![]() ![]() ![]() ![]() 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. 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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