played through World of Assassination

hitman's been something ive been intrigued by for quite a while now, so much so World of Assassination is on my high priority . it sounded really cool, like that game i imagined as a kid but never existed(except it did just not to this scale lol), and as a mobile gamer for most of my childhood. kinda like metal gear in a way, except being an assassin instead of a super spy. this comparison between metal gear comes up again later. ive only played the first one, though, from 1987.

so the gameplay is honestly... it's a bit disappointing honestly. i had this image built up of a super sim where you can do literally anything and itll go. like for instance i imagined i could talk to a service person and ask him to come to my room, then pummel him to death and take his clothes and impersonate him. talking to npcs- wait, for the record i know i could talk to people if i do the "canon" route of completing shit but i didnt wanna do that cuz id then be compelled to do that and i didnt want that when i could choose a morbillion other ways. okay, with that cleared up, continuing. talking to npcs is a feature i figured they'd have the way the game is advertised as a morbillion ways to do shit. like i could get super close with my target and assimilate into his personal room attendant through dialogue alone, and then murder him with no one in sight. that would have been really cool.

so idk, i feel like a lot is missing from the "sim" aspect. if some dude walks into a room and you walk out wearing his clothes(esp if the dude got different hair) and he doesnt come back out, i feel like thge whole map should go into lockdown, if they were seen entering that room. its like... the game just kinda... forgets, like i killed some dudes and left em in the open, they bring out the body bag and all that, but afterwards the deed is forgotten.

if i were running a compound with very important people closeby and found a body, you know what id do? id line up every single person and ask for an alibi! id lock the entire compound down, too. imagine how cool it would be if you had to give an alibi based on your disguise, or you could try and avoid this lineup thingy and if you get found thereafter you're arrested immediately if you dont have an even better alibi. idk, im just spitballing but the world/ simulation leaves a lot to be desired. i i figured it would be much more dynamic. id assume more things get added in h2 and h3, though.

another thing is that most missions give you a silenced pistol and if you're quick enough you can kill the targets without any "fun stuff". i know replayability and sandbox is the name of the game but usually i dont roll that way, so i just do what i see and sometimes the quickest option is a silent shot from da bushes

what is here though is fantastic. it's such a rush sneaking around locations across the globe, disguising yourself, tracking target's patterns and picking off their inner circle before finally you're alone in a room with them, commit the deed, and then exit like nothing happened. it's really fucking badass to exit a scene when everyon'es like "oh my god wtf wtf", especially if you're inches away from being spotted. i killed that jordan cross dude with a pistol in the music booth and left the scene, was really fucking awesome. oh and killing that dude who was there for heart transplant after i knocked out a surgeon in plain daylight, stole his clothes and went around, acting as lead surgeon and then draining his blood out with the machine. oh and that one time where i fucking destroyed that super virus and then afterwards the head scientist lady came down without guards and i fucking murdered her in the hallway and shoved her in a locker, and proceeded to kill the main dude after watching him golf for 30 minutes straight. just a blast to play through.

the story is very reminiscent of metal gear 1987, in the way that it takes itself incredibly seriously but the plot sounds like something a kid would make up when needing to make a super cool assassin story with their toys and stuff. its not the deepest, or the most substantial but its pretty cool and charming in the same way mg1's story was. im excited to see where it goes in h2.


in a closing note that i kept thinking about over my time with this game, i was talking to my mom recently about games and stuff, the kinda "schedule" i have for myself, like playing p2 or xenoblade at such and such time, and she responded with something that really stuck with me. she was like "oh i thought gaming was all about spontaneity, that seems like a chore." and idk man i see her point. i promised id play mg2 before the week ends but i have no desire honestly after i started the hitman trilogy , often feels like people are stalking my playing tab when in reality no one pays attention to it that closely, and if i forced myself to play it thats kinda is a chore. kinda easy to lose track of the fact its a hobby especially on this site, even further when you write reviews. often found myself trying to think of a review well playing and thats just not something i really want. i should just play what i want in da moment.

overall i really liked this game and was glad i got the trilogy for 20 bucks. ill definitely be checking h2 out asap but idk if the burnout will strike before i can finish h3. i might bump to a 9 idk

check out this song

feels just a teensy bit phony to have a definitive opinion on this without having done at least half (or a quarter, really) of what you can do in every level, but for what it's worth, i played through every map at least twice.

it's fun! it reminds me of the olden days of newgrounds, it scratches a very similar itch - the havoc you can cause, the plethora of minor interactions , the casual misanthropy and very silly ways you can go about offing people. if anything, i have to deduct stars just because two of the six maps — colorado and marrakesh — are absolutely miserable. four targets and only 6 mission stories? fuck off!!

on that note, colorado and marrakesh (particularly colorado) represent what i would call some glaring, suspicious issues with this game's politics, something i'm willing to ignore otherwise. where, say, paris and hokkaido, perhaps the best two maps, deal with very very bond-level supervillains, these other two seem to delve a little too hard into a weird sort of centrism, where the ICA is sent to prevent any kind of shake-up to the world order as is. it left a pretty bad taste in my mouth. colorado is like, as if the devs watched one episode of mr. robot and decided to just go with that. i really don't need this game to set up these strawmen for me to then go annihilate, i'd rather it just be contemptible french fashion designers and tattoo'd yakuza lawyers with severe a-line bobs.

this game works best when it's playing off its camp factor. when it goes for this gutterbucket rainbow six bullshit, i have to jump off the train, i'm sorry.

i'm sure much has been said about this, but the levels are only as good as the amount of things you can do. you can't create your own scenario, all of them have been predicted and inserted in the game such that each npc has their own little cycle of movements and dialogue that feel nigh doll-like. i think this is why the methods of assassination that feel the best are often the ones that require the most amount of steps - the more convoluted and esoteric they are, the more satisfying. i found myself getting really bored of "impersonate a model, kill the target," "impersonate a masseuse, kill the target," "impersonate a bellhop, kill the target" and such. i think in part this is because of how achingly passive agent 47 can be; there are times when i wish you could more actively participate as a character than as a weapon, but in doing so it would kind of transgress the blank slate agent 47 is. he is a weapon, sexless, without any sort of desire or pathos attributed to his mission - some of the kills, then, feel quite hollow after they're completed. i shot vanessa graves in the head, potentially one of the most interesting targets; she's empathetic to a fault and, having potentially gone a different route, could have perhaps been your handler instead of diana. but there is no soul to her death, no way to make this feel like any kind of arc, because of the deep impersonal twinge of 47.

i think this is definitely more a me problem than an issue on the game's part. this game lacks, in some ways, any kind of emergence because i cannot infer any sort of reaction on 47's part, and kind of logic to why he decides to kill in the particular way that i choose. there are flashes of this - the intensely aggressive and vindictive "one last time, mr. soders" assassination, for example - but not enough to leave me feeling like i'm chewing on anything but delicious fat. i need something more nutritious.

looking forward to the next two, however, which i hear are far and away much better than the first entry!

this log is for the Hitman (2016) content as played through Hitman 3. i know some gameplay changes were made for legacy content in the later games but i don't care, i'm not factoring levels from this game into my logs for either of the sequels because that's dumb. <3

not sure how it felt at release with the episodic format but playing this today i found myself completely obsessed with it as a full package in terms of content and replay value. six maps doesn't look like a ton but factoring in the various challenges and mission stories within the story portions on top of stuff like the escalations, there's so much to do. i don't envy people who like to completely 100% things as even just reaching level 20 mastery in each map feels gargantuan at times.

some of the levels might be a bit worse (or in the case of Colorado a lot lmao) than others but the highs are so high when it comes to map design it barely registers. which is on top of how much of a joy this was to play in terms of core gameplay.

for fun, here's how i'd rank the levels:

Sapienza
Paris
Hokkaido
Bangkok
Marrakesh
Colorado

I'm torn about the Hitman reboot. On the one hand, the gameplay is exquisite. This is easily the most polished, and probably the most enjoyable, stealth game i have ever played. Getting in, handling the targets, and getting out has never felt better. My favorite features from Blood Money are all accounted for, and the controls have also been modernized, making it a lot easier to hop between this and other games.

And yet on the other hand it all feels a little, dare I say, bland? Whereas Blood Money had wildly inventive scenarios, this editions plays it too safe. It's like Morrowind vs. Skyrim -- nearly everything is better but the amazing idiosyncrasies been smoother over in the process. I'm sure this is something of an exaggeration -- and there are plenty of amusing sideplots, some that even span multiple missions, if you go looking for them. But I lament the loss of redneck weddings, chunky riverboat captains, and costumed Mardi Gras parties.

One area where Hitman doesn't disappoint, however, is quantity. There's no shortage of content here. The maps are huge and there are multiple ways to tackle each objective. You can play through these missions again and again, and when you get tired of that you can try other modes for new experiences on the same maps. There's so much to do, and to be honest I've only just scratched the surface.

What's more, this is only the first part in a trilogy. Hitman 2 and 3 promise even more Hitman goodness. I'm going to try to pace myself as I play through them, but with games this good it won't be easy.

enjoyed my time with this series of shallow slapstick playgrounds well enough but not well enough to really bother scrawling anything exploratory about the game itself!!! What i do want 2 say is that I continue to be really confused by the jarring contrast between something like Hitman's reception and the incurious disdain people have for Quantic Dream joints, because the choose your own adventure-style structural rigidity and corny netflix-ified cinematic aspirations of both teams are really not all that different!!!!! Look I 100% get taking political/mechanical/directorial umbrage with David Cage's work but also cant help but marge simpson groan at the way so many people thoughtlessly celebrate equally fraught games (in general, not even specifically talking about Hitman here) with no sense of awareness, using something like Detroit as an ideological whipping boy to absolve themselves of perceived complicity despite its admittedly infantile notions about racial/revolutionary politics being like, literally the violent cultural boilerplate and not some uniquely grotesque cringe failure! This is also a politically sloppy series full of questionable racial/gender depictions and a lot more faux-prestige cinemawanking "interactive movie" elements, CYOA routing, and schticky preordained scenarios than many admit so like... why is something like Detroit so uniquely fucking abhorrent from an interactivity perspective!!! Not to even go to bat for a noxious cornball doofus like David Cage but it irritates moi that Hitman and many other titles have sooo many exalting reveries about the brilliant structure of play whereas almost no structural assessments of Detroit exist without an intense haze of hyperbolic projection and unnecessary personal distancing. There's a lot in common going on here and tbh I think the way some of these similar mechanics and structures manifest in QD projects is way more successful and elegant than the "select chosen route and follow the oversignaled breadcrumb trail between story nodes to the divergent kill, then replay" shit here!!!!!!! Cringe about press x to jason and other prefab moments of hackish film-blocking as contextual gesture in HR all you want but IMO the failed illusion of opportunity and spontaneity in Hitman is a way more offensive sin! at least "interactive movie CYOA" games know full well what they are and don't build these elaborate and hollow palaces of obfuscation that only serve to disappoint once the presumption of opportunity sours. god why am i writing about david cage on this site at all let alone on a totally unrelated page about Hitman i'm going to lock myself in a slaughterhouse freezer forever bye

There are only two ways for any Hitman plan to pan out. You're either the slickest mastermind assassin in the world, without a trace of your existence to be found anywhere close to your eliminated targets, or you're a murderous Mr. Magoo, leaving in your wake piles of half-naked dudes with knives and screwdrivers lodged in their skulls. Whether you're smirking slyly and saying to yourself "I did that" or you're howling uncontrollably and exclaiming "I can't believe I just did that", it's euphoric.

The only proper Hitman game I've played prior to this 2016 revelation is the very first one, Hitman: Codename 47. It's rage-inducing. It hints at ingenious assassination methods through the promise of social stealth (read: disguises!), but its restrictive design forces you to take very specific steps in plenty of incredibly hostile environments, and making even just one wrong move often leads to a full-stop failure state.

The 2016 iteration of this niche series isn't without such moments in a handful of situations, but the bigger picture shows a more free-wheeling approach to letting players tackle missions. Most importantly, Hitman 2016 understands how failure on the micro level can actually lead to interesting scenarios on their own. Instead of shutting you down the second you mistakenly walk into a restricted area with the wrong uniform or get seen dragging a body, the game diegetically gives you a stern warning to stop what you're doing. In reality, it's giving you precious time to let you think of an excuse or an escape route, as if it's saying "show me what you got". So you show the game what's what, which usually involves throwing a hammer at the face of some poor schmuck lucky enough to catch you doing something you shouldn't be doing.

The force at which a blunt object smashes against an NPC's head and the way the physics violently thrust bludgeoned bodies to whatever breaks their fall would be frightening if not for the game's farcical tone. Your victims pleading for you to not ruin their good looks right before your chosen neutralizing implement collides with their craniums turns savagery into slapstick. This levity is present throughout all 8 clockwork levels; in the ambient dialogue, in the tongue-in-cheek challenges, and in the ironic interactions the stone-faced, multi-talented Agent 47 has with his marks. There is no ambiguity here, especially when every hit is a 1%-er criminal scumbag with an over-inflated ego that deserves popping. Hitman celebrates schadenfreude.

You'll want to explore the many ways you can cause comic mischief because of how the game teases you constantly with opportunities. Around every corner there's a conversation to eavesdrop on that reveals an avenue for deadly hijinks. Pull off the elaborate setup, and you're usually rewarded with an over-the-top kill and a bunch of mastery points that unlock even more fun toys to tinker with. And of course, you want to see how you can incorporate an explosive rubber ducky into your master plan. Just keep walking around the gorgeous and gigantic maps, and you're bound to stumble upon a chance to literally throw a wrench into the interlocking gears of these mechanical dioramas.

And oh how many gears there are to find and screw around with in just one level. You can spend hours and hours just replaying Paris, the first proper destination, and still not see everything it has to offer. Don't get me wrong, you will develop a strong familiarity with the beautiful coastal town and villa of Sapienza, the crowded markets and bustling embassy of Marrakesh, and the high-tech hospital of Hokkaido. But trust me, there are whole clockwork worlds of assassination waiting for you in Hitman, and it has never been this fun or funny to get lost.

Randomly picked this up again after dropping it years ago.
It's really fun!

Exploring the levels and constantly finding new areas, new ways to take out targets is quite addicting. Paris, Sapienza and Hokkaido are the standout locations; Marrakesh is also decent but sadly Colorado is just okay and Bangkok is plain boring - thankfully the quality of the aforementioned levels is high enough to overlook these missfires.

The level design and experimentation is definitely the core of the game but I found myself surprisingly hooked by the presentation and even its admittedly limited storytelling. I think the reason is that it just nails that spy mystery vibe, even though the actual plot and characters are hardly fleshed out.

I've always had a guilty fondness for the Hitman games. Mom had strict rules on no gun games in the house,* so I worked really hard to hide my copy of the original trilogy and play it in the middle of the night. Inevitably, she found it lying around and after a lecture, the game was quickly disposed of. I really remember struggling to try and explain that its not REALLY about the violence, as she just pointed to the giant pistols on the game cover.

Its hard not to feel vindicated when the game so thoroughly embraces its silliness. Threw a Napoleon explosive toy at a fashion model and accidentally killed myself in a giant ball of flames. Sure, you got your big serious spy plot, but the devs are well-aware that the Hitman games are at their best with as little story as possible. Let players loose in small clockwork sets and watch all the systems crash together.

Mechanically, the waypoint system is probably frustrating for most people but like. I'm the kind of girl who happily follows the instructions for the lego set and if a game is just going to point to point, I'm still gonna have a great time. The developers want me to see all the stupid creative things they programmed and I want to see them too! The Suit Only challenges are still there to figure out on my own and I having those tips meant I actually got to FINISH a Hitman game in my life. It prepped me to the game in such a way that I gasped in delight rather than fear when the no gear gimmick of the final level became clear. I needed that waypoint system to survive to that I could feel free to explore on my own once I got a feel for each map.

I just really adore these games. This would be a five star if not for a weird glitch that happens with physical Xbox One copes sometimes: the final two levels just won't load up if you didn't update the game instantly upon inserting the disc. So I bought the $20 Hitman disc, the $20 Hitman 2 disc, and then $60 Legacy Pack. And even then, I was still happy to play through all the maps to master them back up to level 20. Fucking love that bald little freak. You'll have to drag me away from shooting Jordan Cross approximately eighty million times.

[the footnote] The rule was VERY specific on this "no gun games in the house" point. She didn't give a shit if we played them OUTSIDE the house and openly said as much. She just didn't want it near her. Which like, you know, fair.

Tem tudo que um bom jogo stealth precisa ter (mesmo com uma história meio confusa).

Infelizmente o avançar da história é meio ???. As missões acontecem em um grande espaço de tempo no jogo e isso torna tudo meio confuso.
Acho que o lado positivo da história foi a tentativa de criar algo mais profundo e bem elaborado (Praticamente todos os jogos da franquia tem o arco narrativo meio "clichêzão de espionagem", aqui a tentativa de história é boa).

A jogabilidade literalmente salva o game que contém um excelente level design. É simplesmente brilhante as histórias no meio das missões e como elas te ajudam/atrapalham (Tem missões que você pode terminar de forma brilhante, as histórinhas das missões são um show a parte). Resumidamente você pode terminar as missões de várias formas diferentes e isto prende bem o jogador.

Este jogo faz jus ao legado da franquia e é meio que um grande "reboot" na série.

PRÓS:
- MUITOS jeitos de terminar as missões.
- IA desafiadora.

CONTRAS:
- Os episódios não se conectam tanto.

Dos jogos da série Hitman que experimentei, todos me proporcionaram uma sensação que raramente encontro em outros jogos: a percepção de que cada NPC exerce uma influência, seja direta ou indireta, na narrativa. Eles instilam um nervosismo constante, como se estivéssemos sob vigilância a todo momento, obrigando-nos a agir com cautela para evitar qualquer comportamento suspeito que possa nos comprometer. Desde a ansiedade ao entrar em um local com o traje inadequado até a tensão de parecer suspeito entre a multidão em uma festa, os jogos da série Hitman oferecem uma experiência imersiva única.

Admiro especialmente a variedade de abordagens para superar as fases, permitindo que os jogadores mais dedicados explorem múltiplos caminhos. O lançamento episódico, embora tenha sido uma proposta inovadora, acabou enfrentando desafios comerciais, visto que muitos jogadores não estavam familiarizados com esse modelo de distribuição fragmentada e relutavam em pagar por um jogo que seria entregue aos poucos ao longo de semanas. Confesso que também fiquei surpreso na época com essa decisão, só vindo a experimentar o jogo completo mais de um ano após o término do lançamento de todos os episódios.

Entretanto, não acredito que essa estratégia tenha comprometido a jogabilidade, pois cada fase é tão distinta entre si que o principal impacto recai sobre a narrativa. Ao concluir o jogo lá em 2019 (se minhas contas estiverem corretas), já percebia a história como confusa ao jogá-la de uma só vez. Revisitando o jogo através de análises em vídeo, constatei que essa foi uma questão enfrentada por muitos jogadores: a dificuldade em compreender a trama intrincada do jogo.

Apesar das falhas na narrativa, aprecio imensamente a experiência oferecida pelo jogo, pois acredito que ele resgatou o que a série tinha de melhor. Recomendo-o muito para os entusiastas do estilo stealth.

Even after playing the two sequels first, I didn't realise until reflecting back on the whole experience as a whole after finally playing the first entry - perhaps now aided by a comfortable familiarity with the series' core design ethos in mind - how fundamentally these games are about infiltrating lavish, opulent hidden dens of power and using disguises to perform elaborate and cruelly entertaining assassinations because the rich and few - the very 1% - simply do not fear the rest of us. How easy it is to blend in to a crowd when from the elites' POV the working class have no identity. How they are merely their job,
that is all they see. And so then howa it's Agent 47's job to assume these various identities to enact striking acts of working class revenge against the most powerful (and always unabashedly evil). And yet despite all this, there's always more targets. The system never breaks or faults in finding its own ways to fill up the holes you left behind, because no matter what it's not just a few rogue evil doers wreaking havoc on the world - it is a capitalist, power hungry system that Agent 47, despite his best efforts, still cannot bring down.

Anyway, the Sapienza map ruled. Those Italian goons had sick fits and killing the dude disguised as a plague doctor while he watched vhs clips of his dead mum scored to some Italian pop song was dope af. The Paris fashion show also sick.

De vez em quando eu sempre tento rejogar alguns jogos que eu larguei no passado independente do motivo, em 2018 eu havia tentado jogar Hitman quando foi dado na Plus mas não consegui passar do tutorial, não estava nos meus planos rejogar Hitman esse ano, mas a edição GOTY estava por 20 reais e a Winter Sale estava prestes a acabar, então foi mais impulso do que uma tentativa de ver se o meu gosto por certos genêros de jogos mudou, mas de qualquer forma eu estou mais do que feliz de ter adquirido esse jogo, pois Hitman 2016 é uma das experiências mais incríveis que eu já tive.

Hitman é o jogo do 007 que eu sempre quis com a parte do stealth social que sempre faltou nos jogos licenciados, se esconder em plena vista, fingir ser outra pessoa, aqui a fantasia de agente secreto é explorado de forma brilhante e elegante, você tem mecânicas de stealth simples sendo sobrepostas por mecânicas sociais complexas, com você invadindo mansões, eventos e lugares, roubando a roupa de alguém e se passando por ele pra chegar mais perto de algum vilão ricaço ou alguém superinteligente que mordeu mais do que podia mastigar.

E toda essa espionagem é acompanhada pela ótima Soundtrack de Niels Bye Nielsen, que coloca audio cues depois de cada ação especifica, tal como pegar uma arma contrabandeada, assassinar um alvo ou terminar uma fase, e mesmo sendo a primeira vez ouvindo-as, elas já pareciam familiares e uma característica de longa data da franquia.

Mas essas mecânicas e audio cues só podem ser tão boas se tiverem um bom playground, e esses seis mapas são nada além de excepcional, com alguns sendo tão bons que vou usar como referência pra julgar os mapas dos próximos dois jogos, Sapienza é o melhor entre eles e eu diria que é onde o jogo começa de verdade, você tem uma mansão enorme com vários andares, níveis de autorização e a rotina de várias pessoas, isso por si só já poderia ser uma fase dos jogos anteriores e ainda seria incrível, mas é toda a cidade que eles criaram do lado de fora da mansão que te faz perceber o tamanho e o escopo de tudo, e todo esse espaço só começa a fazer sentido depois de rejogar várias e várias vezes, é onde você percebe o quão conectado o lugar é.

Eu acho que mesmo sendo um jogo fenomenal ele não é pra todo mundo, nem pra mim ele foi na primeira vez que eu joguei, mas eu acho que se você gosta do gênero Stealth, Hitman 2016 é perfeito, se você acha pode se interessar por esse jogo mas a primeira missão (Paris) não te agradou, tente jogar até Sapienza e realmente explorar tudo sem se preocupar em terminar a missão rápido, é ali que a opinião de todo mundo muda em relação ao jogo.

Played via Hitman Trilogy (on Xbox GamePass btw) on PC with KB+M controls.

Beat Hitman season 1 over the course of 24hrs, and if you know how I am with games, playing this much game, one that's new to me anyways, that quickly should say a lot. I'm more likely to only increase the rating as replays and challenge runs continue to entice me as I continue the trilogy. One of the best deals on GamePass rn, you're missing the DLC but other Hitman fans consistently tell me the DLC either sucks or is well below average anyways.

One of my only gripes with the games is that snapping an unconscious person's neck and trying to engage in a melee action with someone conscious share the same bind, so I've had a not insignificant amount of accidental kills on people who fell over just a bit too close to another person I needed to take out. I'm not doing it myself yet but I feel like I'm only a few more interactions away from binding some actions to my mouse buttons as well.

But damn, the sheer amount of ways a scenario can play out and the freeform-ness (or structured if you wish!) is phenomenal. The only majorly aggravating part to me was Colorado, mainly on the first run, because it's extremely specific about how you should handle things as a first-timer compared to the other levels. Replays were much better there but it's probably still the least replayable level in the base game.

Extremely looking forward to IO's take on 007 in the (hopefully) near future.

Talvez seja por que eu rejoguei esse jogo algumas muitas vezes, mas é impressionante como a IO Interactive conseguiu criar um conjunto de missões tão único, marcante e FANTÁSTICO.

Cada mapa tem a sua peculiaridade, cada um com um nível de dificuldade diferente, cada um com detalhes e únicos, e mesmo assim todos são facilmente memorizáveis. No geral, todos eles são lindos! Desde um hotel super chique em Bankok até uma Rebelião em Marrakesh, todos eles são bonitos tanto graficamente quanto pela direção de arte. Não só isso mas todos eles, graças também aos objetivos secundários, te incentivam a explorar os mesmos em eventuais retornos a eles. Além do mais, a jogabilidade refinada que esse título tem desde 2016 é invejável pra muitos jogos do gênero. Onde cada rejogada incentiva o jogador a experimentar o game de outra forma.

Jogando no Xbox One, o jogo já era lindo, hoje, jogando na World of Assassination no Series X, o jogo se mantém bonito e estável a 60 quadros mesmo que pra isso, tenha em alguns raríssimos momentos, apresente Ghosting enquanto está parado (imagino eu ser efeito de FSR).

Hitman 2016, assim como o resto franquia antes e depois de 2016, é obrigatório pra todo amante de Stealth, e uma excelente entrada pra quem nunca experimentou o gênero.