Rating this more as a trilogy overall, since you can get every map from the trilogy within the same game, and also just because that seems to somewhat unexpectedly be the intention here. While the maps of Hitman 1 and 2 stand alone on their own, Hitman 3’s maps feel very much like a third act, a focused and cohesive story told through the shifts they make to the formula. The narrative crafted through the level design is still top notch, as IOI continue to prove themselves unmatched in building out a sandbox that has its own narrative pulse and rhythm. While nothing here is quite as conceptually clever as Hokkaido gamifying the series’ own mechanics by literally turning disguises into keys, they make up for it by fully living and breathing within the concept of an untethered 47. In fact, not a single mission truly goes back to the fully standard premise and formula on the first playthrough, always shifting either the starting point, the loadout options, or the intel availability. On the one hand, this might hamper future replayability, as I ultimately think Hitman 2 has a slight edge on the map design in a vacuum overall. But on the other, 3 has some of the most well put together and striking first runs of the trilogy. Berlin especially stands out in this regard, as well as the last leg of Chongqing.

In my view, Agent 47 is one of the most compelling central characters in gaming, not despite but because of his almost silent blank slate protagonist status. While most silent protagonists exist as an empty player proxy, 47 has occupied a more interesting space, especially within the new trilogy, serving both as a puppet controlled and carted around by a variety of characters within the world of the game and the players themselves, as well as an in-world blank slate capable of sliding into the identity of others seamlessly. Over the course of the trilogy though, he gains more of a mind of his own, and more freedom from his controllers. Coinciding with this, a greater amount of narrative in each game after the first is placed into his hands through cinematics (and in 3, through the events of the levels themselves). Without getting into spoilers, all that can be said is that 3’s seeming conclusion is nothing if not satisfying for the character, tackling both his formation of a personal identity and free will along with the series’ overarching theme of overcoming control and the most wealthy and powerful individuals still being vulnerable to those underneath them.

Taken as a whole, the new Hitman series is more than the sum of its parts, 2 and 3 especially perfectly complimenting and providing everything the other lacks. Plus you can kill rich assholes with a fish so it’s an automatic perfect score.

O auge da trilogia e da franquia Hitman.

A gameplay em si não é muito diferente dos dois primeiros jogos da trilogia, mas isso não é ruim, já que Hitman 1 e 2 são excelentes em sua proposta.

Tudo neste jogo é o auge da franquia: Os gráficos, o level design das missões, a gameplay em si e até mesmo o arco narrativo que consegue encerrar muito bem a trama dos 3 jogos de forma coesa.

Hitman 3 é um bom final para o reboot da franquia, com talvez um pouco menos de emoção do que seria esperado para uma conclusão. A criatividade das histórias e das fases permite que jogadores revisitem o game constantemente, sempre descobrindo algo novo (E como sempre as histórias durante as missões e os inúmeros jeitos de termina-las deixam o game incrível).

PRÓS:
- Level design das missões melhor do que nunca.
- Gráficos lindos.
- Ótima conclusão para a trilogia.

CONTRAS:
- Cutscenes meio genéricas.

TLDR: Hitman 3, assim como a trilogia, é o jogo de puzzle mais divertido sobre assassinatos, é o ápice da fórmula e da franquia, tudo em volta dele porém, é uma decepção.

Nossa, eu não sei nem oque dizer, depois da IO Interactive continuamente melhorar cada jogo, eu não tenho mais nada para dizer que não vai parecer uma reescrita do que eu já disse sobre os outros 2 jogos.

Se você já jogou os jogos anteriores, já sabe oque esperar aqui, acho que a única coisa nova que pode ser dita é que esse é o ápice da trilogia, pois enquanto Hitman 1 e 2 tinham algumas ressalvas, seja na história, algumas fases ou outros aspectos, aqui não tem nada, Hitman 3 excede em TODAS as áreas de forma excepcional, história cativante, música sublime mas muito presente, lembrando quase uma trilha sonora de James Bond.

Com missões impecáveis, cada uma delas tem sua própia premissa interessante e são importantes pra trama, com todas elas avançam o plot do jogo, você nunca sente que alguma delas são "fillers" para o próximo momento importante da história, em um momento você vai estar jogando uma versão do filme Entre Facas e Segredos, ou então vai estar perseguindo assassinos de aluguel em uma boate em Berlin sem saber como eles se parecem, mas em todos os momentos você não sente vontade de acelerar o processo, de simplesmente atirar no alvo e ir embora, você quer passar o máximo de tempo em todos esses locais, aprender as rotas dos NPCs, os locais dos itens, por onde entrar e sair etc. E você faz tudo isso de forma orgãnica, claro você tem os textos mostrando informações úteis e a Diana sempre vai estar falando das oportunidades que você pode aproveitar, mas é você que vai atrás e descobre uma forma de fazer tudo aquilo do seu jeito.

O trabalho da IO Interactive é tão primoroso, trazendo de volta uma franquia que estava fadada ao fracasso, passando pela mão de várias publishers, mas sempre fazendo os melhores jogos possíveis mesmo tendo que cortar verba em algumas áreas, tudo isso em uma época onde jogos focados Stealth deixaram de brilhar, isso faz com que seja quase impossível não parar e apreciar o trabalho deles, bom, pelo menos parte do trabalho.

Como disse na minha review do Hitman (2016), a monetização predatória e a necessidade constante de uma conexão online são oque puxam todos esses 3 jogos pra baixo, pois, independente do quão bem feitas sejam as fases, e do quanto críticos elogiem seu trabalho, nada disso conta quando seu jogo tem 6 edições diferentes que não especificam direito oque cada uma contém, além de 12 DLCs, tudo isso sem contar o fato que se você já tem Hitman 1 ou 2 você ganha acesso as suas respectivas campanhas no Hitman 3, nada disso é comunicado de forma clara, qualquer confusão que pode ser causada em um jogador já é o suficiente para frustrá-lo a piratear ou nem sequer conhecer a franquia, a maioria por exemplo nem sabe que você pode jogar a campanha do 1 e do 2 no Hitman 3, tudo em um só jogo.

Tudo que circula a trilogia Hitman que não são os jogos em si é frustante e decepcionante, tanto para novos fãs quanto para veteranos, mas se você puder olhar através de tudo isso, você encontrará a melhor trilogia de jogos Stealth dos últimos anos, em uma época onde isso está cada vez mais em falta.

played through World of Assassination

here we are, 20 days later....

my final words on the hitman 2 dlc were about how fast i flew through the games so far and id miss it when i finished. so much for that!!!!

as soon as i started hitman 3, i got hit with a huge wave of burnout and to this day im still unsure why it happened. i kept avoiding it, jumping from web games to pepsiman to balatro, geometry dash, metal gear 2, etc etc. it just wasnt clicking. eventually a few days ago after finishing mg2 i decided i needed it off the damn playing tab. after all, i loved the first 2 games, so if i just got over this hump id be done in no time...

well, happy to say that is how it played out. i think the main reason for the burnout was finding the damn case file in dartmoor. that one was pissing me off an insane amount. but after i powered through, theres a lot of bangers. hell, even in dartmoor i had a blast tresspassing and turning the game into more of a stealth game. anyway, berlin and chongqing are the standouts here. berlin was entirely different than what i had expected, and the vibe was unmatched, pure adrenaline finding all those agents, and then in chongqing after infiltrating the ICA base, hearing agents react to what you did there... literally chefs kiss part of that map.

i also have to say, mission stories kinda grew on me here, at least that was the case for chongqing, killing that hush dude in the chair was so much more awesome following the linear path. also also, i adored the final level, which i know is a hot take in the fanbase. given how im not replaying these maps any time soon, i found it to be an awesome conclusion, thinking youre in some deep underground lab only for you to break open the door... and youre on a huge train. given my stealth focused approach in levels prior, i kinda liked the way this leaned into that type of approach as well. sure it might not give replay value but frankly i dont care, the spectacle was fantastic and more than made up for it.

as for the story, ehhh its still the same type of quality. not that deep or substantial but still fun, tho its kinda a bit like ghostrunner 2 where it became a bit hard to follow at the end. diana turns on him suddenly she doesnt turn on him for some reason. the plot in these games has always moved at a breakneck pace but here it's even faster. idk maybe its silly i care for the story so much but yeah it was just a bit confusing near the end. and i found myself caring less and less as i beat each level. the cast performances were great just like the other 2 games. excited for a hitman 4. and also excited for that james bond game. the studio has definitely earned my trust and respect and im glad i got these games off my backlog.

also quick note about freelancer, i played just one map. its fine if i want to scratch that itch i guess. sorry if this review's a bit shorter, found it hard to talk about this game for some reason.

Firmly in the pantheon along side games like DOOM and Bloodborne that meld intricate level design and god-tier art direction into narrative and thematic cohesion. Just beautiful.

Agent 47 is simultaneously no one and everyone. He can assume many disguises and remain and undetectable even if he is a rather noticeably tall, pale bald man with a barcode tattooed on his neck who would stand in any function. He is both a player avatar and distinct character himself. He is a paradox and an example of having your cake and eating it too. He has no real personality within the game but he definitely has a soul. He doesn't merely exist to serve as a player fantasy. His lack of distinction is a product of narrative necessity. He is an assassin, the titular hitman - why would he be a guy you want to get to know more. He is his profession, and his profession is the game. It's beautiful.

Part of me wishes the plot of these games held more depth but I am not totally sure every espionage story needs that. Even the work of John LeCarre is purposefully dense until it comes out the end leaving you as puzzled and bewildered as the characters. To me what's important in Hitman is that the story is told with earnestness. Not necessarily seriousness. You can dress up as a clown and throw fruit at people. But no one is cracking quips and the characters themselves communicate seriously. Tonally it's just right and kind of rare for a modern AAA video game. It's also a game that takes place in the real world. In a lot of ways it's everything I've been looking for for years now. There are secret labs and stuff bit no space mines or sci-fi/fantasy bullshit. Grounded in reality is another rare quality I really admire.

As an individual game I just want to say Hitman III is a slight step above what I played in 2. To open the game with an Agatha Christie inspired murder mystery is stunning. As is the refreshing idea to give Agent 47 the option to assume an identity fully and be able to interact with people for a change. That kind of deviation is amazing to me even if it's just a simple point and click murder adventure it's a cool twist on a formula. To follow that level up with a bare bones thrown into the wolves den Berghain inspired level is otherworldly. Just that back to back sensation of those two levels rocked my world.

Hitman III felt like a spectacular culmination of all the Bond inspired levels IOI wanted to make. More than any Bond film actually, Hitman III really opens your eyes to diverse and cool as fuck staging areas all espionage cinema from True Lies to Mission Impossible to even John Wick aspire to. I want an old mansion on the Moors; a Berlin nightclub; a train; neon-lit streets; and a vineyard that simultaneously feels like a wedding. Pump this shit into my veins.

This one will live with me for a while. I'm glad I still have Hitman 1 to play; disappointed no new Hitman/or OI game for a while. I'm sure their Bond will be dope. Hopefully they keep it as streamlined and non-microtransactionary as this series.

The third entry in what would become known as the "World of Assassination trilogy" certainly has the absolute strongest levels in the series. Dartmoor and Berlin present compelling twists on the core formula that expand upon the core of what makes it compelling: it presents levels as living worlds, intricate clockwork dollhouses that the player can poke to see what happens. Dubai and Ambrose Island are excellent bread-and-butter Hitman levels, which is crucial for making the game feel whole. And Chongqing stands out as having possibly the best background character writing in a series which is known for excellent background character writing.

(Mendoza is mostly there, but suffers from a few odd mismatches between how it signals the player to play and the modes of play it actually offers. It's certainly fun for the most part, but feels decidedly less baked than the rest of the game.)

The only serious drag on this game is its increased interest in linearity in service of plot. Although I think the plot itself is well-done, the way it intersects with the game itself—the escape sequence the first time you play Chongqing and the whole of Carpathian Mountains—doesn't play to the series's strengths. Hitman is intrinsically a non-linear experience that excels at creating a holistic view of a story through glimpses of small moments and conversations. Trying to force that into straightforward "move through these zones and solve these puzzles" mechanics weakens the storytelling and leads to uninteresting zones. But fortunately, that's a small part of this otherwise excellent capstone to one of my favorite series.

IO Interactive do not know how to structure or pace a story across 3 games and I did not care about WoA's overarching narrative up until this point, but somehow the final missions of the trilogy actually managed to get me properly emotional over 47 and Diana's dynamic, and, by extension, the series's events as a whole. It's crazy how having these two extremely likable characters be the only real anchors throughout an otherwise pretty tame conspiracy thriller plot allows 3 to pull this trick and retroactively make me care about the story of Hitman (2016). The interactions between Diana and 47 were always my favorite bits of characterization in the previous games, and even in Blood Money I found their whole thing charming, but there's something about how tangible it feels here that got me. I think going through K-8 with a paraprofessional who was payed by the school district to make sure I didn't bite people just makes me predisposed to having their deal resonate with me- her helping a man who's Literally Neurodivergent distinguish between right and wrong and him being thankful enough for it to put his life at risk... such a fun concept and the execution of it in the last real mission put a smile on my face.
It's WoA so obviously the level design is fucking phenomenal and the core gameplay's still extremely engaging if you're into this kind of routing-based stealth. Camera's a weird addition and feels kind of clunky to use, and I wish the ICA facility in China had been... better? I liked the level itself but after all the goofy sci-fi shit I was dying for them to just let me infiltrate an underground supervillain facility; was very sad to find out it was one of the more underwhelming areas in the game. Anyway though- I love WoA! All games with this kind of budget should have the decency to be good

Não consegui passar da quarta missão e, por falta de prazer em realizar certas atividades, abandonei o jogo.

Ainda assim, não posso dizer que é um jogo ruim, é muito bem otimizado, com diversos ambientes variados, e um sistema de stealth cheio de potencial.

Só não me divertiu mesmo.

Hit The Man.

Its an odd feeling, finally finishing all this. I mean, I'm still gonna complete some escalations, some Elusive Targets, more puzzles to unfold, and I have an entire new game mode in Freelancer to push through (which I'll cover in a World of Assassination log if it makes a good impression on me). But for the idea of new Hitman levels and new Hitman storylines, this is essentially the end.

I would never claim that the story is why I go to Hitman, its ridiculous clone plotline and spy games broadly sort of fill the needs of gameplay. But I also genuinely think that this franchise is incredible at weaving its narrative into the gameplay and level design. Dubai places you on a skyscraper that extends into the clouds. You kill men who can only think of themselves, unable to give a dime to the "little" people down below. Dartmoor focuses on a more grounded perspective, facing off against a woman who sacrificed everything for her family, never realizing that she's burned up any familial love around her she could have enjoyed. Dartmoor is an incredible level, but I admit to feeling a little cold. Dartmoor is regarded as a series highlight, but that also means it struggled to match the expectations I unwittingly put it up against. And with how arduous I found it maxing out my Mastery in Dubai, I was sincerely starting to worry that 3 would be a major let-down. There felt like so much less content than other maps. Fewer mission stories, fewer variety in kills.

And then I hit Berlin.

There's so much wonder and excitement once the level gimmick is revealed: one Agent 47 versus 11 different assassins. Its kind of sad when subsequent playthroughs start highlighting all the potential Targets, instead of letting you run around blind, investigating everyone for yourself. Its Berlin that really teaches you how much trust the series has in your skills by this point. There's fewer Mission Stories because the game expects you to discover the possibilities by yourself. Berlin completely removes any guides to your target, giving you full reign to demolish 5-11 fellow assassins. And since the game expects you to have all the skills you might require, it feels more free to experiment. I found new joy in Dartmoor and Dubai, and I recognized all the ways its switched up the framing.

While Chongqing might be more traditional than Berlin, it really takes time to show off how expertly IOI weaves storytelling into its environments and dialogue. The opening narration hypes up how technologically advanced the China Municipality is, leaning into Cyberpunk imagery in a way that prepped me to feel concerned. Hitman has been hit or miss with depicting non-white cultures. But I think what makes Chongqing so compelling is how it depicts a "cyberpunk" city: miserable. All these grand expansions in tech are hidden away in towers and fancy buildings. What we encounter initially as a player is the homeless population, wandering through the streets, brains and bodies broken from the various experiments the elitist tech geniuses have utilized against so-called "weaker" elements of society. Hitman has heavily leaned into class tensions as its major framework, but its perhaps at its best here. As Agent 47 has developed a genuine ideology and genuine interest in fixing the world, he's forced to confront how his former allegiance to the ICA benefited these existing social structures. The ICA claims to be neutral, but it profits from the subjugation of the lower class just as much as Providence. 47 is given more personality, more sincerity, as he takes a dramatic step away from just working for pay versus working for a purpose.

And finally, he arrives in Mendoza.

More than anything, Mendoza feels like the last hurrah of the Hitman franchise. Maybe the series will return someday, but you can truly feel that IOI was ready to take a step away from the bald goober. 47 has been important to their company, but everyone's ready for a change. So, one last rich party. Dubai, Dartmoor, and Berlin were experiments. An ode to the parties of Silent Assassin, Blood Money, and Contracts, an ole to all the rich morons you've gotten to kill over the years. It doesn't feel as densely packed as other maps, but it just makes me happy to be there. To overhear conversations, to follow NPC paths, to just soak in the mood. Its a level that just screams Hitman. Its everything you want these games to be.

The final narrative beats of Hitman are strange feelings. 47 is never a character I necessarily need to be a real person. He's a cartoon character. He's Bugs Bunny. He's a little mischief maker. Its certainly compelling when 47 wonders if he's just an emotionless tool or if he's capable of more. But I don't know if I need him to give big heroic speeches about responsibility and power. It feels too much like he's talking to them in their rich monster language. Confirming their beliefs of a Special Person to Decide for Humanity. I don't need 47 to speak about the virtues of humanity, I want him to deliver cold, hard data points for why the Targets need to die. To hammer homes to these people that they don't actually matter. That defeating them isn't a great moment in history- its just calculated pest control. I don't play these games for 47 to be a character who says hero lines, I play them for 47 to make rich people look like dumb idiots who die before he turns to the camera and goes "ain't I a stinker?"

I say all that, but there's one moment in all of Hitman that really stuck out to me. Chongqing, arriving on a Bridge. A woman worries that her friend hates her. 47, listening carefully, suddenly speaks up to offer sincere advice. Your friend is meeting you at 2 am, in the rain. That must mean she cares. If now you worry about being selfish, why don't you pay for dinner? Its a short, cute, optional moment. But its the most sincere kindness 47 has ever offered. If the franchise returns with Heroic 47, that might be the version I want to see. A 47 who can actually connect to the world around him.

Because more than anything, the World of Assassination Trilogy truly felt like a world. Every game built an incredible clockwork mechanism, with little pieces moving to their cues to deliver goofy, hokey lines. But each piece moved with such charming purpose. For a series that prided itself on being a Video Game Ass Video Game, each corner felt so well realized. The hundreds of hours of incidental NPC dialogue, building storylines from the large and complex, to the small and personal. Even as the game embraced the fact that you were playing a video game, it made that world feel real through its artificiality, rather than in spite of it. I see myself walking through the entire series again if I want to, just to drop myself into all the incredible effort and care the devs put into this franchise.

I thought I was gonna be harsher on this when I started. But I just got so swept up with the memories of joy and discovery, all my gripes melted away. I love these stupid games. Whatever the future of IOI holds, I'm there.

Awe inspiring level design, both to explore and look at, but I can't help but find the core to be a little too rigid for me to really sink my teeth into.
Every time I think I make a discovery, I'm rewarded by a Challenge Complete notification, exp, an achievement or something. It's normal as hell as far as games go, but The World of Assassination feels choreographed to absolute distraction, there's almost something deflating about how all of your devious machinations have been accounted for in advance, and often in the most boring way. Agent 47 is an intrepid explorer going through thoroughly charted ground. A complex system of screenplays that adorn every map, and any time you deviate from the strict and pre-defined script, the AI snaps in half.

There's a lot of fun to be had in replaying levels, finding an impressive amount of secrets, unlocking and levelling up to keep the reptile brain happy, but as far as Hitman goes - I'll keep returning to Contracts and Blood Money.

This game blew me away. What an incredible step up from its predecessor. Almost every level in this game was a masterpiece, and although the ending and last level felt a little shaky, it didn't take away too much from the absolute high I was riding.

Story was fine, but with some great voice acting and gorgeous visuals to back it up. Music wasn't too shabby either. I have very, very few comments for IOI on this. You did it, you sons a bitches.

Finally a game has made me feel that exact sensation that Dishonored does - there are, dare I say, some levels in Hitman 3 that rival or even outdo some of the ones in the Dishonored series. And from me, that is the highest praise I could give an immersive sim. Off to Deus Ex!

I'm really surprised that I didn't like this more. Hitman 3 is far from a bad game, but I find it to be very disappointing. All the levels either feel too small and restrictive or way too big and a pain to get around. Replaying these levels is just something I don't enjoy doing. Hitman 3 is by far the worst game in the World of Assassination trilogy in my eyes.

It's got everything that makes Hitman 1 and 2 so fantastic, but the level design sucks, so it's not fun to play. Hitman 3 also goes harder on the story, which I liked at first, but I feel that it impacts the gameplay negatively, as it feel like they sometimes prioritize tying the mission into the story over just giving it actually fun objectives. The level in Berlin is so cool, but the targets are soooooo boring. I wish I enjoyed this game more.

"One last tango, 47", Diana Burnwood.

Ainda que possua altos e baixos, todo o caminho trilhado pelo Agente 47 ao longo dos 3 jogos valeu muito a pena, se visualizado o quadro completo.

É notável a evolução do Level Design, com as fases cada vez mais engenhosas e o carinho dos desenvolvedores em trazer o sandbox de furtividade mais impressionante até então. São inúmeras decisões a ser tomadas, rotas, salas, corredores, andares, áreas abertas e cada vez mais possibilidades para chegar no alvo.

Passamos a nos aproximar cada vez mais do frio protagonista, tornando-se agradável aproveitar cada momento em sua companhia, por assim dizer, quase não querendo que as missões finalizem. Foi possível notar um aspecto um pouco mais humano e frágil dessa máquina de matança - lado pouco explorado do 47.

Perfeito? Não diria isto. As práticas predatórias de distribuição e algumas decisões questionáveis quanto a apresentação da história provavelmente afastaram muitos desta experiência, e dou razão, afinal aconteceu o mesmo comigo. No entanto, assim como na grande maioria das fases, em que precisamos de paciência para concluí-las, ao final de toda essa trilha eu posso dizer: valeu a pena continuar e aguardar o desfecho desta série.

Nota Final: 90/100 - "I choose this path because I can", 47 👨🏻‍🦲

Quick thoughts, before I have the time to put out a full review:

- a lot more story driven on first playthrough. multiple levels where there's only one exit (only for the first time you play it!). this isnt new - they did this for colorado in h2016, for one, but its more frequent here.
- story is solid, but makes for a weird experience bc the entire game is the conclusion to a larger story. people picking up 3 without playing the others will absolutely be lost.
- camera can feel kinda gimmicky at times, but i never hate its implementation. its a neat addition and the only time it becomes cumbersome is if you pick up a lot of shit in a single level and need to figure out which of the million rectangles is the camera
- definitely feels like a prototype of a 007 game. in a wild coincidence, IO is working on a 007 project. considering any game in this trilogy would already be the best Bond game we've seen in years, i trust them to make something interesting out of it. the implementation of new gadgets, gameplay interactions, and heavier narrative elements in this entry were all done well and I expect that they'll knock the 007 project out of the park if they apply what they've learned with H6-8.

Mission quality is a bit up and down in this one, which is the case for pretty much the whole trilogy, but I noticed it especially here compared to 2

It’s still excellent. The levels clearly had a ton of thought and time put into them, and I feel like the story was a bit more engaging in this one, especially as it related to the missions themselves.

I am honestly just super happy they were able to get all the missions from the past games into one big package with this one because as a whole if you played them back to back you have one of the best games I’ve ever played. Tonally, it just works so well to have these goofy moments with the serious story and OST. The presentation is very clean. Everything just works, and I think the game is rewarding to come back to and experiment with, but even if you just okayed it through once, I think you’d probably have a great time because the paths are so well thought out that on your way through a mission, you will at least see SOMETHING cool

The best-designed and most creatively freeing stealth game of all time in my opinion. Treating this review as the entire modern Hitman trilogy (as all of the games are contained within Hitman 3), the diversity of weapons, tools, locations, targets, and contracts make this game so immensely replayable for me. At it's core, Hitman is a puzzle game that tasks you to take out your target using whatever tools and restrictions you want. You can try to silently enter a location and eliminate your target without anyone knowing you were there, or on a subsequent playthrough you can bring a rifle and silently pick off your target from a vantage point on the other side of town, and be gone by the time the guards find the spot. To top it off, the most recent major update as of the time of this review added Freelancer, a rogue-like gamemode where you begin with nothing, and kill random targets on the same campaign maps but with different challenges and earnable loot, which is immensely fun as a challenge to yourself once you have mastered the main campaign.

Hitman 3 é a prova cabal de que a trilogia World of Assassination é um dos, que sá o maior clássico moderno do gênero Stealth.

Em Hitman 3, os principais alicerces da gameplay "criados" em Hitman 2016 e evoluídos em Hitman 2 são, não só mantidos nesta edição como também são ampliados, e dão novas formas do jogador de experimentar os mapas aqui propostos. O principal exemplo foi a câmera, introduzida em Hitman 2 era apenas um elemento in game para o modo foto, agora em Hitman 3, ela ganha a capacidade de hackear determinados elementos chaves em algumas missões.

Ao contrário da história confusa de Hitman 1 e da história boa, porém esquecível de Hitman 2 - estas por sua vez servindo apenas como um pano de fundo pra justificar as ações e ambientes ao qual 47 estava inserido - em Hitman 3 a história é, não só extremamente presente e um ponto chave (e muito bom) do jogo, como também é intrínseca ao gameplay e mapas. Todas as missões trazem uma parte da história, não só no começo e no fim como antes, mas no meio das mesmas, o que traz, em uma primeira jogada, o sentimento maior de imprevisibilidade e torna os mapas muito mais orgânicos. Por outro lado, a história mais presente, ao meu ver, tira boa parte da rejogabilidade incrível que todos os mapas anteriores, desde 2016, traziam. Mesmo que, ao meu ver, esse seja o principal e único ponto negativo do jogo, esses são de longe a variedade de mapas/missões mais legais e criativos de toda a franquia. É impressionante ver como a IO Interactive conseguiu misturar elementos de franquias do cinema e da literatura como Bourne, 007, Missão Impossível, Sherlock Holmes e Agatha Christie com o refinado stealth de Hitman!

Falando em mapa, esse é de longe o Hitman mais bonito nesse quesito. Não só pelos gráficos - que sim, são mais bonitos que Hitman 2, mesmo dentro da coletânea World of Assassination - mas a direção de arte de todos, sem exceção, é perfeita. Não teve um único mapa que eu não parei para tirar fotos da paisagem, e graças aos gráficos hiper realistas, tornaram as fotos mais belas e facilmente confundíveis com a realidade.

Outro ponto que ganhou um excelente upgrade em relação aos dois anteriores foi a trilha sonora. Além dela ser excelente e de longe a melhor dos três, a trilha deste jogo servem pra gerar o impacto exato que o jogador deve sentir ao executar certas ações, ou entrar em situações desconfortáveis. Pra mim era comum sentir um levíssimo medo de ser descoberto ao longo dos mapas, pois, tal qual um filme de terror, uma música soturna aumentava de tom conforme o perigo se aproximava do personagem. Em momentos de deslumbre, uma música mais épica era tocada no primeiro plano. E em momentos de ação extrema, músicas mais enérgicas compunham a "cena" perfeitamente. É evidente que a IO se utilizou de artifícios do cinema pra compor o jogo, o que deu ao mesmo uma aura diferente e, de certa forma, delicada ao jogo.

Me repetindo pela terceira vez seguida, Hitman 3 (e os dois jogos anteriores) é sim obrigatório pra todo e qualquer fã de Stealth que exista, não só os veteranos mas os novatos. Ele é não só uma experiência completa dentro do gênero, mas uma aula de como criar mapas que estimulem o jogador a desfrutar os mesmos de formas completamente diferentes. Ao meu ver, esse jogo em específico, é a verdadeira evolução do Stealth tático, e uma breve visão ao o que o gênero poderá propor no futuro.