Note the theme: there’s no shame in getting out of dodge while imagining the Benny Hill tune is playing in the background, because a bad kill is still a kill, and even a relative success is a learning experience. Then there was the time I, in disguise, took part in a clandestine meeting to shape the world, in which I voted in the chairperson’s favour before offing her on the staircase and once again legging it. It’s an inauspicious way to finish the game's final hit, but repeated attempts allowed my 47 to play around with coffins and fire a huge cannon. First time out, I managed to spend the best part of an hour tailing both targets, save-scumming my way around the narrow corridors trying desperately to find a civilian I could half-inch a suitable disguise from, only to end the mission hiding in a thicket, shooting the final victim in the head and legging it to safety. The game is egging you on to be better, to do more. You might spend an hour on your first visit to Miami, and to then be greeted by a list of alternate ways in which you could have killed the target is tantalising. While this new game ratchets up the number of assassination targets to the point that most missions have two or three people to take out, it’s also ridiculous how different each playthrough of a level can be. What truly makes Hitman 2, mind you, is the sheer amount of ways to take out your target. The new locations to explore, and little tweaks to the overall experience, allow for even more murder customisation than before. Discovery begets invention, paving the way for the kill, and although IO’s latest take on their murder-sim doesn’t veer too far from the previous game's reinvention, it spends time re-enforcing what made it so good to begin with. Entertainment InteractiveĪs you sneak through an underground tunnel that you’ve just discovered, taking out cameras and hiding dead bodies that should just be unconscious (but you’re bad at this), it’s easy to forget how clever Hitman 2 is.
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