The story follows on from Hitman 2016 and sees Agent 47 and his silky-voiced handler Diana Burnwood going up against a shadowy syndicate called Providence and their agent, the enigmatic “Shadow Client” – but while each mission follows the previous one and presents a passable plot in the process, the overarching story is secondary to the tales told in the individual missions. I don’t think I’ve played a game this generation (yes, generation) with as much replay value per mission. In fact it runs to the nearest taxi rank, jumps in a cab to the airport, and fucking flies with it. That being said, Hitman 2 takes the concept of creative killing and runs with it. One moment you’re witnessing the car-bombing of a young girl’s parents in a rainy cemetery, and the next you’re orchestrating death by pyrotechnics while dressed as a giant pink flamingo. This is no longer a serious game (if it ever was), which causes a certain amount of disparity between how you’re allowed to behave in missions and the grave tone of the semi-static cutscenes. In fact it’s this kind of dichotomy that runs through many aspects of Hitman 2, and it can be jarring – but only if you think too hard about it. There’s little panic from the crowds, no influx of police and investigators, but if you stand too close to someone wearing the same uniform as you they’ll act like they just caught you stealing their underwear. For example, you can kill anyone you see, take their clothes and hide their body, and if the body is found the consequences are very downplayed.
IOI refuse to restrict you by any means other than the rules of the gameworld – although that does require a certain amount of acceptance on your part. In 2016’s reboot, there weren’t many methods of murder you could conjure that wouldn’t work if attempted, and the sequel is the same, only dialled up to 11.Īs usual, what Hitman 2 does so well is let you play. Okay, that’s a stretch, but not much of one. IO Interactive’s Hitman franchise has never been one to settle for convention, though, offering a multitude of macabre mediums via which to separate soul from body, barriered only by your imagination. It’s an array of gruesome choice that most games don’t really explore the majority are content with the perfectly acceptable triumvirate of gunshot, explosion, and autocide, though occasionally they’ll mix it up with swords and wild animals. So squishy, in fact, that it’s often said there’s an estimated 6 million ways for a human to shuffle off this mortal coil and join the Choir Invisible. I’m not talking morally, like it’s a weekend hobby or anything I mean, physically speaking, we’re pretty squishy things. On the whole, it’s not that hard to kill a human being.
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