Powerful, Believable Relationships Help Drive 'Assassin's Creed Origins'

“Freedom isn’t given, it’s taken,” a character utters towards the end of Assassin’s Creed Origins, punctuating the game’s ultimate thesis on the dynamics of the powerful and powerless. It has meaning because the men and women who take it as an article of faith have undertaken a journey that’s only persuasive because the characters at the heart—a mother, a father, a son—were credibly driven to believe it.

This is a companion discussion topic for the original entry at https://waypoint.vice.com/en_us/article/43qa8p/powerful-believable-relationships-help-sell-assassins-creed-origins
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I just bought Wolfenstein 2, Dream Daddy, and Night In The Woods, but with all the surprising love Assassins Creed has been getting I’m very very tempted to dive headfirst into Egypt.

I’m really happy reading and hearing about how many people, especially critics, have enjoyed this game. I never played any AC game before this and just happened to be in a privileged enough position to get a review code for it. With zero expectations, I found myself getting drawn into the world, even with the rather formulaic quest mechanics and occasionally wonky script/VA work for the NPCs. A lot of it has to do with how Bayek interacts with those people, portraying a range of emotions that show how multi-faceted and straight-up likeable he is without being a “charming rogue” that genre fiction usually defaults to.

And yes, it’s the portrayal of Aya and Bayek’s relationship that made me wanna see the story through, which I’m glad I did after 40-something hours!

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A world-changing event occurred in 2012’s Assassin’s Creed III, the kind of story beat whose consequences should be explored ASAP, but Ubisoft has basically ignored it ever happened.

This isn’t stricktly true. It is mentioned in the “deep lore” that most people won’t engage with.

It’s obliquely referenced in some of the Isu tomb sequence things iirc.