[ASSASSIN] ⇔ Aveline De Grandpre

Speaking to Kotaku in an interesting feature on Aveline’s creation, Murray said some of those arguing in defense of all-white, all-male casts are being creatively lazy.

“[There's a] fear that ‘diverse’ characters are risky and might offend or alienate players by their simple inclusion — that including them requires a magic touch, special bravery, a trembling sensitivity, or a mandate to ignore sales,” she said.

“Creating “diverse” characters is no different than creating any character, and I believe that those who struggle with it need to address deeper issues within their own creative process.”

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Post Arcade: One of the most interesting aspects of Assassin’s Creed III: Liberation is its fluid notions of racial and class identity. Can you speak a little bit about that?
Jill Murray: It’s absolutely essential to both the story and the gameplay. I like to think this is an amazing example of how gameplay contributes to the story, and it can get across powerful elements of the story by involving the player.

For Aveline she has three personas. There is the Assassin persona, which looks like the assassins that we’ve seen with armour and a full load out of weapons, there’s the lady persona, where she is a respected lady, she’s and up and coming business woman in the footsteps of her father, it filters down to everything to how guards initially are just trying to protect her because she’s an outstanding citizen.