Released in November 2007, Assassin’s Creed was an incredibly ambitious game that attracted lofty expectations. An innovative title in many ways, Ubisoft introduced gamers to a realm and era not often addressed by the interactive entertainment industry. Much of the appeal was the ability to explore the Holy Land as a trained assassin during the Crusades. Despite the flawed and repetitive gameplay, there was certainly plenty to like.

Assassin’s Creed II stands a substantial improvement over its predecessor. The core gameplay elements – free-running traversal, open-world exploration, counter-based combat – remain much the same, but many of the criticisms levied against the original were addressed for the sequel.

There is much greater variety to the missions this time around. Each objective feels specifically tailored for a certain DNA Sequence, as opposed to existing as part of a template.

The reliance on a few core missions really marred the first game, and much of the focus seemed to go toward creating massive environments for players to explore. Truly, it felt like the team simply ran out of time.

The story missions in Assassin’s Creed II feel much more organic, and take advantage of the novelties of each location. This keeps gameplay fresh, as players must adapt to new challenges introduced in each historic setting. The objectives are far more contextual than before, creating a better overall experience for the player. In essence, this game delivers on the promises of its predecessor.

Of course, this is a sandbox title, so the gaming gods demand that there be a hearty helping of humdrum side missions. Assassin’s Creed II certainly doesn’t veer from the formula, offering numerous distractions in each locale, including courier assignments, intimidation events and races. Basically, ancillary tasks that only exist to pad the package.

The exceptions are the assassin tombs, nestled within linear, platforming-heavy areas inside six notable Italian landmarks. The goal of each is to locate the burial chamber of a famed assassin, often using a combination of stealth and free-running. What’s more, if you’re able to collect all six seals, you’ll gain a rather sweet – and familiar – set of armor as a reward.

As in the original game, there are viewpoints to synchronize. These perches – located atop towers and high-rises – highlight breathtaking Italian vistas, while also revealing doctors, blacksmiths and other points of interest. My only gripe is that there are 66 structures to be scaled: a tiring and, depending upon your mindset, annoying task. Despite the massive regions featured in the game, the number feels a bit inflated. Ubisoft could have cut back a bit, if only by 10 or so viewpoints.

The sequel begins as the original ended. Desmond is standing in his room at Abstergo, staring at an ominous message coating the wall above his bed. Soon after, he escapes the facility with Lucy, an assassin in the struggle against the Templars. They take refuge at an assassin hide-out, where Lucy introduces Desmond to the Animus 2.0, a replica of the machine at Abstergo. Through the Animus 2.0, Lucy hopes to whip Desmond into an assassin, using valuable memories she extracted prior to fleeing Abstergo.

The scene then shifts to 15th century Florence, home of Ezio Auditore.

Unlike Altair, Ezio is not an assassin, but a spirited and charming noble who hopes to follow in the footsteps of his father. The initial DNA Sequence – or chapter if you prefer – is nothing to write home about, as you simply perform various errands for family and friends. This is to be expected though, as you’re an affluent and carefree gent, not a ruthless killer. Though not particularly exciting, this section does introduce the Ezio character, providing insight into his mannerisms and personality. It doesn’t take long for things to crumble though, as the Auditores are betrayed by a family friend, leaving Ezio to care for his mother and sister. Filled with rage, he exacts revenge, only to discover that the traitorous rat was merely a pawn, controlled by a web of conspirators led by a power-hungry Spaniard named Rodrigo Borgia.

To the casual observer, Ezio’s personality might seem at odds with his role. In general, assassins are painted as cold killers, similar to Altair. Ezio is a bit more jovial than his Crusades counterpart, though certainly not sugary by any means. It is a bold deviation from the stereotypical archetype, and helps differentiate Ezio from Altair.

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