For all of the familiar parts of Syndicate, it still feels inventive. It may draw inspiration from previous installments, but features like the zipline and revamped progression system demonstrate a willingness to cut stagnant elements loose. With a cool setting, memorable characters, and a wealth of content, Assassin’s Creed Syndicate has all of the hallmarks of a great Assassin’s Creed entry – but it also surprised me by challenging what I previously thought a great entry should be.
But a disappointing final fight and some control hitches can't diminish the charms of Assassin's Creed Syndicate. The game is a triumphant return to form for a franchise, and presents a beautifully structured tale with heart and soul to spare. Ziplining through London is thrilling, and the game allows you to organically discover missions and leaves you open-ended solutions lets you to create a meaningful, personal experience within its world. Coupled with strong, loveable leads and a seemingly endless procession of ways to leave your (fictional) mark on London's history, Assassin's Creed Syndicate is a shining example of gameplay and storytelling.
That's really Assassin's Creed Syndicate's biggest triumph: It pushes back against the collected cruft of eight years of releases and spinoffs, an imposing accumulation of mechanics and lore and expectations. Syndicate doesn't get everything right. It doesn't solve all of the series' problems, and at this point, I'm not sure if any one game could. However, it's the first step in a uniformly positive direction that the franchise has taken in years.
Assassin’s Creed Syndicate is the most fun I’ve had with an Assassin’s game since Black Flag. In fact, I liked it more. Apart from its ill-fitting conclusion, it never takes itself too seriously and delights in the rich possibilities of its Victorian setting and great new grapple gun. As you explore its contrasting boroughs, you glean some sense of what powered this great city in the 19th century. The story missions capitalise on this by exploring different spheres of influence, which when combined with elements like mass transit, heavy industry, and law enforcement, make this feel like a different type of city than has been featured in the series to date. Best of all, Syndicate asks you to take London back in a way puts the last few games to shame.
The greatest description of Ubisoft open world games, as noted here, is that they're about the accumulation of power. It's true: you feel a pleasing sense of progression as you take territory, peeling the enemy wallpaper from the map and seeing what's underneath. That still rings true here. Syndicate is a compulsive game, and in places a fine one. When it is good, when the AI is behaving and it's running well, it's very good. But Syndicate is so adept at self-sabotage that it's nearly impossible to enjoy this world, this game. It constantly rips you out of the experience, whether that be from frustration at the mechanics or outright bugginess. You'll want to forgive it its flaws because it does Victorian London so well, something you just can't get elsewhere. But leave it a few minutes and it reveals itself to be as utterly flawed as its forebears, a beautiful facade on a rotting core.
Combining both traditional and new Creed stories with its dual narrative, Syndicate not only manages to deliver a cohesive and satisfying tale but it does so within one of the finest settings the series has ever seen. No, it isn’t perfect, but with such a beautiful world, a genuinely likeable cast of characters, and many improvements to both stealth and combat this feels like a step in the right direction for Assassin’s Creed.
Much like the Victorian city that it's based upon, you have to dig into Assassin's Creed Syndicate in order to identify its problems. The core gameplay loop is solid and it's built upon a sound structure, but familiarity and filler lessen the appeal of this open world outing. Vastly improved performance and all around impressive presentation mean that London's most definitely not burning – but there may be a little panic in the offices at Ubisoft.
This year has seen several upgrades to the series' annual sandbox without any of Unity's deep technical issues. What a difference a year makes. Despite its advances, and because of Unity, it is easy to see Syndicate still getting a less than enthusiastic response than perhaps it should. If there was ever a good argument for the series to take a year off, to make sure that it never releases again before it is ready, that more time is better than the company's bottom line, then the last couple of Assassin's Creed titles are it. But hopefully Syndicate's legacy is its memorable cast of characters, its entertaining script and - most importantly - how it manages to recapture the series' sense of fun. Its success is a testament to the work of Ubisoft Quebec, which found itself in charge of its first Assassin's Creed game at a critical point for the series. Thankfully, in the game's leading duo, in its new London playground and in the greater sense of freedom that Syndicate brings, it delivers.
