Nothing is true, everything is permitted". That, according to Corey May, Assassin's Creed's scriptwriter, was the motto for the 12th century killers at the heart of the game - the Hashshashin. It's definitely a maxim that chimes throughout this game, because while Assassin's Creed is open-ended and it is open-minded in its approach to morality, method and the murder.

So all talk of epoch-wandering killers, dredging the genetic memory of dead relatives and that HUD is distinctly off the agenda. (Er, unless you turn to page 42.) But at the same time, they kept hinting at something else, something Dan Brownish in hue, something vague about the Holy Grail, the Knight's Templar, and a global conspiracy.

Because, instead of simply linking missions with a linear narrative, Assassin's Creed treads a less prescribed route. It isn't completely freeroaming though, as instead of a dynamic day/night cycle, your missions take place at a set point within the plot, but you are still free to wander outside it. And with the fort at Masyaf serving as your base, Altair rides out across the Holy Land through the lush forests, blank deserts and arid mountains of modern day Israel and Lebanon. At its edges three magnificent towns form a triangle of civilisation, complete with their own distinct districts, city walls, denizens and civic style. They are: the besieged and heavily westernised town of Acre, Damascus, Saladin's Arabic stronghold in Syria, and Jerusalem, the game's major city and your final objective. And since the road from Jerusalem to Damascus alone is over 130 miles long and the lawless sand between the towns is vast, the horse-riding section that wobbled like Freddie Flintoff in a pedalo when it was first shown at X06 is to play a major role.


It is in these areas that our new friend Altair will presumably be able to find clues to his next target's location as well as discovering side missions and distractions. helping certain characters and causes can pay off later as these good Samaritans aid and abet you in your escape. But if you fail to help, the peaceful monks that might have concealed you will raise a veritable hue and cry, previously open doors will be locked, and beggars feeling betrayed by the amount of robbing in their hood will claw viciously at your ankles. In fact, the opinions and attitude of the masses are so important to your progress that using Altair's 'initiative' will highlight who your charity has convinced and who is still deeply hostile to your actions.

Recognition is still an important element as you push your way through the 60-strong crowds in each town. Despite the game having 10,000 character animations, there's enough variety in visage, voice and reaction to violence to both mark out certain figures, and for them to recognise you. Convincing facial animation reveal if they have spotted you, from raised eyebrows to full on glares while the chance to overhear snippets of conversation and clues complete the atmosphere of credible shoppers, salesmen and soldiers.

The best way to avoid their prying eyes is to be an anti-social climber. That means finding a quiet corner and using the game's much-talked about ability to clamber onto any ledge or surface. And while this freedom can feel daunting to gamers raised on set routes and corridors of certainty, the pad's rumble guides your hands. You see, not only will the jiggling of the controller help you pick out something to hang on to.