Hot­line Miami 2: Wrong Num­ber

TekSavvy Insider - - Contents -

If you haven’t played the orig­i­nal Hot­line Miami yet, then you’ve been miss­ing out on one of the most fiendishly ad­dic­tive top down shoot­ers in re­cent mem­ory, and one that was punc­tu­ated by what may well have been the best video game sound­track of all time... un­til now.

While fo­cus­ing on Hot­line Miami 2’ s mu­sic be­fore delv­ing into the nuts and bolts of the game might seem a lit­tle back­wards, it’s dif­fi­cult to ad­e­quately ex­plain just how awe­some it is with­out re­sort­ing to all kinds of silly su­perla­tives. So I’ll leave it at this: it’s a pump­ing elec­tronic sound­track per­fectly suited to the on- screen car­nage that’s al­most cer­tain to put you right into the heat of the mo­ment and ac­cen­tu­ate your ex­pe­ri­ence. The game­play here is much as it was in the orig­i­nal, with only a few al­ter­ations made to what was a win­ning for­mula to begin with. Play­ers con­trol the ac­tion us­ing a stan­dard twin- stick sys­tem, with the left stick con­trol­ling your move­ment, and the right con­trol­ling your aim. If you’re new to this kind of sys­tem it can be a lit­tle jar­ring at first, par­tic­u­larly since this is any­thing but a so­phis­ti­cated ti­tle tech­ni­cally, but when it all comes to­gether you’ll feel right at home. The big­gest change over the orig­i­nal is the fact that many of the lev­els are so much grander in scope. They still look ab­so­lutely aw­ful, but they dramatically change the game­play dy­nam­ics, forc­ing play­ers to be a lot more cau­tious in their ap­proach lest they be gunned down from out­side their field of view. Hot­line Miami 2: Wrong Num­ber is ev­ery bit is dis­turb­ing as the orig­i­nal, with plenty of gore, an un­told num­ber of bru­tal slay­ings, sex and drug ref­er­ences through­out and a plot that’s more twisted than a French braid - but it’s a game for adults who like that kind of silly be­hav­iour, and as such it’s not afraid to play its over the top na­ture up, and that doesn’t stop it be­ing fan­tas­tic.

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