![]() ![]() In fact, if you've ever wondered what's so special about Blood Money's level of simulation, throw a briefcase into it and watch what happens. And there's no way to take my briefcase with me into a rehab clinic, but I can toss it over the wall, wait for the guards to confiscate it, then steal it back from their security office once I'm inside. ![]() There's no way to assemble my gun in a gang boss's office before he turns around, but it turns out there's a drainpipe across the street I can climb for a perfect angle on his balcony. There's no way to get an angle on Manuel Delgado while he's out in the open, but it turns out there's a row of barrels in his wine cellar that can hide my set-up and pack-away rituals. But it's possible, which is crazy.Įvery time I think it can't be done, Blood Money's mission design surprises me again. On missions with three targets, that means unpacking and repacking the weapon three times, in line of sight of each target, without being spotted. It's a long range and silent weapon, but because it's so big I have to unpack it from a briefcase and assemble it before each shot. My current favourite is similar, but stricter still: every target has to be shot with my custom sniper rifle. And I've tried the Silent Assassin code: no witnesses, no evidence, and no kills except your target. I've tried using only an unconcealable shotgun. I've tried never changing out of my suit. I've tried killing everyone with a kitchen knife. Each orchestrated accident is the solution to an elaborate puzzle, whose clues are everywhere if you look hard enough.īut minimal intervention is just one extremity of a huge possibility space, one that includes a world of other stylistic philosophies to kill by. Rig a flamethrower to catch the performer mid-act. Crack the glass jacuzzi with a silent shot. You can weave between these moving parts to put the tiniest spanner in the works, and watch it all fall apart. One takes a long soak in a glass bottomed jacuzzi. One performs a whole opera rehearsal before retiring to his dressing room. And the centrepieces, the targets, all move differently. Workers have more elaborate routines: the dustman comes to collect the trash, the courier delivers the diamonds, the janitor uses the bathroom. Guards walk their patrols on one timer, a short one, and it's easy to learn and predict them. A Hitman mission – a good one – is a clockwork dollhouse of interacting elements. ![]()
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