Un'analisi al cuore dell'Assassino (scomodando Metal Gear)
(di Luigi Marrone)
Sin dall’inizio non era facile andarvi cauti con l'entusiasmo, cosi come difficile risultava non essere troppo severi col proprio scetticismo. Assassin’s Creed, sin dalle prime presentazioni, lasciava infatti presagire molto, o molto poco di vario: free-roaming pedestre o equino in Terra Santa, la raccolta di indizi e le sub-missioncine cadenzate da contesutali scontri all’arma bianca, and of course the questioning, the camouflage monks and stealthy assassins. But what does not work the way relieves a false account is the incurable indolence that has been able to raise in the community of gamers, since it is always a good player that ultimately counts, and the evidence of boredom that characterizes much of the game means something in the mechanisms of the concept is wrong.
fact Assassin's Creed is an experience characterized by space teeming, alive and full of details deployed in a manic Artificial Intelligence of the NPC so rigid as to arouse more than conflicting impressions: the result has been to see a construct digital video spread on the semblance of perfect beauty that can then explode in a paroxysm of inconsistency, as a congenital weakness.
First: A rule of game design
In a game the AI \u200b\u200bhas a duty to involve and carry off as much as the aesthetics (if not more). If the TV is not always made of tissue paper, this corresponds, in the digital interactive-Ludo this should be done as the digital beauty without intelligence produces boredom long beholding it. Since in fact construct digital dummy, exuberance and aesthetic spaces Assassin's avevano bisogno di tutt’altro trattamento ludo-intellettuale.
Se è difatti possibile affermare che Space Invaders e il suo gameplay possono tranquillamente rimanere nel tempo bidimensonalizzati su schermo senza che gli alieni siano bagnati da sorgenti di luce dinamica, Assassin's Creed è l’esempio esattamente opposto: avrebbe necessitato di una IA implementata in più ricche e varie possibilità di gioco proprio a causa della sua splendida, calda luce profusa nei suoi ambienti mondani. E’ con l’impressione di un delitto artistico quindi che si pensa all’esperienza Ubisoft, poiché, accertato che la varietà e le possibilità di gameplay should travel hand in hand with the technological possibilities, Assassin's had a duty to be more daring.
dared not say so (from the point of view and strategic depth of play involvement, leaving his story in part) as they are by far the preferred pattern, the reactions, the possibility and curiosity aroused in me by the algorithms behind guards such as a Snake Eater (Metal Gear which toy open, sand-box in tight spaces than Assassin's) rather than the animals which inhabit the spaces in the Holy Land.
Second: The duties of a Big-Production
E 'undeniable as Assassin's is designed, developed and tested mainly on and XBox360: the stability of the code to the final rendering on screen, the version Xbox360 presents colors more vivid and warmer than counterpart to Sony, not negligible factor since, from a purely artistic point of view, the aesthetic appeal to Assassin's founding is not as if most of the rest. Going beyond the discourse of corrective patch issued by Ubisoft, is instead a duty to say that if the output a high-profile game is defective in congenital than in the same way for another platform (data the promotion ultrablasonata), this does nothing but indicate a enigmatic lack of attention to those who buy the Day-One (now wanting to experience the art, fully and also paying the same price as the counterparty).
The lack of production on the PS3 (fortunately not fatal processing of digital data), however, add the rest another negative factor, the weight is not negligible, given the original integrity of a product should be provided (though, about the game, under unpleasant terms "service" digital entertainment) when the same is offered to the market. Another consideration deserves then the "feature" flags to collect, motivational means negligible for holders Microsoft looking for GamerPoints but rather incidental if not useless Sony (no achievement Assassin's is even more sluggish on PLAY3, and having Assassin's debt deeper into the reasons the player is saying something).
This implies a further analysis about the production platform. When a Software House adapt its product according to the specific characteristics of various systems, this would imply not only the pattern of diversification ' control interface according to the platform (the buttons on the pad 360 on the PS3 or the Wii-mote for example) but also a new design or rethinking of some elements of gameplay depending on the characteristics indigenous to the platforms themselves.
flags from collecting in Assassin's Creed on Xbox 360 is indeed an example of the possibilities of gameplay (reconnaissance between roof and ground which is necessary to remark, do not unlock new costumes / music / ArtWork but pay for themselves by releasing points for your gamerscore) which Ubisoft has structurally "invented" the game itself on X360 without thinking about the relative neglect of the Sony party.
It is a product orientation, in the case of multi-platform titles should be enough thought.
Third: The question of narrative - Pensando Ubisoft
Di questa sempre più importante software house l’impressione che spesso se ne ricava è la consolidata tenacia nel voler implementare narrazioni mature e consapevoli senza mai voler modificare di una virgola il granitismo di un game-design istituzionale, rigido quanto immutabile. Pensando ai giochi Ubisoft non è difficile pensare a sceneggiature di buoni narratori incastrate in spazi prestabiliti tra il gameplay e i vari snodi narrativi presenti nel gioco. Il risultato è un comparto visuale che ha uno standard qualitativo molto alto (sia ambienti che personaggi) ma quasi sempre non supportato da una autorialità forte, da una caratterizzazione empatica potente that seems endowed with a life of its own intelligence (artificial of course) that will mark the time and emotional heart of the player. This could be one of the main reasons for Assassin's Creed would be easily one of those blockbuster immediately re-placed on the market or brought back for evaluation and promotion on again, despite its atmosphere, its surroundings and the wonderful character of 'Altair, in the end there is little adventure in her hands that has the power to keep the gamer cuddled, having created a poor relationship with him just "emotional."
E 'for this that one wonders how one can go on to repeat (or as it is never able to affirm in principle) that Splinter Cell is the answer to Western Metal Gear Solid: the narrative and the weight it takes between their work and, ideally, emotionally, artistically and constitutionally incomparable.
A large-scale production may use as it wants to writers or writers of fame, but in video games, for those stories on paper is a winner should be particularly the integration of gameplay and characters that sustain it (playable or not) to be solid, plausible, emotional, and the bearer of human feeling that digitally derived. If Ubisoft products are often not so capable of creating a condition in the player, the problem may lurk right here.
Epilogue
lost in the crowd of Damascus, Acre and Jerusalem is not hard to feel alone, the only living entity in the middle of simulacra empty and undefined. A well-thought out worse than I could ever happen in Real Life, as in the game, in the fictional world of possibilities that should offer variety and meaning, the indolence of the void is even more intolerable. While not wishing to deny the operation of plot and atmosphere of the work in the economy, which tend to enhance the accuracy even more automatic and robotic minds behind Assassin's Creed, flared identification and involvement and creating a sense often paroxysmal. Still bothered by Konami, at present, even in its total, obsessive and cunning made of strong oriental pin-up magazines winking, boxes to hide and other gag which is stuffed (in response to any Rambo / plates combative West), a soldier cutting the throats of a Metal Gear is still the most consistent of any assault with a knife to unarmed guard Assassin's. 
The absence of a more intimate, human sensitivity fra i suoi elementi, di un equilibrio artistico più compensato fra le sue parti ha contribuito a creare in Assassin’s quel Vuoto timorosamente preconizzato. Non è difficile immaginarsi come le molte professionalità al lavoro (lungamente elencate nei prosaici titoli di coda dell’Ending del gioco) abbiano svolto per bene i loro compiti produttivi: dai Senior Producer agli Engineering Director, gli Audio Lead, gli Assistenti produttori, i Coordinatori, i Technical Supporters, i Marketing Director… Assassin’s Creed ha venduto parecchio raggiungendo quasi subito il target quantitativo di vendite prefissato. A giochi fatti però è un cuore caldo che dentro Assassin's manca, un cuore pulsante che fatica di molto to come to light. That holy light where the detail that emerges in a rosette carved in stone shines with a panoramic view of the general on a promontory of Jerusalem, a holy light swallowed by shadows too deep to not leave unspoken that strange, deep inner void to fill.
For this, you that much you only one thing you will be asked today: We will put more heart next time, Altair, Ubisoft?
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