Hitman: Absolution Preview - preview/review
(hx) 12:16 PM CEST - Jun,08 2011
- Post a comment Both Gamespot and PC Gamer have posted their E3 impressions of Hitman: Absolution. Here's a taster:
The demo begins in a Chicago library. It is clearly a new, high-tech game. Agent 47 – more pumped than I remember him – is hiding behind a bookcase. It’s a gorgeous slice of grotty dilapidation; dusty, old, ruined, but still beautiful. 47′s been chased to the abandoned building by the local police. He’s got to escape. Simple mission. Simple objectives. Hard problem.
But stealth has changed in the time since Hitman: Blood Money. Splinter Cell: Conviction showed that you didn’t have to feel fragile if you kept to the shadows, Batman: Arkham Asylum showed that being fragile doesn’t mean feeling vulnerable. And both those games showed the importance of slick, instinctive control systems that fluidly understand what you want to do and help you achieve it, rather than twisting your fingers into spaghetti as you crouch, aim and hide.
Absolution’s first solution is going to be controversial: a cover system. Agent 47 hides behind the bookshelves, ducking between each slice of protection as the cops move around. It’s the same style cover system we’ve seen in Gears of War, in Splinter Cell: Conviction. The second; a system for showing when and how the guards move called ‘instinct’ – when turned on, you can see a glowing orange path that shows where they’re going. It’s about helping players visualize the space and allowing them to plan ahead.
The next few minutes are spent with Agent 47 ducking and weaving between bookshelves trying to get closer to the roof. He clambers up, and then shuffles along a balustrade, dodges a patrol by hanging from a ledge, and eventually ducks right past two guards as they chat.
Meanwhile, the guards talk. And they really, really talk. One officer is sniping at another, a rookie, teasing him about how he doesn’t really know anything about being a cop. The dialogue is sharp and funny, a real step above gaming’s usual idle chatter. A side-plot is already forming – one in which Hitman can clearly intervene.
He does, brutally. First, he shuts down the power to the library by sabotaging a fuse box. Fat sergeant and rookie wander over. “I know nothing about this,†says the Sergeant. You’re on your own, buddy.“
He then wanders off. 47 picks up an abandoned piece of cabling and sneaks up behind the sergeant. Then stabs him with the sharp end, right in the neck. It’s a gruesome take-down, and in performing it, 47 alerts other cops.
There’s a shoot-out, and during it, Hitman takes a hostage, using a cop as a human shield. 47 ducks back out of a door, and dashes up the stairs, under heavy fire. He finally manages to shake his pursuers by shooting at a chandelier, which falls through the stairwell, smashes at the bottom, and scatters the police. Agent 47 dives through the door to his freedom.
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