An expression could summarize in a single stroke many of the problems that we find in the great sagas: the trees do not let see the forest. Without differentiating between video games, movies or literature, the sagas have a double edge; On the one hand, the ability to develop a world, some characters, a chronology and take advantage of all the tools to build something big, really big. On the other, exhaustion. In an industry like the videogame, in continuous change, always putting itself to the test and with a legion of fans that grows uncontrollably, the ability of a saga to continue surprising and hooked, keeping the bar high, is what the will condemn or elevate.
Renewed or die.
Ubisoftse found in his hands in 2007 with a goose that lays the golden eggs. The saga that narrates the fight between Templarios and Assassins throughout the history of the humanity has sold more than 100 million copies; his universe has been expanded thanks to books, comics and movies. A narrative that mixes the historical with science fiction: the amazing narration in the past, recreating past eras, real characters, milestones in the history of humanity, complemented by the future narrative in which an evil company uses virtual reality technology to through what is stored in the cells to "send the past" to the protagonists. A somewhat convoluted narrative that has played some tricks on the whole.
And is that between each other, the saga recently released his chapter number 22 with Rebellion, his new mobile title released in November 2018 (and this only in the world of videogames). Odyssey is the eleventh of the main saga. A figure that overwhelms if we take into account that the Nintendo Zelda saga has 18 main chapters and was born almost two decades before.
This model of annual launch is a time bomb.
Directors: Jonathan Dumont and Scott Phillips
Platforms: PlayStation 4, Xbox One
Release date: 10/05/2018
Price: € 59.99
The toughest criticism came with Unity, the chapter set in the French Revolution and that included high content on-line; but also a somewhat erratic release, full of errors and quality failures. Since then, Ubisoft he has taken great care to fine-tune his throws with precision. What explains the one-year stop between the launch of Syndicate Y Origins.
When we do not know how to advance, the human being usually comes back to know him.
I confess that I was a skeptic. A single year of rest was not going to raise a saga that had immolated itself by breaking the sack by greed. Or so I thought. The truth is that the change in Origins, and the improvement, were noted. But it has been with Odyssey what Ubisoft It has struck a blunt blow. Inspired by Homer this time, the new release of the saga defines itself looking at the rpg. Whoever wants to can see here a reflection through failure.
As Yoda told Luke in Episode VIII: "Failure is the best teacher"
Not a commercial failure, of course, since the saga is the right eye of Ubisoft. But the ambition of this seems to point to excellence as a work, something that differentiates it from other franchises at the service of the dollar. And I know that this will raise many contrary comments. But you have to dare, and that's the philosophy that seems to lead Ubisoft.
Assassin's Creed Odyssey He is daring in many ways, something he makes clear from the beginning. The options for the player seem to be the flag that has taken this production forward: the choice of main character (between female and male), the choice in the dialogues (characteristic that appears for the first time in the saga), the election in the paths to explore and the style of play. A classic Greece inspired by the collective imagination, but without losing sight of history, as it happened in Origins, in the eagerness to reconstruct in digital what until now it has only been possible to imagine. And is that the historical recreation of the period portrayed is not something alien, much less to the saga, but thanks to the new tools available to developers the result is overwhelming. The obsession with detail gives us the opportunity, as players, to enjoy a rich world, in movement, complex and willing to be explored.
The turn of direction that the saga has given to the rpg, and let's take this for the moment with tweezers, it seems a logical evolution. Gone is the casual and simple combat in pursuit of a system that tests the player: not only changes the dynamics, in the same way the AI of the adversaries keeps the leap forward that gave the previous installment, set in Egypt. The mechanics of incursion in camps and search of treasure are maintained; but the possibility of playing without too many mission markers and elements on the map is added, emulating the exploration of the old school: those endless trips between scenarios without really knowing where the mission was.
A role that looks at the classic, although conservative. There are certain special abilities that can be placed as shortcuts in the command and increase our defense or our offensive power against the opponents. Far are the combos: the skill with the buttons gives way to a combat of statistics, in which the level and abilities of the player are opposed to those of the adversary. A combat that flees from the simplicity of the classic deliveries of the saga and seeks personalization, the search for identity and player styles.
Soon we will see a Assassin's Creed in which the character we do it with an editor; in which there is a system of goodness and badness depending on our actions and perhaps even the option of assassinating our allies and seeing how that changes the story. And, if not, at the time. As a fan of the saga, the course that has taken this could not please me more: renew or die. A lesson that, although with blood enters, brings excellence to those who risk it.