This is because Hitman games don’t focus on glorifying grisly murder sprees - for games ostensibly about killing people, they feature surprisingly little blood and almost no opportunity for sadism.
But the beauty of the reboot trilogy is that IOI has meticulously crafted ways to teach even the most bumbling, haphazard players how to become Agent 47 in mind and body, so they can attempt those veteran-level challenges at their own leisure. The most demanding tasks in Hitman ask that you never be seen, that no body ever be found, and that you never don a disguise.
This is a series with a complexity curve that starts out small and steady and eventually ends up at the rooftop of the world’s largest skyscraper, one you might conveniently nudge someone off if you were trying to complete the new Dubai level’s “accidental kill” challenge. Specifically, they’re about teaching a terrible assassin to become a better one, and eventually a legendary killer. The new Hitman games, starting with developer IO Interactive’s episodic 2016 reboot and culminating with the third and final game in the “World of Assassin” trilogy, are about accessibility.
But that isn’t actually what the Hitman games are about, at least not anymore.
A hairless John Wick, if you will - if John Wick ever used a silenced pistol and actually took the time to stuff his victims’ bodies into conveniently located and inexplicably empty storage closets. To the casual onlooker, the Hitman series appears to be about embodying a master assassin, one who can assume a disguise with ease and dispatch a target using virtually any object in the room.