I wield my broom with near balletic grace in 1666 Amsterdam. My bristled companion functions as protagonist Noa's melee weapon here instead of her vehicle-of-choice, and I can wipe out up to three foes at a time with a single sweep.
Bringing my broomstick down upon a Knave's head with RT, a knock a chunk off his health bar before landing a devastating takedown finisher. One thing though: there's no parry mechanic. I can only dash out of the way of an incoming attack. Panache studio lead and Assassin's Creed creator Patrice Désilets wanted Noa's combat to feel "like dancing", he says, and as a parry diehard, I'm admittedly a little crestfallen at first.
Only when I get to grips with the unusual controls – dodging with A instead of B, resisting the urge to attempt a nonexistant parry with a shoulder button – and rhythmically weave my way through foes, timing my own hits while smartly skirting blows for a spot of Soulsy action, does Désilets' vision start to make sense.
