![]() Characters display delicacy, warmth, concern, frustration in their voices. While villains can occasionally ham it up, where it seems like they’re crawling out of a Saturday morning cartoon show, it’s rare enough to not be noticeable. I don’t just mean clever dialogue or good characters: I mean genuinely beautiful and clever writing (here’s a nice listicle of one-liners.) This is coupled with excellent performances. The first way it does this is with excellent writing. ![]() However, there’s always a slight change here and there that prevents it from becoming stale. I might be wrong, but I’ve deliberately kept an ear out for this and thus far have not heard it.)īeing an Assassin’s Creed game, the missions came in specific flavours and there is little variety. The game never uses pronouns or gendered terms, like brother or sister, when referring to Eivor. Also, speaking of dichotomy, it is notable that the game changes not a bit depending on whether you play as male or female Eivor – which seems to me further proof of excellent writing. Hearing Stenspil speak “normally” is quite shocking and totally unlike Eivor. (I played for a few hours with Bruun’s Eivor and his performance was spectacular, but my preference was Stenspil’s and her husky fierceness. The character is testament to the abilities and talents of Ubisoft’s writers and to the talents of Eivor’s performers, Magnus Bruun and Cecilie Stenspil. Truly excellent.Įivor with her poetry and flighting ability, her fierce battlecries but ability to charm the pants off women she desires (sometimes literally), makes for an interesting protagonist. Ubisoft managed to create an actual mechanic, a wolf summons, out of a sidequest. Each time, Eivor would call out what a good boy he is, “Mooooooouse!” *spoiler ends* And throughout the game, you can summon Mouse to leap at the throat of some poor fool, see Mouse trotting happily through the village and watch him curl at your bed when you return home. The wolf stayed and happily followed along, like a well-trained hound. After following the children, freeing the beast, he ran off – only to return when Eivor escorted the children back to the village and was herself attacked by wolves. *Spoiler begins* It was caged in a random hut, and his howls were brought to Eivor’s attention by some pesky children. The most memorable is a wolf Eivor found. There have been a total of three whole side-missions, where the object was to interact, meet and/or rescue an animal who becomes a companion. And, added to this, Eivor turns into a cooing mess when she meets an animal she can pet or hug. This dichotomy plays well into this game that itself wishes to be a many-faced entity: At once a stealth-em-up, but also a brutal viking simulator a game of conquering and invasion, but deeply concerned with home life and family and friends everything is alien but Eivor is of course among loved ones there’s an entire sequence – if not an entire game – where you play as Odin buried in the game itself. There’s something quite magical about a large, powerful character like Eivor who is also a renowned, gifted poet and animal lover.
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