The story devolves into a convoluted mess, mainly because the developers cram a plethora of characters and historical references down your throat. Simply remembering names is a monumental task. Characters often disappear as quickly as they are introduced. This is particularly true of the antagonists.

The problem with having a web of conspirators is that none ever gets significant exposure. Many villains get outright neglected, and are never examined in great detail. It seems as if certain characters exist simply to be killed, rather than contribute to the story.

By the same token, many of Ezio’s allies feel vapid and hollow.

The lone bright spot is Leonardo da Vinci, who outfits Ezio with all sorts of badass weaponry, including poison-tipped blades and a hidden pistol. Da Vinci is one of the more memorable characters, no doubt due to his place in history. He’s not the only historical figure you come across though, as Niccolo Machiavelli and Lorenzo de’ Medici also make appearances. These fabled individuals add even more authenticity to an incredibly lifelike world.

Ubisoft did a tremendous job re-creating the select Italian landscapes. The environments are incredibly impressive, and the monuments are eerily similar to their real counterparts. I’m talking scary accurate. You can actually leap from the apex of Giotto’s Campanile, an exhilarating rush to say the least.

Having recently visited Italy, I was in awe of the virtual versions of Castel Sant’Angelo, the Duomo of Florence, Ponte di Rialto and Santa Croce. I got chills when I walked into the Piazza San Marco, a Venetian square that is home to the Palace of the Doges, the Campanile, the Basilica and the Clock Tower. I stopped and stared for minutes. No joke. My jaw hit the floor.

Each city has a unique spirit. There’s never a feeling of déjà vu. Venice, for instance, is heavily reliant upon a system of canals, providing valuable escape routes, as well as usable gondolas. I prefer to travel by foot, but you have to hijack at least one gondola. It’s an unwritten rule, I think. If not, it should be. The best part though, is Carnival, an annual festival featuring ornate masks and colorful garments. The streets are alive with excitement, and vibrant hues assail your eyes from all directions. It’s quite a spectacle.

The game also features an economic system, with florins serving as the currency. By amassing wealth, you can purchase stronger weapons, better armor, and even famous paintings. Of particular note is The Birth of Venus, a magnificent piece by Sandro Botticelli.

Weapons and paintings are stored at your villa, a sizable abode located in the run-down town of Monteriggioni. With the help of an architect, you can actually restore and renovate individual buildings, which adds value to the town and helps attract more visitors. If you make enough improvements, the town can actually be a primary source of income. Over time, the funds accumulate at your villa, and you’re free to take at your leisure. Unfortunately, you have to return home each time you want to make a withdrawal. In this situation, fast-travel stations come in quite handy. Located at the entrances of the major cities, these warp points allow you to zip around Italy in mere moments. The fees are variable, but generally inexpensive.

Assassin’s Creed II is a markedly better game than its predecessor, and a shining example of how the industry benefits from the iterative process. The core gameplay remains intact, but the changes to the mission structure and the incorporation of hidden tombs make for a far more engrossing experience. The story is a bit overwhelming at times, but the game itself is a blast, whether you’re completing missions, or simply stalking unwitting archers. Ubisoft offers one beefy package, stuffed with many, many hours of play. Cast aside any concerns. Assassin’s Creed II delivers.

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