Taking as a sign of hope and optimism that sometimes, just sometimes, over-hyped over-reported games can still deliver excellence and a few surprises that won't disappoint, I entered the small room in which Ubisoft's Montreal developers were to demonstrate the upcoming title Assassin's Creed.

Recovering from the initial disappointment that was news that the demonstration was the same as that shown at E3 two month's ago, I was pleased to note that I was still enthused by the prospect of the game - which now looms ever closer on the horizon (Xbox 360 and in November). Initially, we were treated to a birds-eye view of middle-ages Jerusalem, Altair standing high above the rooftops. The designer informs us that the city is huge, and will offer players a vast playground, ideal for 'free-running' and exploring either on the ground or by leaping between the roofs that apparently offer ample opportunity for such acrobatics.

But play time will come later, Altair has a mission to complete. I'm reminded of the Arabic meaning of Altair as our Assassin hero leaps from the rooftop (a 'leap of faith') and hurtles towards the earth landing safely in a pile of hay. Altair means 'the flying one' in Arabic. We're after a man who plays a key role, or rather benefits from, the Crusades that have left Jerusalem and the whole kingdom in political turmoil. To get to him we must move through the crowded streets of what feels like a living, breathing city, and make choices. In this mission we could blend in with some passing monks to evade our target's guards, or we can create a dead body diversion.

Our guide, choosing the latter, murderous option, stealthily downs an unsuspecting victim, and Altair stalks off before the guards and citizens start panicking. We're now closing in on our target, leaping across a few more rooftops, dispatching another guide (who is mercifully alone) and entering the chambers of he who must die. Cue a plot-furthering scripted sequence, in-engine, in which our foe taunts Altair before unleashing his swordsman.

Combat. It looks good, before you ask, it really does. Diverse and satisfying, though of course we've yet to have the pleasure of actually experiencing this first-hand. The designers assure us the control scheme is very 'intuitive', however. As our rivals circle Altair, he is able to block, throw and strike in several ways, demonstrating combat which looks the part - and certainly couldn't be described as hack 'n' slash. Once these guards have been thrown into collapsing shelves or spliced in a highly stylish manner - a chase sequence begins - as our intended victim flees into the streets of the city.

Thus begins another aspect of the game, chasing. Altair is highly agile, and while our target charges through street dropping obstacles in our Assassin's way, we have the option of cutting a few corners in order to trap the bad man. More free-running fun to be had, should you wish it. Once caught, the assassination is quick and appears fairly straightforward, prompting another scripted sequence, a dream-like scene in which the dead man argues with Altair over his motives. Story is clearly key to Assassin's Creed, and it looks as if the designers have done a good job of blending all the disparate aspects of the game (combat, missions, movement, etc), in with the all-important plot that makes it all worthwhile and all the more immersive.

Cue more running as we look to escape from the scene of our crime. More free-running ensues as the guards give chase, and we have the option of running anywhere, fighting or hiding. Our guide opts for the latter, and leaping into a pile of hay, uses an on-screen indicator to check how 'secret' our position is, and once the guards have passed, we're ably to sneak quietly back to the Assassin's Bureau, where this mission will end and new orders will be delivered.

We're informed the mission we've witnessed is typical, though they will vary greatly in general, some offering more private assassination attempts while at other times our victims will be far more aggressive in their defense. AI will play a key role, apparently, some foes being demoralised by your acts while others will hunt you remorselessly. Again, despite the glimpse the mission affords, I'm still waiting to be wholly convinced by the control scheme and combat, given the lack of hands-on opportunities.

The game looks great, and with Damascus and Acre to explore, as well as Jerusalem, there should certainly be plenty of interesting locales to delve into and learn about, assuming Montreal have got the basics right. The plot, in particular, looks very interesting - even if the sci-fi elements (rumours about DNA regression and the like persist) are a risky move in terms of maintaining realism in the setting and the significance of the plotline as a whole.

Beyond city free-running, mission accomplishing and mystery solving, the game will also offer a few horse-based moments, as we race across the Kingdom between the cities of the period.

A members audience asks about Altair's American accent, and we're reliably told that in the context of the plot it makes sense, though it's all rather hush-hush at present (more DNA regression sci-fi stuff, we'll wager). We are, however, promised local accents and dialogue where appropriate, and if you're a fast player, we're told you can expect to complete the game in about 15 hours. Not that Ubisoft are expecting most players to race through at such a pace.

Given the hyperbole surrounding the game, and the protracted period, it would be fair to say our enthusiasm for the game has diminished ever-so slightly. The visuals don't look quite as impossibly gorgeous as they once did, and the plot / combat still seems to present more questions than answers. That said, it looks good, and with a release in November on the cards we don't have to wait too long now before separating the wheat from the chaff.

By Luke Guttridge