Playtest

There’s nothing quite like the prospect of waiting for a delivery to turn up, particularly when you’re given the very convenient window of sometime between 9-5. Given the weather outside its not such a bad thing to stay indoors for a bit longer, hopefully it arrives closer to 9 than 5 though.

I played quite a bit of Assassin’s Creed over the weekend, and I can get why some people have a problem with it – I only completed a couple of missions and there’s really not any variation. However I was quite happy just to leap through the cities, Parkour style, and having epic sword fights anyway.

Interestingly I don’t recall hearing anything about the game’s meta-narrative, so I was quite surprised very early on in the progression of the game when you find out that your avatar isn’t actually a 12th century assassin, but rather his 21st century descendent who being forced to relive his ancestor’s life through the quite Lamarckian notion of genetic memory, so effectively you’re playing a character who is playing a character.

The game manual, set out in part as an instruction manual for using the genetic memory accessing apparatus, the so-called ‘animus’ , even makes reference to this strange twist, stating that the system became much more useful after switching to a videogame style controller set. This is interesting in itself as the control design of the game diverges from the norm in its ‘free running’ mode, where the player has to only hold down two buttons to move rapidly through the environment, scaling walls and leaping gaps, rather than the more usual approach of requiring the player to accurately time these actions.

In a way this approach kind of makes sense within the conceptual context of the game, the player is ’steering’ rather than controlling their character, and as it results in no jumping puzzles I quite like it. Interestingly the game refers to the in game interface that your actual avatar uses as ‘contextual puppeteering controls’, with the four face buttons assigned to the head, each hand, and legs of the avatar. This is interesting in terms of embodiment, however it’s implementation is a little quirky. For instance the weapon hand is assigned to the left most button, even though the avatar wields his weapons with his right hand. Another unrelated quirk is that while playing scenes which revert back to the player’s immediate avatar the game remains in a third person view when perhaps a first person one, effectively what the player is experiencing narratively during the main part of the game, would have made more sense.

In any case its an interesting game because of both the narrative and the control design in terms of embodiment, specifically because of its blending of first and third person perspectives, and in terms of what Hirose describes as embodiment as a process, rather than a static state.