Not necessarily, because the stories you make up in your head are always entertaining to you - there is no guarantee they are interesting to anyone else. This is why writing is a craft and people go to school and practice for years to make commercially viable stories, and other people write fan fiction that very few people read.
That and your memory will always favor your imagination if it has no evidence to the contrary, unless presented with hard evidence - which is why so many think that they could write better stories, draw better pics, make better games, etc. But honestly if it was that easy they’d be doing it and getting praise, support, etc. Reality is, it’s all actually very hard and there’s a lot to consider.
I like this video because if you watch you can see the interviewees contradict each other and at 02:43 one of them says that the early games didn’t have much story “just cool”. Then later talk about how they had to make everything new for Blood Money.
Basically if you like what these guys are saying then you should be “defending this new bullshit” because the difference is the period in time.
Because instead of taking the time to post a clear statement with actual arguments you’ve just been posting images with snarky comments. As I am not a mind reader, I am required to interpret these incomplete statements. Believe it or not, this is why the Forum Guidelines encourage you to follow good discussion protocols.
You posted the panel with the gun and a snarky comment without clarification, the only reasonable interpretation is you believe that a teenager holding a gun is unbelievably badass in a story about a super assassin clone who can kill small armies on his own.
They absolutely do contradict each other. The games have always shown a reckless disregard for lore and continuity. A vague timeline of events does not constitute continuity or consistency.
Some key examples from the start of Silent Assassin:
- 47 and Diana converse familiarly over the voice comms, when C47 clearly established they never do any such thing - the ICA communicates in encrypted emails. So 47 digging out his old rig, should have only been able to lodge encrypted emails.
- Diana starts by asking if 47 can pay the ICA and “rumour has it your fabulously wealthly” when at the end of C47 his bank balance is, at best, hardly anything that would impress her or that anyone familiar with what wealth actually is
- 47 suddenly has a signature set of Silverballers that he dual wields, which was explicitly difficult to arrange in C47 and only possible on certain levels… and they were correctly called AMT Hardballers, not Silverballers.
On top of that it starts with a cutscene that suggests after the police raided the asylum they just left it exactly as they found it, didn’t investigate anything, didn’t try to find or confiscate the surveillance tapes even though 47 apparently killed a shit ton of them in many terrible ways.
If you applied the same standards of continuity between C47 and Silent Assassin as you do to this comic and what you call “original lore” then the only possible conclusion is that Silent Assassin is a disastrous cash grab by people who don’t care about the lore - only you don’t want to say that since you’ve already assimilated the bits you like into the “original lore” and you (presumably) know that the two games are created by the same people. (Which should tell you they don’t care about continuity)
They absolutely do, all you have to do to see this is be actually willing to scrutinize it by the same standards you scrutinize the comics. All you need to do is lift up the nostalgia googles and actually look at it.
Except where Diana has been demoted down in the ICA, rather than being the head of it. Making fully functional super clones is now not really that big a deal, provided you link them to a radioactive USB drive. 47 is apparently loyal to the ICA on some level that completely contradicts C47 through to Blood Money, the ICA that would eliminate agents for being too messy has the Saints as an elite hit squad, etc, etc
What you actually mean is your preferred interpretation, which is a very personal thing as it is a creation hinging on what parts of the property have resonated with your tastes, personal experiences, etc. Creators are no more obligated to follow your personal interpretation than you are to send them money for things they haven’t considered creating yet.
If you want IO-Interactive to make Hitman games, comics, etc just for you then the polite thing to do is to offer to cover the costs of doing so. Personally.
They don’t hold up period, They are not subtle differences or differences in interpretation ala Rashamon, this is 47’s perspective and then his perspective again less than a few years later. Entirely layouts and series of events are completely different and were such because they were older levels retconned to be compatible with the Silent Assassin gameplay elements.
Why’d they do that? It wasn’t to rehash the story for people who just joined, because they didn’t do that and they didn’t even try to include the jungle levels - they went with them because the concept was already pre-made and it meant they could recycle a lot of assets.
Contracts was not a carefully crafted storytelling masterpiece, it was a product rushed out at the behest of Eidos Interactive after they bought the studio then realized they’d over estimated their capital and needed cash quick with no regard for the lore. Essentially everything you insist this comic must be because you don’t like it.
Follow up with a call with “your majesty” in a fancy office overlooking Copenhagen and it seems pretty clear that yes, Diana did inherit the top job and that yes, the ICA does report to the Queen of Denmark. Certainly to a greater degree than anything you’ve claimed is improbably about a teenager holding a gun.
She doesn’t talk to the Queen as a customer, she speaks as a subordinate advising their boss of the progress they’ve made reestablishing the ICA’s resources and then trying to find 47. She has Diana’s direct line and doesn’t need to introduce herself.
This is literally the only thing that can be confirmed true at this stage. You keep repeating things like “cheap tropes instead of good characterisation” but are unable to contribute anything further beyond it, and when you do you refer to promo trailers for Absolution as “original lore” and incorrectly state there are no contradictions in the games from C47 to Absolution because you made a half-arsed time line that doesn’t even make sense.
If you had half as good knowledge and understanding as you posture that you do, we could be having an interesting conversation rather than you rehashing the same nonsense over and over with insistence that the writing was somehow brilliant and flawless right up until now.
Which makes no sense considering that if you read the Codename 47 credits, the writers are “external” and after the testers and the “more food” credit. Neither Morten Iversen, nor Peter Gjellerup Koch went on to be celebrated writers for anything else.
I did no such thing.
Again, paying attention to what is actually there vs what is your preferred interpretation works wonders.
From the moment the Silent Assassin fires up ti becomes clear that Hitman is not going to be a property built on consistent and complex lore, but one built on the rule of cool and whatever works for the individual project/property. That is perhaps the most important thing to take away from the series “lore”.
Then you should be angry as fuck that Contracts exists, not reinventing it as some sort of brilliant insight into 47’s character now that it’s been long enough nobody remembers the real reason it was made.
Let me give you a crash course in why this is an absurd stance and one that doesn’t hold up under the slightest scrutiny. For starters, comics don’t ship fuck all units compared to to video games. These are the top sales for physical comics in the month of October 2017 as reported by Diamond (who know these figures because they have a literally monopoly):
Right off the bat you may notice that a Batman comic sells about as many units as a fairly successful indy game at about one fifth the price, and that’s apparently as good as it gets for comics. Hence why DC makes so many fucking Batman comics every month.
Nobody knows digital shipping 'cause Comixology are assholes but they do provide a handy “best sellers” page which lists Hitman as #201. So let’s be generous and say they sell ten times as many units digitally as physically, then see what’s #201 in physical.
Now, if we assume the public gets 70% (pretty standard split for retailing online) and 20% is overheads, that means 50% to split between IO-Interactive and Dynamite Entertainment (assuming an equal arrangement) so that’s (86,600 x $3.99) * 0.25 = $86,383.50 per month.
That seems like a massive amount right, I mean that means the comic makes (if these remain constant, which they won’t) $518,301 for IO Interactive. A staggering amount of cash right? Not really, because IO-Interactive will have at least 100 employees, but office rent, electricity, data, etc… so realistically that best case scenario sales of the comic add up to maybe keeping the studio going for an additional three months.
This is why Square Enix really wanted them to ship 10 million units of a $60 game, because making games is fucking expensive due to requiring for so many staff, resources, licenses etc.
This is also why comic companies want you to buy a t-shirt, an action figure, a prop, a figurine, a rare variant edition, and literally any other fucking merchandise they can push:
So before you resume arrogantly announcing that because you say it, it must be true: Consider that perhaps that if the creators haven’t perfectly read your mind and made a comic exclusively for you that it doesn’t mean that a teenager holding a gun should be unrealistic, that everyone should assume that the cash-grab we know as Contracts was a flawless masterpiece or that somehow the only options are either perfectly in agreement with your personal interpretation or be a cash grab with no connection to source material.