Assassin's Creed III

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nevets wrote:sana nga ibalik ang pagka-assassin

although AC1 was the most boring for me (kase repetitive) assassinations felt like the most exciting kase assassin ka talaga dapat, also keeping yourself hidden all the time was important

sa AC2 pwede ka mag-engage ng mag-engage sa sword fights and medyo nawala ang assassin feel

sana gawin nila tulad nung sa 1 na may iba ibang ways to complete a mission
I agree sir. Sana nga ibalik nila ang pagka-assassin feel. :lol: Kaso mukang marami ng baril sa game.
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Assassin's Creed III Collector's Editions, Pre-Order Bonuses Unveiled

Ubisoft has announced pre-order incentives and the international special editions for Assassin's Creed III. If you're in Europe, Africa, or the Middle East you'll have a choice between three different Collector's Editions, each of which offers their own perks and pack-in bonuses.

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First up is the Join or Die Edition, which includes the game, an Assassin medallion, George Washington's Notebook (presumably not authentic), a single-player mission, and the Sharpshooter multiplayer pack.

The mission, Ghosts of War, is set as "the tide of the Revolution turns into the Templars favor." It also includes an exclusive weapon, The Pontiac's War Club.

The mutliplayer pack comes with a new character, the Sharpshooter, a relic, an emblem, a special picture, and a title, "The Jester."


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Next up is the Freedom edition, which comes with the game, a 24-cm statuette of Connor, a steelbook case with art drawn by Alex Ross, George Washington's Notebook, an exclusive lithograph, two single-player missions and the same Sharpshooter multiplayer package.

The first is Ghost of War, but the second, Lost Mayan Ruins is exclusive to this version. In Ubisoft's words:

Connor’s mission leads him in an old Mayan pyramid, full of mysteries and revelations. Players will be able to unlock Captain Kidd’s fabled cutlass, a deadly, brutal and beautiful piece of steel.
Connor’s mission leads him in an old Mayan pyramid, full of mysteries and revelations. Players will be able to unlock Captain Kidd’s fabled cutlass, a deadly, brutal and beautiful piece of steelFinally, there's the Special Edition, which isn't fancy enough to warrant a picture, I guess. Picking it up will net you fancy packaging and one exclusive single-player mission, A Dangerous Secret. Here's the official copy:
Fight against a secret that could jeopardize the funding of the revolution. In case of success, you’ll be rewarded with an exclusive weapon: a Flintlock Musket.
For the moment, it sounds like North America's getting the short end of the stick. So far, all Ubisoft's announced in the way of special releases is a limited edition case featuring the same Alex Ross artwork, available to anyone who pre-orders at Amazon, GameStop, or Best Buy. It'd hardly be surprising if they throw some retailer-exclusive in-game content into the mix, down the road, though.

Assassin's Creed III is out for the PlayStation 3, Xbox 360, and PC on October 31 in Europe and October 30 in North America. The Wii U version will be dated as soon as Nintendo announces launch plans for the console.


http://www.gameranx.com/updates/id/5797 ... -unveiled/
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sana steel case nalang lahat hehe
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Nakaka-tempt yung Freedom Edition :lol: Pero ang gusto ko lang talaga eh yung journal.
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Interview: Ubisoft on Reinventing Assassin’s Creed, High-Fiving George Washington

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With the release of last year’s Assassin’s Creed: Revelations, it seemed like Ubisoft’s annual release policy was finally catching up to its favorite fleet-footed franchise. It was hard not to see Ezio’s wispy gray hair and tired, age-darkened eyes as indicators of the state of the entire Assassin’s Creed franchise. Feature bloat had taken its toll on a series that once thrived on elegant simplicity. Desmond’s first-person sections, random tower-defense-esque minigames, and bombs, bombs, and more bombs portrayed a series fumbling around in the darkness, vainly attempting to re-bottle the magic that had once made it so special.

Enter Assassin’s Creed III.

In development since Assassin’s Creed II fearlessly swan-dived out of Ubisoft’s nest, the upcoming game could be a wonderful change of pace for hidden blade aficionados the world over. Will the new Native American setting be enough to propel Assassin’s Creed forward by a meaningful amount, though? And how can Connor hope to continue in Altair and Ezio’s grand tradition of death from above when he’s out roaming the wilderness? What about period-specific themes like slavery and freedom? Perhaps equally important: can we punch bears? I sat down with creative director Alex Hutchinson, senior producer Francois Pelland, and associate producer Jean-Francois Boivin to ask those questions and many, many more.


PC Gamer: Why did you go with the Revolutionary War setting?

Alex Hutchinson: Well, it’s different. Everyone had been itching for a new character and a new period, so we knew we wanted to go somewhere quite radically different… It was a nice clean break, this notion of coming to a new continent–not just a new city, but an entire new country–was really juicy. And it’s a place that other games can’t go. You can’t set a shooter here. The guns are too terrible. The idea that everyone would say, “I don’t see how that’s going to work”, is great. That’s our job: make it work.

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PCG: Two of the themes you mentioned for the game is slavery and freedom. Those can be pretty sensitive subjects. How are you going to broach those topics?

AH: We’re lucky, I think, in that we’re historical. So generally the things that are happening [in-game] happened [in real life]. We have that defense. We’re just describing an event. We have stats that we’re using, the percentage of slaves in each city, percentage of Native Americans living in each city, types of jobs-–that sort of thing.

But we’re not going to tackle slavery head-on. If we were doing the Civil War, obviously, then it would come up. But in this period it’s not really a hot topic. When you’re starting, you have people like John Adams’ wife, Jefferson, and a few other people who were opposed to it, but in general it’s not the focus. At this point, most slaves were in the south. Field workers were having a much harder life than the slaves in the north, who were often carriage drivers and things like that. It wasn’t as big of a deal, unfortunately.


PCG: So Assassin’s Creed III takes place over the course of 30 or so years. How much are you focusing on the way the world changes? You said you’ve got seasons and weather and stuff, but will the actual cities evolve? The people, what they’re wearing-–will those things change?

AH: Not so much what they’re wearing. There wasn’t much change as far as that. But big events like the fire in New York will be seen, or the fact that the British leave Boston. They stay in New York until well after the war, but the disappearance of redcoats from Boston will be visible.


The man, the myth, the assassin

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PCG: Earlier, you brought up the subject of “possibility space” characters. You mentioned that, after the first game in Ezio’s trilogy, he’d explored his different avenues as a character, so you kind of ran into a dead end in terms of growth. With Connor, are you trying to avoid that? Are you holding off on certain plot points and conflicts in preparation for future games?

AH: You should never be afraid of having to come up with new ideas. So no, we’re going to put in as much as we possibly can with him. I think we’re doing a better job, as we were saying, of planning the future of the franchise. So we’re more aware of what’s next and what’s happening-–although of course we’re not allowed to say anything about that. By [planning further ahead], we sort of take out some of the risks of that.

PCG: Connor seems like a very violent, brutally efficient dude. I mean, Ezio was very animated and flamboyant, whereas Connor, at least from the brief scenes that we saw, looks a lot more to the point.

AH: Yeah, he’s more reserved. It’s hard to follow a character like Ezio, because he’s so iconic and over-the-top. So we deliberately wanted to go in the other direction and make someone more empathetic who tries to help people. If you think about it, Ezio is quite selfish. He’s hunting Borgias because they killed his dad. He doesn’t ever talk about how he’s helping humanity. He just wants to kill the guys who killed his dad. We wanted a character in this one who’s trying to right wrongs. We think he’s going to be someone who’s easier to get along with for a long period of time. But it is a challenge making him pop as much as Ezio.

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PCG: How does his Native American heritage help define who he is?

AH: Well, his initial motivation is to help his people. Also, you see it in his gear. You should see it in each scene, in his reaction to the specifics of it. Julian talked about him being more in touch with nature, more okay with that. It also has to do with how people treat him in cut-scenes. That notion that people know where he’s from, so some people are not as–

PCG: At that time there was a fair amount of tension surrounding that. People from Europe had just come in and invaded the place.

AH: Mm-hm. So it’s a juicy character trait to play with in different parts of the story.

FP: That said, It’s a good point that you’ve seen Connor in the demo being more violent, more brutal. Even so, he’s still very precise, very efficient. It’s true that there’s a lot of blood as well. The blood [in the demo] was a little over-the-top. That’s not necessarily the point portraying Connor as being more violent. He’s still going to be very precise.

AH: In fact, we’re adding takedowns–that is to say, assassinations with no weapons are going to be chokeholds now. We want to get back to the idea that you can, if you want, [essentially do a non-lethal playthrough]. A certain player could only kill the targets. You could work your way through the game and not kill. It’s tricky to balance, but it would be amazing if we could pull it off.

PCG: How is Connor related to Desmond? Is it still a bloodline thing?

AH: Yeah, still the bloodline. How it all fits together… We keep saying that we’re probably not going to release the chart [laughs]. But yeah, everyone’s still an ancestor of Desmond.

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PCG: So will Desmond be back in some sort of playable capacity?

AH: Back and bigger than ever. But we’re not allowed to talk about that.

PCG: Less first-person-ey than ever…?

AH: Way less first-person-ey than ever. [laughter] And not in a coma at all. Active! Doing things!

PCG: And then, as my last question, will you ever, at any point, give me some incredibly small window of time to hug George Washington, and then take it away? At which point he’ll have this look of utter dejection on his face that’ll leave me heart-broken and guilt-ridden until such a time that the man himself rises from the grave to forgive me?

AH: Like Leonardo [da Vinci]? It should be a high-five, like you can high-five George Washington [laughs]. We like that sort of stuff. When we can squeeze it in past the producers when they start canceling features, then we’ll put it in.

Want more? Check back tomorrow to learn more about the weapons and mechanics in Assassin’s Creed III in Part 2 of our Interview.

http://www.pcgamer.com/2012/03/28/inter ... on-part-1/

I'll post the part 2 interview when it's up....
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Interview: Ubisoft on reinventing Assassin’s Creed, punching bears

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Yesterday we learned more about the main character and world of our Assassin’s Creed III in part one of our interview with creative director Alex Hutchinson, senior producer Francois Pelland, and associate producer Jean-Francois Boivin. Story and lore are great, but now we’re ready for the really good stuff in part 2: Weapons, mechanics, and the possibility of choking out a bear.

Gadgets and get-ups

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PCG: Can you talk at all about the sort of gadgets we’re going to get in this one?

Alex Hutchinson: All of our stuff is real-world… We didn’t want to have any sort of invented objects. You have pistols and muskets. They’re single-shot, so they’re lethal, but one use -almost like you use them and throw them away. All of his weapons are new, and they’re all dual-wield, so it’ll be tomahawk and knife, or hidden blade and knife–-that sort of thing. And then we have a lot of stuff related to animals, like snares and traps or bait.

PCG: How will animals play into the overall experience? You said you’ve got traps, but what’s the benefit of trapping an animal?

AH: There are different ways that you can get an animal. The example we’ve been using all day is, if you shoot a bear with buckshot, you don’t get a very nice bearskin rug. So we encourage people to get in close and use the different mechanics to essentially assassinate them. George Washington won’t be asking you for bearskins, but there are other things you can get involved in-–side quests, or other tasks that need those as objectives.

PCG: Can you make your own gear?

AH: We toyed with the idea for a while, but we decided in the end, no, we wanted him to be iconic. We were imagining a Rambo-type scenario. But no. Connor adjusts his stuff when he gets it, but he doesn’t make it.

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PCG: So there’s an upgrade system?

AH: I mean, if you think about it, armor is sort of nonexistent in this period. People don’t wear armor. There’s a lot of style things you can do in terms of clothes, and there’s new weapons you can buy, but not really any sort of linear upgrades.

PCG: So how do we advance the health bar this time around?

AH: You’re not. We’re toying with regenerating health in this one. It’s the idea that we wanted fights to be more dangerous, so your health doesn’t regenerate while you’re in a fight. You have to actually lose your pursuers. We wanted to get away from health potions, you know what I mean? The notion doesn’t really work. So we went with this idea where you have a regenerating health. So no incremental health increases.

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PCG: How does the two-handed combat affect the dynamics of battle? You know, aside from letting you hit things twice instead of once.

AH: The goal is to make it more responsive. The controls don’t change inside and outside a fight, so [the button for free run] stays free run, even when you’re in a fight. There’s no need to lock on to anybody anymore, no targeting. You can fluidly move between people. So our goal was to integrate tools and target-switching, in and out of a fight, seamlessly.

PCG: The fights we saw were almost over in the blink of an eye. Connor ran in and, seconds later, Paul Revere was shouting “Nah, nevermind, guys. The British are leaving. I feel kind of bad for them now.” There was less circling and counterattacking. The rhythm of it was more like “get in, get out, bathe in the blood of your enemies.” How will the big, open environment affect that?

AH: You saw some of them, which were the mobile high spots. If there’s tall grass, and you walk slowly through it, you’ll crouch down automatically and take cover. So you can use the terrain to your advantage. Also, you’re pretty much invisible as long as you’re up above people in the trees.

It’s a really different feeling, I think. If you’re climbing a building, you don’t see anything until you reach the top, and then you sort of get the reveal of looking past the building. With the trees, you can always see. Only part of the screen is obscured, so you have a lot of peripheral awareness. And it’s non-linear. We like the idea, always, that you could be taking one path through the trees while enemies below are following a road.

In between assassinations

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PCG: What variety of non-story activities do we have this time around?

AH: We’re not talking about a lot of it, but we can discuss clubs. So, it’s history, right? You’re replaying history. You can’t change history, so it’s hard to have choices or big consequences. You can’t shoot George Washington and stop the war. It doesn’t work. But what we can do is make a world where, if you do certain things, it feels like the world is feeding back into it.

For example, if you walk around and start shooting a lot of deer, then someone might come up to you and say, “Hey, you’re a really good shot with that pistol! You should join the hunting club.” They give you an invitation to a point on the map you couldn’t get to before, and when you go in there, they say, “Hey, welcome to the hunting club! We have this competition running. Go capture the biggest elk.” It’s this notion that you like hunting on your own, so you did it, and so the game says, “Sure, have more hunting. Here are a bunch of hunting challenges and hunting rewards connected to that.”


PCG: So you’re going to close off portions of the map?

AH: We’re trying to do that as little as possible. We’re lucky on some of this-–like Boston. It only had one land bridge at the time, so it’s a nice island almost. We don’t want to rig the map so much. We have a lot of locations, so we’re kind of saying, once you get Boston, you’ve got Boston. Once you’ve got New York, you’ve got New York. There will be a few exceptions to that rule–just for structural reasons–but as much as possible, you get to roam freely.

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PCG: Will we be able to train and call in other assassins to do our red, white, and blue dirtywork?

AH: There is a mechanic where you get buddies, but no, [not really]. We think that was the guts of Brotherhood, so we don’t want to retread anything.

Francois Pelland: The game will feel very different, for sure.

PCG: One of the main criticisms leveled against Revelations was that it felt bloated from a feature standpoint, and that detracted from the core experience, which is assassinating people. Are you moving away from having all of that fluff?

AH: Obviously, I think you get a bit of bloat as you go from sequel-to-sequel with the same trilogy and the same characters. It’s very hard to justify why Ezio might lose a device between games, so you’re always adding. You get this crazy growth. But with a new hero and a new period and a new setting, we’re able to strip away a lot of things that aren’t necessary and refocus the game.

FP: That are unnecessary, or just not relevant to the period.

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PCG: Are you worried about reactions to that?

AH: Yeah, I’m certain someone will [expect more features]. I’m not too worried, because I don’t think it’s going to feel small. And I think it’s going to feel big enough. There’s so much stuff.

FP: We’re definitely adding more than we’re taking away.

Jean-Francois Boivin: The amount of stuff that’s been added is just huge. This is going to be a concern, but I don’t think it’s a big one.

Wild in the streets

PCG: There was the bit where you used a “chasebreaker” (leaping into a building to lose your pursuers). How many buildings will have interiors like that? Will most buildings at least have a little interior space to explore?

AH: We have more interiors than we’ve ever had before. There’s lots of pubs like the Green Dragon in Boston. There are things like that. There’s a lot of set-pieces inside. In terms of that specific mechanic, like a chasebreaker, we have to negotiate all these things with the engineers, obviously, as far as how many we can have. They’re all over the city, but they’re more like shortcuts. Imagine something like GTA. You’re going along, you see the window, and you can cut through. It’s not in every building, though.

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PCG: There cities in previous AC games were all very tall,established cities. Boston and New York, though, aren’t as built-out in genral,and especially vertically. How does that change the way that you’re designing the game?

AH: It feels like that, but really, in actual fact, it’s not that much different from the earlier games. If you think of all the cities in AC, they’re about two stories tall. And most of the buildings in Assassin’s Creed III–especially in the downtown areas of these cities–they’re about two stories as well. Obviously the shape of them is different.

FP: The coliseum in Rome is quite high, but besides that, we have about the same amount of stories.

AH: The big problem has been the roof shapes-–the idea of these angled roofs and how it affects your perception of distance and which direction you’re going. That’s been more of a pain, to be honest, than the height.

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PCG: You emphasized weather mechanics in your presentation, the big example being snow slowing people down, so they’re easier to assassinate. Will weather do anything beyond that? Will there be any survival mechanics?

AH: You’re still the assassin, so you should be powerful and comfortable in the environment. It’s more about how it will affect other characters. Other characters will be struggling to survive, but the assassin is always powerful in the scene. The other things [shown] are just the aesthetics of winter: the tone, the idea that some animals will be hibernating, some will not be. There’s availability of things. Some parts of the world may be accessible, while others aren’t.

PCG: OK, this one’s for me. When you encountered the bear in the demo, you whipped out the hidden blade. But in theory, if I wanted to, could I fistfight a bear? Could I just throw down my weapons and punch it a bunch?

AH: Not really. You could potentially choke out a bear.

PCG: But is it built such that if I threw a punch at a bear, the punch would land and the bear would in some way react to being hit by me?

AH: I haven’t tried that. Some of this is relatively new. Ideally, no. It all becomes a little farcical. But if enough people think we should do it, then who knows?

http://www.pcgamer.com/2012/03/29/inter ... ing-bears/
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San kaya makakabili ng freedom edition for PC dito sa Pilipinas?
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sana magkaron dito ng freedom edition. :pray: ganda nung figure! :cheer:
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xenj wrote:sana magkaron dito ng freedom edition. :pray: ganda nung figure! :cheer:
Magkakaroon yan, siguro either gamestop or bestbuy loly

Deym wala pa akong revelations... :banghead:
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xenj wrote:sana magkaron dito ng freedom edition. :pray: ganda nung figure! :cheer:
Bilhin ko sayo yung notebook ni Washington :mrgreen:
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may date of release na po ba tong AC3?
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mike013 wrote:may date of release na po ba tong AC3?
Bday ko! :2thumbs:
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solstice wrote:
xenj wrote:sana magkaron dito ng freedom edition. :pray: ganda nung figure! :cheer:
Bilhin ko sayo yung notebook ni Washington :mrgreen:
bawal! :lol: hihihi
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sana magprice drop na yung revelation para makabili din ako ng AC3 :pray:
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Assassin's Creed 3 will have 'more modern day sections than ever before'
Desmond "a big part" of 2012 instalment, says writer
http://www.computerandvideogames.com/34 ... er-before/
Assassin's Creed 3 is set to include more modern day Desmond gameplay than any previous series entry, lead writer Matt Turner's revealed.


Ubisoft's previously said it plans to end Creed protagonist Desmond's story before December 2012 - the in-game date when a world-ending catastrophe is due to occur.

But, speaking to CVG at a recent London reveal event, writer Turner wasn't ready to spill any hardcore spoilers:

"All I can say about Desmond's story is you're going to experience more Desmond than you've ever had before," he said. "We're spending more time on the present than we have in past games.

"It's a big part of our story and I don't really want to give too many details away because I want people to experience what that is. But rest assured, you're going to see a lot of Desmond. More so than in any past game."
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will Washington be a playable character?
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sniper wrote:will Washington be a playable character?
AFAIK hindi? Baka parang NPC lang :mrgreen:
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Snowy Screenshots... :2thumbs:
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:o pc malamang? :D

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