![]() While a wealth of side activities can be a great thing to have in an open-world game, it’s still important that the number of structured distractions from the world be meted out incrementally. ![]() Part of any developer’s role is to curate the player’s experience. It’s difficult to become lost in Revolutionary-era Paris-to marvel at its mobs of angry citizens or take in the historic architecture of its 18th Century streets-when little icons dot the landscape and map. Unfortunately, Unity crams so many of these optional activities into its world that the exact opposite happens: any sense of the city as an organic setting is obliterated by the enormous number of “game-y” missions waiting to be completed. Done properly, they would help flesh out Paris as a setting and make the environment feel more lively. These side missions aren’t always very satisfying, but they’re a fun enough diversion from the storyline itself. Arno can solve murders, scale tall buildings, tackle pickpockets, buy retail property, or hunt down hidden treasure chests. Like the Assassin’s Creed games before it, though, Unity’s main storyline progression can be interrupted at any time if the player wants to complete any of the optional activities scattered throughout the environment. In one instance, he may need to rescue an important person held prisoner in a slum in another, assassinate an enemy who’s helping perpetuate a food shortage. ![]() This goal-a pretty urgent one, by anybody’s definition-is carried out through story sequences that ask Arno to accomplish specific tasks. Arno Dorian, Unity’s protagonist, ends up in Paris on a mission to uncover the conspiracy behind his adopted father’s murder.
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