Read Assassin's Creed: The Chain comic online free and high quality. Fast loading speed, unique reading type: All pages - just need to scroll to read next page. The monster-hit, historical fantasy/sci-fi Assassin's Creed video game from Ubisoft breaks into comics with a stunning 3-issue series written and illustrated by. Eisner award winners Karl Kerschl and Cameron Stewart return to create the sequel of Assassin's Creed The Fall. Assassin's Creed The Chain.
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Assassin's Creed: The Chain is a comic book, a sequel to Assassin's Creed : The Fall and the conclusion of the story of Nikolai Orelov. The Deluxe Edition. Assassin's Creed: The Chain is a graphic novel. Set in the Assassin's Creed universe, it concludes the journey of the Russian Assassin Nikolai Orelov, that was. The chain. Assassin's creed PDF Download Ebook Gratis Libro.
Sung reassured him that Abstergo and Warren Vidic considered him as family. Daniel then rose through the ranks of Abstergo and was later seen training new recruits.
Innokenti attacking from the treetops Nikolai began to prepare his son for the Assassins' eventual arrival, by challenging Innokenti to attack him with a knife. The boy was reluctant, but did as his father commanded. From there, Nikolai easily disarmed him and, as a punishment, had Innokenti sleep outside. This continued several times, until Innokenti had learned the skills of the wild, and managed to ambush his father. With the knife at his throat, Nikolai asked him to be strong and kill him, because he "shouldn't flinch in the face of death".
Innokenti pushed the knife further, but he was stopped. Nikolai then knew his son was prepared and embraced him.
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Daniel was inducted into the Inner Sanctum of the Templar Order , and he was given a special mission. The raids on the Assassin camps revealed lots of information, including the location of the hidden library of Ivan the Terrible beneath the Bolshoi Theatre in Moscow.
Daniel was sent to investigate its connection to the Assassins, who apparently had used the library as repository for generations, including items such as the Prophet's Codex.
When an Assassin squad came for Nikolai and his son, several of them were killed by an explosive trap that was set in the Orelovs' cabin. Digital games, particularly strategy games—exemplified by Europa Universalis II—offer a mode of engagement with an alternative historical text that provides an opportunity for the player to consider critical and reflective interpretations of historical events.
Assassin's Creed: The Chain
Europa Universalis II spans the era of —; the main focus of the game is the expansion of the European powers to dominate trade and create colonies around the globe. Important strategic concerns in the game include: developing technology, trade, diplomacy, and military; well-managed colonial expansion is also crucial.
However, a key innovation of the game is that ultimately the player may select any country. While it is impossible for many nations to win, another innovation of this game is the remarkable flexibility in terms of goal setting. Appropriate goals can be discussed and shared through dedicated online communities hosted by Paradox Interactive the designers of Europa Universalis II.
This chapter will argue that what players do with Europa Universalis II provides them an opportunity to reflect critically on historic events. A critical level of engagement with the game is encouraged by two drives in the online community: the desire for historical verisimilitude leads players to discuss styles of play aimed at making the historical events depicted more realistic; and the desire to explore counterfactual imaginings of history, where players discuss how to establish and explore fantastic alternative histories with the game.
Through the materials shared by the online community, both of these apparently contradictory drives are able to provide an accessible segue from expert play and deep knowledge of the game, to a more technical understanding of its operations and design.
Second, the chapter will argue that the game provides a great deal of scope for players to explore counterfactual imaginations that bring official versions of history into question. The final section of the chapter demonstrates the different ways that the counterfactual imagination emerges in online communities, especially among those players who understand the game as code. Europa Universalis II allows for play that varies across a spectrum, from attempting to complete the game with a total historical accuracy, to an exploration of alternative history.
These interrogations take place across both the ideological and informatic critiques outlined by Galloway as players both recognize the ideological underpinnings of the game, and unpack and modify its coding.
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Conceptualizing the relationship between these two layers during play is crucial to the argument outlined below. Playing counterfactuals As discussed in the introduction to this book, in Europe, the discipline of history has traditionally been dominated by a teleological paradigm.
This was further entrenched when the scientific discoveries of Darwin were incorporated into the social sciences, serving to justify the hegemonic view of the European Empires.
In the last quarter of the century this approach also came to be questioned. Critics pointed out that despite its empirical claims, the history it produced was highly subjective; in particular, criticism was directed at how this approach to historical scholarship involved imposing a normative and coherent order upon past events. What was contingent in the present seems inevitable in hindsight.
In the past the future was a field of plural possibilities to the subject present in that past. Teleology legitimizes the present as the only possible thus inevitable result of the cumulative events that constitute history. While the future is open to speculation and the consideration of plural possibilities, the past is homogenized; by focusing on the chain of events, a single path is forged that ignores branches of possibilities. Counterfactual history is a notion that challenges the tendency of the multiple contingencies of the past being homogenized into a singularity in hindsight.
Unlike the literary genre of alternative history, it provides a legitimate historical approach to the speculation on how events might have otherwise occurred.
This notion permits a plural approach to the past, each past is still an interpretation, but they are no longer necessarily hegemonic. The vastness of this multiplicity, however, threatens to undermine the scholarly use of the counterfactual. But it is simply not the case that the only choice is between accepting teleological interpretations of history, and declaring nothing to be feasible apart from actual historic events; or accepting that history is meaningless, that literally anything is possible.
The strict limits imposed by Ferguson indicate how the counterfactual can be used as a starting point for historical knowledge when it is used to interrogate history.
Counterfactuals encourage reflection on what is considered as valid historical evidence, and an evaluation of plausibility. By evoking the imaginative dimension of counterfactuals, Warf suggests a broader basis of its interpretive function.
Counterfactuals allow people to imagine a different world where strange and unfamiliar mappings and trajectories of time and space have been produced. Europa Universalis II provides scope for players to articulate and explore their counterfactual imaginary.
It does this in two key ways. First, by encouraging reflection on historical rigor by providing a platform for dialogue around plausibility; and second, by encouraging imaginative approaches to history by permitting and encouraging gameplay that is divergent from strict historical events.
It encourages counterfactual play and reflection because it deals specifically with the representation of history.
The core play of Europa Universalis II revolves around a dynamic, real-time map that displays the movement of troops, development of infrastructure in towns and provinces, the establishment of trading posts and colonies, and the changing market forces at play. Engaging in counterfactual mappings through play creates the opportunity to reimagine the actual event, as it involves considering how that event may have otherwise occurred, or indeed what the world would be like had it not.
More specifically, counterfactuals can undermine the sense of fate that dominant groups adopt to justify their hegemony. The game opens up the past to the possibility of being scrutinized by the player—but this does not mean that all players will approach the game in a counterfactual way.
In this case the player uses the game as a tool to create a vision of the world that suits them.
In some cases this vision will be difficult to achieve because of the difficulties posed by the interventions of rival factions controlled by AI Artificial Intelligence or other human players. As players become more involved in expert play, and in discussion of expert play, they develop an understanding of the algorithm of the game, and what variables to change in order to produce the outcomes that they desire from that algorithm.
However, this contextualization is also supported by involvement in the gaming community through the use of chat rooms, bulletin boards, gaming blogs and journalism, etc.
The after-action report focuses on reporting sessions of play, often in episodes as it is played, with an emphasis on the counterfactual imaginary. Leading his family out of the wreckage, the Tsar saw Nikolai lying nearby. After striking him, the Tsar retrieved the Staff from the wreckage, believing that Nikolai had been sent to retrieve it.
Assassin's Creed The Fall 01
He then tossed the Staff to Nikolai, who unsuccessfully attacked the Tsar with it. After this, the Tsar disarmed him, and took back the Staff, telling him that he would build a new Eden in Russia with the help of his "friends.
Back in the present day, while he was still disoriented from his visions, Daniel was kicked out of the bar onto the street. A passerby asked him if he needed help, but Daniel accused him of being a Templar, and pulled out a knife. Before he could attack the man, Daniel was stopped by a woman , who threw him into her car and left before the police arrived.
She then berated him for breaking cover, and almost violating the first rule of the Creed , believing that Daniel was an Assassin like her. Issue 2 At an unspecified time, a couple driving down a road in a forest saw a young boy walking alone. Concerned, they stopped to talk to him, when they saw bruises on his face and body.
As they asked him his name, he only replied in Russian that he wanted to go home. Daniel was woken up by the woman from the bar in an unknown room.The scene then changed to St.
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These files, although designed for machining, are still easily printed. Retrieved from " https: Knowing more men would come for them, he told his son that they had to be prepared.
Important strategic concerns in the game include: developing technology, trade, diplomacy, and military; well-managed colonial expansion is also crucial.
Nikolai then knew his son was prepared and embraced him.