Ancient Egypt is so cool. Stunning works of bronze-age architecture, endless deserts and oases. Camels. Thousands of years of humans living along the Nile. So long-lasting that Cleopatra lived her life closer to ours than to the architects of the great pyramids. Where writing, libraries, and Anne Rice’s vampires all began.
For the past few games, the Assassin’s Creed series found itself mired in Western Europe with rapidly stagnating gameplay. It took a year off and returned revitalized. By revitalized, I mean borrowed heavily from The Witcher 3’s gameplay and world design, while investing to the usual high degree in creating a historical setting in-game.
Bayek of Siwa is a ‘medjay’, a sort of protector-shaman-civil serviceman. Some time prior to the start of the game, his son was murdered by a bunch of masked dudes sporting animal names like the Jackal or the Scarab. Naturally he decides to hunt them all down. While there’s some hackneyed bits towards the end where the game earns its subtitle, showing how the assassin’s creed began, the revenge story is basically all there is to the plot. A breadcrumb trail of corpses to take you around Egypt, which is so huge the main game doesn’t even take you through all the major zones. Not even close.
Bayek is a good hero. Furious and distraught over the loss of his son, yet buoyed by a paternal kindness that in other circumstances would be his defining trait. In between screaming at bad guys and then stabbing them, he’s trying to be everyone’s Dad. Many quests take this quite literally, helping parents, helping children. Facial tech really excels here, as it did in the Witcher, seeing Bayek’s smile after helping a child complete a task, then watching his eyes tighten and smile start to melt as he remembers. Other quests take on specific period dilemmas, and it’s great to see Bayek get pissed off and angrily growl “blasphemy!” when finding an illegal crocodile tannery in the middle of a city that is supposed to hold the animal sacred.
The modern era of video games is in crisis: There must be enemies to kill, to maim, to execute in 4k, HDR, glory. But who? Narratively and visually, we’ve moved beyond killing without purpose. The solution thus far has been populating the world with unthinking zombie/machine hordes or an ill-defined and ambiguous banditry. AC:O opts for the latter. You spend a whole lot of time in “bandit” camps, bandit forts, bandit hideouts. Who are these bandits? What did they do to deserve such mass slaughter? Why is the ratio of Egyptian citizens to Egyptian bandits basically 1:1? The game is not interested in fleshing this out; they’re ‘enemies’ like orcs or goombas. There are brief segments where it is Greeks or Romans who are the enemy, but the tangled web of Mediterranean imperialism and dynastic incest is certainly not something the series wants to engage with seriously.
I’ve drifted away from big budget Western titles, because they play it safe, both in gameplay and especially in narrative. For example, Ubisoft (maker of AC:O), is about to release Far Cry 5, which takes place in one of the most beautiful places on earth (Montana), but since the game refuses to engage meaningfully with its premise of ultra-right wing terrorists and plays it safe, trying to not to offend anyone (according to reviews), I am absolutely not interested. AC ultimately plays it safe too. You have a rote plot and spend hours killing bandits, but like I said in the first sentence, I get to ride a camel around Ancient Egypt, I get to climb pyramids and plunder tombs and be bitten by snakes. In some very specific cases, I’ll settle for, and indeed be well-satisfied by, an excellent historical setting paired with a good protagonist, regardless of what else may be missing.