Wanted posters were printed signs found in cities that featured the face of various criminals or an Assassin, demanding for their immediate capture.
In 9th century England, the Grantebridgescire reeve Othswith set up a number of posters demanding the head of the criminal Egil the Fornicating Crow, who was wanted under Danelaw and in the jurisdictions of both King Alfred of Wessex and Burgred of Mercia for a number of thefts and murdering several innocent Norsefolk.
In 15th century Italy, Ezio Auditore da Firenze first encountered them after the execution of his family. The posters prominently displayed the Pazzi family crest and promised awards of 50,000 florins to anyone who killed or captured the Assassin once he had committed socially unacceptable behavior.By tearing down wanted posters within cities, Ezio quickly learned to avoid the presence of guards while doing so, who were often alerted once they had detected his actions.
- Many of the posters displayed in Florence, Venice, Forlì and San Gimignano were placed in unusual places, where citizens could hardly see them, negating their intended purpose. However, the posters in Rome were often placed at ground level and in more crowded areas.
- In New Orleans and the Louisiana Bayou, just about all posters were posted on street level.
- Assassin's Creed II: Discovery has a feature to insert one's photos in place of Ezio's printed face.
- The posters continued to state that members of the Pazzi family would offer a reward even after the Pazzi conspirators had all been killed by Ezio.
- The posters in Assassin's Creed: Brotherhood remained the same as the ones in Assassin's Creed II, though the symbol of the Pazzi family was replaced with that of the Borgia.
- If a poster was located on the wall of a Borgia tower, igniting the tower would not remove the poster or lower notoriety.
- Contrary to the posters issued for Ezio, in Colonial America the depicted image would update as Ratonhnhaké:ton grew older and became a full Assassin.
- The message on the Italian wanted posters was erroneously translated, as "morti di vivo" translates to 'dead of alive', whereas the correct phrasing would be "vivo o morto".
- Though the posters for Aveline de Grandpré could be seen as early as 1765, when Louisiana was still under French rule, they would be written in Spanish.