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The basic premise you already know (and if you don’t, you’re told before even starting the game): Diana, your ever so faithful handler from previous instalments, goes rogue and it’s your job to go kill her. It’s way more narrative driven than any of the previous games, and that has a natural effect on where you go, and what you do when you get there.
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Start to look at it as a whole product though, and you can’t help but feel as emotionally detached as the people you end up killing. To be honest, Absolution is a bit of a weird game in general – if you take various components individually, there are a lot of fun and unique elements to the game. I’m sure IO would argue that there’s less space, but more detail, but almost from the off fans of the original games may be disappointed by the onset of ‘modern’ gaming. Settings and locales have been scaled down, levels are broken up into stages and sections, some of which involve you simply going from A to B, others that involve you killing someone, and it gives off a very compartmentalised feel to everything. It’s weird watching game worlds get smaller as technology gets better: it’s no surprise that early footage of Hitman: Absolution showed a game that was more linear and ‘corridor’-like than previous iterations, as the reality isn’t so far from the truth.