When 25-year-old Desmond Miles awakens to find himself a captive of modern day pharmaceutical giant Abstergo, an intriguing series of epic events are set in motion that involve Miles being forced to interact with the 'Animus,' an experimental virtual reality simulator that taps into the genetic memories of its host.

With Abstergo scientist Dr. Warren Vidic apparently seeking something of intense value from the ancestral memories embedded deep within his latest test subject, Miles unwillingly assumes the role of Altair, a disgraced master assassin who lived during the Third Crusade. But what is Vidic really searching Miles' memories for? What ancient conspiracy lies behind the trail of devastation wrought by Altair in his quest to reclaim lost honour? And why exactly should Miles, a seemingly innocuous bartender, be so important to a corporation such as Abstergo?

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You'll have to play the game to learn the answers to all those questions, and no, there are no spoilers in the above paragraphs (or in those following); all the information they contain is revealed within the first ten minutes of and includes nothing eventually revealed in the game's finale.

Without disclosing any more of the sporadic science fiction narrative that runs alongside Altair's epic adventure, beyond the sterile confines of Abstergo's laboratory and the plug-in accessibility of Animus, the game world in Assassin's Creed is set out across the Assassin stronghold of Masyaf, three core cities, and a sprawling Kingdom that exists as a vast segueing environment.

While the Kingdom is a huge and richly adorned open area of undulating hills and sloping plains that can be explored at the player's leisure (on horseback is preferable), it holds no direct significance to the game's integral assassination missions or the unfolding narrative in general. However, it is densely populated with lively village settlements, crumbling ruins, representative inhabitants, and collectable items, as well as offering scaleable watchtowers, ominous barrack camps and plenty of bloodthirsty Saracens.

The majority of game time is spent in the aforementioned trio of cities, which are Damascus, Acre (pronounced 'Acker'), and Jerusalem. All are truly massive walled environments, all are rich beyond compare in a visual sense, all are teeming with truly emotive and believable A.I. inhabitants, and all are quite simply breathtaking to behold. Indeed, as Altair and his steed crest a rise in the Kingdom and the trailing camera sweeps majestically upwards to reveal the wonders of Damascus for the very first time, it is difficult to recall an in-game view that successfully rivals that which tantalisingly lays out before the player. That is, until progressing to the grimy beauty of Acre... and then again to the jaw-dropping scale of Jerusalem.

Therein lies one of the key points of ambition and attraction for Assassin's Creed: it's scale. The often stunning aesthetic beauty and level of uncompromising detail associated with the game's presentation and design are instantly apparent, but it's the sheer size of the interactive world that is likely to rock players back on their heels. Of course, while a game such as Oblivion might offer up more square kilometres throughout its entire world, Assassin's Creed manages to cram so much living and breathing life into the cramped streets and alleyways of its three cities that any subsequent sessions of Oblivion would likely feel extremely empty by comparison.

The focus of virtually any and all advanced coverage during the game's has revolved around an innovative character control system, supposedly capable of seamlessly channelling Altair's interactions within his environment, while also providing a refined approach to the conventional button-combination battle mechanic witnessed during Ubisoft's popular series. But does it deliver?

A period of acclimatisation is certainly required (this is new territory), especially with the fighting aspect, but the act of simply guiding an ever-willing Altair as he leaps between rooftops and effortlessly free-runs across obstacles, support beams, scaffold, and battlements is little short of gaming joy. Some may bemoan the lack of interaction on the player's part, as nimble stick fingers are all that is required to watch Altair dance majestically through the environment, but the flawlessly responsive animation system crafted by Ubisoft is, without doubt, the very pinnacle of character creation. How anyone can say that videogames cannot be classified as art is beyond this particular reviewer.

From a fighting perspective, those critical sources decrying the fact that players will likely pursue an easy reliance on Altair's defensive counter attack move when faced with multiple close-quarter enemies, clearly did not seek to utilise the full extent of what Assassin's Creed has to give for those who care to look.

At the dawn of the game, a disgraced Altair is stripped of considerable rank and weaponry following an unsuccessful assassination attempt. As he progresses from mission to mission, Altair is gradually promoted back to his initial ranking, receiving various restored skill and weapon elements along the way. The counter attack move is but one fighting skill, and it is extremely useful in thinning the massed ranks of angry guards looking to spill Altair's blood. However, simple but aggressive timed-combo kills are just as useful, as is the defensive break, or the dodge attack, or throwing enemies into collapsible scaffolding or market stalls - all single button moves that need little more than expert timing while facing multiple sword blades. Fights may initially appear simplistic and unrewarding but they become more and more intense and demanding as Altair's skill grows to accommodate increasing difficulty. In short, Assassin's Creed gives back what the player puts in.

And 'giving back' is the game's other key point of attraction and appeal. Specifically, if rushing through the investigative missions associated with Altair's core assassinations is the player's only motivation, then labels such as "repetitive," and "lack of variety," might be deserving of their placement in the surge of negative press that immediately followed the game's release. However, when taken at a more controlled pace, Assassin's Creed veritably begs the player to enjoy the layers of primary and secondary involvement on offer through seemingly unimportant side missions - which later repeatedly prove their worth.

Upon entering a city district (each city has several, which gradually open as the game progresses), Altair must perform a number of prerequisite missions, all of which contribute to the collection of information related to his eventual target. Firstly, Altair must consult his map and scale various highlighted buildings spread throughout the district, gathering a thrilling birds-eye views (which never gros tiresome) that reveal yet more missions via the map screen.

These missions are scattered across the city in various forms: Eavesdrop, which involves simply listening in on NPC conversations to collect nuggets of information; Interrogation, which requires Altair to follow a vocal public speaker to a secluded location before forcing the release of target knowledge with the application of unforgiving knuckle bone; Pickpocket, which demands some light-fingered dexterity to deprive a twitchy-eyed NPC of some useful documentation; and Informer, which sees Altair rewarded with yet more information after performing either multiple minor assassinations or frantically traversing rooftops to collect 'lost' Masyaf flags against the clock.