As we’re flung between two separate eras, Acharky and I learn of a link between the strange goings-on and an old independent movie titled “Murder Mill”. No one has died yet, but time will tell if things stay that way.

A few jump scares in this episode, but we’ve still yet to confront and genuine terrors or threats.

Don’t worry though. That’s all set to change soon.

Everything appears to revolve around Murder Mill. What dark secrets could that “cult” classic unfold?

For every question we have answered, the game raises a few more. Right now, our biggest mysteries are who this mysterious figure is in 2024, and what happened to Jamie.

I’m looking forward to getting those answers, and I hope you are too.

What do a cop, a young college student, and an old film director have in common? They’re all potential victims in The Casting of Frank Stone.

I like how the big through-line between the various points in time is already fairly obvious even this early on. The game is doing a good job of seeding questions into our minds before it goes to answer them, to keep us engaged and actively participating in the story, even if those questions are being answered relatively quickly.

Part of me imagines that comes from being the byproduct of a Dead by Daylight tie-in. Supermassive has to know that the vast majority of the audience will at least be some familiarity with the property and its lore. Therefore, they will already know and expect certain details before we even see them in the game. We already know that an Entity governs the world of Dead by Daylight, so to set a story in that lore requires us to already accept that as truth.

It will be interesting to see if that tie-in status changes anything about the Supermassive house style as we continue.

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.