The Fall & Rise of Hitman (Documentary)


(keyboard clicks) (dramatic music) – Oh, there you are, welcome
to Copenhagen, Denmark. Our target this time is an illusive one. Despite being one of the
most storied developers in all of Europe, we
know very little about what goes on at IO Interactive, which is especially unfortunate
considering, recent events. IO Interactive, the creators of Hitman, almost disappeared from existence when their parent company Square Enix, decided to sell them off in 2017. And so not only would we have lost one of the most creative
studios in Europe, but the story of how the
company got to that point. Our mission here is to
find out what goes on at IO Interactive.
their corporate culture, how they survived being dumped
by their parent company, and ultimately, they brought Agent 47 (gun fires)
back from the dead. In this multi-part series
we’re going to dive headfirst into the design of Hitman
and explain how the team forged each location and the simulations that bring them to life. But in today’s episode we’re going to try and answer many of the lingering questions surrounding the studios
turbulent recent past. How the break up with
Square Enix went down, how the decision to make
Hitman 2016 episodic caused them massive financial strain, and how much of the team that created perhaps the least well
remembered Hitman game, went on to create the greatest one. Very well then, I’ll leave you to prepare. – I vividly recall the
first day I went to work and I, you know, that experience you get walking in the door and going, hey, I’m actually working here. And I had that feeling, back in the old office
we had this staircase, spiral staircase in the
middle of everything and I caught myself even years after going up that staircase and
going, hey, I work here. So it was, you know, to come from Denmark it’s a remarkable place to
work and obviously well known for Hitman and the Hitman
series, absolutely. Well there was a certain thing with the vibe of Silent Assassin which was mainly around I think characterization and the feel of it felt larger than life to me sometimes or the way that 47 sort of
came to life as a character, to me back then, was pretty significant. And I think many of my sort
of in game gameplay moments, a lot of them seem to go back
to Blood Money for me a lot. I recall the Mardi Gras level but this was just purely
from a visual perspective going like, what the
hell is going on here? It was to me, back then,
mind boggling to look at. – [Danny] Christian is typical of many of the leads at
IO Interactive today. He came on after the
launch of Blood Money, a game that was released
13 years ago in 2006. Given the age of this franchise, perhaps it shouldn’t be a surprise that there are only a handful
of people at the studio who worked on Blood Money. Even fewer who touched
Contracts or Hitman 2. And not a single person who worked on the studio’s original title;
2000’s Hitman: Codename 47. By the time Christian
had joined the studio it was a very different place
than the scrappy upstart that had created some of the best stealth-action games ever made. The company was bought by
Eidos Interactive in 2004, had grown substantially in headcount, and was developing
multiple projects at once. Including, a next generation Hitman game. – Yeah, so my first Hitman game was actually Hitman: Absolution. Which is obviously a game that is for the fans been a hot topic. Like, what kind of game is it? There’s typically this
interesting conversation saying it’s a solid game but
it’s not a Hitman game and all these things. And I recall back then sort of the mission briefing if you will of what we were trying to achieve was to make Hitman very playable because up until that point stuff like basic controls
of the character, getting the camera, getting combat, stealth action, all that stuff, to really just feel like you
could pick up and play the game like you would pick up and
play any other console game and then I think the deeper AI. So some of the stuff that
happens in Absolution where the AI actually spots
you, it has full voice to actually reflect back
to you what’s going on, which is obviously a key
component of the gameplay in a Hitman game. – It was one of these, you
know, how to not do things. Where you have crazy
ambition for the next Hitman which was to top Blood
Money which, you know, it was kind of the
pinnacle a really good game and it think after four Hitman games. I think the creators there were maybe thinking to
mix things a bit up. It was also there were,
IO was doing other things like Mini Ninjas, some of the people have been there a long time
and have got kids at that point and they wanted to do something
else than killing, I guess. – [Danny] And then Kane and Lynch. – Yeah, so some people
wanted to kill more, I guess. So different sides were emerging, right and back when Absolution’s
original concepts were kind of formed it was the hay days of Max Payne and Gears
of War kind of things and that’s where the trend was going and that’s what the
creatives wanted back then. And that might’ve worked pretty well if the technology was ready. A lot of content creators were sitting and waiting for technology,
technology wasn’t ready, a lot of frustrations, a
lot of finger pointing, it was really a tough time. It took seven years to do Absolution. It meant the industry had moved
on to more open games again where as the formula, the
main ingredient of Hitman, open levels, freedom of choice, that became kind of the thing again. The game for the longest time was done as a linear cinematic experience and when we had to midst
of the project change that. – [Danny] IO Interactive were always known for their impressive technology. The original Hitman was
among the first games to have realistic physics simulations. And the core of this technology was the studios in-house engine, Glacier. Hakan had began at the
studio working on Glacier but now found himself taking over as executive producer on Absolution. But initial demos of the
game at E3 had not gone well. The game was originally much
more linear and story driven. It wasn’t the Hitman game
that fans were expecting. – We got a lot of heat for,
this doesn’t feel like Hitman, this is too linear and action packed. We did a lot, opened
up a lot of locations, put in targets in there
because there were no targets, you were only killing targets
in cutscenes, not in the game. – One of the biggest learnings for me personally out
of Absolution was that if you really want a Hitman experience it has to be about the player and his relationship to the target. And the nature of how
you take out the target needs to be on your terms. It can never either be
too scripted in-game or even worse it cannot
happen in a cinematic or in some way where you’re disengaged or where you don’t feel like you laid all the pieces of the puzzle and now this is your final sort of act, that is the fascination of the game. – We didn’t feel right
at that point either so it was a complete crunch, it was a bit of a monster to deal with to try to get Hitman back into Hitman, all consuming crunch for two years. At that point in my
professional life as well I was relentless, everybody knew to crunch. I remember I lived in Malmo, that’s just 30 kilometers away so it sound like, you know,
in Sweden, another country, but it’s just a bridge and you drive under the water in a tunnel and there are these lights in the tunnel that are just repeat in this
same frequence when you drive and all of a sudden, this was when the pinnacle of stress was hitting me, all of a sudden the lights
were swirling like this, right, and I had to actually stop
the car and take a minute because I couldn’t focus anymore. And I did drive a lot of people
around me extremely hard. Also, that was a learning
experience, right, we make the game, extremely proud of it, the massive costs it took it didn’t recoup well enough in time. That was also maybe mission impossible. – Some of that stuff was, the fundamentals were
made in Absolution so, again, when we then started
thinking about Hitman 2016 and sort of the new, bringing
Hitman, the sandbox game that everyone knows and loves,
we were bringing that back, one of the components was to say, it needs to learn from Blood Money and it needs to take the best
parts of Hitman: Absolution and bring those together in a new game, in a new format if you will. (dramatic music) – [Danny] The studio didn’t
know what to do for a while. Eidos had since been
acquired by Square-Enix and so IO Interactive’s new
masters were based out of Tokyo. The studio has scaled up
over the seven year time it took to make Absolution, and while eventually the
game reviewed favorably, it just didn’t sell enough. The company went through
a round of layoffs, a new project was canceled, and the previous studio head quit. Hakan became Studio Production Director and the team focused on their next goal. The game that fans were craving, a worthy successor to Hitman: Blood Money. – We wanted to build the
best Hitman game ever built, and I know that you can
say that as a cliche, but that’s what we wanted to do and we wanted to do it
in a way where we said, we have a fundamentally
really good game in Absolution with the caveat that it’s lacking essence, essential parts of what
makes a great Hitman game, and then we had our legacy with Blood Money and the prior games and we felt that if we
can combine these elements into the right recipe then we will have what
will definitively be said, this is the best. That was our humble goal. It felt extremely daunting at the time because I have, how to put it, we had not built a sandbox in 10 years and all the tooling, all the
everything that went into that was in the previous engine,
the Glacier 1 engine, so we had to invent and
reinvent a lot of stuff. – [Danny] Hitman has always
been a community focused game. With players on forums
sharing their strategies, doing speedruns and
creating custom targets. To serve this need the team
had created an online mode in Absolution called Contracts where players could set custom targets and share them online. But much to IO’s surprise, a full year after the
release of Absolution, a year in which they had
done no post-launch support, the game’s contracts
mode was still pulling in around 50,000 players every day. Hardcore Hitman fans loved exploring the depth of each level. So what if they made the
next Hitman a foundation that they could expand on.? Instead of re-building
the tech for every game, they’d create a platform,
what they referred to publicly as the World of Assassination was internally known as the
Netflix of Assassination. Using this platform they’d
release levels like episodes. So while the players explored
the depth of one level, the team could work on new ones. And perhaps by launching
with just a few levels, at a lower price point they could get more
players through the door. Creating more positive word
of mouth about this new Hitman that might correct the
franchise’s image problem. They’d also sell a $60
version for super-fans who just wanted to buy into
the entire first season anyway while making the system always online would allow them to add new
targets and game modes for free. So, less of a game, and more of a service. A radical idea at the time, and one that Hakan hoped
players would embrace. – So the decision was at the
end let’s go full Netflix and the strategy was this, I’m gonna be absolutely honest about this, was that, okay we’ve got our
start with a starter pack, like a low entry point. Let’s do kind of Trojan Horse strategy. Let’s get high volumes of people
paying less than 60 bucks, high volumes, we’re confident
we have an amazing game that will convert a big portion of these once they get a taste
because the entry point is lower than 60 bucks. Once they get a taste
of it they will convert so it will be higher volumes
of Hitman sold than otherwise of having 60 bucks as the entry point. So a lot of this controversy started when we would talk about this
business model, what is this? I’m used to consuming Hitman in this way. What is this, is this a scam? Like, are we paying, is this
Early Access hidden, you know, don’t they have a publisher,
and stuff like that. A lot of, you know, always
online, what the hell? – [Danny] Did you get a lot
of those $15 people though, did you get a lot of like–
– That’s the thing. So, we didn’t, so the
strategy completely failed. It was completely opposite. So we had a high number, not high enough, lower than if it was a boxed
product or the whole game, a high number, like 80% of
people who bought the game was people paying 60 bucks for one episode and trusting us, even whilst
they probably were bitching, trusting us that this is gonna be amazing because it’s IO and it’s Hitman. So 80%, we estimated that 80%
would be the low entry point but the volumes would
be higher, much higher, and there would only be 20%
of those paying 60 bucks. But the percentage was, the
distribution was opposite, it was 80% full price
and 20% only coming in. – [Danny] And was that 80% less than what you
would’ve wanted as well? – Well the volumes were
much smaller, right, the strategy did not work, much smaller, and this is where the first
nervousness of Square Enix, and we had like Hitman
2 in production as well, massive investment in building
a whole digital platform. We had something else in the works as well and the team, the studio
was 180 people and we were, had a historical catastrophic
start, commercially. – [Danny] Reviews were
strong, players were saying it may be the best Hitman
game they had ever made. But it still wasn’t selling. While in the background the
studio was still working on it, adding new maps, new Elusive Targets, and more ways of playing the game. The hope was that with each new level, more players would be converted. And that by the end of
the game’s first season, once the final version was available, they’d see a flood of new players. But the constant work was
starting to take its toll. – The challenge was that we had Bangkok, Colorado, and Hokkaido to finish so I think you had a quite large team, some people were very tired, right, I mean, the massive effort
of rebooting a franchise, reimagining a franchise and
the effort that Paris was, I mean, it was, yeah, insane the years of
work that went into that and just pulling off
that level of complexity. That was the hard part,
was just like, okay, the pride of having
successfully rebooted this IP but then we just had these massive maps that we had to finish. – The next episode was Sapienza, this is where things started to turn, where people were like, ah. That there were a lot of people saying, I acknowledge it’s
amazing but I’m gonna wait til the game is complete. So there was always light
at the end of the tunnel but there was always like
a, oh, shoot, they got away, and the industry was
changing as well, right. These price promotions and
the half, you know, (snaps) games were coming onto
lower prices much faster, consumers were like,
yeah, I’m just gonna wait, I’m gonna buy the game at
half price when it’s complete. Every week there was something and this was also one of the promises. Every single week we would
have something for the fans. Every week there will be something. Challenges, escalation
missions, Elusive Target, a new, bigger drop locations,
something every week. – [Danny] When Season
One of Hitman finished the game had six large levels,
dozens of Elusive Targets, new game modes, and even full remixes of many of the destinations. But there was still market confusion. Players weren’t sure
what Season One meant. Was the game not finished
until the end of season two? And despite rave reviews,
the initial skepticism of the release strategy
hadn’t really worn off. And so the boxed copy of Hitman 2016 didn’t meet Square-Enix’s
sales expectations. So a new strategy was put in place. To create a full sequel to Hitman 2016 that would fix these problems. To utilize the talented, experienced team to add new gameplay features, online modes and even more impressive levels. Around this time Hakan was
promoted to studio head, but almost immediately,
the bad news followed him. – I didn’t even have my
first, what do you say, first 100 days or 90
days or whatever you say before I had the
conference call with Japan and the message that
they wanted to divest, that this couldn’t continue. Because, and this is a long story, there are things that I don’t know, decisions, discussions with shareholders, the background for
completely, the full picture, I wouldn’t know that but I know there’s it’s announced now, the Marvel
games with Crystal Dynamics and Eidos Montreal, I knew there was so many big investments in those projects so I guess commercial slow start and after the disc as well
it didn’t benchmark like that and the running costs,
I guess there was a, that was a big part of the
decision to cut some of the costs and focus on the huge investment in ambitious projects they had between Crystal Dynamics
and Eidos Montreal with the Marvel projects. It was a tough message to get. – That was kind of a crazy time, yeah, ’cause had just ramped up a lot, we were like a lot of
people, new direction, Blue Ocean, let’s do all
these insane things and like, let’s work on these features
that we never got to do before but now we may have the people
and the bandwidth to do it. I was working on Patient Zero at the time which is like the Game of the Year and we had finished doing
the free starter pack as far as I remember, we
did a rework of the Yacht, and I was also pregnant at the time so it was like extra exciting. (laughs) I was actually sitting
working and everyone was like, they stopped working around me and I thought they were very noisy and I actually ordered noise
canceling headphones from IT. I was like, why are people so noisy today. And then someone came down and was like, “are you guys okay?” I was like, “yeah, I think it’s
a little noisy but I’m fine, “what’s happening?” and she’s
like, “oh, you don’t know?” And Lasse was sitting next to me like, how can you not know, it’s
everywhere on the news, like it’s all over. And then from that moment people just started playing board games and they just stopped working. We were like a few people who were like, I’m just gonna keep working ’cause I’m not sure what
else to do, this is so weird. – I was in the US and I’d just
been on a road trip in Utah in like Valley of the Gods
without internet for four days and I was like, you know that
feeling where you’re like, oh, what if something crazy’s gonna happen ’cause I’m not on the internet. (laughs) Then we got back to my
friend’s place and then like my phone logged onto their WiFi and like this message popped in from my ex boyfriend
actually and he was like, this Kotaku article is saying
Square Enix dumps IO Interactive and he was like, is this gonna affect you? And I was like, and it was like midnight, we’d been driving all
day and I was like, shit! Oh my god, and I knew it
was like morning in Denmark so I wrote Mette from, who
is a level designer here, I was like, Mette, are you at work, what the hell is going on? – HR were really good at
very quickly catching it and going, okay, now
we’re gonna talk about what’s going to happen
and what the procedure is and talking with unions
and all that stuff, like now we’re gonna, what are the rules? ‘Cause we have very
specific rules in Denmark when you fire more than, I think it’s 40%, it’s a mass firing and then
specific things have to happen in a very specific order. – [Danny] At what stage did you realize that you weren’t one of the
people who was gonna get let go? – That was when I didn’t get an email, like we would get an
email if you got fired at a specific point so were
just sitting and updating. – In the office or at home?
– In the office. Yeah, yeah, and then people just started getting up and leaving, like
that was, ugh, excruciating. – [Danny] What was it like the next, so it was all one day that happened? – It was that one, yeah. – [Danny] What was the next day like when there was all this space. – Weird and uncomfortable. We managed to find the bright side of it and plus all our co workers
had like a pretty sweet deal, they just had like four
months off, full pay. Square was super cool
also in the break up, I was very surprised
at how they handled it, very, very cool in the process. So they were just like, on Facebook sitting drinking beer, hanging out, and they all got job
offers and jobs really fast so that’s the weird
part of this ecosystem, that when a big company dies tons of small companies are
born that make amazing things. So a part of me couldn’t help
being a little bit excited on their behalves as well, they’re gonna go out there
and do really cool stuff too. It wasn’t like all bad, it was more of the fact that you realized, I’m not gonna see this
person again every day, that was the hard part I think. – [Danny] IO Interactive
was close to 200 employees before 40% of the workforce was let go, A time they amusingly refer to as SQEXIT. From talking to people at the
studio it sounds like most, if not all, of those affected managed to find jobs in the area. Either at Unity down the road, Massive across the bridge in Malmo, or somewhere else close by. The other thing that stood out to me from our time at the studio was how much respect the remaining staff seemed to have for Square Enix. A few months prior to the breakup we had actually interviewed
Square Enix CEO Matsuda-san for our documentary on Final Fantasy XIV. and even then he talked
about how much of a fan of the Hitman franchise he was. But away from the media both
Square Enix and IO’s management were trying to find a
new home for the studio, and the Hitman IP. But instead of selling
off to the highest bidder, rather decently, Square-Enix
ensured that any deal was to be a three-way negotiation between all concerned parties. – There are some other companies that both Square Enix and
we were not interested in. In all this process Square Enix have been absolutely genuine, real,
empathetic, reasonable. Because I was pouring my
heart out in terms of like, give us this chance to
define our own destiny, we know our franchise
best, we believe in this. So the scenario of an
MBO, management buyout, became a scenario we were discussing. We ended up doing an MBO
and bought the company and took over and have the full control, own the company and have the, and we got Freedom Fighters
and Hitman with us. Mini Ninjas and Kane and Lynch was done while it was with Square
Enix so that’s with them, that’s an IP thing, but it wasn’t easy because I knew taking over
the cash flow was low, super hard decisions needed
to be made which I had to do and I went through with that, I mean, almost half the studio we had to let go, we went through a huge restructuring closing down some of
these other activities just focusing on Hitman, focusing on the future of
Hitman, Hitman 2 as well. – Yeah, that was just like,
well what are we gonna do now? ‘Cause we just lost,
well not only colleagues, we lost friends, and we’re like, these people were super
important in our process and we know the work they
had done, amazing work on previous Hitmans so we were just like, how are we ever going to make
something as good as 2016 ever again, like that’s not even possible. – [Danny] Square Enix still retains a financial stake in IO Interactive, but that’s where their
involvement begins and ends. The deal made it possible for the managers to buy their own company and regain control over its future. But the future seemed short. Even with mass layoffs, the company had a huge cash-flow problem. Not only that, but the
Hitman they envisaged was larger in scale
than the original reboot and impossible to create with what now remained of their staff. Around this time only a quarter
of the game was complete. – So we did do a lot of
descoping on the feature side. The original dream of systemics that would contribute to
replay, we reevaluated that. And on the location and mission side a lot of foundational work
had already been done. – I think you can tell that by the time we started building Hitman 2 it was not a question about
how do we build the sandbox, we felt that after Hitman
2016 we had succeeded, people play it and, you
know, wow, we did it. It felt like we really
got to mix the parts of, there’s some vintage Blood Money stuff with some really playable
Absolution game mechanics and something new to create 2016 but then we could then start jamming and figuring out new things like, hey, what if you can’t even find
your target in the beginning? Which to us, I don’t think we
would’ve dared pull that off in the previous outing but experimenting with
game mechanics like that, there’s a lot of things
where we just said, why not go for something new? – We did change the
scope for the other maps. When we had SQEXIT we were planning on five locations actually,
five large locations, and that changed after
SQEXIT where we looked at six and then thought we could go for small to medium maps if you will. Small with New Zealand,
even though real estate wise it’s the largest map we’ve ever made. With Vermont we decided to do an homage to a New Life of course which
most people picked up on. With Vermont it was really like, okay, we don’t have much time. We have a few people who are very clever and who we trust very much, we wanna focus on modularity
and systemics, go. (laughs) Blood Money, go. – [Danny] The time was
ticking on the studio and the staff could feel it. Hakan told us that he learned
his lesson about crunch during the Absolution days,
and the seven years since the studio has never
entered a phase of crunch. But he also admits that
the general level of fear and uncertainty at this time made it so that people were pushing a lot harder than they should have been. At least time time they
had an ace in their sleeve, the platform. All the work that had gone into creating the World of Assassination
meant that the team could roll out new levels much faster than a traditional sequel. While the general stability of the engine made it so that they were able to add new features to the game, while retrofitting many of
them into the older levels. Even with the more focused
scope of this sequel, the company was running out of cash fast. And while Hitman 2016 had reviewed well, turned around public
opinion on the franchise, and has been incredibly
well received by fans, the reason they were in this
situation in the first place was because it simply didn’t sell. Hakan’s strategy of creating
a low entry price point to get people through
the door hadn’t worked But there one more card they could play. The ultimate low entry point, nothing. – So we made the start of
the game free, the tutorial, and we had 1.8 million
players 1st of April. So shortly after end of
June we went from 1.8 to 5.6 million users. And a lot of them were
converting and buying the game so we expected this but it went like this. – [Danny] This cashflow
allowed them to focus on creating a Game of the
Year edition of Hitman 2016. But it didn’t feel like enough
to pack in all of the content they created for Season One so the team created an
entirely new bonus campaign, Patient Zero, with remixed
the original levels and added new targets. – Then we did the Christmas mission, taking Paris, redressing
it as in Christmas time, having a Home Alone
kind of mission in there where you could take on the
Santa Claus and teleport around and gave like free for a
week and then you can upgrade to the full experience and
what not and it just grew. – [Danny] Something had changed. The game was now selling. It had a vocal community telling their friends to pick it up. And while the team had worked hard to add content to the game all
the way through Season One, they felt like they had much
more wind in their sails now, and crucially, much more
cash coming through the door to help fund the development of Hitman 2. So what exactly was different? Had the team finally gotten enough players to talk about the game? Had they changed public
opinion on the franchise? Had games like Destiny and Warframe finally brought mainstream acceptance of the games-as-a-service model? Or was it something else? Had the near-death of IO Interactive suddenly activated a community of players who wanted to support the studio, to show their love for the franchise, and to give this new Hitman a shot? This influx of new players not only helped keep the studio afloat, but it showed prospective
business partners that there was an
audience for these games. Soon after they secured additional funding by signing a deal with Warner
to help publish Hitman 2. Creating a sequel on such a small timeline would have been impossible
for many studios, but not only were they well versed in the game they had created, but crucially, for the first time ever, the technology was already there. This World of Assassination
platform may not have worked as a selling point for players. But this platform, this single executable, helped them build new maps
and plug in new missions much quicker than before. Hitman 2 was developed
by a team cut in half, in around one year and nine months. – We released Hitman 2 back when went independent
and on cash flow, it was so far away but getting
there was an amazing feeling and Hitman is a trilogy,
there’s a bright future, there’s this fully realization of the whole World of Assassination that we are looking
towards as well of doing that the journey since
2013 to complete that and overarching spy
story to complete that. And the World of Assassination,
when that’s complete, it’s gonna be one game
with all the locations starting from Paris in Hitman 1 to the last location in Hitman 3, where it’s 20 plus locations. So the ultimate globetrotting experience that we wanted to achieve. – The beautiful thing of mastery is as long as creatively you
can keep sparking new ideas then I don’t think the team
will ever run out of new and crazy ways of playing with the idea of a target in a sandbox,
if you know what I mean. And I don’t think the formula
will grow old if you will, I also think that’s
why we can look back on 20 years of Hitman and
say, well, on some level the essence, the nucleus of
Hitman is still the same. Little bit like, I don’t
know, pick your sport, soccer, football, you know, whatever, it’s the same but you
can enjoy it every time because it’s fundamentally
a fun experience. Yeah, I don’t see us running out of ideas for what could go on in
the sandbox anytime soon. (suspenseful music) – [Danny] It’s strange to
hear about the hard times when you visit IO today. We’ve spent three years visiting
studios around the world, and the work life balance
we saw here in Copenhagen is remarkable by any standards. People wandered into work at 10 after dropping their kids off at school. Much of the studio leaves
to go home between 4 and 5. They tend to hire exceptional young people and give them a shot. They like having short meetings and just making sure the work is done. Hakan says that the marathon of creating a constantly-updated
game like Hitman means that people have to take it easy. But that doesn’t mean the studio
is resting on its laurels. Earlier this year IO Interactive opened up a new studio across
the bridge in Malmo, Sweden. And while much of the team is
working on new Hitman content, and looking ahead to
the third Hitman game, one that Hakan says may
once-again go episodic, the majority of the studio
at least here in Copenhagen is working on something secret, and rather excitingly, something new. – We are still very much independent, we’re looking into the
future with new things, potentially new IPs, that
we might be working on, and we’ve created four
original IPs from scratch, we’ve always worked on and
created these characters and worlds and what not,
it’s a part of our DNA and I’m looking forward to
bring new stuff as well, apart from growing Hitman into the world. (dramatic music) (calm guitar music)
(birds chirping) (keyboard clicks)

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