Ever since we (sort of) won the battle for a R18+ rating for games us adult gamers have been hoping that the games, which are clearly not for children, would make their way to us under that banner. However we’ve quickly run up against the classification definition several times already with many titles receiving the dreaded NC rating, preventing them from being sold within our borders. Whilst there’s healthy debate to be had on a case by case basis any gamer will tell you that they were expecting the NC rating to never be seen again and all titles would be available to us. Hotline Miami 2: Wrong Number is the latest victim to get the dreaded NC rating although I was able to snag a copy anyway, even though the developer had told us Australians to just pirate it.
Hotline Miami 2 follows several different story lines, each of which crisscrosses through one another at various points. You start off as a member of the masked vigilante group who spend their nights finding scumbags and other lowlifes to make examples of. Then you’ll be whirled back to Vietnam, thrown in deep behind enemy lines and left to die, unless you can gun your way out of there. You’ll even spend time as the son of a gang lord, looking to re-establish his father’s reputation and drive those filthy Colombians out of your territory. Holding this all together is an unnamed author trying to piece it all together, searching for the single thread that connects all these events. There is only one thing they share however: the brutality of the violence committed.
This much anticipated sequel retains the original’s Grand Theft Auto style although with a lot more fidelity than its predecessors had. Hotline Miami felt like it was made alongside the game it imitated however Hotline Miami 2 feels more like the modern pixelart titles we’ve come to love, embracing the styling but putting a layer of modern polish on it. This can be most readily seen in the intermission sections, where there’s obviously been a lot more care taken to developing the rolling backgrounds and effects that are layered on top. This also comes hand in hand with an amazing soundtrack, which includes many of my favourite synthwave/retro pop bands like Mitch Murder, that goes along perfectly with the bloody action on screen.
In terms of core game play not much has changed in the sequel retaining the top down, beat ’em up style that made the original so intriguing. Gone is the linear progression system where you’d unlock new masks that you can use with any mission, instead now you unlock masks for certain “fans” and weapons for others. The variety now comes from the different characters you’ll be playing which either have a choice of 3 different things or simply have some abilities natively. Whilst I’m sure this was done to encourage players to branch out a little bit (I have to admit to stick to “lethal doors” for pretty much all of the original game) it does feel a whole bunch more restrictive, especially when some of the characters are a lot more fun to play than others.
The combat is a mix of brutal, twitch based game play that requires you to think and act fast and more methodical, pragmatic approaches that require you to sit back and learn the level before charging in head first. The driving music and incredibly satisfying noises you get when hoeing through a whole level of enemies pushes you towards the reckless end of the spectrum constantly which makes the more slow and methodical sections feel a little out of place. Indeed those levels are by far the most difficult as it typically takes several perfectly placed manurers in order to get to the next section. Then, if you weren’t paying attention, you can make that next section incredibly difficult for yourself, as I managed to do several times over.
Still there’s very much a sense of most (I’ll come back to this in a second) of your mistakes being your fault rather than the game punishing you so there’s a certain sense of satisfaction in figuring out how to best approach something. Over the course of the game you’ll start to figure out how long certain enemies wait before shooting, how far away they’ll hear gunshots and why your bullets don’t seem to hit someone when you first open the door (hint: you’re shooting the door). Unfortunately however there are numerous aspects of the game that simply can’t be overcome by skill and this can lead to some rather frustrating experiences.
To start off with most enemies can shoot you before you can see them, even if you’re using the “look” thing. This goes both ways, allowing you to shoot some enemies before you can see them, however it means that sometimes when you’re walking down a hallway you haven’t been to yet you’ll die to stray gunshots you won’t know were coming. There’s also numerous enemies which either don’t react consistently or are essentially coin tosses as to whether you die to them or not which can make an otherwise perfect run fall completely on its face. Indeed whilst I’m happy to admit that a lot of my failures were due to me simply doing retarded things there were more than a handful where I’d get most of the way through a level before getting rail roaded by something I felt I had no control over.
However the biggest flaw in Hotline Miami’s second coming is by far the level lengths which have increased dramatically in most cases. For most games this would be a good thing, allowing you to really immerse yourself in the game world and soak in all the detail. With a game like Hotline Miami 2 however it just becomes exhausting as you have to slog through stage after stage in order to get to the end. Indeed this style of game which seems to hinge on being frantic, by-the-second style action suffers tremendously when its drawn out over a 30+ minute period, something which will routinely happen to anyone who’s not godlike with twitch based games like this.
The story remains one of Hotline Miami’s strong points and, whilst I enjoyed it, it’s hard for me to say whether or not I fully understood it on my single play through. In fact the most easily understood sections, for me at least, were the psychedelic episodes that a few of the characters endured whilst the broader plot points seemed to have eluded me. There’s ties back to the original (or at least I think there are as some of the faces look awfully familiar) which I would say much the same about. I guess where I’m going with this is Hotline Miami 2 has a story that requires multiple sittings to fully understand but is more than passable on a single play through.
Hotline Miami 2: Wrong Number brings back the brutal top down beat ’em up that became an instant classic 2 years ago and does so with renewed vigour. The art and sound has been ramped up significantly with the pixelart looking oh-so-good and the list of artists on the soundtrack swelling significantly. The combat has remained largely the same with a few tweaks here and there to encourage players to branch out of their comfort zones. However it’s marred by some mechanics that feel unduly fair and significantly increased level length that, rather than feel engrossing, just end up being exhausting slogs. Overall Hotline Miami 2: Wrong Number is still great at what it does and if you were a fan of the original you’ll be right at home with its sequel.
Hotline Miami 2 is available on PC, PlayStation3, PlayStation4 and Vita right now for $14.99 on all platforms. Total play time was 7 hours with 31% of the achievements unlocked.
It’s been a long time coming but the first major milestone in getting a R18+ rating for games in Australia has just been hit: the bill has passed the lower house:
Minister for Home Affairs and Minister for Justice Jason Clare today said that an R18+ category for computer games was another step closer today with legislation passing the House of Representatives.
The legislation passed the House of Representatives without amendment and will now move to the Senate for debate in coming weeks.
The reforms bring the classification of computer games into line with existing categories used to classify films. It also makes the Australian classification regime more consistent with international standards.
This is absolutely wonderful news, especially since the bill passed without any amendments to it. This means that the Liberal party has realised that there’s little point in fighting the legislation, especially in light of the parliamentary committee’s recommendations that were handed down just over 2 weeks ago. The next challenge for the bill will be the senate however with the support of Labor and the Greens it’s almost a sure thing that it will pass through there without incident and it will be law before we know it.
The current schedule for implementation has the law coming into effect at January 1st 2013. This is still a while off but it is a required part of the process as once this becomes law all the local governments have to pass accompanying legislation in order to regulate the sale of R18+ games in their state or territory. Unfortunately this means that we’ll could still have the weird double standards like we have for other R18+ material but at the very least it will mean that R18+ games will be available for distribution in Australia.
I’ve been reading some comments on other articles reporting the same news and it seems some people are confused about what the R18+ rating might entail. Whilst there will be a lot of games that will be able to resubmit and hopefully get the R18+ rating it won’t mean that any game that was given the dreaded RC rating will automatically get slapped with R18+. It is up to the publisher or distributer of the game to resubmit it for reclassification and should they not bother to resubmit the game will stay as NC. Additionally the introduction of a R18+ rating does not mean that we won’t see games given the NC rating in the future, only that such occurrences will be far more rare. There are games out there that would still exceed the limits of the R18+ rating but I’ve yet to see one that wouldn’t get NC if it was done in another medium.
It’s been a long, bitter fight to get the Australian government to recognise that the gamer community has matured far beyond what it was when the original classification scheme was produced, but we’re almost there. The success of this grass roots campaign can’t be traced back to one individual or organisation, it’s the cumulative effort of thousands of Australian gamers who rallied behind the cause and forced them to listen. It makes me immensely proud to say that I was a part of this and I’ll be even happier when I finally see it come to pass in less than a year’s time.