Tag Archives: assassin’s creed syndicate

6 Flawed Video Games for a Flawed 2016

It’s been a year.

I’m struggling to find a way to even begin to pithily encapsulate 2016 in a sentence or two, and I’m not alone. America elected a president who campaigned on a platform of white supremacy, set against a backdrop of a world that’s increasingly turning to strongmen and parties embracing authoritarianism, hatred, and the far-right wing. We witnessed horrors across the globe and lost too many voices who’ve been pillars of our community. We’ve almost unanimously declared 2016 a terrible year, and are definitely ready to move on.

But before we do, I want to pause and reflect on 2016 for a second, specifically from the perspective of video games. This isn’t a top ten list (a la most outlets), or an opinions battle royale (a la Giant Bomb), or a video-game-high-school-superlative-and-fanfiction-yearbook (a la Waypoint), although maybe I can convince Graphic Policy to do something like the latter next year.

No, this is a list of games I played this past year. All of them are flawed (some of them deeply), like the year itself. They range in scale from the biggest-budget mainstream titles to small, quiet independent games. And hell, many of them didn’t even come out in 2016.

But all of them made me think about myself and this world in different ways. And for that I’m grateful. So here’s a set of games that had an impact on me this year.

The “Insidious Structural Oppression” Award: Dragon Age: Inquisition

dragon-age-inquisitionOh Dragon Age. You’re such a weird franchise. You splattered blood all over my face constantly in Dragon Age: Origins, gave me plenty of choices that all seemed wrong in Dragon Age II and suggested plenty of romantic options in both games that didn’t quite feel right.

And then along came Dragon Age: Inquisition.

There’s an entire article I’ll write at some point about this game, but let me for now just say that Dragon Age: Inquisition tells a captivating narrative that’s full of hard choices and political intrigue. Tensions between liberalism and authoritarianism, faith and freedom are commonplace; these conflicts aren’t new to the Dragon Age series. What is new is that the world feels more real and, well, heavier than ever before. The game is full of covert and overt prejudice (e.g. characters called my elven character “knife-ears” throughout the entire story), and forces the player to choose how they’re going to deal with it (or to simply ignore it). I certainly tend to see things through a lens of power and privilege, but I’m far from alone in seeing how unique Inquisition is in confronting these ugly realities compared to the first two games in the series. Inquisition made me interrogate my own beliefs and perspective in a way that games almost never do, especially games as popular and mainstream as the Dragon Age series.

Also, there’s a mission called “Oh, Shit,” so this game should be on everyone’s award list.

The “2016-est Game of 2016” Award: XCOM 2

xcom-2The first XCOM was a gritty, difficult tactical game where you built a multinational military squad to fight off an alien invasion. You, as their trusted Commander, built up a base of operations, directed research and construction, and commanded your squad in the field. As you grew with your team, they became like family–they developed skills, they got nicknames, they suffered horrifying wounds and maybe, slowly got better. And every time a soldier fell in battle, it was jarring and upsetting, as one of XCOM’s defining features was permadeath: no coming back for any fallen member of the team. If one of your favorite squaddies perished, that was that.

The second XCOM utilizes a very similar set of gameplay mechanics, and it ups the oppressive feeling by starting from a surprising story premise: humanity lost. The alien invasion was successful, and we now live under the dominion of a seemingly invincible alien legion. From the very beginning to the very end, this is a game about a desperate, nearly hopeless resistance. Not only does each decision and sacrifice feel difficult, but the backdrop isn’t “be careful, there’s aliens out there!”, it’s “each time you mess up, we’re inching closer and closer to the end of humanity as we know it.” These kinds of absurd stakes are commonplace in video games, but the notion somehow feels real and earned in XCOM 2. In a country and world that feels increasingly on the brink, XCOM 2 feels downright portentous in its mood, if not the actual events of the story.

Yes, it has crushing technical problems and load times that are beyond absurd (for the record, repeatedly pressing CAPS LOCK may speed up your load time; it may also extremely crash your computer, so, great), but it also has a soulful darkness that makes it even more compelling than the first game.

The “Fond Memories of AIM” Award: Cibele

cibeleCibele is a game that resists easy description and categorization. Cibele is Nina Freeman’s introspective, raw memory of growing up in the early days of the internet. Even articulating the gameplay gives away the discovery of the experience, so I’ll only draw a slight note: despite a few not-amazing control and interactive design choices, Cibele is an enrapturing game about emotion, sex, communication, and technology, and it achieves this goal even though you’re not really playing that much.

And kudos to Nina Freeman for not only showing the vulnerability to conceive of and develop this game but the courage to also star in the cinematic sequences that occur throughout the story.

The “If It Ain’t Broke, Change it Completely” Award: Sid Meier’s Civilization VI

civilization_vi_cover_artI never liked the music of Civilization V.

I know that’s weird to fixate on–the storied empire-building franchise that began 25 (!) years ago is about so much more than its soundtrack–but the music plays a big role in drawing me into the world and gameplay of Civilization. For me, the changes in Civilization V were sweeping and wonderful, but the music felt distant and aloof; it was like a constant feeling that someone I didn’t like very much was selecting the playlist and smirking at me all the while. That feeling, unfortunately, translated to how I felt as I played the game.

So when I launched Civilization VI for the first time and wanted to start humming along to the epic main menu music, I crossed my fingers. Maybe this was my year.

It was my year.

The new and different features are myriad: the introduction of the district system (in an almost Endless-Legend-like way), a totally revamped culture system, a substantially different art style, gameplay achievement-like boosts, and customized music for nearly every civilization–this is a game that takes bold risks, and nearly all of them succeed.

It has some kinks to iron out–the religious system and religious victory are annoying and extraneous, the barbarians are hilariously powerful (as they should be?), and the game mechanics lend themselves to overwhelming micromanagement on anything but the smallest maps–but make no mistake, Civilization VI is a triumph.

And yes, I have the soundtrack.

The “I Never Play Online Multiplayer Games, But I Played This Online Multiplayer Game” Award: Overwatch

Cheers, love! The cavalry’s here!

The “Evie is a Really Cool Name” Award: Assassin’s Creed: Syndicate

assassins-creed-syndicateI’m almost an Assassin’s Creed apologist.

I know, I know. They’ve made 400 games in the space of a few years, the stories are often cookie-cutter and their self-seriousness is whimsical considering the absurdity of the overarching universe. I get it. But at their best, they tackle real issues about power, choice, the role of government, the responsibility we have to each other, and so much more.

Assassin’s Creed: Syndicate is a fun romp through a London going through the Industrial Revolution, following Evie and Jacob Frye, an Assassin sister-brother duo aiming to topple the choking vice-grip that Templars have on their city. You’ll free child laborers, apprehend criminals, and of course, assassinate all the time. Along the way, you befriend Dickens and Darwin, and an optional DLC takes you up against Jack the Ripper himself.

Ubisoft has made small changes that really improve the gameplay flow of Assassin’s Creed: Syndicate and the ability to play as Evie or Jacob at almost any point is fun and varied (although they play nearly identically). The game wants to focus on class and even lightly touches on issues like British colonialism, which is great to see in a game that could’ve just been enjoyable accents and carriages.

As with all games, there are problems here and there; one small annoyance is that the game’s internal logic feels twisted in more than a few occasions. Your adversaries (conveniently dressed in red), for example, fight you at every turn, are connected to the Templars, and you battle and kill them often. But as soon as you take over a territory, you watch a canned cutscene where Evie and Jacob look out amongst a crowd of red-dressed hooligans and say “You work for us now!” and then after the cheers subside…they work for you now. Seriously? It doesn’t break the game, but this to-and-fro of somewhat-adroit awareness and feckless dimwittedness is unfortunately, a regular occurrence throughout the main campaign.

But set aside the ramblings of a man that’s obsessed with internal logic, and grab your stovepipe hat and wrist blade and have a blast in not-quite-steampunk London.

The “Low Chaos, Low Fun” Award: Dishonored 2

dishonored_2_cover_artDishonored 2 wasn’t fun.

My hours and hours sneaking through the game as a supposed stealth and combat master were mostly spent dying in spectacularly embarrassing ways. Teleport next to this guard…oops, she saw me. Reload my quicksave. Okay, go around the other side, hit the button–wait, why isn’t the button wor… Reload my quicksave.

Dishonored 2 gives you a few more options to deal with your adversaries in nonlethal ways, but this is still a game that focuses on giving you creative ways to murder people. So when I tried to (both from a roleplaying and from a moral perspective) go about the game trying to kill absolutely no one, I didn’t get much help from the game’s user interface, controls, or (ugh) load times. There’s a lot more that the game could do to make this more accessible–provide more nonlethal open combat options, make more of the weapons stun instead of kill, provide an on-screen notification of when you’ve gone from sneaky protagonist to killer–but on the other hand, it’s probably not supposed to be easy. The “good” path in real life (to the extent such a thing even exists) isn’t easy either. So maybe being “good” should correlate to the difficult path, as you see (to a degree) in games like the Fable series.

But there’s the problem–Dishonored 2, like the first game, doesn’t have a morality system a la Knights of the Old Republic or Mass Effect. The notion of morality in the Dishonored universe is referred to as Chaos, and Chaos is measured only by the number of human lives you take. While I like the idea of challenging silly binaries of morality (remember a decade or so ago, when “choice in games” meant selecting either “save the orphanage” or “burn down the orphanage”), the idea that the body count is the only important metric is a bizarre decision at best.

One example of this questionable approach to good and evil is with the main objective in each mission: your “assassination target.” In Dishonored 2 (and the first game), for every target, there’s a nonlethal option. But sometimes, the nonlethal option feels even more ruthless than killing the target outright–outcomes range from a lifetime working in the mines with one’s tongue cut out to forcing a target to live out the rest of her days with her stalker/attacker. These are horrifying fates to subject someone to, but the game is smart enough only for the equation that nonlethal equals good.

So when I’m praised at the end for the judicious and good-hearted way that I completed the story’s objectives (floweringly called the “Low Chaos” end), it doesn’t just feel weird, it feels wrong.

But the world of Dishonored 2 is a fascinating one, worthy of exploration, and although its morality may not line up with your own, it’s worth your time to dive in and take the game’s odd choices as a discussion starter, and not a final conclusion.


John Brougher is an actor and filmmaker out of the Los Angeles area, as well as the Chief Operating Officer of the progressive consulting firm ShareProgress. He likes narrative-driven games, dance movies, and people who self-identify as Hufflepuffs.

Review: Assassin’s Creed Syndicate (PS4)

acv-gi-bg1For as long as I could remember, there’s always been something very amazing about Assassins. They could attack from anywhere at any time, they are skilled combatants, and are never prone to fear. Let’s not forget they always look really cool, right? While I possess none of these qualities (except for a sweet collection of graphic tees, which I think are really cool), I’ve always wanted to know more about Assassins. So naturally Assassin’s Creed is a fantastic series to dive into.

While Ubisoft wasn’t the first video game company to go with the Assassin theme for a video game, they’ve definitely received quite a bit of recognition for Assassin’s Creed, and fans were pretty blown out of the water. Players were given these mysterious stylish characters who could do the unthinkable. This sandbox-style game had it all. Huge open world maps, fun stories, and great gameplay. Spanning over 8 years, 2 generations of consoles, and over 9 titles in the series, Ubisoft really beefed up their arsenal with this franchise.

The latest title in the Assassin’s Creed saga, Assassin’s Creed Syndicate, takes place in late 19th century London during the end of the Industrial Revolution (my favorite period in history!), following twins Jacob and Evie Frye as they strive to take London’s freedom back from those nasty Templars led by Crawford Starrick. Without going into too much detail to ruin the plot for you, our beloved assassin twins seek to take control of London through forming their own gang, slowly working towards taking down Starrick’s organization. This is the first Assassin’s Creed game in the series to not only feature two playable characters, but to have a female at the helm of the game. Whether this was in response to the backlash they received about the lack of female characters in the series, or simply a natural decision they made, this gives their latest title a refreshing feel.

The gameplay is very exciting. The fact that both twins have separate styles really adds a nice sense of freedom to the game. Whether you want to be the loud-mouthed Jacob Frye, the rebellious British bad boy, or the stealthy Evie Frye, who takes her targets from the shadows, your options are there. While certain missions do require you to play as a specific twin, Ubisoft picks no favorites among the twins as both play their own respective roles in the story to free London.

After an intense amount of binging Metal Gear Solid 5 and Batman: Arkham Knight, I was going into the game fully thinking I would take on Evie Frye as my favorite character, but I really do enjoy Jacob’s personality more, as we all need a little British rogue in our lives, right? While the twins each have their own unique playstyle, you can do the sidequests with either, and I just naturally went for the charming hunky male character. That’s not weird, right?

Players get to choose between 3 different styles of weapons to use for their melee combat: the assassin’s kukri, the hidden cane sword, and a pair of brass knuckles, with each style offering its own benefits to the game’s combat. The Kukri offers more damage, with a more heavy focus on swift kills; the cane-sword and the brass knuckles provide a higher stun rate, which allows you to perform more combos while battling more than one opponent. While the options are nice, especially with the inclusion of achievements for multi-kills, I prefer a more direct approach to combat, killing my enemies one by one. I’m not going to lie though, those multi-kill scenes are pretty amazing.

One of the new features that I’m surprised hasn’t been added into previous Assassin’s Creed titles is the Grapple hook. With the ability to scale tall buildings in seconds and remain on rooftops by connecting a zipline is both very cool and a real time saver. With the environment being as large as it is, a quick means of getting to your destination is vital to keeping players hooked. You can even assassinate enemies while ziplining too! Nothing is sexier than assassinating someone mid-air, right? Right.

One of the biggest drawbacks I had with the game was driving the blasted carriage. While the game strives for an accurate representation of London’s roads in the late 1800’s, I find it really irritating. London’s roads are tiny and the carriages are simply too large. When there is traffic, you can imagine navigating through it is a challenge in its own right. The controls aren’t very smooth either. Turning is a pain, and even carriage battles are rough. I get more joy getting off a carriage and walking to my destination than I do getting onto one to drive somewhere. It’s about as smooth as Arkham Knight‘s Batmobile, which makes me fear for London’s gorgeous architecture…

Since I was fortunate enough to get Austin Wintory to give me an interview, I thought I’d talk about the game’s soundtrack as well. The music is absolutely fantastic, and I find that it really helps set the tone for the setting and events as you move along. Whether for things like getting tough during a mission or scoring a sweet victory, the music changes to fit the specific mood, and it really breathes life into the game. Being an avid fan of video game music, I find that this element is just as important to setting up the game as the story, as music is one of the bigger components that makes or breaks an experience for me.

Since Assassin’s Creed is a large sandbox title, having a lot to do within the giant city you’re in is important. With Assassin’s Creed Syndicate, one of the many side-quests you have to complete involves taking over London’s various territories led by the Templar’s top brass. While I’m always up for a good ol’ fashioned gang war, this is actually one of the parts of the game where I have to give it a lower score than the rest. While the missions themselves can be very exciting at first, they don’t change per territory so much as the difficulty of the computer level is just increased. You have 4 different types of missions just thrown on repeat. While some have special objectives to get bonus rewards of EXP and money, they aren’t too difficult either. One of the downsides to the sidequests is that most of them are available to you right away, despite some of them having certain bonus requirements can only be met by completing more of the main story quests. With subtle hints about the objectives, I’ve missed some opportunities only because it wasn’t recommended that I have a specific tool that I was supposed to get later in the story.

One of the biggest joys I’ve had out of the game so far was the DLC content. While there were a couple of busts, most of them were pretty entertaining. I’ve really been enjoying the Penny Dreadful and Darwin and Dickens stories simply because they’re such a refreshing break from the usual gang territory takeovers. Being a huge fan of mysteries and great stories, the DLC side-quests are very exciting despite other reviewers claiming they’re a bit lackluster. Finding clues to a murder suspect is very exciting and makes me feel like an old world vigilante detective (All we need is a bat symbol and a cape!).

One of the biggest reasons I enjoy a good sandbox title is the fact that there is a large sense of freedom. If there’s one thing I love almost as much as a good story and fantastic music, it’s the ability to explore. Finding nice views where I can idle and listen to a soundtrack is simply the best. And since I can’t do parkour, nor do I have any sweet gadgets to get me anywhere in the real world (yet), video games are the closest things I get to having an epic adventure. Sandbox titles do have significant drawbacks though, too much space can be a bad thing too. With the great technology comes great responsibility. Nobody needs a giant map with nothing to do, right? So thank the video game heavens that Assassin’s Creed has plenty of side-quests that keep you busy, despite a bit of repetition.

All in all the game is pretty fantastic. I’ve been playing since the release and can’t put it down. With a plethora of missions, side-quests, and achievements to accomplish this game will keep you busy for many weeks to come. Let’s not forget that the Season Pass offers more missions, and a Jack the Ripper questline, which I am very excited to try out!

Assassin’s Creed Syndicate is available on both the Playstation 4 and X-box One with a PC release coming out later this Holiday season. The Season Pass Bundle is $29.99 and available now with more content coming out soon. I’m looking forward to what Ubisoft will throw at us!

I hope you enjoyed my review and thanks for reading!

Gameplay: 9 Story: 9 Music: 9 Side-quest: 7 Overall score: 8.5

Interview with Austin Wintory (Composer of Assassin’s Creed Syndicate)

assassins-creed-syndicate-header-2When it comes to video games, music is a very powerful tool that can make or break an experience. It can be used to motivate you to complete your objective, boost morale to play better, set the tone for an environment or scene, or even do all the opposite. Often times I find myself playing a title and wishing the score was better so I could really dive into it. In a day and age where video games are becoming the norm, people need an experience that can take them away from the harshness of reality, and music is one of these elements that often gets the least amount of love in this market, despite being a key tool that really serves as the sweet frosting on cake. And who doesn’t enjoy frosting? (Save it, you dieters. Frosting is amazing.)

When discussing games with friends, I seem to be the only one interested in the music, while everyone else seems to dismiss it entirely. It often breaks my heart to be the only one who thoroughly enjoys the music from titles, because I feel that’s the one of the bigger components that makes or breaks a title for me. Even if the gameplay is fantastic, if the music is awful it just makes me want play it less and less.

While video games have definitely seen a drastic change over the 30+ years they’ve been accessible to the public, the music has been one of the elements that has undergone the biggest development. Developers didn’t have the technology to add instruments and vocals back in the 80’s like they do now, so the ability to create music fitting for a title wasn’t easy. Nowadays we’re fortunate enough to have more at our disposal to undergo an experience that’s out of this world.

Now I’m sure I’m not the only one who has epic spy music playing in my head when I’m sneaking around, right? No? Just me? Drat. Well needless to say, when it comes to being an assassin/ninja and sneaking around, one of the biggest things that I need is a sweet soundtrack to fit the tone of what I’m doing. It gives a depth of flare to my life! So naturally the best person talk to about that is Austin Wintory, the composer of the next Assassin’s Creed title: Assassin’s Creed Syndicate, right? Right.

So without further ado, here’s the interview!

Graphic Policy (Michael): You’ve been composing the music for video games for quite some time now, but I see you’ve also composed music for films as well. Do you find composing a track for a video game to be different than that of a film?

Austin Wintory: At the end of the day, what matters most is if I feel I was able to write worthy music. And by that I mean music, which justifies its own existence. Something that’s got personality and perspective and is worthy of the film or game it was written for. So in that sense, composing film music and game music, or concert music, or anything else, are really not that different. Music is music. But once you get your hands dirty and go deeper you realize that they actually are QUITE different. The interactivity of games sets them extremely apart from films. It’s difficult to summarize without being very long-winded but I will just say that in terms of the details they are very distinct from each other.

Graphic Policy: Music is such a powerful tool used in video games; be it a track that motivates you to save the princess and free the Mushroom Kingdom, or through using sound as a tool to help guide players together like in Journey. What were some of the big inspirations you felt with coming up with the music for Assassin’s Creed Syndicate, and how exactly did you want it impact the players?

Austin Wintory: With all games, or films for that matter, I try to use the project itself as the main inspiration. So Journey was Journey’s inspiration. And in the case of Assassin’s Creed, the game itself, the characters, the writing, the story, all of that was the primary inspiration. So you have this Victorian London setting, and two principal characters of sibling assassins Jacob and Evie. They have a particularly strong personality and an interesting dynamic between them that’s sort of irreverent and sarcastic, and that played a big part in figuring out how the score should feel. So even though I mentioned the time period of the 1860s, I didn’t really go out of my way to make it some so-called “period-authentic” score. Nonetheless, I would call the score in a way “Neo-Mendelssohn,” because I tried to channel this wonderful dancing quality that I find in Mendelssohn’s chamber music. It just so happens that that would be somewhat authentic to the period but it’s mainly that it feels right. The way in which I’d love for it to impact players is simply to enhance the game experience! One of the things I love about games is that we don’t really go out of our way to dictate the kind of experience the player “should” have. I see it as us creating a sandbox full of tools and toys that the player can then assemble kind of freely, and allow them to experience whatever they’d like. So my goal is to be part of the tool-set that lets them have whatever kind of experience that they want. Though obviously that’s through the lens of my perspective. So we’re not giving them a completely wide-open set of possibilities; it’s not objective, but we are nonetheless trying to give them more than just a rigorously defined experience the way a film might. Of course even as I say that, great films are very often subject to interpretation, so maybe I am simply stating the obvious.

GP: In your interview with Ubisoft, you explained that you’ve been a longtime fan of the Assassin’s Creed series. Did your experience with playing previous titles give you help with composing the tracks for Assassin’s Creed: Syndicate?

AW: Most definitely yes, and also that familiarity with the franchise can give me a springboard to clarify something. I didn’t really compose “tracks” for the game, in fact no game score would I say I really compose ‘tracks.” I would call them cues, because “tracks” implies that they are linear pieces of music like you could just throw onto a CD or MP3 player and play back immediately. But the music in the game is often deeply interactive, and multi-layered, and full of algorithms that will change the way in which you change the music in real time. So for example, because I had played the previous games I was very familiar with the concept of the “reach high point.” These are the moments in the game which you climb up to some noteworthy landmark and “synchronize,” revealing things on the map, etc. Those moments are always intended to be kind of these beautiful little islands within an otherwise very action-driven game. I was deeply familiar with them because of it being such a core moment within every prior AC. However “reach high points” are not scored with some single linear track, it’s actually a series of interactive cues which sculpt the players experience as they are rising, and then ultimately performing the “leap of faith.” Had I never played any of the previous games, I would have had a lot of catching up to do to really appreciate how big a part of the overall experience these moments are. But because I was so familiar, I was able to immediately start coming up with ways to hopefully make it interesting and dynamic. It’s not one size fits all the way a linear track would necessarily be.

GP: I saw that you did a track for The Order: 1886. With that taking place in the same time period as Assassin’s Creed Syndicate, did your previous experience in dealing with late 19th century London help you to compose tracks for this title?

AW: In the case of The Order 1886, that was Jason Graves’ score for which he and I co-wrote the main thematic material. So I didn’t actually even write that first track on the album, it’s something that he and I co-wrote and which he then drew from when writing the rest of the score. So my job was very specific there. Additionally, that game was an alternate history of Victorian London, so even though the time period was similar, and the setting was technically the same, the context for that setting was distinctly different. There are no wildly futuristic elements to Assassins Creed like there were in The Order, and also the storyline, and the characters, and the motivations, and all that were radically different. A story of the knights of the round table persisting into the industrial revolution, and fighting werewolves in dark alleys, is a completely different game from an eternal struggle between assassins and templars in Victorian London (never thought I’d say that sentence!). So in my mind, because the music is always coming from “who are these characters and what is this story?” there was no real overlap, I would say. So it didn’t help nor hinder.

GP: From a game where there was no dialogue and just music and sounds, and to a game about assassination, has working on the music for Assassin’s Creed proved to be a different experience from your previous work with video game soundtracks? If so, how?

AW: Well certainly every game is different from the rest, and in some cases dramatically so. There is no question that Journey and Assassins Creed have very little in common in terms of the experience of playing the game. But at the end of the day, the underlying concept of just trying to write music that really faithfully captures the player experience is the same. So it doesn’t really matter that the games themselves are so different, my philosophy is unchanged. It’s hard to get more specific than this without breaking down each individual game that I’ve worked on but basically yes, they are all very different and that’s one of the things I love about scoring games. There is never a boring day on the job. You never know what to expect.

GP: Time travel plays a huge role in the Assassin’s Creed titles, despite the games taking place primarily in earlier time periods, did you utilize any concepts of a modern day or a somewhat futuristic tone for certain tracks in the game or did you stick with music that fit the setting of London in the late 1800’s?

AW: Well, bear in mind that Assassins Creed is not actually about time travel, it’s about people in the future using technology to look back into the past. So the game’s settings really are in that past, even though in theory were looking at it through the lens of someone seeing it from the future. And that has played a big part of the aesthetic of the scores in the previous games; they very often sought to channel that futuristic sci-fi quality with cool analog synths and things like that. I thought Sarah Schachner on Unity did a particularly good job at blending those things. However that was not the goal here, the present day aspects are actually pretty minimal in this game, and we also made the aesthetic choice to let those moments play on their own so there is very little in terms of music then. It’s really solely preoccupied with Victorian London. Thus it was with the score.

GP: With some video games having a production cost that can rival films in Hollywood, has working on a title as big and popular as Assassin’s Creed provided more pressure on you than other titles you’ve worked on?

AW: I wouldn’t really say so; certainly the overall size of the score was bigger than average, but I’m no stranger to elaborate productions, from both films and games. For example, a game like The Banner Saga, even though that was a relatively small independent game, the scope and production of the score was really only slightly smaller than that of Assassin’s Creed. So I wouldn’t really say that there was more pressure. I tend to put more pressure on myself than any outside entity could ever hope to!

GP: With music being a conduit to set the tone for the game’s plot and setting, what was the main process for composing tracks for the game itself? Were you given footage from the game to match to a scene or a storyboard you had to read?

AW: For me it’s all about play testing. I spend a lot of time with the game and really try to internalize how it moves and how it feels. And once again it was really really helpful to have played the previous entries of this franchise so thoroughly because I was less reliant on play-testing for this as a result. I try not to ever get caught in a situation of having to write music in a vacuum. By that I mean, writing music to a scene which is being described in some spreadsheet somewhere but which I have no real connection to. So I read the script, I would spend a lot of time playing the game, but then also in situations where I was not able to play the game myself the team at Ubisoft would do captures for me which I would then send follow up questions to and they would do additional captures as a way of answering my questions. So I would have them do for me the things that I would do myself if I had been playing. I would say to them “instead of going up the side of the building, can you jump and tackle that guy in the street,” because that would have been how I tested the game in that moment. They happily obliged me throughout the process. I should use this as a segue to really point out that the team at Ubisoft were absolute dreams to work with. Audio director Lydia Andrew and musical supervisor Christian Pacaud were absolute perfect collaborators. Couldn’t have had a better crew to work with.

GP: Were there any specific moments in your life that inspired certain tracks for the game? Maybe you dropped something on the ground and it had the perfect tune you were looking for? Perhaps a bowl of cereal that crunched just the right kind of way to inspire you? Possibly a bird chirping outside your window at 5am?

AW: I’m afraid my answer to this is yes, but nothing like the examples you provided. I actually suffered some very huge personal losses during this project and that played a very large part in my creative process. I don’t want to drag you through a long difficult story but the short version is that just days before I began, my father rather suddenly lost a battle to cancer after falling sick only weeks earlier. So my music started with a note of intense grieving as I tried to reconcile that. Then a few months later as I was near finishing the project, the same thing happened to one of my closest friends. There are a lot of specific moments in the score that I could point to as representative of my dealing with these losses in that moment. But I’ll just leave it at that for now.

GP: We see a strong separation in both Evie and Jacob’s personality and their styles of gameplay; with the ability to switch between them freely, will this also feature a switch in tracks? Have you specifically written different tracks for each sibling, or a single song that really captures the essence of both?

AW: Well I will once again specify that the score does not really consist of “tracks” or songs, but nonetheless your intuition is absolutely correct. Instead of having different themes or leitmotifs for Jacob and Evie, I have a single theme that represents them collectively because their story arc is a shared one. It’s all about the journey they go on together and the ways in which they grow apart and come back together, etc. But that said I do assign different colors to them. Specifically I have a solo violin played by Sandy Cameron, that I associate with Jacob, and a solo cello played by Tina Guo that I associate with Evie. So, in the areas of the game where you have specific missions that force you to play as one or the other character you will always hear that specific instrument featured. Then during the open world moments where you can switch back and forth freely, I recorded separate violin and cello solos within a given passage and the system will automatically toggle the soloist based on whichever character you’re playing as. So that way players will have different experience throughout the game musically based on who they’re playing.

GP: Any particular track you had the most amount of fun composing? Was it an epic fight track or possibly just a nice song to idle to?

AW: I put so much work into every moment of music in the game that it’s difficult to play favorites. Referencing my answer before about the losses that I endured during the writing process, there are some moments that are my own little private homages to those people. I snuck personal references and things into the score of my history with both my dad and my good friend. But other than that, I would say that the entire score was a joy to do. I really loved that the combat music ended up taking this almost ballet-like dancing quality. And so any time I was writing combat music I found myself wanting to leap to my feet and that’s just a great feeling. The grand finale of the game, on the subject of epic fights, is kind of a triple concerto where I finally bring out a third soloist, the pianist, played by Iain Farrington. This was a big show piece that was an absolute blast to do because it really let the three star musicians come together and just sizzle.

GP: With the Templars being the primary antagonists of the game, did you aim to give them a type of gothic theme that’s more commonly used, or did you plan to go with a different kind of genre?

AW: The templars actually don’t have their own theme in the score, which was something that I advocated for with Ubisoft because I really wanted to make it about Jacob and Evie, primarily. But that said, much of this game is preoccupied on a story level about the rise of industrialization, and the way in which this era brought out certain types of personalities, like thieving robber barons that were quick to take advantage of people. Because that’s a thread that all the villains tend to have in common, a thirst for power and a thirst for influence which often is expressed through money, I decided to treat that as an almost religious idea. There are moments in the game where I go for a kind of cathedral or religiously mystical aesthetic, and those are always the moments associated with the villains. So I would say that the templars don’t have a theme, so much as this intentionally ironic religioso aesthetic.

GP: Easter Eggs in video games has become such a norm whether it be some small dialogue, a picture somewhere referencing something, or even hidden scenes. Do you have any extra tracks that you were tasked to compose for any of these kinds of segments? If there were, did you know you were doing them for that specific part?

AW: There are definitely easter eggs, and if I told you, they wouldn’t really be easter eggs now would they??? ;)

GP: I know there are certain developers who like to put staff and crew into the game as little extras. Will we be seeing you in the game at all composing music, or struggling over writing a song in one of the many British taverns? Maybe a side-quest involving finding your missing music sheets?

AW: I wish! That would have been great fun and I have done this sort of thing before; I have on-screen cameos in several movies I’ve scored, for example. But in this case, my presence is purely musical. Though there are definitely some surprises in the spirit of what you’re asking about…

GP: Since you’ve been a fan of the series, which title is your favorite, and are there any particular weapons and characters you’ve found more appealing than others?

AW: Like so many others, I would say that my favorite was Black Flag, and part of what I loved about it was how stunningly beautiful it was and how easily the notion of an assassin translated to high seas pirating and that sort of thing.

GP: What was it about Assassin’s Creed that really drew you into the series?

AW: I always loved the sense of movement, loved the freedom, I loved the way the game felt under my fingers. I’m usually much more of a PC gamer but this was one of the rare instances where it really really made me love playing it on my Playstation. In terms of Syndicate, what drew me to it was how eager Ubisoft were to experiment and try something new with the score. And that would have been a draw no matter what the franchise was, I suppose.

GP: I heard you joke about a baton dagger in your interview with Ubisoft, any chance we’ll be seeing Austin Wintory as an assassin in the next Assassin’s Creed title? Assassin’s Creed: Traveling Orchestra perhaps?

AW: I’m not currently engaged to work on any other Assassins Creed games, but you never know what the future will bring. I certainly am planning to perform the music on-stage in a variety of different contexts, so maybe I will conduct from a hidden blade wrist baton of some kind!


When it comes to loss, it’s a difficult trial to bounce back from, so I’m very glad to hear that Austin was able to make something amazing out of his ordeal in order to pay tribute to his dearly departed. I can certainly relate, as the recent loss of my own father was the reason I ultimately took the plunge into writing. My sincerest condolences to you, Austin, and I know the game will be fantastic with your beautiful music. I want to thank you for taking time out of your busy schedule to take my interview. Thank you to Austin’s publicist and the rest of the people at Ubisoft!

Assassin’s Creed: Syndicate comes out October 23rd for the Playstation 4 and X-box One and November 19th for PC fans. Stay tuned for a review when the game releases! Thanks for reading!