I made a mod which ported the files from PS4 to PC.
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Ah ok. Didnât know that. Thanks.
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So, while this overall subject might need a different thread, given that itâs about the S6 and its overall campaign, Iâll put it here for now. Thereâs some spoiler material here for those who havenât played it or watched videos, but too much to use the spoiler tags all over the place, so just carefully consider reading this at all if you donât want to be spoiled on the S6. Regarding the canonicity of the S6 mission, hereâs my initial analysis based off of what I know:
I conclude that the S6 campaign can be taken as canon, irrespective of their lack of appearance in the Chongqing database, for the same reason that many ETs, Special Assignment, and Freelancer targets can be: that they are taking place at different times from the events of the main campaign and that we are ultimately supposed to ignore the presence of the main targets. I further submit that the campaign takes place the year prior to the beginning of the Shadow Client storyline. My reasons are thus:
For the Paris target, since we know that the Showstopper mission takes place in the fall of 2019, the S6 Paris mission, mentioned by Diana as taking place in March, cannot be the same mission. I have said in other threads that itâs likely Viktor and Dalia host multiple fashion shows for Sanguine in the museum, likely once, perhaps twice a year, for several years, hence why this mission, Holiday Hoarders and Paris ETs can take place during a fashion show and auction: itâs an earlier show and earlier auction, prior to the one where the owners are the targets.
For the Sapienza target, we know Ether established a lab for Caruso under his Villa after his mother died, and while thereâs differing accounts on whether sheâd been dead one year or two years based on in-game info that I havenât been able to figure out yet, considering the equipment in that lab is portable, it likely did not take long to establish it. So 47 had already infiltrated Carusoâs property the year before to get the S6 target and that aided him later in doing it again.
The Marrakesh target is tricky and Iâll admit it had me for a while. But, itâs likely that Strandbergâs initial arrest after his scandal came out caused a similar riot (and opportunity for Zaydan) as his escape would during the main game, so the S6 target here is attending a different riot brought about from Strandbergâs initial arrest. The opening scenes with him and Zaydan smoking on a rooftop, something that didnât happen in the main game, supports this, that itâs a different but similar situation, that complicated and delayed Providenceâs plans due to Strandberg stealing the money when he wasnât supposed to, delaying Strandbergâs jailbreak and the coup attempt for a year until the main game kicked in.
I donât know enough about whatâs going on in Bangkok during S6, but suffice to say, we are probably supposed to ignore Ken Morganâs presence and assume Jordan and Co. had been there all this time or have done their recording sessions in the hotel numerous times.
Colorado is also tricky, but not considerably. Due to the Patient Zero campaign, we already know 47 visits the militia camp a few weeks before the Freedom Fighters mission, so ICA had known about this place for a while, but not itâs significance. While the S6 target had been seen talking to Sean Rose, itâs not confirmed that heâs already a registered target at this time, as he will be later, and we donât know exactly where they spoke, so that might not even be at the camp, thereby not cluing Diana in to the significance of it the following year when the Nabazov virus and the hunt for the Shadow Client takes 47 there twice more.
And for Hokkaido, Iâm pretty sure we just ignore the presence of Soders, Yuki, and agent smith. Nothing else is happening that interferes with the storyline and I believe 47 has already been here once before for the Hokkaido snow festival mission.
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I donât think theyâre canon as them being canon does diminish the impact of the original paris fashion show, etherâs field lab, the marrakesh coup at the hands of strandberg, the noisy overtaking of the bangkok king suite by jordan and co and the militiaâs military camp. which is fine, not evertyhing needs to fit into a singular story line, as that would make woa overly bloated with things that happened within a very short time
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The elusive targets that are supposedly canon due to being in the Chongqing database already do that. So thereâs no issue there. Throw in Patient Zero, the bonus missions, the special assignments and freelancer, and itâs already lost itâs punch, both for missions that take place before and after the main campaign missions.
The brothers and other unused ets also appear in the Chongqing database so i wouldnt take it as 100 % accurate
And sister yulduz doesnt even appear at all
They even got sophias name wrong
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Thats a good point however i feel like, and this a personal opinion so it doesnt matter to you, that the ets were only put there to fill it up and make 47s kill list woa seem impressive which is stupid, as they shouldve just used targets of previous games
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I donât take that as accurate. But others do, and technically thereâs nothing against their arguments if one considers yearly shows and auctions in Paris, so I merely point that out for those who believe H1 ETs are canon but that the S6 are not. Itâs one or the other, canât pick and choose.
That was Sophiaâs original name and they just forgot to put the edited file in that database, so thatâs more of typo than a canonicity issue.
No, no, thatâs precisely what I believe as well. I donât think any of the ETs are canon (Mark Faba being mentioned in Mendoza is an Easter Egg, not confirmation), but I do believe that all non-ET missions are, and 9 of the escalations that play into the story. As said above, I only point to the database as an example of how it could work.
I personally do want WoA to be filled with as many individual story missions and side-missions as possible, and with the exception of Patient Zero, the Sniper missions, and those specific escalations I mentioned, all the other bonus missions and campaigns, including the S6, I see as taking place in the time between Absolution and Showstopper, and I want as much of it to be able to fit into canon as possible. So, in the case of the S6, Iâve figured out exactly how to do that.
TS6 isnât cannon at all.
In the âTalking HITMANâ video series they released on YouTube in advance of H1âs release, there is a video about The Sarajevo Six. On the topic of how they approached creating the story Torben says something to the effect of âWhat if 47 was aware of who Novikov and Margolis are, but what he is there to do is to eliminate The Director and they are people that just happened to be there at the time. They just fade into the backgroundâ.
Thatâs because The Directorâs briefing video is merely a promo video they released before H1 launched and then they patched it into the game to function as a briefing video in June/July 2016 (they had text only briefings before this). The March line is simply a reference to the gameâs release date.
iirc, the text-only briefing (like Holiday Hoarders) that was in the game at launch for The Director was completely different to that promo video.
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With that level of administrative skills Iâm honestly amazed that the ICA didnât send 47 to kill Dr Lafayette and Roccoâs sister when they wanted him to eliminate Caruso and De Santis.
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Not relevant. What the creators think or intend, if it does not specifically translate into the game itself, does not make it the case. As I already stated above, since each of the S6 targets can be worked into the timeline as taking place at an earlier time than the main game, just like the H1 ETs, it can be considered part of the actual timeline. If you really want to lean into it, that actually does match exactly what that dude was describing anyway. And regardless of what the video was meant to be for, the fact that it was made part of the first briefing in the campaign means it is part of the campaign, itâs original intention being reworked as part of the actual mission. But, say we were to remove that from it, it still doesnât change the mission from being able to be part of the canon by simply taking place at another show put on during a different year.
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tldr - I assume itâs just the usual bs justification for what youâve decided to believe so it must be true. You do you.
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100% disagree. They created it. Not you. But you know more!? 
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And you the same. Always have to argue, always with beatable points. And didnât you mute me before? What happened to that? Letâs go back to that, because you only ever seem interested in arguing any point I make, even if itâs not something that had an argument in it.
Youâre missing what Iâm saying. Creators, of any work, can say whatever they want about their work and what it means or what itâs supposed to be about. But, if what theyâre saying is not actually found or supported by whatâs in the work, if their work actively does not support or even contradicts what they are saying about it, then what they are saying doesnât matter. And in a case such as this one, where the thoughts of the creators on what is happening is neither supported nor directly refuted by whatâs actually in the work, then if someone else can see another way of making it fit that doesnât contradict the work, then it doesnât matter if thatâs what the creators intended or not. If they did not make an explanation explicit within the work, any explanation given outside of it is not necessarily final word.
And yes, fans of a particular work can and often do know more than the creators. Ask any super dedicated Star Wars fan, as just one example, and theyâd give you a run-down on the mythology that George Lucas himself wouldnât even know.
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Well, Star Wars (at this point) is a conglomeration of several creators. Long since past are the days of âLucasâs Creation.â Even before the Disney buyout, Star Wars had official books and comics and shows that were written by other people (And if you know the history, Star Wars was never solely Georgeâs ideas; many things were added and altered for a myriad of reasons during production).
While I agree that any officially released work should be the primary source of canon information, itâs rather asinine to claim that a creatorâs ideas are only valid if they were voiced within a work.
There are dozens of reasons why certain information may not make it into a final work. Time and pacing are often the main culprits. For instance: many films have âDeleted Scenesâ that were cut from the final edit, but were part of the original script. Likewise, there are many scenes in movies that were added during production that werenât in the original script. Are these added scenes âfan-fiction?â Are the deleted scenes no longer canon?
IOI have stated that the ETâs are canon, but most of them did not occur during the Story Missions. I think itâs fairly obvious that the Story Targets were largely unchanged during these missions for convenience (both for IOI and the Players). Imagine how annoying it would be to memorize 50+ new NPC routes for a âone-time-only mission without saves.â
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Itâs funny, when i played for the first time TS6, i thought that a set of missions that had for background story the siege of Sarajevo - which is a real and tragic political event, was so thought-provoking to put it in a game that it was no surprise not to see it back in H2 & H3. No reason why. Correct me if iâm wrong but i donât think there are other missions that directly deal with a real event in a Hitman game, not as real as this one, right?
Legal reasons or political matters, drama ensuing the return of those mercenaries on our to-kill-list aside, iâll be happy to spend some dough to make them again go (it rimes i know).
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I donât want to get into the issue any further because Urben or Norseman are gonna come down on me if I do, but I will say that you at least seem to be at the crossroads of the two points, and have some idea of what Iâm talking about.
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Iâm happy for any new (or renewed) content and the ability to play S6 on PC for a more than reasonable price.
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In fairness I think heâs calling on Barthesâ theory of âthe death of the authorâ - that intention doesnât matter, itâs what people take from art that matters.
And thatâs on top of her not even being an ICA-approved target to begin with.
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