There’s plenty of scope to be creative, such as overpowering a person with the power of your mind (kinda) to slapping people with a fish. But there's a lot of fun to be had turning off a lot of the user interface prompts and simply fighting things out. The game can direct you to such emergent situations leading you down a rabbit warren of steps to kill a target and escape unnoticed. All these locations are stuffed with things to look at and do as you find a way to dispatch 47’s targets and seize emerging opportunities. Without giving too much away, you go from a Dubai skyscraper to the windswept expanse of England's Dartmoor, to warehouse raves, high-tech facilities, creepy laboratories, and dripping wet neon-lit streets. The recent Hitman games have nailed the globe-trotting nature of a high-end contract killer. What hammers home the realism are the locations, all of which are detail-rich, look fantastic and load very fast on the PS5. But that’s all part of the game's conceit and is IO looking back and winking at the camera. Granted, the whole idea of a bald guy with a barcode tattooed onto the back of his head being able to pull off a myriad of disguises is laughably unrealistic.
You can do that in some true stealth games, but they scratch a very different itch. There’s something deeply satisfying about breezing right past a pair of elite guards into a high-security area, dispatch the target they’re guarding and walk back out with them oblivious to the murder that's taken place mere meters away.
In Hitman 3, I've had 47 assume the disguise of everyone from a basic security guard to a private investigator to a rival assassin who was seemingly plucked from a pulpy 70s movie, with various ways to approach my target opening up with each disguise. But from Hitman Blood Money to the World of Assignation trilogy, there are more opportunities to make different disguises suit different situations. The earlier Hitman games had more of a requirement to seek out specific disguises, which could feel constraining.
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