'''Note:'''Individual games have their own Fridge pages:
Put Fridge moments you had about the entire series here.
[[folder: Fridge Brilliance ]]
* The "A"-shaped logo is meant to resemble the opening of an Assassin's hood.
** Which, in turn, is meant to resemble a [[AnimalMotifs beak]].
* The Templars have controlled human growth for centuries. As such, they would have influenced language. In the real world, we think that an 'assassin' is merely a hired killer. Someone that is a remorseless murderer that is only in it for selfish reasons, like money. In-universe, this is probably the case, but it originally meant someone who was part of the Assassin order. The Templars managed to make 'being an assassin' equal to 'being a soulless death dealer' in the minds of the general public. If they are 'just an assassin' then it doesn't sound like some millenia-spanning conspiracy. Also, a lot of famous people are referred to as being 'assassinated' instead of 'murdered' - a covert implication that the Assassins had something to do with it?
** The origin of the term "Assassin" comes from "Hashsha-shin", which is the arab word for one branch of chii-ite Islam. This is why in the first game you play as Alta´r: a muslim in Masyaf. The Templars would have probably changed its meaning when the order began to have more men in its ranks that were not muslim.
* Why are there no children in the crowded cities of Jerusalem, Rome, or Istanbul? Because Altair and Ezio didn't remember them. One of the tenants of the creed is not to harm the innocent, and children are innocent. Therefore the Assassins don't perceive them as a threat and ignore them. Because of that, children don't enter their long term memory and are not seen by the Animus. The only child that was shown was Ezio's little brother, and he was seen because he was important to him.
** And in Connor's game, children appear--because Connor is a caring FriendToAllLivingThings. Sure, the orphans are annoying to the ''player'', but Connor who deeply cares about human injustice and suffering would have noticed and remembered them, and therefore so does the Animus.
* Why is it that when you attack enemies with fists, you only attack with hooks and backhands, but not jabs? Fists are used when you want to fight enemies WITHOUT killing them. Thrusting your arm forward would accidentally bring out your hidden blade, killing them when you're not supposed to.
** Don't the hidden blades, or at least Altair's, open via a ring pulling a string and activating a mechanism all caused by an open hand?
* One of the most prominent features on the conventional assassin armor is that big leather sash over the midsection (it's the bit that has the assassin symbol). Assassin armor needs to be light and provide good freedom of movement, so why put the armor there of all places? Because one of the most incapacitating blows one could receive is to the solar plexus - it makes it difficult to move and draw breath with only a light hit. You may know it as ''getting the wind knocked out of you''. Guarding against such an attack would ensure that an assassin would never get severely handicapped in a fight, and could thus always escape.
* Altair seems... different when we read the Codex in AC2, and when we see him in Revelations. In Revelations he has an accent, is calm, compassionate. It could be argued that we see him prior to his arrogance, and then just afterward, but in the original Assassins Creed we don't see a lot of his character development come through in cutscenes, certainly not as much as we see of Ezio and Connor. After thinking about it, it suddenly hit me. In AC we're playing on an Abstergo Animus. They have no reason to show us the slow development of Altair, his reactions, or the full interaction between him and his fellow assassins. In fact, they have a vested interest in not showing it. Where as the Assassins in AC2 and beyond, they have a vested interest in showing the strong ties of family Ezio had, the better to remind Desmond of what he's been missing. This also explains the repetitiveness of the original AC, Abstergo didn't care about side quests, or supporting characters, they just wanted to blow through things as fast as possible, to do the minimal amount required to get the job done.
* And related to the above; both times in the Animus are more fitting the respective ideas of the two factions; The Templar operated Animus is rigid, almost cold. Sidequests are repetitive, simple, and oriented toward achieving goals. The people you help are often faceless, you don't find out their stories, you simply handle their problems and that's it. Interaction with others is limited to what you need to do and no more.
** This Troper always thought of Alta´r's accent like this: When you're in Abstergo's Animus, you can hear some Arabian that Alta´r probably did perceive, but did not hear. (Pretty much the same as when you enter a bar, you hear lots of people talking, but only listen and decipher what the ones closest to you are saying), and the English spoken by everyone is pretty much perfect. Later, at Assassin's Animus, you hear Alta´r again, this time with accents and a very different voice, because it was Ezio's memories of Alta´r's visions. He was an Italian, so for him, an accent is surely to be noticed. Either that, or Rebecca's work in Animus 2.0 and onwards to include subtitles somehow also added accents.
* By contrast the Assassin operated Animus is all about the people, sidequests range in options and some of them are just random side things you do for money or for the sake of completion. You make friends, and the friends you do make you talk to at length, you get involved in their lives and their situations.
[[folder: Fridge Horror ]]
* There are no gods, only mis-remembered stories about a powerful race of Precursors who left behind pieces of their technology. And no human being has ever been able to accomplish anything of note without that technology. Every great political, social, or spiritual leader in human history has made use of a Piece of Eden to further his or her agenda. Every great technological or cultural achievement has been a lie, an illusion, or a smokescreen, to serve some other end. Even the Apollo Program was part of a larger Templar plot. Human achievement is worthless. Human morality is meaningless. there is no good or evil; there are only human beings with hypnotic devices that make us think what they want us to think. And it's only by happy coincidence that some of the devices fell into the hands of people who are basically good.
** Which in turn prompts the Assassin's Creed: "Nothing is true. Everything is permitted". I had this sudden flash of insight reading the above post.
** The only thing that keeps it from being a CosmicHorrorStory is The Great Old Ones are all dead. ( And then the ending of AC 3 happened....)
* There are several occassions when Desmond relives "intimate" encounters his ancestors (namely Ezio) in the Animus... So if you think about it, Desmond has pretty much had sex with a quite few of his great-great-great-great grannies. That must make for some awkward conversations after he takes a break from the Animus. Also, could lead to some rather uncomfortable manifestations of his ancestor's "skills" the Bleeding Effect. Can you say "awkward"?