Alright. Looks like there’s a spooky murder cult operating out of an old steel mill. I’m sure that’s nothing we can’t handle.

Not much to say yet because we’re still in the early game, but this is par for the course with a Supermassive project. They take their time setting up so that we have a grounding before the horror starts.

Acharky is with us once more in the spookiest month of the year, and you all know what that means. It’s time for us to play through a horror game together!

Though we don’t have a Dark Pictures entry to look forward to, Supermassive did hand us a game based on Dead by Daylight: The Casting of Frank Stone.

To set the exceptions, like many of our previous streams, we are going into this blind. Additionally, any knowledge I have about the lore of Dead by Daylight comes purely through osmosis, as I don’t actively play the game, and Chris is only slightly above my level in that regard.

In other words, we will be judging this story on its own merits, separate from its place as a Dead by Deadlight tie-in game. All I’m looking for is a good horror game in the Supermassive house style.

So far, it’s a promising start. But we’ll see how it stacks up to the other games from Supermassive’s catalog that we’ve played on this channel.

And as a addendum, we haven’t dropped Assassin’s Creed 2. We will get to the DLC and the finale, but first I want to play this while its appropriate for the season.

Only one name remains on the list: Rodrigo Borgia aka The Spaniard. One more name, and our revenge is complete.

On one hand, I like this as a part of Ezio’s character arc, where he learns that all of his friends have been secretly guiding him over the past decade, but as other voices have called out, this is strange. Stranger even than the fact that Machiavelli is 17 years old when this scene takes place and was 7 years old when Ezio’s family was killed.

I remember at the time being surprised not that all of these characters were secretly Assassins, but that I was supposed to be unaware of that fact despite the fact that Uncle Mario made that pretty clear in the early game. I was also not aware that Ezio wasn’t officially an assassin until this moment. I figured that when he told Mario that he would take on his father’s work, that would come with the implication that he was an Assassin.

Normally, we would be marching straight into the endgame. However, this version of Assassin’s Creed 2 comes with the missing DLC sequences 12 and 13 packed into the game. Therefore, we will begin next week with Sequence 12: The Battle of Forli.

Two more Templars exist in Venezia, and it’s time to strike their names off the list once and for all.

At last, the end game approaches. And next time, all will come into focus.

Somehow we’ve been roped into playing Carnival games in order to gain access to our next target, so we had better play to win.

It’s very amusing that Carnevale is the sequence that the initial E3 trailer was built on, because in retrospect it’s probably one of the least interesting from a gameplay and story perspective, even if it’s a winner in terms of visuals and atmosphere.

This section almost has the feel of a filler episode, where instead of stalking our target and planning our assassination, the developers manufactured this detour in order to justify Ezio playing Carnival games. The problem is that the justification is sloppy. We enter the games in the first place because the mask is too unique to steal and pass off as our own, but then we immediately steal it after it’s wrongly awarded to the target’s bodyguard.

As it turns out, stealing the mask absolutely works, drawing us close enough to our target that we can reenact the trailer(-ish) and take him out with a well placed shot.

We may be the most wanted man in all of Venezia, but that’s no problem when it’s Carnevale.

At last, we finally obtain one of my favorite upgrades for our arsenal: The Hidden Gun. It was one of the first things unveiled to us in the market thanks to the E3 trailer, and it’s a logical extension and evolution of the Hidden Blade. Arguably, the only reason it doesn’t break the game is the slow startup time and limited ammo, but the ability to handle targets at range is very useful (and we’ll see in the next episode).

And as I said in the episode, it is easy to joke and jape about Ezio’s mask being the reason he can go out in public despite being easily identifiable through his assassin’s robes, but it is especially funny where one can barely see the mask underneath the hood of said robes.

Despite that, I don’t mind it as a storytelling convenience, since we’ve already accepted that Ezio can blend into crowds effortlessly despite wearing such ostentatious attire. What I do mind though is the conceit with the Golden Mask, which we’ll get into next time.

With the leader of Venice subject to an assassination plot (not ours), it’s up to us to stop the Templars from taking control of the city.

If you’re going to involve Leonardo da’Vinci in your story set in the Italian Renaissance, you’re almost contractually obligated to make use of his legendary flying machine in it’s own dedicated gameplay segment. And thankfully for us, it’s actually a fun, if brief, segment of the game.

With it’s help, another Templar lies dead, but not before his own plans succeeded. Our newly acquired infamy is bad for us, but that does lead to one of the most interesting sections of the game: Carnivale.

Although we have word of yet another big Templar conspiracy, we haven’t done our court mandated Assassin’s Tomb for this session yet.

And that means it’s Tomb Time! Nothing

Though these tombs are all fun platforming sections, I don’t have much more to add than that. This is our 4th Tomb, meaning we have 2 left to go.

But for now, let us return to the main story next time.

Looks like we’re just about ready to deal with Emilio Barbarigo. At least, we will be once we finish a few more preparation tasks.

As a history fun fact, apparently Cantarella was a poison that the Borgias allegedly made frequent use of during Rodrigo Borgia’s term as pope, though it is more of a myth than something substantiated by historical record. Still, for a work of fiction its a useful tool for a writing team to employ to add some authenticity to their storyline.

Aside from that, though it might be easy to clown on a late 2000s tailing mission, I admit that it’s easy to feel like a badass stalking our targets in the streets. When using the factions like courtesans and thieves to run interference with the guards, we begin to embody the Ezio from the E3 trailer, where we’re using our contacts to set up the moment we can strike in the middle of the crowd (despite not actually assassinating anyone during these tailing missions).

It’s as much a core part of the fantasy that Assassin’s Creed 2 is invoking as the actual moment where our Hidden Blade gets embedding into the target’s throat.

It didn’t take us long to identify our next target in scenic Venezia, and acquire allies in our fight against him. The merchant king has bought himself time, but not much of it.

Looking over a Let’s Play of the original version, the issue I have with the eyes on Rosa’s model is still there, but much harder to see then it was here in this re-released version. We can only partially blame the up-res here.

Having said that, one of the things that this episode demonstrates, and a key contributor to why Ezio became so popular, is that even as a revenge-seeking adult, he retains the charisma and charm of his younger self. His banter with Rosa, like Catarina back in Forli, feels natural.

And given the time period this was developed in, it would have been easy to write this in a chauvinistic manner, but at least from my viewpoint the writing team does an excellent job at avoiding that trap. He’s more than happy to learn from anyone who can do something better than he can, like Paolo back in Florence or Rosa in Venice. It’s not perfect, but it’s a lot better than I’d expect from games written in the late 2000s.

It makes him a very easy character to like, despite the job description.