This is not simply a shooter or a stealth game or a brawler: it is at its best when it is a freeform combination of the three, and when that freedom is placed in the hands of the player. The best characters, in this scenario, are the ones that use no gimmicks at all-because it's only then that you get to play with all of the game's systems, and it's those systems that make Hotline Miami what it is. One character fights non-lethally (mostly) and will discard bladed weapons or firearms that you try to pick up.
Another character earns mask-esque upgrades but, disappointingly, several of these overlap with other characters in the game. One group of characters does use masks, but each mask represents a different character and, similarly, they each have a substantial effect on how you play. Imagine the frustration of facing down an enemy that can only be wounded with bullets while playing as a character who is out of ammo but isn't, for some reason, allowed to use the guns that are right there. This turns Hotline Miami 2 into an entirely different game-and a worse one. He can't pick up dropped weapons at all, and if he runs out of ammo he needs to restock at scarce ammo crates. One character carries a gun that can be switched for a knife at any time.
Where masks previously added subtle perks that encouraged experimentation, here they dictate much about how you approach a level. Characters are differentiated with hard playstyle restrictions. The first casualty of this problematic structure is atmosphere, but the second and more serious is combat.
#BEST OF HOTLINE MIAMI 2 SOUNDTRACK MOVIE#
If the original game was the movie Drive-a seductive pop cultural moment, shallow but resonant, a crystallised mood-then this sequel is Nicolas Winding Refn's poorly-received follow-up, Only God Forgives. It certainly amounts to more Hotline Miami-it is substantially longer than its predecessor, taking me eleven hours to reach the end-but it's worse Hotline Miami. Hotline Miami 2's problems span the entire game, from its overall structure to its plot, the decisions that have been made regarding player characters, ability-modifying masks, and level design. You kick their heads in, grab their knives, shank the next guy, throw his pipe through a window, shotgun a dog, turn the wrong corner, die in a hail of gunfire, hammer 'R', do it again, hammer 'R', do it again. You slam through doors and send Russian mobsters sprawling to the floor. This is despite it being, in many ways, more or less the same game. Nor is it-and as somebody who loved the original, this is a tough admission-a particularly good game. Hotline Miami 2: Wrong Number is not a classic.
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