Do you hear the people sing?There’s a lot wrong with Assassin’s Creed: Unity. I mean, there is a lot right with it too…but there is a lot wrong. Now, I went into playing Unity all smug like, thinking “well, I have seen Les Misérables both on stage and on screen – I am totally in the know of the French Revolution. But, apparently, there was more than one – so where Les Mis is set in the early 1800s, Unity takes place during the 1790s. So, my knowledge on the historical events were limited, with the only historical figure I recognised being Napoleon. Oh, and Madame Tussaud makes an appeareance! Not that my lack of knowing is the game’s fault by any means – I mean, how were they supposed to know that my historical knowledge was limited? But it certainly makes you less invested in the story if you don’t really know who is who. Anyway, that is an irrelevant side note.Unity follows assassin Arno Dorian throughout his adventures in Paris. Arno’s story takes an interesting, different route from previous AssCreds; it focuses more on a unity (hey? hey?) between Assassins and Templars, as opposed to the usual “we have to find these deadly artifacts before they do!” approach some of the previous games take. Despite this interesting premise, Unity fails when it comes to deliverance. The story feels very disjointed and slow of pace, with the Revolution not actually kicking in until about half way through. There are some fascinating side characters – powdered faces, ludicrous wigs and what not – but most of the main cast are pretty bland, and many share similar facial features, making it quite difficult to distinguish between who is who. One of the best features of the plot is the love side story, which plays out nicely as the game progresses. Still, Unity, somewhat ironically when you think of the title, seems to stand very alone when compared to previous Assassin’s Creed games. Granted, we have just finished what is called the “Kenway Saga”, so naturally all of those games would link, but there is barely any reference to previous instalments (apart from unlocking past protagonists’ outfits), which, considering this is only set a few years after the Kenway Saga, is a bit disappointing. If you have played Rogue, you will know how its epilogue ties in nicely with Unity’s prologue – so it would have been nice to maybe feature Shay at some point during the game, even if he is an older man by then. There is also no ‘modern day’ section of the game, bar a few cutscenes, which is a shame because it was actually quite a fun little diversion going around and hacking computers, learning about Abstergo’s secrets. As a final point on plot, the trailer/promotional art would have you believe that Unity focuses on a troupe of young Assassins who work together having banterous fun and a cheeky Nando’s every now and then. This certainly is not the case in the story, unless this kicks in right at the end. There are several multiplayer missions scattered about, and the game puts a great emphasis on completing these (I have no friends so…), but nothing in the main story, unfortunately.This leads nicely onto my next point: sidequests. Fans of the Assassin’s Creed series will know that there is an abundance of activities to complete in each game. Unity is no different. Now, opinions on this may be mixed, but I believe that Unity offers too much. The map of Paris is lovely, large and lively, and absolutely infested with side activities like moles on my back. There are chests to open. Some are locked, which requires a certain degree of lockpicking skill, which can only be obtained after completing Sequence 5 or 9, depending on the skill level. Lockpicking is also incredibly boring and tedious. There are collectibles in the form of cockades; like Animus fragments in previous games, these are dotted across the map and serve no real purpose other than gotta catch ‘em all. There are murder mysteries, which are actually quite enjoyable, in which you take the role of a Batman-style detective. They range in difficulty from piss-easy to that-required-me-to-think-a-bit. There are assassination missions, which literally highlight a random poor bugger on the map and require you to go and kill him. Alongside this we also have “Paris Stories”, mini-missions that require you to complete a few little tasks for certain characters; nothing too special. Lastly, there are Nostradamus Enigmas. Nostradamus, being the enigmatic little seer that he was, has left clues around Paris in the form of riddles to unlock some uber armour (probably for aesthetic purposes only). I enjoy a good riddle, but some of these are ridiculous – it got to the point where I just looked them up. There are 18 in total, each with three riddles, which have you traipsing all over Paris. Again, a nice idea, but piled on top of everything else, it just becomes tedious. The fact that there is no real reward, bar some aesthetic differences, also makes all of these side quests lack incentive. In the Dead Kings DLC there are some similar riddles to unlock a hilariously OP sword, but that’s kind of it. Unless you’re an achievement hunter then it feels like a waste of time. Saying that, achievements are stored on uPlay (if you’re on PC), so what the hell is the point there?
Unlike its predecessors, Unity is a ‘new-gen’ game, and it certainly feels it. With a new art style which I have mixed feelings about (a bit like water painting), and an arguably improved freerunning mechanic (it’s a lot more fluid but also a lot more restricting…play and you will see what I mean), Unity feels like a slightly less intelligent big brother to its previous instalment siblings. The clunky controls are still apparent, making Arno very difficult to control at times. Combat has changed slightly too – it’s a lot more difficult, which is a welcome change. It now requires you to actually think what you are doing, as opposed to waiting for an opportunity to counter before engaging in a kill streak. There is a vast variety of weapons and armour to customise Arno with, but, again, this is a little overwhelming. In the weapons category, you have one-handed, two-handed, long weapons, pistols, rifles and (if you have Dead Kings) guillotine guns, which are pretty much grenade launchers with axes on. You can swap these around at any time by accessing the customisation menu, but due to the clunky route you have to take to get there, there isn’t too much point. The plus side is that you can make Arno into the type of fighter you want: will you go sword and pistol? Or perhaps a spear? Unfortunately, if you choose a weapon such as one from the rifle category, that serves as both your melee and your ranged, making combat limited. I just stuck with one handed sword and pistol, occasionally dabbling into heavy. There are also a finite number of skill points, so make sure you spend them in the category that is useful to you. Now, you can also customised every inch of Arno’s outfit, from hood to gloves to belt to pants. Well, not the last one, but close. Each item of clothing offers different stats and oh my gosh it’s just too much. If you’re really into customisation, then this is great for you, but unless I’m playing an RPG in which I can actually role-play with a character how I want, then it’s limited. I don’t care what gloves Arno wears. Additionally, various weapons and clothes have exactly the same stats – the appearance is just different. As mentioned, you can also unlock previous protagonists’ outfits, and a few others, that serve as a skin for whatever armour you are wearing.
Unity by all standards is a decent game, but it falls short in a lot of areas, and lacks where games such as Black Flag and Rogue succeeded. Ridiculous load times, various texture and clipping issues (and at one point, two characters kissed, and they didn’t touch, resulting then standing near each other with puckered lips making kissy sounds…), and other somewhat silly factors that really shouldn’t occur in such an established franchise stop this game from being great.
If you’re a fan of the series it’s worth playing, but I personally wouldn’t spend more than about £20 or so on it, as seems to be the continual case with most Assassin’s Creed games.
Thanks 2K, but where’s all my new shit?
Borderlands: The Pre-Sequel! (exclamation mark included) is the latest addition in the family-friendly Borderlands series. AKA Borderlands 1.5, this game is set in between Borderlands 1 and 2. However, I will do my bestest not to include any spoilers for any of the three games in this here review. Holla. At time of writing, I have only played a couple o’ hours with a couple o’ characters with a couple o’ friends (and m’self), but I think that’s sufficient enough to warrant a ‘first impressions’ review, don’t you think?
First off, The Pre-Sequel!, whilst good, does just kind of feel like a Borderlands 2 DLC pack. Which isn’t a bad thing, considering Borderlands 2 is a brilliant game, but there just isn’t enough new/updated stuff to really advance the series. The bottom line is, The Pre-Sequel does everything right that Borderlands 2 did, but also suffers from the same wrongs. There. You can make your own judgement now. Go, fly on!
Still here? Thank you. That means a lot. Seriously. Ok, detail. So, what’s new? The Pre-Sequel starts off as the two previous Borderlands games did: choosing your character. This game has you choose one from four classes: Gladiator, Enforcer, Lawbringer and Fragtrap. What’s pretty cool is that all of these characters have appeared in some form in previous instalments: Athena, the Gladiator, made her debut in a DLC pack for Borderlands 1 as an NPC. Wilhelm the Enforcer and Nisha the Lawbringer both appear as enemies in Borderlands 2 (in one way or another), and the Fragtrap class is none other than that lovable robot Claptrap. There is quite a variety in classes – each character has their own unique skill command – though Wilhelm and Athena do seem somewhat similar, moreso than the other two, at least.. Athena uses her shield to absorb/dish our damage, Wilhelm summons two drones to aid him, Nisha can enter a Red Dead Redemption-style quick draw mode, and Claptrap….well, his takes a little explaining, and is definitely the most fun. Claptrap’s skill analyses the battlefield, taking into account how much ammo, how much health etc. you have, and grants some sort of boon to the party dependent on that – whether it’s having everyone enter a ‘funzerker’ mode (guns, guns, guns), or mimicking Krieg from Borderlands 2’s rampage skill, or giving the whole party rubber rings to…bounce with. Inevitably, more characters will be released as DLC, so I am curious to see where that goes. Additionally, each characters’ melee attack feels more unique than it did in 2 too. For example, Claptrap does a little punch, whereas Nisha uses her whip, which has a longer range but deals a bit less damage. Naturally, your real power comes from one of the bazillion zillion guns that you can pick up throughout your play through. Two new additions to your already well-endowed arsenal are laser and cryogenic weapons. The former, as you may have guessed, fire a barrage of lasers that slowly drain enemies’ health. The latter, as you may have guessed once again (you rascal) freeze your enemies, enabling you to shatter them with a mighty blow!
The story: As mentioned, The Pre-Sequel is set in between Borderlands 1 and 2, and depicts the rise of Borderlands 2 antagonist, Handsome Jack. As with previous Borderlands games, due to the sheer number of side quests, the main story can often be a bit ambiguous and confusing. Still, all in all it’s very funny, and I’m definitely interested to see where it goes. Borderlands 2 had some brilliant moments, particularly in its fantastic DLC, so I have…hopes for The Pre-Sequel. The game is set on Elpis, Pandora’s moon. As such, zero gravity plays a key role in The Pre-Sequel’s gameplay. You’re equipped with an oxygen pack (oz pack) that allows you to jump great distances, float a bit and even butt-slam down onto enemies below – which is pretty cool, because you can send them floating off into the infinity of space Malcolm Reynolds style. Watch out, ‘doe! If you use too much oxygen you WILL DIE. Unless you’re Claptrap. Because he don’t need no oxygen. This is a fun little addition that makes exploration and combat feel that teency bit fresher than it did in Borderlands 2.
As for newness, that’s about it really. Everything else – graphics and general gameplay etc.– are pretty much the same as they were in Borderlands 2. I mean, it all works brilliantly, and obviously the game features a fresh soundtrack and voice acting – but overall the game doesn’t really feel like an upgrade…just more of the same. The game still wonderfully blends RPG elements into the FPS genre, and for the most part, the script is pretty hilarious. I would say ‘don’t fix what isn’t broken’, which, you know, they haven’t…but they also haven’t fixed what is broken. There are a handful of glitches that I have already encountered, rendering a quest un-completeable. These are generally solved by exiting the map and re-entering, but in my fast paced adult life, I don’t have time for that! Also, the menu is still just as clunky as it was in 2. In fact, it’s exactly the same. Again, not game-breaking, just a small nuisance that I would have hoped they may have fixed. Lastly, the enemies feel quite repetitive. You seem to be fighting the same ones over and over again, with no real variety. Elpis is ok to explore, but has nothing on the design of Pandora in previous installments.
Overall, the game just feels like a big ol’, slightly unpolished DLC for Borderlands 2. It’s still fun, especially with friends, but Borderlands: The Pre-Sequel! unfortunately lacks the innovation and originality to really make it stand out. I’ve clocked 100 hours on Borderlands 2…something that I just don’t see happening with The Pre-Sequel, sadly. If you’re new to the series, go and pick up Borderlands 2. If you really like it, give this a go, but spend your time over there first. I’ll be looking forward to the inevitable Borderlands 3 and TellTale Game’s Tales from the Borderlands…