Assassin's Creed Valhalla: The Siege of Paris DLC Gameplay Walkthrough Part 4 (4K 60FPS PS5)
9The Siege of Paris is a downloadable content expansion package for Assassin's Creed: Valhalla, that released on August 12, 2021. It is the second out of two expansion packs for the game, alongside Wrath of the Druids.
Synopsis: Sail to the kingdom of West Francia and engage the forces of Charles the Fat as you participate in the Vikings' most daring conquest. Infiltrate the city of Paris, forge new alliances within its walls, and strike a blow that will shatter an empire.
As an expansion, The Siege of Paris is more constrained than Valhalla itself, and it benefits from more verticality too, both in terms of its physical spaces and in its approach to encounter design. There’s a bit more depth here than can be found in the vast expanses of Valhalla’s fractured England, and it’s a welcome return to some of what made Assassin’s Creed games of the past so much fun.
Eivor makes the trip to Francia after Sigfred’s niece Toka appears in Ravensthorpe, along with a Frankish resistance fighter named Pierre. They’ve come to England with tales of vast riches to be looted, but no Norse chieftains seem to be taking the bait. As it turns out, the real reason for the visit is because Toka is desperate to find support for her uncle, who has vowed to take revenge on King Charles, despite lacking the army and planning necessary for the attempt.
Fortunately, while much of Francia is beautiful rolling hills, hedgerows, and poppy fields – the perfect hunting ground for a knight – Paris itself offers Eivor opportunities to avoid these enemies almost completely. The sorely missed rooftop parkour of older Assassin’s Creed games returns here, and there’s a sewer system below that connects several of the city’s districts.
The sewers are where you’ll run into what is probably the expansion’s least successful addition. Stricken by plague, Paris has a rat problem – one that you’ll share as soon as Eivor ventures beneath the streets. The concept here seems lifted almost directly from A Plague Tale: Innocence, where the rats flow like a malevolent liquid mass of hunger and teeth. Here, they’re hardly menacing: you’ll see a couple dozen at a time at most, and it’s jarring how low-budget they look, especially in such an otherwise beautiful game. They’ll chew away at your health and cause you to drop any heavy object you’re carting around, but don’t expect the writhing, disease-riddled masses present in Asobo Studio’s 2019 breakout hit.
At points along the main storyline, there are several key assassinations that are presented as ‘blackbox infiltration’ missions, the type first introduced to the series in Assassin’s Creed: Unity. There are a total of five of these, and so I’ll avoid spoiling any of them, but they’re another welcome return to one of my favourite features of the series, and one that’s been conspicuously absent since Origins’ soft RPG reboot.
They’re not as open-ended as Hitman missions are, and certainly not designed for the same level of replayability, but they have multiple phases and feel much more complex than the brazen Anton Chigurgh-style hits I’ve been doing in the past few stealth games. You’ll pick up a clue by finding a discarded note or overhearing a conversation, then follow a trail of breadcrumbs into the target’s lair. Perhaps a maid knows of a service entrance, or maybe a traveling troupe of actors has heard where the king is staying – all it takes is one gentle prompt and you’re on your way.
Of course, there’s still the option to break down the front door and murder everyone who heaves into view, but I appreciate the opportunity to case things out, search for clues, and see how far each little thread takes me. Either approach pays off with murdering a cartoonishly awful person, but the more considered method usually adds a twist of irony to their grisly end.
Elsewhere you’ll be spending most of your time flitting between activities and exploration, doing the Assassin’s Creed things you’ve either come to know and love or long since abandoned by now for lack of depth. The Siege of Paris has pockets of focused level design – albeit ones which frequently abandon any pretense of being realistic places – but more often than not it’s the same kind of mile-wide, inch-deep experience that characterises side activities in both Origins and Odyssey.
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