In Hotline Miami you are a nameless, faceless psychopath known only as Jacket who receives ambiguous calls on his answering machine before driving his DeLorean to a building, which seems to exist in the psychedelic void of eighties Miami; after donning a ghoulish animal mask he systematically makes his way through the building with the aim of reducing the population of the structure to zero, utilising all the weapons at his disposal. The action is viewed from above, your targets patrol the hallways armed with weapons, from baseball bats to military rifles, and their exploded skulls and spilled entrails are gorily depicted in the knowingly low-fi graphics. ‘Jacket’ uses speed and merciless violence to achieve his goals, as his opponents are as deadly to him as he is to them. The wash of flawlessly implemented game mechanics, incredible speed and the haze of up-tempo synth and flashing neon lights combines in a whirlwind of synaesthesia which can’t mask the sense of unease that builds throughout the game; partly through the distance the synaesthesia and the top-down camera provides on what are possibly the most violent scenes ever depicted in a videogame. The music is appropriately equipped with dips and troughs as well as euphoric highs, which punctuate the gameplay, dropping to a low-tempo and basic beat as ‘Jacket’ takes stock of the ocean of butchered corpses and sea of gore around him; or prepares at the door of a room to savage another half-dozen unsuspecting and heavily armed enemies.
|A representative slice of the frenetic gory combat.|
|Knock knock... the reality-cracking non-combat sections of the game.|
Left on your answerphone by Steven.