constructed in its current location is because he knew the location of the vault and wanted it kept well out of the hands of his eternal rival, Alexander Hamilton and his Templar associates.

The Washington Monument under construction, c.1860

Unfortunately, any attempt to access the vault would be futile. The outer walls surrounding the vault are known to be solid granite, and over twelve feet thick in places. It would take weeks of tunnelling, and a whole host of skilled labourers to mine through to the outer walls, and then the locking mechanism protecting the inner vault would still have to be overcome. All of which would take far too long, by which time the Templars would have overwhelmed the Union troops in Maryland, killed the President, and be marching on the capital with their secret weapon in tow.

However, Lord Kelvin reveals that with the funds and expertise you provided, he has been working on something that may be of use. He has created what he believes to be a gel-like material which, should an electrical current be applied, will generate immense amounts of heat and explosive power, shearing off entire sections of even the hardest material. He sees no reason why, in principle, this technique could not be used to access the vault. With this information in hand and sufficient quantities of Kelvin's explosive gel, you, John and Lord Kelvin board the next ship bound for Washington D.C.

Act 3: The Civil War

Cue time lapse, and you find yourself standing in front of the Washington monument during the dead of night. Though still technically under construction, the workers have gone home for the night leaving you free to enter the structure beneath the monument and find the inscription of the Assassin's seal that marks the location of the vault.

With the help of Lord Kelvin and a portable carbide battery prototype, you apply the explosive mixture to the wall and hook up the battery, causing the stone to 'melt' away in a bizarre and incredible chain reaction that eats its way through almost twelve feet of solid stone in less than a minute, revealing on the other side what appears to be a large door covered in elaborate stone and metal mechanisms. Although it appears at first to be an impossibly complex puzzle, your Eagle vision conveniently activates itself, revealing the solution. Once the door has been unlocked, you step into the inner vault. Inside are a series of timed free-running sections in the same vein as those found in the Assassin's tombs in Assassin's Creed 2. These must be completed before access is granted to a final antechamber, where the Pieces of Eden are contained. Once you have completed these time-trials, a bridge extends, allowing you and your companions to enter the antechamber.

In the antechamber are three altars, upon which rests a different Piece of Eden. In the East side of the chamber is a large, intricately carved golden warhammer, explained by Lord Kelvin to be 'Mjllnir', the Hammer of Thor. To the West there are two swords, 'Hrunting' and 'Ngling', the magical swords of Beowulf. To the North, there is a long spear, the 'Holy Lance' or 'Spear of Destiny', used to pierce the side of Jesus Christ as he hung on the cross. Lord Kelvin reads from a hefty tome that he took from the Assassin's library at Fort Wood and brought with him to Washington. The book provides descriptions of the abilities possessed by each of the Pieces of Eden. Mjllnir wields the power of electricity, he who carries Hrunting and Ngling gains the powers of fire and the Holy Lance commands control of the very air itself. However, Kelvin informs you, each of the relics is uniquely bound to one of the seven Assassin bloodlines, each bloodline commands control over one element and has been granted one Piece of Eden with which to channel such power. Each relic is protected by a security system, the exact details of which remain unknown, but the system was designed not only to deter would-be-thieves and the uninitiated from gaining access to the Pieces of Eden, but also to prevent one person being able to wield more than one weapon. Choose the wrong Piece of Eden, the one not attuned to your bloodline, and you will die. Although you do not know from whom exactly you are descended, you can use your Eagle vision to identify which Piece of Eden is bound to you. In this case it is the Spear of Destiny, the weapon able to control air (somewhat fitting given the constant association between Altar and bird symbolism).

'The Lance of Longinus' by Fra Angelico c.1440

With the Spear in your hands, you emerge swiftly from beneath the monument and into the dawn sunlight, mounting your horse and riding South to meet with the Union forces and Pinkerton. You part ways with Lord Kelvin at the nearest crossroads, he has no place on the battlefield and assures you that he will be of more use with the other scientists back at Fort Wood. He remarks that he knows of a fellow scientist, a Swedish friend of his, who would be very interested in the explosive properties of his gel (a.k.a Alfred Nobel, who would go on to invent dynamite five years later in 1867).

You and John make your way south to the last known location the Union army, who you believe are camped outside of Sharpsburg, Maryland. You arrive on the 17th September 1862, just as the Union forces unleash the opening artillery salvoes of what will later become known as the 'Battle of Antietam', the bloodiest single day in American military history. The Confederate forces are visibly mobilising in the valley below and moving up to attack the left flank of the Union army. You make your way towards the rear of the army, finding Pinkerton, Abraham Lincoln and General George B. McClellan mounted on horseback, observing the battle unfolding below.

You and John explain the situation to the three commanders, including the contents of the decrypted messages captured at sea, what you believe to be the Confederate 'secret weapon' and the nature of the 'Spear of Destiny' that you brought with you. Pinkerton is alarmed, and informs the Presidential guard to escort Lincoln off the battlefield. Before he departs, Lincoln tips his hat and thanks both you and John personally for bringing him this information. General McClellan then draws attention to an elite detachment of Confederate guardsmen, wearing thick uniforms, early versions of World War I gas suits and reinforced with iron plating, who are moving towards the Union artillery positions. Behind them, they are pulling a cart, upon which there is an object covered by a piece of cloth, clearly positioned in order to conceal something. McClellan shouts orders to the artillery crews to fire upon the guardsmen before they get too close, but it is already too late. The guardsmen pull back the cloth, revealing a large, impossibly smooth black mirror, mounted on a golden frame.

The Battle of Antietam, 'Artillery Hell' by James Hope c.1862

At this point Shaun (or whoever your sarcastic British compatriot is this time around) thoughtfully explains that this appears to be the mythological 'Smoking Mirror' of Tezcatlipoca, an Aztec deity, that he supposedly used to observe the entire cosmos. The first depiction of Tezcatlipoca was found in the 'Codex Borgia', a Mesoamerican ritual and divinatory manuscript, discovered sometime in the 16th century by Spanish Conquistadores and conveyed to the Vatican where it was taken into the possession of (you guessed it), Rodrigo Borgia, where it was then passed through his family to Cardinal Stefano Borgia. When he died in 1804 without any living heirs, the Codex was conveniently 'rediscovered' by Alexander von Humboldt, who thoughtfully passed it on to the Assassins. The manuscript gave details of the location of the 'Smoking Mirror', however expeditions mounted by the Assassins to find the Piece of Eden ended in failure. It was therefore assumed that either the Templars had either located and extracted the mirror many centuries before or that the artefact was truly lost to the ages. It was only a matter of time before they figured out how to use it and deployed it against the Assassins.

Tezcatlipoca, as seen in the 'Codex Borgia'

Two guardsmen position the mirror and aim it towards the Union artillery positions, directing a powerful beam of energy and carbonising hundreds of soldiers in a hail of white fire. Pinkerton pushes you, John and General McClellan to the ground just in time to avoid the beam as it sweeps eastwards, decimating the Union infantry and sending many more fleeing for their lives. You signal for your companions to flee the field, whilst you attempt to attack the guardsmen and disable the mirror. Using the 'Spear of Destiny', you make your way down the hill whilst the guardsmen are distracted. The rest of the Confederate forces are slowly moving up the sides of the valley to push their advantage and you are forced to confront dozens of rank and file soldiers, but the Spear and the power it wields make quick work of them. Eventually you reach the mirror and engage the guardsmen. They are tough, but no match for your legendary weapon, and they cannot turn the mirror to destroy you without endangering themselves. After a while the remaining guardsmen flee and you throw the cloth over the mirror, to resounding cheers from the victorious Union forces, who push their momentary advantage home and counter-charge the Confederates on the valley floor.

Pinkerton and John ride down the hill with elite reinforcements led by McClellan to meet you, and a brief argument ensues about how the 'Smoking Mirror' and the 'Spear of Destiny' should be put to use. McClellan believes that the mirror should be used against the Confederates, they clearly had no moral objection in using it, so why should we? It could save countless lives on either side. Pinkerton asserts that whilst it might prove useful in the short-term, such a strategy runs the risk of having the mirror fall back into Confederate hands, and we cannot guarantee that we will be able to stop them next time. The argument continues for some time, until Abraham Lincoln, escorted by the Presidential guard, rides forward and joins the debate. He has been watching the battle from a nearby hill, and concluded that a weapon of such power cannot be allowed to fall into the hands of any mortal power, it must be either destroyed, or failing that stored safely away where nobody can reach it. Pinkerton and McClellan back down and give orders for the mirror to be dispatched to Fort Wood where Lord Kelvin is to take charge of its security. Having seen your exploits and expertise on the battlefield, McClellan offers to induct you as a Colonel in the Union army, with John as your Lieutenant. An offer you gladly accept, but only after you have returned to Washington D.C. to ensure that the 'Spear of Destiny' is safely buried away in the reconstructed Assassin's vault, where nobody will be tempted to use it.

Allan Pinkerton, Abraham Lincoln and General George McClellan, photographed just after the Battle of Antietam

Cue another time lapse-montage, designed to fill in the gaps about the Civil War, showing Lincoln giving the 'Emancipation Proclamation' on January 1, 1863 with Pinkerton at his side, you fighting at Gettysburg in July 1863, you leading your men down to the sea outside of Savannah, Georgia on 21st December 1864, you observing Union forces burning down a plantation and destroying crops and you present at the Confederate surrender by Robert E. Lee at the Appomattox Court House on April 9th 1865. In the last scene at the Appomattox Court House, Robert E. Lee, commander of the Confederate forces, is shaking hands with his rival Union generals, but when you approach and motion for a handshake; he spits on you and walks on past. The Templar cross on his uniform is clearly visible, you draw your hidden blade but John places his hand on your shoulder to stop you. You walk out of the door together and a flash of light signals another time lapse, this time six days later to the morning of April 15th 1865.

You, Pinkerton and John are riding through the Virginia countryside around dawn - Washington D.C. can be seen in the distance. A young man, riding on a messenger horse comes thundering up the path towards you. You flag him down and ask what news he carries from the capital. The young man informs you that President Lincoln has been assassinated, and that he died only a few hours ago in his bed. You and your companions ride towards the capital, only to be accosted by policemen on the road to the city. They claim that an arrest warrant has been issued for the man in our company, John Wilkes Booth, on the charge of murdering the President of the United States. You protest and claim that such a notion is absurd and impossible, you claim that John has been with you the entire time, that he only left Appomattox a few days previously, there were dozens of witnesses. Pinkerton, recognising that John is clearly being framed by the assassination of Lincoln by the Templars, nods to you, indicating that such objections are futile. You kill the policemen and flee the capital to the temporary safety of Fort Wood.

After arriving back at Fort Wood, you discover that an elaborate Templar conspiracy, designed to implicate John Wilkes Booth and the Assassins in the murder of President Lincoln, has been concocted. Lord Kelvin explains the phony back-story and motives constructed by the Templars. John is no longer an assassin and loyal Lieutenant in the Union army, but rather (according to the Templar's version of history) a disgruntled and racist stage-actor, who served in the Confederate army and, embittered by the surrender of the Confederacy, shot Lincoln in the back during a performance of 'Our American Cousin' in Ford's Theatre. Any person who asserts to the contrary will find themselves being systematically eliminated by the Templars. Pinkerton explains how this will allow the Templars to save face from their defeat in the Civil War. They will claim that it was they, and not the Assassins, who backed the Union forces fighting for freedom, emancipation and liberty. They will claim that they were the loyal servants of Lincoln, and the Assassins the agents of his demise. You cannot truly defeat the Templars, because the Templars write their victory into the history books, so that in the end, history is remembered the way they want it to be.

The Assassination of Abraham Lincoln by John Wilkes Booth

It becomes apparent that America is no longer safe for either you or John. Pinkerton suggests that you flee to Europe for the time being, taking the 'Smoking Mirror' with you to the Assassin Headquarters in Paris where it will be furthest from the hands of the Templars. He will then allow you leave to follow up the various clues you have collected during your journey that point to another, extraordinarily powerful, Piece of Eden hidden somewhere in the Mediterranean, the final piece in the puzzle that will provide answers for you. He assures you that the Templars will not follow, although they are adept at constructing lies, sometimes they are deceived by the simplest of illusions. He will dispatch a body double for John, make it appear as if he is fleeing south, to Maryland. There he will 'die' in John's place, at least that's what it will look like to the eyes of the Templars. As a parting gift, Pinkerton gives you a customised Model: 1866 Winchester Rifle, with the Assassin's Seal engraved in silver on the butt. The final scene in the American chapter closes with you, John and Lord Kelvin disguised as simple folk and with a small, hand-drawn carriage in tow, boarding a ship headed for France.

Act 4: Paris

Cue time lapse, this time twenty years to Paris, France in July, 1885. You, John and Lord Kelvin, all looking considerably older, more grizzled and very tired, are sat around a table in a Parisian apartment, looking over a number of manuscripts, ancient texts and arcane diagrams. The 'Smoking Mirror' sits in the corner, and is covered in several layers of thick cloth and blankets, wrapped up in rope and chains. A small explosion is heard from a room behind the three of you, but nobody looks up from their work. John comments that the new apprentice Kelvin hired is incompetent and shouldn't be allowed near anything more dangerous than a butter knife, but he retorts, asserting that he may be completely insane, but he is unquestionably a genius. A young man, wearing a dirty apron, rubber boots and gloves and covered in soot emerges from the back room and approaches the table. You ask Kelvin's apprentice, Nikola Tesla, how his research is going. He replies in a thick Austrian accent that he cannot complete the device you asked him to design; or alternatively that it would take years to calibrate to the necessary requirements. You reply that time is one of the few things we are not in short supply of.

Nikola Tesla c.1890

You have spent the last twenty years doing freelance work for the Assassins in Europe, taking the occasional contract, but mostly trying to decipher the clues you acquired in London and America all those years ago, pertaining to the location and nature of an extraordinarily powerful Piece of Eden. At the request of Lord Kelvin, who (being extraordinarily stereotypically English and unable to abide the French) couldn't stand having to live and work in the Parisian Assassin's Headquarters, you have rented an apartment in one of the more dubious areas of the city, where he and his new apprentice can conduct their experiments in peace, and you and John can examine the clues you have collected. The 'Smoking Mirror' was transferred into your possession, until a suitable vault could be found to house it permanently. The Paris Headquarters was deemed too dangerous, and too openly known amongst the Templars. You are also pleased to learn that Gladstone has had some success in preventing the Templars obtaining the office of Prime Minister in England, but has been having trouble beating off challenges from the Templar's old attack-dog Benjamin Disraeli.

This time, rather than receiving missions from a central quest-giver, you have to decipher what the next step will be from the clues that you have in your possession. In a similar manner to the mini-puzzles from the glyphs in Assassin's Creed 2 that you were required to crack in order to access 'The Truth', this portion of the game will involve you examining fragmented letters, maps, decoding messages, and looking closely at photographs in order to ascertain what the next step is, or who your next target will be. As you work this out, you cut a bloody swathe through the Paris Templars trying to glean any information that might be pertinent to your mission. This might involve undertaking a variety of unique missions - kidnapping a high-ranking Templar member of the Republican government as he marches in a military parade underneath the Arc de Triomphe and then beating him up, assassinating somebody during an Opera at the Palais Garnier; lying in wait to time a gunshot to coincide with the high notes of a Soprano, and stealing 'Bacchus', a Da Vinci masterpiece from the Louvre so that you might examine it for clues left by the Renaissance master assassin.

'Bacchus' by Leonardo Da Vinci c.1510-1515

These missions take place over a number of years, taking you from 1885 to 1889. During this time, Nikola Tesla continues his work on creating the mysterious device, and you can see the Eiffel Tower begin to slowly rise above the skyline of Paris as it is constructed between 1887-1889. It is the 10th September, 1889, and the Eiffel Tower is to have its grand opening tonight, presided over by the famous Templars Thomas Edison and Gustave Eiffel. You have received a message from Pinkerton (who faked his own death in 1884 in order to avoid pursuit by the Templars and retire in peace after they captured Fort Wood) a few months previously, asking you and John to eliminate Edison and Eiffel whilst they are at the opening ceremony. Edison, though initially a promising young inventor, quickly fell under the sway of the Templars and became obsessed with marketing his products and maximising profits, rather than inventing things for the general good of human kind. Eiffel is the man in charge of building the Templar legacy in steel and stone, the man responsible for dumping a two-hundred tonne copper monstrosity (also known as the Statue of Liberty) on top of the former Assassin headquarters, Fort Wood in New York Harbour. Although his creations may look benign, even pleasing to the common eye, assassins can see their true meaning. They are symbols of conquest, marking Templar territory with an immovable stamp of steel.

You begin planning your mode of assault on the ceremony with John and Lord Kelvin. It is at this moment that Nikola Tesla emerges from the lab where he has confined himself for the last few days, and announces that his work is completed. You are ecstatic, you had asked Tesla almost five years ago to construct a device, based on plans found in an ancient manuscript that you found long ago in the archives in Fort Wood. The technology that the manuscript described was beyond the knowledge of any ancient civilisation and not even remotely achievable, even by modern standards. That is of course if you don't have Nikola Tesla at your disposal. You believe that the manuscript provides a design for some sort of machine, designed to identify the location of the Piece of Eden you have sought after these past twenty-five years. You long ago gave up hope that the device could be constructed, let alone that it could be correctly calibrated, and instead fell back on more traditional methods of locating the Piece of Eden. But Tesla's breakthrough might just be the final piece in the puzzle.

05-01-2011, 03:49 PM
Tesla explains that activating the device will not be simple. It not only requires an immense amount of power, way beyond anything that you could create artificially, but would also need another Piece of Eden with which it could align and properly calibrate itself. You suggest that you could use the mirror, but you do not know where to find such a large power source. Of course, as if sent by God himself, a bolt of lightning tears across the sky and torrential rain begins to pound the streets outside.

You and your companions devise a plan. Tesla, John and Kelvin will escort the device and the Piece of Eden through the streets and towards the Eiffel Tower disguised as merchants pulling a carriage of their wares. Meanwhile, you will make your way towards the ceremony, kill Edison and Eiffel, thus creating a distraction for the others to approach with the device. From there, you will take the device up to the top floor on the elevators, allow Tesla to set it up, and wait for a lightning strike to provide enough power to activate the device. The very definition of killing two birds with one stone.

The opening ceremony is taking place beneath the arches of the Eiffel Tower, in spite of the poor weather - large tents have been erected to protect the crowds from the rain. You arrive just as Edison is signing the guestbook, to rapturous applause from the crowd. Using this as a distraction, you make your approach through the crowd towards Edison who is shaking hands with Eiffel, intending to finish the job quickly with two simultaneous hidden blades to the throat. Edison spots you in the crowd at the last second, and calls for his bodyguards. Pulling up his sleeve he reveals a device attached to his wrist. He presses a button on the device, unleashing an array of electrical discharge into the air around him, sending the crowd scattering in all directions and preventing you from coming close to him. You pull out your gun, but before you can aim, he and Eiffel have disappeared out of the tent and into the night. A minor setback, Pinkerton will be displeased, but killing Edison was not the main reason you came here tonight. With the tower now deserted, you signal for John, Kelvin and Tesla who have been hiding nearby, to approach with the device.

With the help of your companions, you use the elevators to transport the device to the observation deck on the top floor of the Eiffel Tower. In its original form, the observation deck was open to the elements. Though the rain makes it almost impossible to communicate with one another, you ask Tesla to set up the device. He complies and begins rearranging wires and making last-minute adjustments, before climbing up the spire to attach a wire to the tower's lightning rod. A mere second after Tesla has connected the wires, an immensely powerful bolt of lightning strikes the tower and sends out a pulse of energy, disorientating you for a few moments.

Lightning striking the Eiffel Tower during an experiment by Nikola Tesla, 1889

Act 5: The Red Sea

After a few seconds trying to readjust to the light, you find yourself face down on a sandy beach, the tide lapping gently at your feet. You can see that John and Kelvin are nearby, but there is no sign of Tesla. You pull yourself up and brush the sand from your robes, looking around at the vista. There is nothing in either direction, just sand dunes and a calm sea. It also appears to be midday - strange considering little over a moment ago it was the dead of night. You help John and Kelvin to their feet and look at your surroundings, trying to deduce what happened. Kelvin mumbles to himself that he never though he could do it, he never believed in Tesla's ravings, but here we are. The device was not meant to 'locate' the Piece of Eden, it was designed to 'send' you to the Piece of Eden. Tesla had designed a teleportation device. Using the designs of some ancient civilisation and harnessing the grand power of nature itself, he had been able to transport three men an unimaginable distance in all but an instant. Still though, you can see no Piece of Eden, nor any place it might be hidden, only sand.

It is at this moment that John stubs his toe on something hard, protruding less than an inch above the sand. You rush to uncover it, digging furiously around the mysterious object. It's a marble spear, stained by many years of weather and erosion and firmly stuck in the ground. Kelvin points to the dunes just beyond, parallel to where the statue was buried. A clear outline can be discerned, the shape of a gate or entranceway. You rush over to the dunes and begin clawing away at the loosely packed sand with your bare hands. Eventually, the rock, mud and sand falls away to reveal a sealed door, made from some unknown polished black stone and covered in impossibly intricate markings. As you approach, the markings flicker feebly. When you place your hand on the stone, words appear on the face of the door - a riddle, in English;

'I'm a strange contradiction; I'm new, and I'm old,
I'm often in tatters, and often decked with gold.
Though I never could read, yet lettered I'm found;
Though blind, I enlighten; though loose, I am bound,
I'm always in black, and I'm always in white;
I'm grave and I'm gay, I am heavy and light -
In form too I differ - I'm thick and I'm thin,
I've no flesh and bones, yet I'm covered with skin;
I've more points than the compass, more stops than the flute;
I sing without voice; without speaking, confute.
I'm English, I'm German, I'm French, and I'm Dutch;
Some love me too fondly, some hate me too much;
I often die soon, though I sometimes live ages,
And no monarch alive has so many pages.'

You look to John, completely at a loss, when Kelvin proposes an answer, 'A Book'. The words dissipate, moving to form the outline of a door in light, which promptly shifts slightly, giving way and opening when you push against it. Inside you find a large domed room, with two wings going off to the left and right. The walls are lined with shelving units, each of which contains thousands upon thousands of scrolls, tomes, books and manuscripts, right up to the roof. In the middle of the central domed room there is a raised lectern, upon which rests a large golden book.

At this point, Shaun has a moment of epiphany, pointing out that your ancestor must have found the 'Book of Thoth', and that they must currently be standing in the lost Library of Alexandria. Of course it all makes sense, where else would you store 'knowledge' but a library? The 'Book of Thoth' is only what the Egyptians called the book that, if read, would confer the reader unparalleled knowledge of the gods. But pretty much any book, tablet or scroll throughout history that has been said to impart 'knowledge' of the gods, from the Mesopotamian 'Tablets of Destiny' to the Judeo-Christian 'Ten Commandments', were all the same thing, just passed from one great ancient civilisation to another. Desmond asks how this can be the Library of Alexandria, since the ancestors they are observing are clearly not in Alexandria, but on some remote beach on the Red Sea. Shaun replies that it might have something to do with the destruction of the library in 48BC by Julius Caesar. Caesar was well-known to the Assassins as a Templar, dictator, tyrant and the man who killed the Roman Republic. He despised the library and the ancient knowledge that it held. In Caesar's opinion, books were dangerous and would play no part in his new Empire; he needed soldiers not scholars, men who could wield spears, not words. When he burned down the library in Alexandria (and then pretended it was an accident), somebody must have saved whatever they could and transported it here for safekeeping. It was clear that humankind no longer wanted this knowledge, therefore it would be denied to them, until someone worthy came and reclaimed it. It took the Assassins four years to get their revenge on Caesar, but he got what was coming to him.

'Humanity Healing' by Gustave Dor c.unknown

Your ancestor approaches the lectern, but is repulsed and thrown to the ground by a wave of energy. In front of you, a dozen or more holographic apparitions appear before you, similar to Minnerva and Juno, but this time a veritable Pantheon of ancient gods and goddesses forming up in a crescent formation to face you. From the centre, a slender and short male figure steps forward, he carries a book under his left arm. When you ask who he is, he replies that he has many names amongst humans. Apollo, Sarasvati, Tyr, Thoth. But above all, he is the embodiment of human knowledge, the ability to write laws, to impart wisdom, to print books and most of all, to see the truth clearly. He says that he senses these qualities in you and your companions, the will to seek out the truth above all else is the greatest of human virtues - greater than courage, greater than strength or speed or wealth or even compassion. He reaches out to touch you and takes you by the arm, examining your hand closely. Your Eagle vision activates automatically and you can see that your hand is covered with marks of bright glowing blue. The apparition comments that you have been in contact with us before, that you have held the 'Sky Spear' and used it in anger against others. You reply to the affirmative, that you took the 'Spear of Destiny', but only used it to defend others against those who would do them great harm. He nods, recognising that you did not intend to use it for malicious purposes or personal gain. He asks what you seek by coming here. You reply that you hoped to find the Piece of Eden that was hidden here, and to read from the book and learn the knowledge contained therein.

The apparition is visibly disheartened. He tells you that no man may yet read from book without losing their mind, but that soon, very soon, mankind will be ready to read and see the truth. He takes you by the shoulder and walks you and your companions towards the exit. He advises you to forget the misdeeds of the past, to raise another family and pass on what you have learned to your sons and daughters so that one day, the man from the South might return when the time is right, and the knowledge contained within the book will be the last hope of humanity. He stops and just before you walk out of the door and into the sunlight, he asks that you keep a close eye on Tesla - he will be more important than you think in the coming years. The door seals shut behind you, and sand collapses around it, hiding the library's location once again.

Another, final, time lapse sees you back in your Parisian apartment with John and Kelvin. The house has been completely ransacked, tables and chairs overturned, papers scattered everywhere and windows smashed. There is a small note pinned to the door of the laboratory, it reads;

"Dear Garrett,

Sorry for leaving the place in such a mess, had to leave in somewhat of a hurry and the Templars won't be far behind me. If you're wondering about the mirror, consider it payment for my services. Don't worry, it's in safe hands with me, I just want to run some experiments that's all. I'm going somewhere far away where I won't be disturbed, perhaps Australia, or maybe Siberia. If you want to do me a favour, then bring me Edison's head, he's starting to become a serious bother. Anyway, got to run,


The final scene sees you, John and Kelvin saddling up your horses at a crossroads just outside of Paris. As you mount up, John throws you a brown, fur ushanka, accompanied by the reassurance that you'll be needing it. You give him a wry smile and spur on your horse, the three of you riding to the East and off into the sunset, just as the screen fades to black and the credits begin to roll.


As the final credits disappear off the screen, you can hear the sound of digging and faint German voices. Gradually the voices get closer and closer, until the black screen is slowly chipped away like sand falling from stone. A soldier in a brown uniform shouts 'We've found it, it's here!' in German, and signals for his superior officer to come and take a look. A man in a pristine, midnight-black SS uniform approaches the screen and looks in close towards the player at something. The crimson Swastika on his left arm is clearly visible. He leans back and says in German 'Very good, open it up.'


Almost everything I have described in the above account is historically accurate, except for the involvement of the Templars and Assassins (as far as we know). Of course, I've taken a great deal of artistic license with the involvement of certain historical figures, but I have refrained from going overboard.

-Allan Pinkerton really was the head of the Union Intelligence Service, and what later went on to become the Secret Service. Although he probably did actually die in 1884 (unless it's a Templar conspiracy!), I've artificially extended his lifespan by a few years so that he can ask Garrett to assassinate Edison and Eiffel.

-'The Battle of Antietam' really was the bloodiest single day in American military history, with over 23,000 casualties (dead, wounded and missing). Although I doubt that the actual cause of such a high body count was the Confederates using a weaponised Piece of Eden, it's not too much of a stretch to imagine that the Templar's would want to cover up their failures that day.

-The Eiffel Tower was not actually opened on the 10th September 1889, but rather a few months earlier in May 1889. I changed the date to coincide with a visit to the tower by Thomas Edison and his close friend Gustave Eiffel, since I thought the idea of trying to assassinate Edison during the Tower's opening ceremony was pretty cool.

-The 'real' John Wilkes Booth actually fled south into Maryland after the assassination of Lincoln and holed up in Garrett's Farm, until he was driven out by policemen and shot at the scene. Of course there has always been speculation that Booth employed a body double to die in a place, and that the actual John Wilkes Booth escaped to Europe.

-By an amazing coincidence, the first recorded mention of the 'Smoking Mirror' of Tezcatlipoca really is in the 'Codex Borgia', which can be circumstantially traced back to Pope Rodrigo Borgia in the 16th century.

-The Library of Alexandria is recorded as being burned to the ground by Julius Caesar in 48BC, but contemporary records maintain that it was an accident. Though, as far as accidents go, destroying the only existing catalogue of untold ancient knowledge is pretty catastrophic.

-The main character's name, Garrett Ray, means (as far as I can tell) 'Spear of Wisdom' or 'Spear of Knowledge'. Whilst it doesn't fit in with the 'bird' theme that Altar and Ezio had going on, I feel that it matches the plot of this game quite nicely.

In retrospect I haven't spent a lot of time describing the actual 'assassination' missions in the game. Rather I've tried to focus more on the key plot events and mapping out the overall story ark. Naturally, the best part of any Assassin's Creed game lies in the actual killing of your targets, and I think that there is a great deal of creative scope to implement really well-designed assassination missions. My personal favourite would undoubtedly be the assassination during an Opera at the Palais Garnier. Sneaking into the rafters and catwalks above the audience and royal boxes, then lying in wait until the soprano hits her high note, and then discharging a single gunshot to take out the target sounds unbelievably awesome.

I also have deliberately avoided describing what exactly I would like to happen in the meta-plot to Desmond, Lucy, Rebecca and Shaun. The reason for this is that doing so might provide spoilers for those who have not yet had chance to play Brotherhood, but also because Ubisoft seem to have their own ideas about where to take that plot, and any speculation on my part would be largely pointless and uninteresting.

Please bear in mind that this is not a prediction or even speculation about the next game. None of what I have described is based on any 'rumour' about Assassin's Creed 3, it is purely a creative exercise created for the benefit of myself and others in the Assassin's Creed community as a vehicle for suggesting what I and others would like to see in the next game and sequels beyond.

Once again, if you took the time to read all of that, have a coconut, since it comes in at a final count well over 10,000 words.

05-01-2011, 04:23 PM
Originally posted by Imbrui:
Once again, if you took the time to read all of that, have a coconut, since it comes in at a final count well over 10,000 words.

I haven't read it all yet but I was going to say... **** ******* **** that is the longest forum post I've ever seen anywhere... http://forums.ubi.com/groupee_common/emoticons/icon_eek.gif

How long have you been thinking this up for? How long did it take you to write all that? Just wondering...

05-01-2011, 04:25 PM
I feel bad for not liking your idea now.

05-01-2011, 04:31 PM
I haven't read it all yet but I was going to say... **** ******* **** that is the longest forum post I've ever seen anywhere...

How long have you been thinking this up for? How long did it take you to write all that? Just wondering...

Well, when the Assassin's Creed: Revelations page was leaked on Friday night, I started throwing some ideas around and making a few notes, sketching an outline of the plot. Then I started writing yesterday, worked for about 10-12 hours on it. I picked it up again today and spent about 5 hours finishing writing the plot. Then I spent about 3 hours tracking down some appropriate images and uploading them to image-shack and then putting them into the post.

So all-in-all I spent about 20 hours constructing the plot and writing it out. A good weekend's work!

05-01-2011, 04:38 PM
I'm still reading but I do really like some of your ideas for game mechanics, such as the outfit serving a more practical purpose like Altair's (Ezio's really didn't do anything except make him stick out). Also, generally the whole hunter approach (i.e. planning and strategy) would be nice as well.

EDIT: I read it all. Without digging into your story itself, I will say I do like the idea of including significant locations all throughout the world.

05-01-2011, 04:58 PM
I would literally jump for joy if the game took place in London. I reeeeeeeeeeeeeeaaaallllllllllllyyyyy hope it does.


05-01-2011, 05:08 PM
I cant read it I am unliterate

05-01-2011, 07:10 PM
I got an idea. very loose but a good one.

Assassin's Creed: The Revolution Era 1700's -1800's

The American Revolution, The French Revolution and the Industrial Revolution Era's

The Revolution Era, a time where nations formed and collasped under their own weight with the rise of independece being a small beacon of hope. Both sides are at constant turmoil. As they try to tighten their grip, their power slips through their fingers. The people the are the key to one side's success.

The main character is Arnaud (Eagle power) or Fiacre(Raven). The main character is a french immagrant who is originally a templar that escapes with family to America to be safeguarded by the persecution. Although they make it there safely, the war is still continuing as his family is presured into fighting. When his family capture the master assassin and plan to execute them but he betrays them and joins the Assassin Brotherhood, after misconceptions and false hope of a peaceful life in the colonies led by the Templars.
he will travel across the colonies relinquishing the Templar Rule and ushering in the rise of democracy in America. Then after the Revolution, he will travel to France his hometown to bring down the Templars in France.

Afterwards he will travel back to America and travel across America to find the peice of Eden bestowed on the Pacific coastline. The Manifest Destiny.

Meanwhile, in the present it reveals more of Desmond's adventures.

05-01-2011, 09:22 PM
Originally posted by Imbrui:



YES! that would be awesome, but, PLEASE NO GUNS!

05-01-2011, 09:26 PM
I THINK THIS IS WHAT YOU CALLED UBI LEAK http://forums.ubi.com/groupee_common/emoticons/icon_biggrin.gif I THINK HE GOT ALL THIS INFO FROM HIS EAGLE VISION TOO http://forums.ubi.com/groupee_common/emoticons/icon_biggrin.gif

05-02-2011, 02:13 AM
Sorry could you speak up i don't think i heard you.

Randy 355
05-02-2011, 02:36 AM
Wow, this is awesome! I've only read some of the beginning, but this is the kind of stuff I'd like to see in ACIII.

One minor thing though. His parent's were murdered by Templars? That's too much like ACII. In my opinion, he should be an orphan instead (totally London) and then quite possible it can be discreetly hinted at but not ever quite stated that his parents are the very templars he faces! Assassin family turned Templar turned back to Assassin!

Or whatever.

05-02-2011, 05:29 AM
That's amazing! Well done, you should be a game script-writer! The plot is very intricate, you've obviously put a lot of effort into it and I thoroughly enjoyed reading it. http://forums.ubi.com/groupee_common/emoticons/icon_smile.gif
It is my dearest wish that AC3 be set in Victorian London and your story captured perfectly the sheer awesomeness of the city and it's awesomeness!
I love the idea of a climatic battle at the top of the Big Ben Clock Tower! I pray that Ubisoft have chosen this period for AC3. Grazie mille! http://forums.ubi.com/groupee_common/emoticons/icon_smile.gif

05-02-2011, 07:40 AM
I like all these creative ideas. I think as you said would work. However, I want the Revolution era because it seems to fit and it unfolded so much history such as independence and imperialism of nations and countries. Templar family member turned Assassin should work and murdering of his/her family would be the icing on the cake.

05-02-2011, 09:00 AM
20 hours? wow. why?

05-02-2011, 11:54 AM
Originally posted by Imbrui:

As the final credits disappear off the screen, you can hear the sound of digging and faint German voices. Gradually the voices get closer and closer, until the black screen is slowly chipped away like sand falling from stone. A soldier in a brown uniform shouts 'We've found it, it's here!' in German, and signals for his superior officer to come and take a look. A man in a pristine, midnight-black SS uniform approaches the screen and looks in close towards the player at something. The crimson Swastika on his left arm is clearly visible. He leans back and says in German 'Very good, open it up.'

why german nazis again http://forums.ubi.com/groupee_common/emoticons/icon_confused.gif ?

wahts the reason, the idea behind this?

05-02-2011, 12:18 PM
Originally posted by UBOSOFT-Gamer:
<BLOCKQUOTE class="ip-ubbcode-quote"><div class="ip-ubbcode-quote-title">quote:</div><div class="ip-ubbcode-quote-content">Originally posted by Imbrui:

As the final credits disappear off the screen, you can hear the sound of digging and faint German voices. Gradually the voices get closer and closer, until the black screen is slowly chipped away like sand falling from stone. A soldier in a brown uniform shouts 'We've found it, it's here!' in German, and signals for his superior officer to come and take a look. A man in a pristine, midnight-black SS uniform approaches the screen and looks in close towards the player at something. The crimson Swastika on his left arm is clearly visible. He leans back and says in German 'Very good, open it up.'

why german nazis again http://forums.ubi.com/groupee_common/emoticons/icon_confused.gif ?

wahts the reason, the idea behind this? </div></BLOCKQUOTE>

Because, well, do you think english Nazis would be better?

05-02-2011, 12:20 PM
Originally posted by MagnifyHope:
<BLOCKQUOTE class="ip-ubbcode-quote"><div class="ip-ubbcode-quote-title">quote:</div><div class="ip-ubbcode-quote-content">Originally posted by UBOSOFT-Gamer:
<BLOCKQUOTE class="ip-ubbcode-quote"><div class="ip-ubbcode-quote-title">quote:</div><div class="ip-ubbcode-quote-content">Originally posted by Imbrui:

As the final credits disappear off the screen, you can hear the sound of digging and faint German voices. Gradually the voices get closer and closer, until the black screen is slowly chipped away like sand falling from stone. A soldier in a brown uniform shouts 'We've found it, it's here!' in German, and signals for his superior officer to come and take a look. A man in a pristine, midnight-black SS uniform approaches the screen and looks in close towards the player at something. The crimson Swastika on his left arm is clearly visible. He leans back and says in German 'Very good, open it up.'

why german nazis again http://forums.ubi.com/groupee_common/emoticons/icon_confused.gif ?

wahts the reason, the idea behind this? </div></BLOCKQUOTE>

Because, well, do you think english Nazis would be better? </div></BLOCKQUOTE>


05-02-2011, 01:22 PM
Thank you to everyone so far for their comments and criticisms. I'll just use this time to answer some of the questions posed.

One minor thing though. His parent's were murdered by Templars? That's too much like ACII. In my opinion, he should be an orphan instead (totally London) and then quite possible it can be discreetly hinted at but not ever quite stated that his parents are the very templars he faces! Assassin family turned Templar turned back to Assassin!

I tried to distance myself from repeating Ezio's back-story. It would, after all, be quite repetitive and clich to have Garrett's motivation simply be a repeat of the whole 'parents/siblings murdered, take revenge' storyline. When I began writing the character of Garrett, I had in mind somebody who is much older than Ezio was at the start of his story, perhaps 25-30. Of course this would make him 55 years old by the time the story finishes, but I think that would give quite a nice sense of how finding the Library and the Piece of Eden really was his 'life's work'.

When I said that his family is killed in an arson attack by the Templars, I wasn't really thinking of his parents and siblings being murdered, but rather his young wife and children being the victims (after all, most men of 25 would be married at that age in the 19th century). When Ezio's father and brothers are murdered, it's certainly a horrific event, but by no means the end of Ezio's life. His sister and mother are still alive and need his help and protection, and that gives him reason to keep going, track down the Templars and seek revenge. In contrast, when Garrett's family are killed by the Templars, it must seem like the end of the world. Everyone he's ever known is dead, and he has no reason to carry on living. So when he's rescued by the Assassins, it must seem like an opportunity for a new life, so he breaks all ties with his old life and can go freely cavorting around the world as he pleases, and why the final request by Apollo in the Library of Alexandria (to start a new family and a new life so that he fathers a son) is so difficult for him to accept. Ezio, despite his loss, is still very much connected with his family (through Mario).

I do very much like the idea of Garrett being an Orphan though, and it would also provide a decent explanation why his parents never feature in the story.

I like all these creative ideas. I think as you said would work. However, I want the Revolution era because it seems to fit and it unfolded so much history such as independence and imperialism of nations and countries. Templar family member turned Assassin should work and murdering of his/her family would be the icing on the cake.

When I was thinking of when to set the game, Revolutionary Europe/France was always at the back of my mind. In fact, it would probably have been my second choice if I hadn't chosen Victorian England/The American Civil War. Having your ancestor dip his hand into the American Revolution and then the French Revolution, and perhaps even the Napoleonic Wars is something that would lend itself quite nicely to the plot of an Assassin's Creed Game. Unfortunately I really wanted to include characters like Nikola Tesla, William Gladstone and Lord Kelvin into the narrative, since they just seem like awesome historical personalities. However I suppose there's no reason you couldn't replace them with 18th century equivalents, Thomas Jefferson, Napoleon, Lord Nelson etc.

why german nazis again ?

wahts the reason, the idea behind this?

I was always a bit unsure about whether or not to include the epilogue, since I wasn't sure whether it sent the right message. By no means am I suggesting that the next of the Assassin's Creed games should be set during World War 2 (I even believe Ubisoft have explicitly stated that they won't go down that road). When I included the epilogue, it was merely to temper what may seem to some like a sentimental ending, with Garrett, John and Kelvin riding into the sunset together. On the one hand, I wanted to give Garrett's story a bit of closure and finish it on a high note (since Assassin's Creed 2 and Brotherhood ended in such weird and ambiguous ways), but I also wanted to leave the audience with a bit of a cliffhanger ending that would act as a springboard and send the plot in potentially any direction.

When I included the epilogue, I was implying that after Garrett left the Library of Alexandria, the next people to locate and access it were the Nazis. This means that somewhere along the line, the Nazis (and therefore the Templars who were involved with National Socialism) got their hands on the 'Book and Thoth' and the knowledge contained within it. This could have a whole host of ramifications for Desmond in the future, most of which I hadn't given much thought to.

05-02-2011, 02:02 PM
I think Ubisoft would benefit from having you work for them. Not that they're not good at telling a good yarn, but that was very much creed-worthy... in fact, I'd say it's better than any of the stories so far.

Only things I disliked were the new costume (top hat? Really?) and the focus too much on advanced technology. I know it's Victorian London, but do we really need steampunk? And that thing with the Eiffel Tower is rather silly.

But other than that, I am utterly speechless. Well done good sir.

05-02-2011, 05:50 PM
What if the Assassin still had his parents? Like, he goes out at night and throws someone off Big Ben and comes home and says "so mom what's for supper?". I think it would make for an interesting plot if the Assassin was around 17-19 but still has his whole family that don't know he's an Assassin.

05-02-2011, 06:22 PM
I got something for the desmond plot. Let's just say Subject 18 and Eve.

05-03-2011, 09:49 AM
Originally posted by Imbrui:

<BLOCKQUOTE class="ip-ubbcode-quote"><div class="ip-ubbcode-quote-title">quote:</div><div class="ip-ubbcode-quote-content"> why german nazis again ?

wahts the reason, the idea behind this?

I was always a bit unsure about whether or not to include the epilogue, since I wasn't sure whether it sent the right message. By no means am I suggesting that the next of the Assassin's Creed games should be set during World War 2 (I even believe Ubisoft have explicitly stated that they won't go down that road). When I included the epilogue, it was merely to temper what may seem to some like a sentimental ending, with Garrett, John and Kelvin riding into the sunset together. On the one hand, I wanted to give Garrett's story a bit of closure and finish it on a high note (since Assassin's Creed 2 and Brotherhood ended in such weird and ambiguous ways), but I also wanted to leave the audience with a bit of a cliffhanger ending that would act as a springboard and send the plot in potentially any direction.

When I included the epilogue, I was implying that after Garrett left the Library of Alexandria, the next people to locate and access it were the Nazis. This means that somewhere along the line, the Nazis (and therefore the Templars who were involved with National Socialism) got their hands on the 'Book and Thoth' and the knowledge contained within it. This could have a whole host of ramifications for Desmond in the future, most of which I hadn't given much thought to. </div></BLOCKQUOTE>

ah ok, thanks.