Few games can afford to be remembered as something different. Very few. When Hotline Miami arrived at the download platforms there was a double reaction. On the one hand, some hated him, criticized him and tortured him for being what he was.
They moved it to a lower level, to a space where its two-dimensional graphics and its devilish difficulty were weighty reasons to marginalize it in the patio of the indies. But a second collective elevated it
as a fresh, groundbreaking and challenging title, a challenge for the player fed up with running through corridors and pressing buttons on QTE’s. From that unexpected success, from that song to explicit violence, Hotline Miami 2: Wrong Number is born .
Blood. A lot. In gushes . You hit an enemy with a metal stick, with a baseball bat, with broken glass from a window. You feel invincible until a rival arrives at the height. They are the special enemies , those who only die with certain weapons and who are prepared to embitter your existence. You do not see them coming the first time. You die and period.
This is Hotline Miami 2: Wrong Number. You find the solution, the element that exterminates them, you think you’re superior and the house of cards is broken .
You are dead again. You must kill the enemies in the next room to avoid a deadly onslaught. Realizing this has cost you fifteen attempts, but nothing happens, you’re human.
As in his first episode, Hotline Miami 2: Wrong Number is about to die . Of dying a lot. To try and die. To come up a few seconds when you think it’s all over when a shot hits you without having any idea where it came from.
Every time you die, you start the stage from the beginning, and if you leave a mission in half -something usual, every human being has a frustration cap- , you will have to start from scratch. Keep in mind: each mission is composed of several plants that you
must clean of enemies to advance to the next. This sequel is also longer than the first part in number of acts (almost double), which means a greater sentence for the players. When it seems that it is going to end, the plot continues and gets complicated.
The story connects with the first part , and although it is not essential to have played, it is highly recommended. Not only because you will know facts that will be referred to, but because the experience that will give you having overcome the first game
will be your best companion. Hotline Miami is the vaseline of Hotline Miami 2: Wrong Number . Welcome to a murky Miami of the eighties, decadent heiress of the Scarface of De Palma and the vice city of Rockstar plus 80s that was Vice City. Welcome to a group of masked assassins who let themselves be moved by a Russophobia
unprecedented , welcome to a new experience where kill, massacre and dismember is morally justified for all the characters you control, and there are several, including different prisms of the same conflict. It is the most elementary way of understanding the
Hotline creed: You kill or you die for a fool . Compassion? Piety? Sure, better prove the same as Liam Neeson in his latest films if we do not want to watch the Game Over constantly.
The argument of Wrong Number keeps surprises, turns and moments of absolute depravity , and puts the player before the possibility of being the opposite of what is promoted in the values of today’s society. The Dennaton Games proposal buries the debate about Good or Evil, about what you should do, about respect and about the good Samaritan who carries a cross and a metal
baseball bat. Here, violence is justified. The characters are vandals for a reason and you even get to understand them. Hotline Miami 2: Wrong Number
teaches you a lesson: the human being can be a depraved and vile creature capable of enjoying violence. They are virtual acts, without a doubt, but equally violent and very satisfying. And it does not matter if the first scene you encounter is something as condemned as a rape – a scene criticized
during the beta phase of the author. It is a movie within a video game with VHS tones, like all the rest of the experience that rides between rewinds and white noise worthy of the films of the eighties. It is the mechanics of the game that encourages you to continue,
the one that forces you to repeat, the one that takes you to be an hour and a half to complete a mission . Imagine that Rockstar decides to return to its zenith and give it a sandbox air to its ultra-pure and cultured Manhunt, crossing it with the aesthetic Drive of Winding-Refn, and decide if you like that explosive mixture.
