Remakes are nice, but Hitman 3’s quiet modernisation of old games is better

Hitman is the series that casts you as a master of disguise, changing costumes quicker than Gaga at a Super Bowl halftime show and concealing objects even sharper than her shoulder pads. But there’s a perverse pleasure in channelling stupid sexy Flanders instead, and concealing nothing at all. 

As I step off the veranda into the Palais de Walewska, I look exactly like an assassin. Chasing a ‘Suit Only’ achievement, there’s no getting around the fact I bear a striking resemblance to that bald bloke with the red tie who tends to show up around imminent crime scenes, like Poirot.

But I get away with it, blending into the throng of tonight’s fashion show and walking brazenly into the eyeline of a suspicious security guard. The Assassin’s Creed-style crowd cover carries me unseen to the foot of the catwalk, where models are reflected eerily in the black mirrored runway, as if walking on the surface of a dark lake. Viktor Novikov, the man funding the show and my target, draws close—and I remain practically invisible.

(Image credit: IO Interactive)

Anybody who played Hitman is 2016 will be intimately familiar with the night in question, colloquially known as Paris and officially as The Showstopper. It’s the game’s first mission, and has been playable now for half a decade. But the scene I’ve just described, from the crowd blending to those atmospheric reflections, couldn’t have happened back then. They’re retroactive additions from 2018’s Hitman 2 and January’s Hitman 3 respectively, folded back into the original game.

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