I can agree on the part about the comics you said, but I would prefer the TV Show to be based on the actual lore we had all these years with ties from the games and filling those holes we know. And I think I read in that article that came out that the show would be based on the games, so I am very excited about that a lot, and I really mean a lot.
On the other hand, why would they even change the lore we already know? It is far from a bad written story right? I know there are some time holes, but that can be easily filled with new games and TV show that is coming out.
Is there any information about the TV Show’ cast and dates?
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.
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.
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.
I think what he means is that Contracts is pretty much copy-pasted from Silent Assassin, in which case I agree. It offers almost nothing new in terms of gameplay features, graphically a minor upgrade from H2, no real improvement with the A.I, re-uses most of the missions from H1, and barley moves the story forward a nudge.
Yep, I dislike Contracts. Along with the reasons above, they we’re trying a little too hard to make it dark and I mean literally. Got sick and tried of every level (with the exception of two) taking place at nighttime in the rain.
This is just blatantly untrue. I have taken the time to respond to you in detail, and you continually deflect from my points by jumping to a different one of your own. For example, all of my points about Diana have been about her takedown in the alley and the drop kick – I’ve never mentioned the gun but you keep going back to it. I’ve re-read my previous replies to make sure I was being clear, and I see that I have reminded you several times exactly what my issue with Diana’s portrayal has been so far – not just her action sequences, but also her motivations that are at odds with who she is to become. You’ve been very condescending, accusing me of putting on a show and reinventing history when that just isn’t the case.
Our discussion had been about Diana’s action sequences, and we were discussing her being kickass. The gun panel is included because it’s the panel where she kicks him in the face, and that is what we were talking about. I wonder if maybe you’re trying to focus our conversation about the comic’s problems onto the gun because you don’t know how to respond to my points without agreeing with me. The problems with the comic go far beyond Diana’s action sequences – that is just one of the problems.
This would only be a problem if C47 had explicitly stated that emails is their only means of communication. It’s the only means of communication that we saw in C47, but that doesn’t mean that phones don’t exist in the world of C47 or were not used. This would only be a retcon if the ICA had said in C47 that they only ever communicate with agents via email, and that a phone call is highly unusual and suspect. Then again, 47 had been off book for 2 years at the start of SA, so perhaps he wanted a direct line with Diana so he could get immediate help, instead of sending an email. There are lots of possibilities here. It’s not a contradiction unless it actually contradicts something. The comics do contradict previous lore. Buying some guns and rumours of wealth in the span of 2 years does not retcon anything.
Now this is interesting, and something the fanbase have long wondered about. The hope was even that H6 Prologue could clear some of this up, but interestingly H6 states that nothing was found in Romania at all, so we can assume the ICA do not learn of the whereabouts of the asylum until towards the end of C47. So, at best this is a plot point to be revealed, or at worst, it’s a plot hole they don’t care to fill. But it’s still not a retcon, as it doesn’t contradict anything in previous games.
I do know this, but I still think that the different iterations of the Hitman team did a great job of linking the games together from C47 to BM. Absolution went in a different direction with disastrous results, but the new lore it added did not contradict previous lore. And H6’s Prologue was awesome with some great new info that did not contradict previous lore either. The comic is the only thing that is contradicting events of the previous games.
As I’ve already said, I wouldn’t even have a problem with a retcon if it was decent and was openly a reboot. But the problem is that it’s not supposed to be a reboot, so how can these different versions of the lore exist harmoniously?
Again, where did BM say that Diana was now head of the ICA? When she’s on the phone I remember she says something along the lines of “all our operations are online again” – so she’s not on her own. And Absolution shows her getting promoted to Tetra rank thanks to her services to the ICA, hence why I stated it makes sense that she was instrumental in helping them to rebuild.
Was it stated that Victoria was a clone? Because it’s never said who she is a clone of, or if there are more of her. I thought Absolution stated that she was a genetic experiment, created to rival 47 so the ICA could eventually make their own super assassins. This was all Travis’ pet project – we are told in Absolution that management don’t even know how he is misusing Agency assets, which is why they approve the hit on him and welcome Diana and 47 back to the ICA.
How? His loyalty in Absolution is to Diana, not the ICA. In fact, it’s interesting how his loyalty to her became so steadfast in the years between BM and Absolution. Perhaps because she saved his life in BM when he was at his lowest point? He shoots Diana because it’s a contract he’s been given, and that’s what he does. And yet, before she can even explain her betrayal, he decides he won’t kill her. So, I don’t see why you think he is more loyal to the ICA here than he was in C47 through to BM.
The Saints were terrible, of course. I don’t think anyone would argue that they weren’t. But they still don’t contradict previous lore, because they were another project of Travis’. In fact, we even see ICA management make complaints about The Saints to Travis, and they are clearly uncomfortable with how he runs his division. As dumb as the concept of the Saints was, it doesn’t contradict anything in the lore.
Once again, it’s easy to pick holes in Absolution because it was a terrible story, and most people on the forum know that I have picked holes in Absolution time and time again – and torn it apart. But, as easy as it is to use Absolution to deflect from my points, it doesn’t actually work. Because as bad as Absolution’s story was, it did not contradict the previous games at all. So, still not a retcon of previous events!
Nope. I’m talking about the actual events of the actual games, versus the comic. Any time I have expressed my personal opinion, I have stated it to be my personal opinion. You seem to be saying that if I like the Hitman IP, I’m not allowed to complain about any issues.
Why not? Or do you think that when we play as 47, we are playing through 47’s perspective always? That’s an interesting view, but not one I agree with. When we play as 47, we can play however we want. 47 is the silent assassin, perfect in his execution with a 100% success rate. But that doesn’t mean that a player can’t make 47 fuck up during a level. When 47 dies during a level, he hasn’t actually died. The player and 47 are separate.
In my view, (and I thought this was the same for everyone?) the events of C47 were how they actually were, and the events of Contracts is how 47 remembers them. The levels are purposefully made dark and raining, even though in actuality it was bright and sunny for a lot of them.
Probably, but it was still a fantastic game. I happen to know for a fact that Witcher 3 was a cash-grab as well, but it’s still amazing. I love Contracts. I’m guessing you don’t – and that’s your opinion.
Again, I see no evidence here that states she inherited the top job, or that she reports to the Queen of Denmark. Remember what I said about the ICA being international?
I’m not going over this again. I’ve said it too many times that it’s not about the gun.
I wasn’t suggesting the Queen was a customer – though who knows, maybe she is? But as the ICA have links to major governments across the world, it makes sense for them to keep such governments up to date with their status, particularly as at least the US division has been destroyed by the Franchise at this point in time. If operations are not running, or if they have started running again, it makes sense to inform authorities.
Again, if you can find me some evidence that Diana reporting to the Queen of Denmark as her boss isn’t just your headcanon, that would be interesting. And, even though Diana is in Denmark for the phone call based on the view outside, we are never told who this “majesty” actually is.
I have, in all of my previous replies to you.
Diana’s file is in the Absolution game as well.
Can you explain how that timeline does not make sense?
Never have I claimed that the writing was brilliant and flawless up to now. I have said that the games have not contradicted each other, but the comic contradicts the games. I don’t know why that’s hard for you to understand.
You did, actually. See below:
^ You do not expect the comic to resolve the character of Diana in the comics with the character of Diana in the games. And it wouldn’t even need to go as far as 2019, just up to 1999. As the comic plot is building towards 47’s escape in 1999, it is reasonable to assume they will bring the comics to that point. Unless they decide to change the year of 47’s escape, but that will cause more inconsistencies, even with H6.
I really thought Contracts was brilliant, and I stand by that. You’re free not to like it, but as every level is told as a flashback (except for the last one) while 47 is bleeding out on his hotel floor, it works really well as an insight into his psyche. You clearly disagree, but that doesn’t mean I can’t think Contracts is great. Just like you’re free to enjoy the comic, but that doesn’t mean I’ll think it’s great.
This information does not add anything to the argument, unless you are trying to deflect from my points by again focusing on something else. My argument is the same as it has been from the beginning – the comic is inconsistent with the game lore and characterisation, and the only way to explain this is to call it a reboot. Whether you want to call it a cash-grab or not does not change the original point of the conversation.
Well, it’s okay, everybody is entitled to an opinion mate. I for example think that they have done a great job with making the atmosphere one of the best I ever experienced in a video game, and I like to think that I played a lot of those.
Why should the new bullshit have to make sense when the old bullshit did not? Is it because now you’re older you think about things more or because you don’t want to lift nostalgia goggles?
Put simply: When Eidos bought IO-Interactive they did so because they were trying to own two key video properties and make them into super properties: Tomb Raider and Hitman. So they wanted three things from Hitman, two of which were to come from IO-Interactive:
A “bigger, better” version of Silent Assassin that would have everything that fans could ever want, thus securing it’s place as a super successful video game (Blood Money, which got okay sales but not as many as Silent Assassin)
Product range expansion: A novel (Enemy Within, which got mediocre sales and is largely ignored), a movie and even a (I am not joking) virtual slot machine.
A game to ride on the slipstream of Silent Assassin with the goal of replentishing Eidos’ bank accounts (which were hurting due to buying Tomb Raider and Hitman) and build enthuasism for the upcoming super game. Contracts.
I truly sincerely believe that IO-Interactive did their best to make Contracts a good game, I understand that it has appeal to a vocal portion of the fanbase and think it contained some interesting experiments. But it was ultimately a cash grab at the behest of the studio to try to squeeze money out of the name with minimal creative influence - after all, their writers, concept artists, etc where all supposed to be working on Blood Money first and foremost.
I’m honestly very indifferent to Contracts and generally try to avoid conversations about it on the forum since I don’t enjoy any of the appeal that some other people do.
Things like this are not so much a mark of “hardcore fan” but rather “didn’t lose interest in the games as a result of”. There were plenty of people who jumped ship at Silent Assassin because it was “dumbed down for consoles and ruined Hitman by changing too much”, there were people who jumped ship at Contracts because it “was basically Hitman 2 but with Hitman 1 levels and didn’t change anything” and people who jumped ship at Blood Money because “everything is too easy and its all dumbed down for…”
Generally I go into each game with no set of particular expectations and like to find out what the new game is about. In Contracts it was about very little other than trying to put out a game in a hurry while also working on another game that’s supposed to be bigger and better than anything ever made. But I also understand some people enjoy the dark atmosphere, the particular challenges of levels, etc. Good for them.
This is blatantly untrue as your posts never really contain detail so much as vague and incorrect statements where you either misrepresent things (Absolution is “original lore”), try to speak on behalf of others (The fandom thinks…) or do shit like this:
Which is where you both post material you want to later disavow because it’s pointed out to you it’s a terrible idea for you to claim it and move the goal posts in the hopes nobody will remember what you’re actually replying to. Rather than just make a case.
No the panel where she kicks him in the face is the panel where she kicks him in the face. See how easy it is to crop it?
Why you think it’s so incredible for her to kick a guy in the face is also not explained either other than you only believe in two types of teenage girls: helpless damsels who can’t swing their foot with enough force to hurt someone and super assassins ala Victoria
Well in that case you’re obligated to retract literally every objection you have to the comic:
It’s never been explicitly stated that the file on Diana from the promo trailer of Absolution is accurate or reliable and not simply a fake profile manufactured to misdirect anyone leaking information to the ICA’s enemies, overly ambitious employees (like Travis), etc
It’s never explicitly stated that Diana had never had extensive assassin training herself
It’s never explicitly stated that Ort-Meyer did not partner with Providence (most likely due to finding his business partners resources inadequet)
It’s never explicitly stated that Hitman games have any promise of actual continuity between them
See this is why your grasp of “original lore” is so shaky and lacking in credibility - you have a common inconsistency in approach:
If it’s something you don’t like, then it’s up to someone else to provide infinite evidence while putting up with your smug dismissals because you want it to be canon
If it’s something that you like, then it is up someone else to provide evidence that somehow proves a negative
Thus you want to pretend that Hitman lore is some sacred established text and series of concrete facts when it is largely interpretations of innumerable contradictions - because the property has never focused on hard continuity. The series instead opts to reinvent with every production and reference previous productions as a hat tip to the long time fans.
“the fanbase” huh? Let’s see… I’ve been on this forum since before the game was released and I’ve seen… very little discussion on the topic because it’s pretty much understood Hitman aren’t written to that level of scrutiny. This idea that they’re secretly writing masterpieces has only come up since Absolution was announced and people started desperately trying to convince themselves everything prior to it was flawless and an immensely deep and consistent story.
Despite the fact that literally nobody involved on the games has ever suggested such a thing.
Well let’s see… if you paid attention to the cutscene that I linked to, or paid attention while playing the game and absorbed them, you’ll notice something:
Diana explicitly says to 47 that it’s just her and him left
Diana explicitly survives the events of Blood Money
Diana explicitly states to “your majesty” that “almost all of our resources are back online again” then immediately responds “no I’m afraid he’s not your majesty”
So either Diana was promoted to the head of the ICA by virtue of being the highest ranking manager to survive the war with the Franchise (ie the only one) and was talking to the individual the ICA answered to… or IO-Interactive had some sort of Usual Suspects level twist that they abandoned when Absolution came out (which would make no sense if it’s hardcore on continuity since Greg Nagan was writer on both).
Well let’s see, your timeline should read:
1999 - 47 is released from the Asylum believing that he escaped. 47 somehow manages to get to be tested by the ICA despite starting with no social skills, no connections, no money, no knowledge of anything outside the asylum.
2000: 47 is sent on a series of hits which are first hits for the ICA and also so spectacularly impossible that they secure him a status as a legendary super assassin too amazing for Sergei to believe in without seeing the tapes of him in action… and Diana doesn’t pick up this is odd until 47 is sent to the asylum (at which point she also mysteriously learns that the ICA broke it’s rules a did a bunch of related jobs for a single client)
2000 - 2002: 47 murders the fuck out of the police, a bunch of clones and his creator then wanders out without doing anything to tidy up, so when the police run out of alert timer they just also leave without investigating or cleaning up.
2002:The Mystery Man contacts the big brother of one of 47’s fathers because he has info about the dude that iced his little brother, they recover all the footage from the asylum which is somehow left untouched by not a stench pit due to all the rotting corpses and the ICA goes along with doing a bunch of related jobs for a single client. 47 goes along with it because his priest buddy gets kidnapped and after that 47 just wants to kill for money again… and doesn’t find anything about it suspicious until the second time 17 tries to kill him.
2002-2004: 47 resumes working for the ICA, because them betraying him in two for two instances is fine and he’s decided his littler existential crisis didn’t matter.
2004-2006: A group called the franchise, apparently obsessed with the idea of 47 as a super clone but unaware that literally all of Ort-Meyer’s research is just literally lying for the taking in a basement in Romania starts whittling down the ICA to squeeze on 47. After a failed assassination attempt and another existential crisis in Paris, 47 tells Diana that he doesn’t give a shit and expects to be paid a staggering amount of money to fix his own problem. She tells him its under his seat.
2006: The leader of the Franchise recalls a series of 47’s jobs as part of telling a reporter a bullshit story, during which it is revealed the Franchise had near perfect clones but they had some issues, that 47 never received his staggering amount of money from Diana but apparently didn’t care and that Diana is the last surviving management figure in the ICA (who report to the Queen of Denmark)
? - 2012: 47 goes to work for the ICA… again while they decide that being an assassination agency is for chumps - instead they want to be focused on high profile hit squads in fetishware and building super-weapon clones too. Diana wisely realizes this is bullshit, steals their project and they decide the best person to send after her is the guy they know will be upset about super clone programs and who has worked exclusively with Diana since he joined. Diana deceives everyone, then commissions the assassination of her rival at the ICA.
Both of them continue to work with the ICA who have transformed into bugfuck villains.
2013: The Shadow Client manipulates the ICA into doing a bunch of related jobs for a single client, and Diana and 47 act like this isn’t a thing that just happens all the time. Diana also transforms from a dark haired woman in her twenties to a redhead in her forties in the space of like… a year. A new group, Providence is introduced and a new executive at ICA who was a top assassin himself but is now training/supervising handlers for some reason.
This is without going into any nitpicks about the ICA completely changing their means of communicating with agents, their means of dealing with substandard work, incorrect references (such as Lei Ling’s name and characterization), etc. It’s all the giant clusterfuck because the games were never intended to be a carefully scrutinized saga: They’re meant to be fun assassination games.
“Don’t look so shocked girl, they grew you in a test tube!”
You really need to stop announcing things are “lore” when they’re not even supported by the games and claim things aren’t so when they’re explicitly stated in the games.
Except in Codename 47 we see the ICA has a very simple way for dealing with people who operate in a manner that they are not comfortable with and don’t adhere to their standards regarding a low profile. 47 does it to Jade and Travis at the end of Absolution, and a “cleaner” will do it to 47 if the collateral damage bill goes up too high in Codename 47. That’s explicitly stated by the way.
Complaining is fine, plenty of that to go around on the forum and always will be. What you’re unwilling to do is engage in civil conversation, instead you’re repeatedly using misinformation to misrepresent anyone who challenges your statements.
You don’t have to like the comic, just don’t lie about it or the Hitman titles to date would be a good start. A good way to avoid this is to give a charitable reading of what other people are saying, consider what you want to say in response to that and then scrutinize it the same way you want the comic writers to scrutinize their work.
Because Hitman is not BioShock: Infinite. There are no multiple perspectives of countless 47s all juxtaposed together, there are options the player has and a general mythos that is created to promote the games. This usually contradicts the previous games rules/standards.
For example Silent Assassin, Contracts and Blood Money all had a gameplay mythos that a Silent Assassin (ie 47 and his peers) could get all their jobs done without collateral damage… but the second intro video to Blood Money shows 47 killing innocents left-right-center and stressing he’ll take out anything that gets between him and his target… then the tutorial tells you to go mass murder.
That doesn’t make any fucking sense since he didn’t have a helicopter escape in Plutonium Runs loose, he definitely did not poison the negotiators in Hong Kong and he certainly, absolutely did not just give Lee Hong’s bodyguard a case of the shits to get him to leave.
These aren’t minor details of “memory interpretation” such as if Lee Hong had worn different clothes, been a more or less impressive looking man, whether Lei Ling kissed him kindly, intimately, nervously, etc. These are basic explicitly stated fucking facts about the most important hits 47 had done in his life.
Literally nobody cares beyond the fact that you are saying the comic is terrible because you assume it’s a cash grab (even though that doesn’t add up in any reality) but you think confirmed cash grab Contracts is brilliant (for all the same reasons you don’t like the comic).
Basically your statements are not well substantiated beyond you saying you don’t like the comic (which is fine, I mean, I don’t like Contracts) but you feel the need to keep insisting you are right, cannot be proven wrong and your interpretation is sacrosanct. That’s not what the forum is for.
So you think that from your opinion the lore is already screwed up that its ok to screw it up even more?
I have to agree with eeefaa and his timeline, atleast he tries to patch up the story instead of letting it fall apart further.
I will also try and take your opinion of contracts with a pinch of salt, as I personally really enjoyed it. Both the atmosphere and the re-telling of some of the old missions, this allowed newer players of hitman to experience some of the original story without needing to play the slightly clunky gameplay of the original, as well as get a fresh feeling of the dark undertone of hitman. It didnt feel at all like a cash grab asI truly beleive there was a lot of work that was undertaken to produce contracts.
Well isn’t that because he is shot and maybe in shock? Also he is sedated by the French doctor, so it is reasonable that his mind twisted some events right?
Why do I have the feeling you don’t really like the games and it’'s just like you started playing the series after Absolution.
Me too. I know a lot of people which like the series and Contracts is their favorite. I cannot say it is my favorite, as I like to think that I like all of them the same (Silent Assassin, Contracts and Blood Money more than Codename 47 and Absolution, and HITMAN yet to be rated by me, I need more time ), but it was my first and I have some pretty good memories of it as a kid.
i want to disappoint you but even c47 contradicts to itself. In search of “cash grabbing” devs rearranged certain levels to make the game less boring.
Guys, you are trying to untangle the details of the story that was fubar in the first place. I mean since hc47.
Curse them? I curse people who believe that 47 escaped from asylum and forgot about it existence on the way to it. I curse people who, trying to make a storyline out of the series, don’t even bother to play hc47 or pay attention to the dates of the letters in it. I curse people who believe that 47 was born as a child and waited more than 30 to perform his first hit.
I don’t believe that IO-Interactive has ever considered the lore’s continuity to be important, it’s always run on the Rule of Cool and just because I remember details from earlier games doesn’t mean they’re suddenly obligated to decide “Whoa, there’s a guy on the Internet who liked that line in Silent Assassin. That’s forever sacrosanct now, even though we did contradict it already.”
Particularly since the people claiming they want “continuity” don’t, they want everything to conform to their own internal fan fiction, which often seems to be created in response to what has just been released.
So you’d rather be dishonest about the previous games so you can pretend there’s an objective basis for not liking comic’s being inconsistent with your interpretation? How is that helping anyone exactly?
Facts and reality do not care what you are trying to do. If your primary approach to lore is “I just ignore everything that’s inconvenient to my preferred interpretation” then you can’t really complain about creators doing the exact same thing (only for the benefit of many, many more people)
It felt exactly like a cash grab because it was a cash grab, a lot of players at the time were referring to it as an expansion pack and were wondering if this meant now Eidos owned Hitman that was the end of the game improving - to the extent that Thor Frolich started telling us on the forum about how it would be linked to an Opera level that was going to be in Blood Money and he felt we’d really like it.
Of course there was a lot of work to make it, video games take a lot of work. In 2014 IO-Interactive had about 200 employees, hence why the idea that the comic is a “cash grab” when it’s unlikely to make enough one month’s payroll is frankly ridiculous. Also, there’s a lot of work in the comics too.
This is not even faintly how shock works, if 47 had random memories scrambled every time he was shot and then got medical attention by now he’d think his name was Fart To Heaven and he as a professional Titman.
The “they’re just how he remembers them” was a ridiculous cover for the fact that C47 mechanics were so different to Silent Assassin mechanics that remaking the level demanded a complete redesign. It was no big deal at the time, after all, Silent Assassin had shown a reckless disregard for continuity and people loved it.
The games are meant to be enjoyed individually. So when there’s a conflict between what would make the current game more fun and what would remain “true” to an previous game - they rule in the current game’s favour every time. Because the previous game is already made, it’s done.
Nothing in a future game can ever fix problems in a previous games, but being chained to the problems of a previous game can harm a future game.
I can only assume it’s because you need to pretend that there’s some excuse that you can just disregard everything I say. Sorry to tell you that I started playing the games with the playable demo of Codename 47 - hence why I remember all the bits of lore and the goings on at the time.
I even did the concept art for a “fan design level” project we were doing in between Silent Assassin and Contracts. Thor Frolich liked it.