It has taken over 15 years, legal battles, and shifting concepts for Patrice Désilets, the original creator of Assassin's Creed, to bring his vision for 1666: Amsterdam to fruition. Developed by his studio Panache Digital, the game reappeared this year, offering a playable prologue on Steam that left many with questions about its combat, exploration, and narrative structure, which spans 1666, 1999, and the present day.
A recent hands-on demonstration provided more clarity. The game places players in the role of Noa, a witch operating in 1666 Amsterdam. Combat, even with the introduction of spells like petrify and levitate, remains fundamentally simple, revolving around a basic attack, defense, and dodge. Encounters are often wave-based and locked cinematically until cleared, with enemies appearing from unexpected angles. While the build exhibited a degree of jank and scruffiness, the inclusion of taunting enemies and the staged nature of the combat encounters add a sense of occasion.
Exploration offers moments of flight on a broomstick across canals, but this traversal is not entirely freeform, confined to specific areas rather than open-air soaring. The game truly begins to take shape upon arriving in the bustling city proper. Noa, in her civilian guise to avoid suspicion, acts as a debt collector for the devil, pursuing "Originals" – individuals who made pacts centuries prior. This hunt for targets echoes Assassin's Creed's structure.
A key gameplay element is the cat familiar, a companion that serves multiple purposes. The cat is instrumental in the game's parkour and stealth mechanics, capable of slipping through small openings to unlock doors and gather consumables for Noa. This feline persona allows players to navigate vertical spaces and tight passages, though movement remains guided by specific ledges and a subtle hint system. The cat can also provide guidance when players are stuck.
The climax of these hunts involves confronting the Original, a boss fight that can present a sharp difficulty spike. These confrontations frame 1666: Amsterdam as a more action-oriented experience than initially perceived.
Later in the game, entire districts of Amsterdam open up, with the developers emphasizing that every building is explorable, potentially offering clues or power-ups. Noa also has a personal base of operations where she can craft items and manage her suspicion level, dramatically swan-diving from her window in a move reminiscent of Assassin's Creed.
A significant revelation is the game's roguelite structure. Each Original encounter acts as a self-contained roguelite experience where players acquire powers – visually represented as hair adornments or personal accessories – which reset and shuffle upon failure. Success allows these powers to be retained. This systems-driven approach allows for player freedom in exploration and character build customization.
Panache Digital is pursuing an early access model to fund further development, a strategy often favored by systems-led games. Désilets acknowledges the need for financial backing to complete the project, stating that the player base will effectively become their publisher. The development team numbers around 70 people.
While comparisons to Assassin's Creed are inevitable, the resource disparity is noticeable. The game boasts a commendable artistic style, influenced by Dutch masters like Rembrandt and Vermeer, particularly in its interiors and character design. However, secondary characters and overall performance, including choppy frame rates, remain a concern, especially given the approaching early access launch on August 25th.
Désilets remains optimistic about the early access period, viewing it as an opportunity to refine the game with community input. The initial early access release will offer approximately 10 hours of content, with plans to expand the full game significantly. Désilets expressed a long-standing commitment to finishing the project he began 16 years ago.
1666: Amsterdam stands out for its ambition and willingness to take risks, positioning itself as a potential successor to the creatively fertile double-A space lamented by industry figures like Shawn Layden. Despite its rough edges and perhaps an overabundance of ideas, its unique approach offers a refreshing departure from sequels and risk-averse blockbusters, a quality that significantly counts in its favor.