Wot I Think: Hitman Season One

Hitman [official site] is a third-person action adventure concerning the stealth assassination of various colourful ne’er-do-wells, accomplished via stealing disguises and faking unlikely accidents. Over the past year, it’s been released in six discrete episodes, but as of this month its first ‘season’ is now complete. We’ve written about episodes 1, 2, 3, 4 and 5 individually, but here we sum up both the Japan-set episode six and the first year of the game as a whole.

The big question, other than “seriously, how can he even get into anywhere with that big old barcode on his head?” is “is it GOOD THING or HORRIBLE TERRIBLE POINTLESS EXPLOITATIVE THING that Hitman is/was an episodic game?” Having played the final chapter of what they’re calling ‘Season One’, I can answer that at last. I think.

Right. There are two ways to look at it. One is that, in terms of length and content and Hitman history, no, there is not anything particular to this latest Hitman that means it absolutely had to be split into monthly-ish chapters. It could have been released all in one go and we wouldn’t have thought twice about it. Other than that the majority of its levels were impressively lavish – which I’ll get to a bit later.

In terms of story, no, this has not been successful as a dramatic serial – its mission bookending cutscenes are dour and functional, as well as retreading a great deal of Hitmannish conspiracy theory ground, and most of all have very little do with what happens in the missions. Perhaps some superfans will think otherwise, but there’s been no Thronesy compulsion to find out what happens next for me. As such, the episodic structure falls flat on its pouty face there.

The other side of the coin is that the way Hitman has been released has been absolutely perfect for me. Admittedly this may not be a universal sentiment. My job often entails binge-playing stuff and thus rarely being able to let any individual mission or sequence soak in before moving onto the next one, so it’s refreshing to get to/have to approach Hitman in chunks.

Even so, Hitman has offered an answer for how I play games in my spare time too. Kidcare means I can only free up so many hours for gaming, and if the New Hotness comes up while I’m only part way through something, I’m a devil for dropping it on the spot so I can do whatever everyone else is frothing about.

With Hitman, that hasn’t happened. Every time a new chapter has wheeled around, it’s been both a great excuse to go back and the chance to do so without the dread certainty that I’ll be horribly confused because I can’t remember what the hell I was doing. Each chapter has been, effectively, a total reset, and they’ve been carefully designed so that they have optional easy, or at least obvious, routes to assassination, so that you’re not thrown into the deep end if you can’t quite remember how it all works.

Structurally, Hitman has worked ever so well for me. Even in Blood Money, probably still the series’ high watermark, I blasted through most of the missions to see what was next rather than lingered and replayed. Whereas in Hitman 2016, not having the next mission available meant I have replayed and revisited and seen things I didn’t even know were there first time around.

There’s two complications here. One is that, well, the ‘season’ is now over which means the wait’n’resurge approach is now over, at least until whatever season two entails ends up happening. So anyone who’s not tried Hitman before now basically gets a traditional full game, depending on how they choose to pay for it (it’s still sold either per episode or as a season pack). Grab the whole shebang and you surely will blast through the ‘story’ in sequence, not necessarily lingering with a map after completing its main objectives for the first time.

The other is that, yes, I’ve seen the complaints – it’s meant Hitman arguably received six times the coverage that its contemporaries did. I get why people are uncomfortable about that, but can only refer you to the above few paragraphs: this structure has worked very well indeed for me, and it’s made me (and others on RPS) genuinely want to revisit it as new stuff comes out.

The other masterstroke Hitman’s managed is add-ons for its missions during the wait for the next one. Granted, this has likely been artificial, done to keep up interest and indeed coverage, but Elusive Targets and Contracts have been excellent excuses to pop back to places I thought I was done with. This is going to be a huge boon to the now all-in-one game, as it means a level comes replete with a whole bunch of stuff to do after completion.

Even the menus, designed for episodic releases, offer all these different points of entry, temptations to try this or that rather than just a prompt to plough on with the next level. I’ve ‘finished’ chapter 6, Japan, but Hitman retains such a strong pull: all these places to go back to and new people to kill in darkly ingenious ways.

Let’s talk about the Japan episode, actually. Hokkaido is a very classicly Hitmannish level in its way – the combination of high concept (private high-tech hospital-cum-opulent health spa for the super-rich) and ridiculous setting (on the side of vast, snow-topped mountains).

Its targets are there for frankly crazy reasons, such as a three-day heart operation involving stem cell replacement and performed by an AI-controlled robot, and the place is laced with nudge-nudge opportunities to fake their accidental deaths. Poisoning sushi, hacking the robot’s AI, swapping the replacement heart…

Of course, there’s a ninja outfit option too, because Japan. Hitman rarely lets on that it’s laughing, but it almost always is. Apart from in those miserable cutscenes.

Hokkaido is vast and ornate, and puts paid to any concerns that the game was winding down its scope and scale after the comparatively small and tense episode 5. It’s a fine finale, and I finished my first playthrough with a real itch to go find and try out the methods I’d missed first time around.

In some of these episodes, it’s been glaringly obvious what the alternate assassination routes were, and I’ve not always bothered to do them because it was more a matter of patience than investigation. In this case, I genuinely couldn’t work out the other ways of killing its main duo, open murder spree aside, and that’s exactly how I like it. I have work still to do.

If there’s a downside to this particular level, it’s that it revisits and recycles the first mission’s already-dubious ‘hey, there’s a bald famous guy who looks just like you!’ gimmick. It works as a gag, but it’s a bit of an eye-roller of a solution.

The other thing that bugged me is that one of the major murder-puzzles specifically requires having a screwdriver, of which there are very few on the map. Even once I could see exactly what I had to do, and had pulled off the elaborate subterfuge required to pull it off, I had to spend a good half hour painstakingly scouring the map for a metal stick. Minor, yes, but for me it hurt the flow quite a bit. That aside, this map’s definitely a strong one.

And now I can talk about the game as a whole. It’s the second best Hitman game at worst, and the best Hitman game at best. The levels, with the possible exception of Colorado, are huge and beautiful, proper spaces that it’s agreeably difficult to mentally map the complete geography thereof. In terms of presentation and scale, nothing else in the series – and remarkably little else in recent blockbuster games, for that matter – rivals it. In terms of stuff it’s brimful too, despite having only a half-dozen levels. It’ll keep you busy, certainly.

On the other hand, I don’t know how many memorable moments it gave me. 2006’s Hitman: Blood Money was a tombola of blackly comic surprises, whereas this has a more consciously aloof tone, does repeat a few death-concepts you might have seen before and, most of all, does overly-telegraph some its most amusingly preposterous assassination sequences.

Killing a dude by dropping a ceiling-mounted giant moose statue onto his head, for instance, wasn’t quite as funny as it was probably supposed to be, because he spent a very long time sitting right underneath said giant moose statue. The slapstick doesn’t quite land, and moreover Hitman tends to require more precision than Blood Money, so you don’t get many of those desperate, flailing, bungled and yet somehow getting-away-it chain reactions of the latter.

I miss that, but I appreciate that for some people Hitman should be the game of perfect silent assassination, and with its more easily-spooked NPCs, rarely alone targets and often open-plan areas, it certainly is that.

This is an excellent Hitman game, and a substantial one. As an all-in-one package it perhaps doesn’t feel as vast as it did when released in chunks, but it still works well. The experiment to make each level bigger, more distinctive and more ornate instead of having a glut of them has worked extremely well.

If rushed through as a six-map story-led affair you’re perhaps going to feel a little short-changed, both in terms of length and in terms of dramatic satisfaction. I very strongly recommend playing it the way I did: it’s been so refreshing. Make each level the focus of a string of weeknights, exploring every corner and taking out every target, rather than ditch it the second you’ve played it once.

How do I feel about a second season? Well, by and large I do want one, but there are times when Hitman doesn’t quite leave its comfort zone of > this looped NPC behaviour > this disguise > this locked door > this convenient machine, and I fear that another six chapters of that might feel routine. I’d like it to find ways to shake things up, not just be more of the same. Hitman has won absolution from Absolution – but now things are back on track, it will need to move forwards too.

Hitman Season One, including the recent Episode 6, is out now for Windows, via Steam and Humble. You either buy the whole shebang for £40/$60, or drop £11/$15 on the first episode plus a prologue then £7/$10 each or £33/$50 altogether for the later episodes.

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45 Comments

  1. MiniMatt says:

    Would it be safe to say that as a complete package it’s more of a scenario loader than a narrative arc?

    • trashbat says:

      What do you mean? Are you asking whether it’s more of a loosely themed sandbox game than a coherent, full-bodied story-centric one?

      If so then yes, pretty much.

  2. foszae says:

    The episodic nature was just never going to work for me, even if it went against all expectations and had an actually compelling story. Dribs and drabs over that long a stretch won’t keep me coming back. Even for a franchise i adore and for which i’m willing to buy a season’s pass, i still will have just worn out and lost interest in the game before all the DLC are released.

    And given the — ahem — overexposure this game received, i’ve had enough that i could likely wait for one of those Squeenix charity giveaways where they give you the game if you donate a dollar to whichever good cause.

    • Shakes999 says:

      You managed to proudly check all the boxes as to why people think gamers are insufferable and terrible in 2 paragraphs. Impressive.

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        Harlander says:

        Hardly “all”. I don’t see any death threats in that comment at all.

      • Capt. Bumchum McMerryweather says:

        Care to list the checkboxes that you might have in mind there? Apart from the slight hint of snark in the overexposure comment, it just looks to me like a guy expressing his thoughts on a sales model which doesn’t work for him. If anything I find it more insufferable when people take time out of their lives to point out to harmless strangers just how insufferable they are.

        • trashbat says:

          Me me me. Not attention grabbing enough for me.

          I do love this game and I’m totally willing to buy it at full price but I won’t actually do that because arbitrary objection.

          I’ll maybe begrudgingly play it once I can have it by giving to charity. No more than a dollar though, I’m not some sort of philanthropist maniac.

          And, big finish, a dig at games journalism.

          Well I award their miserable self indulgent comment two out of five Daikatanas.

      • Aldous Huxley says:

        …thus spaketh a typically condescending LEO freemason hypocrite with inverted satanic 666 in its username. Most impressive… not.

  3. Turin Turambar says:

    So you have a ‘franchise i adore and for which i’m willing to buy a season’s pass’ but even then you won’t buy it because it had 4-5 more articles in gaming websites than normal? Really?

    Lol, I wonder what people like to lie to themselves so much.
    I don’t think you really adore it, you know. That, or gaming articles are the equivalent to Adolf Hitler to you.

    • Ragnar says:

      He was into Hitman before it was cool. Now that it’s gone mainstream, and everyone is talking and writing about it, it’s just not the same.

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    Bored of Canada says:

    I want more discussions of all the NPC dialogue in this Hitman. There is so much, and all the unsubtitled non-relevant stuff is just wonderful.

    Also the new episode has some of them smoking incredibly detailed vape pens with swishy liquid in them.

    This is what matters, matey.

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      DelrueOfDetroit says:

      It also allows the game to have an up to date relevance that other games don’t often get. It’s still a shame that every place has the same 4 American actors. Makes it feel like your are constantly surrounded by nothing but tourists.

  5. skeletortoise says:

    I don’t quite get all the default suspicion towards the move to episodic here. I mean, I get the perils in general and the media coverage issue still stands, but Hitman is pretty suited for it. It’s a disconnected set of sandboxes to sink a few hours into, not some fluid narrative. If the big difference is getting a steady trickle of play instead of a sudden and rare burst of it, that sounds great.

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    Marclev says:

    Interesting that you complain that the full game feels very episodic without a strong narrative arc holding it together.

    The game you compare it to a few times, Blood Money was, to my memory, exactly the same. Each level was a completely self-contained “episode” and the only sense of story were a few in-between cut scenes.

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      DelrueOfDetroit says:

      All the cutscenes are people in suits talking quietly about things going on but the things are very secret. If you pieced them all together you would get a trailer for a bad spy movie. They look very expensive. They should have saved their money.

  7. malkav11 says:

    The Elusive Targets don’t represent more gameplay, since they’re all gone already. I can understand why the concept appealed to some but I really feel the draw is more the one-and-done approach to attempting them than the limited time window.

    • Emeraude says:

      I don’t understand the appeal myself; you could code those targets to only appear at certain times, or under certain conditions, and the result would be the same, unless I misunderstood something.

      Games have had that kind of Easter eggs for a while now (say Christmas events).

  8. ephesus64 says:

    I know the game is about murdering, obviously, but can anyone give a broad sense of how morally ambiguous they developers made the situations? On a scale of “kill this isis executioner mid-beheading” to “strangle this baby deer with a tragic backstory”, how much are you presented with a pretext that tries to justify the target’s murder? I’m not trolling or wanting to be trolled, I just don’t like role-playing as a horrible person in my games.

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      Marclev says:

      If it’s anything like the previous ones, the targets will all be fairly nefarious characters

    • Fabio Silva says:

      All targets are clearly defined as bad guys. No gray areas.

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        DelrueOfDetroit says:

        And since they’re all bad guys you can only assume their guards are bad guys. And the cleaning staff are cleaning up for the bad guy so their obviously bad too. And that chef. He was an asshole. I could tell. Don’t worry about it.

        • jonahcutter says:

          No, those people are generally not assumed to be “bad”. Short of some specific npc dialogue that at times display their personality, most are probably just average, “decent” humans.

          Which is why you don’t have to kill them. Why you don’t even have to assault them in any way, if you find the right disguise/assassination method. It’s entirely possible to touch no one but the targets, if you wish.

          That moral choice is a key part of the series. 47 is presented as coldly calculating. But how truely ruthless is your 47? If discovered (or growing impatient) what steps will he take to cover his tracks and complete the job. It’s left up to you.

          • Jediben says:

            If you aren’t leaving a pile of corpses, hundreds of shell casings, no witnesses and an eerie silence, you’re doing it wrong.

          • ephesus64 says:

            That is precisely what I was wondering, thank you. I’m pleased with the answer too, I’m glad that you have some choices as to roughly what kind of 47 you are.

            Unless the game reacted to your nihilism by slowly growing an evil alternate universe Spock goatee on your face as you murdered innocents, then I could deal with it. *puts on nicest pair of subjectivity sunglasses*

      • Shaileen says:

        That’s not completely right. In the two bonus missions you go from “Kill those bad guys who want to murder other people” to “Kill those bad guys – bad in the sense that they spend to much money making a film (Sapienza) or that they want to sell company secrets, so we want them dead”. It felt like an unnatural break after the whole moral justification of the killings in the main mission.

        • ephesus64 says:

          But they are optional missions? Still good news. It’d be nice though if instead of killing them, you could just do a reenactment of the horse head scene from The Godfather.

  9. CartonofMilk says:

    I’m a huge Hitman fan but I made the decision last year when i heard it was going to be episodic to wait until the whole thing was out before getting it. I really don’t get why they chose that release format other than as mentioned probably for the increased publicity. I’m busy with other games right now but i already anticipate spending hours on every single mission to figure out how to do them without knocking anyone out, using guns or changing costume AND killing only the target.

    • Sunjammer says:

      I think you missed out. I’m a huge Hitman fan too, and the way this one was portioned out was just excellent, excellent stuff. I spent FAR more time in every mission, learning and playing and experimenting, than I did in any of the previous ones. This struck the right balance of fat and fatigue: When I felt tired and ready for something else, the game was essentially fine with it. It would come back to feed my hunger later.

      I don’t think binging on games is necessarily the best approach. I don’t know what this game gained in terms of production by going episodic, but I know for me personally it made it the easiest playing and most involving Hitman yet, with a massive load of content that never outstayed its welcome. I loved it and hope others follow suit.

      • sosolidshoe says:

        See, that’s just weird to me. You could already do all of those things with a traditional game release, the only thing stopping you was you. So you, functionally, gain nothing from an episodic format while everyone who prefers to pay for a game and just play the bloody thing on their own terms get knackered, having to wait months and months while news sites and social media posts unavoidably spoil big chunks of the game, and to top it all off get an inferior version of the product in the end since none of the “time limited” targets introduced to keep the attention deficit brigade from wandering off between episodes aren’t included in the final product.

        Yeah, you’ll have to forgive people for not being happy with the crusty end of the stick just because some folk apparently can’t/can’t be bothered managing their time with a game themselves and want the devs to do it for them.

    • Ragnar says:

      I get why they did it. It benefits them from a development/publishing standpoint. Devs finish a level and it’s put on sale while they work on the next. Money starts coming in while the game is still in development. They get feedback for things to fix or improve for the next level. Repeated media coverage.

      I get why they did it, I’m still not buying episodic games until they’re finished and I know exactly what I’m getting.

  10. Radiant says:

    I absolutely love this game.

    The episodic nature of it is done extremely well to a point where…
    I came into it after episode four was released as I was waiting for a discount sale that never came, paid for the whole season and never looked back.

    This game is extraordinary. I don’t think there’s been a game I’ve spent this much time with in a hell of a while.

    Doing the main mission of an episode first time around; you’re opening (usually easy) stab at the assassination are purely there so you can get the lay of the land.
    It then unfolds it’s playground wonderfully.
    Watching the gears and cogs of a level turn and understanding exactly how you can slip in between them across the challenges, trophies, escalations and featured contracts.

    Elusive targets are there just for fun and for pissing of the f.o.m.o. crowd and delighting the ironman diehards.
    Take em or leave em they really don’t matter either way.

    I havent even touched hokkaido yet. I’m still farting around with featured contracts and escalations in the other levels.

    I really can’t recommend this game enough. It’s goty for me for sure.

  11. aziztcf says:

    We all look the same in Japan ha.

  12. Saarlaender39 says:

    I like the Hitman games.
    I own everyone of them, and I enjoyed everyone of them (yes, even Absolution).
    So, when I heard about a new Hitman coming, I did, what I always did with any new Hitman game, since the second one:

    I pulled my wallet out of my backpocket, grabbed a few bills, held ’em up high and waited for the right moment, to throw ’em against the screen…

    Then they said it would be episodic, and my hand with the bills in it lowered itself slowly down to rest shaky on my desktop…

    Then they told me about elusive targets, which would only be around for a given time, and I pushed the bills back into my wallet, and my wallet back into my back pocket.

    Now it is finally out, but since I won’t get the full game ever…I will wait for a huge discount, before I add this to my collection.

    It’ll be the very first Hitman game, where I will wait for a discount.

    Well done, IO Interactive; Eidos International; Square Enix!

    /rant over

    • Radiant says:

      If you love Hitman games go get this game!
      It’s soo much fun but it’s difficult to explain why without sounding like an idiot.
      Waste 10 quid on the first episode.
      You’ll be playing it for months.

  13. jezcentral says:

    I loved it. It’s proper Hitman. There’s nothing like it on the market, which makes me a little sad, but at least I have this. I’m not sure how much the episodic structure allowed IO Interactive to tweak the game as it was being made, which was ostensibly the reason to release it in this format, but I look forward to the second series.

    There are niggles. If the guards get alerted, and open fire, I’ve not once survived trying to exchange shots with more than one or two guards; I have to run for it, so I could have done with a slightly greater failure spectrum. (Maybe my aging reflexes are to blame?)

    But, anyway, bluddy brilliant. Well done, IO Interactive.

  14. Unsheep says:

    I thought I was done with AAA stealth games, sticking to Indie titles like ‘The Marvellous Miss Take’ and ‘Crookz – The Big Heist’ instead. However this Hitman game has made me interested in playing a big budget stealth game again, they seem so well-made and offer so many tactical options.

  15. jonahcutter says:

    As much as I love this series (Absolution excepted), I’ve not taken to this iteration any where near as strongly as Blood Money.

    The mechanics and structure are there again. But I’ve found I missed the overarching structure the plot provides. No it was never integral to the gameplay (except when it importantly was). But I’ve found I don’t want to immediately jump back into each level after completing it the first time. I want to do that, eventually. I’ve spent countless hours replaying Blood Money levels.

    But after completing a mission I want to progress to the next. Something about immediately replaying the level makes it all feel more mechanical. It could be anybody. Or anything really. I enjoy the immersion and role play enough that the episodic structure of replaying levels immediately hadn’t worked for me.

    Blood Money’s overarching narrative is underrated, in my opinion. It’s very well-written and structured. The journalist and politician debating 47’s very existence add to his mystique. Yes it didn’t have much to do with the individual missions. But it creates an organic cohesiveness for the experience. It all feels more like an actual epic, operatic tale being told. Because it’s treated as such. And some of that is missing for me in the latest game. Mechanically, the latest Hitman is very good. But it also just feels more mechanical.

    And importantly, it’s Blood Money’s narrative that sets up one of gaming’s best moments, and ending missions, ever. The last mission where 47 comes back from the dead, surprising and taking down a room full of enemies that are attending his funeral, is an absolute classic. It’s a penultimate combination of narrative and gameplay. The whole game distilled into one potent, immensely satisfying, moment. It would be lesser if it was just a cutscene. And it would be lesser if it was just a random mission disconnected from all the narrative before it.

    Absolution went too far into story (while getting the tone all wrong anyway). And in gameplay and design it was often bad. But Hitman, while possessing far superior gameplay than Absolution, errors a little too much back towards the mechanical.

    For me, Blood Money remains the defining game of the series still.

  16. Banks says:

    Game of the year for me. It’s even better than Blood Money. The experience has been utterly fantastic and I can’t wait for season 2.

    Thanks IO for doing what is clearly a passion project. A true work of love for the series and the fans.

  17. Aldous Huxley says:

    I liked it, well done IOI! Looking forward to the next season. The one problem I had with Season One – and I hope we don’t have a repeat performance next time – was with the voice casting and overuse of the same actors, notably Natalie Griffiths (Rocco’s Sister / Carpet Saleswoman) and Brian Kimmet (Jasper Knight / Sebastian Sato). I expect it was down to budgetary reasons, rather than by artistic choice so I won’t hold that against them (this time). I feel this one aspect prevented it from being GOTY and certainly from winning any BAFTA awards.

    I’m guessing the voice acting budget for Season One looked something like this…

    40% David Bateson
    30% Gary Busey
    20% Gary Cole
    10% Everyone else :)

    Speaking of BAFTA award winners, it’d be nice to have Jesper Kyd back for Season Two, but I won’t be holding my breath.

  18. asret says:

    I’ve discovered I no longer have quite the same patience I used to with these kinds of games. Usually means I completely botch the assassination or the escape.

    Also lost patience with the game kicking me out every time it had trouble phoning home. Does it still do this?

  19. Jediben says:

    I love this game. The silenced silver baller sound has been changed and it is even better.

  20. DickSocrates says:

    How on earth do you write a review of this game and not mention the hugely controversial always online requirement? If you play offline you get a bare bones experience with no weapon unlocks. If you are playing while connected and you have any kind of connection interruption, the game boots you out of your SINGLE PLAYER game.

    The press across the board, from Eurogamer to Giant Bomb have all fallen strangely silent on this, yet you go into any forum and it’s still a live topic. The reviews on Steam are mixed, with all the negative ones complaining about this thinly veiled DRM. Yet not a whimper about it here.

    I wanted to buy this game, but I am not buying a completely single player game that may not even boot up a few years from now or one which at any random point may essentially crash due to deliberate design decisions. I don’t care if 99% of the time it isn’t a practical issue. The threat is always there, you get a single blip on your connection and you’re booted from you game because of DRM.

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    TheBloke says:

    Having never played any Hitman game before, I wasn’t sure what to make of this series. RPS’ reviews of each episode made them sound interesting, but I still wasn’t entirely sure if the game was for me – perhaps a little due to the reviews seeming to assume some prior experience of the series and therefore not completely explaining what kind of game Hitman actually is.

    I was subsequently persuaded to buy the full series both by it recently being on sale half price, and much more by SuperBunnyHop’s YouTube review of the completed series, which explains that, once the player disables the “easy mode” provided by the Opportunities and Instict HUD settings, the game becomes a giant puzzle with myriad paths and solutions. And also, in his view, the closest gaming has so far come to a James Bond simulator – but the espionage angle, not the standard over-the-top shooting and driving real Bond games have always settled for.

    That sold me, especially when he compared it favourably to MSG V: The Phantom Pain’s stealth (which I adored). I’ve so far only played a couple of hours, but I’m definitely seeing the potential. I immediately turned off those HUD options mentioned, as well as a couple more like Minimap. Doing this on what was my first ever look at any Hitman game made the game feel rather daunting at first, but in a rewarding, interesting way. I managed to do the Paris kills fairly quickly, but only in the lamest way possible (just shooting and knifing the respective targets and legging it, hoping for the best, with one bodyguard as collateral damage), and am now excited by the possibility of doing the mission again and again in increasingly varied ways. I was impressed by the huge variety of options provided in each level – and have to admit to chuckling out loud when reading some of the Challenges, including “Kill targets X and Y by pushing X over the balcony onto Y.”

    I’m definitely going to try and do what Alec advocates: spending a good amount of time on each level before going on. I agree that will extend my interest, even if I don’t feel it justifies the game itself being episodic.

    Anyway. This comment is both very long and late for this article, so I’ll stop and play some more Hitman now.

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