Hotline Miami 3 And Media Literacy

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The mocking of the fans wanting a sequel kinda reminds me of what super hot did where every time a major mission was completed the player character responded with “MORE” but I haven’t played it fully to go to in-depth.

I know a lot of people hated the ending to HM2. But I think that was honestly the perfect ending for the series. Especially how Richter "finally got it" and Richard consoles him for doing so.

There's two types of HM players: -The ones that chuckled at the HM3 title screen joke at the end of HM2. -"HOTLINE MIAMI 3 CONFIRMED??!!?! :O"

Richter was literally the only person who listened to Richard. Ironic as hell isn't it?

simply put: how can there be a hotline miami 3 WITH NO MIAMI Edit: and i do remember there being a small moment where they "teased" 3 but i think it was more of a "you want 3? make it your fukin' self" type beat, still the ending was a hell of a send off

"Hotline Miami 3 doesn't exist, and maybe that's the point" Masterful writing, sir

My god what an amazing essay! what also comes to mind is that the "hotline miami 3 teaser" was built into HM2 directly. the "HM3" main menu shows up and then it just stops and rewinds back to the main menu. while on brand with the VHS theming of HM2, it really shows how the devs don't really want to make HM3

I have seen a lot of hotline Miami analysis videos and story explanations etc. but this video gave me and surely a lot of people a new point of view. Not the old “you are evil” but the “you are wrong” as in we misunderstood the meaning behind it all. Great video you have earned a reputation sir.🐔

7:41 the moment I saw the animated sprites of animal masks I myself thought I was hallucinating alongside Jacket

This game and rainworld are the only two games that have made me tear up. My favorite thing about Beard was that he didn't let the cruelty of the world break him. He died just as good a person as he lived, having finally made it home. Jacket lets his grief and hatred turn him into a monster. The Colonel goes mad in a position he didn't want, fighting a war for a country that doesn't care, knowing full well he's going to send people he cares about home in bags. I find it fitting the only characters that get a "good" ending are the ones that listen to Richard and escape the violence. Also, "the way home" is a criminally underrated song. It has the most "I keep dying over and over again, but screw it, I'm getting through this. We're getting through this. I will DRAG us through this so we can enjoy life again" energy that fits his character perfectly.

The thing is, the hotline miami 3 idea they had would have been exactly what the fans wanted. Levels generated endlessly. No story.

See, as much as I would love a Hotline Miami 3, I can understand that there was good reasons Dennaton never went through with it. Hotline Miami 1 was a masterpiece, it had a very subtle but well played out anti-violence message, with really intriguing lore that says “sometimes our questions are best left unanswered” Hotline Miami 2, while still a very solid game I felt had a slight dip in quality especially in terms of enemy placement and doing the aforementioned answering of questions that shouldn’t be answered, but I believe it was intentional, where Hotline Miami 1 was the developer’s posing a question of whether we found pleasure in hurting others. Hotline Miami 2 was saying “this is why you don’t try to top something that’s near-perfect” And in my opinion, the teasing with a fake Hotline Miami 3 is both Devolver and Dennaton saying “We said what we needed to say and continuing to try and make our points will ultimately defeat those points”

i don't think it's the killing of the russian mobs that he carries out that made jacket puke on his first mission, i think it was the fact that he killed a homeless man not tied to anything he's having to go through at all, just someone in the wrong place at the wrong time and i think the fact that he starts running towards jacket as soon as he sees him further implies that it was completely done on self defense in jacket's part

Really strong stuff man. Not to bash any other creators but seeing an essay that actually has something to say and not just blowing one point out of proportions is rare these days. Calm editing style and not afraid to critique probably 80% of it's own viewers. Keep doing you, friend.

The most important part about Jacket's assault on the police station in my opinion: At the end of it, you can spare Richter. The one time Jacket has a personal reason to hate and kill, he learns it's another pawn just like him, and this is the one time the game gives you the choice to walk away.

"Fine, I will make my own Hotline Miami 3" And then we had Bloodbath Kavkaz

Love & Forgetting actually got made into a Hotline Miami 2 level editor campaign complete with multiple endings, but only a pseudo-cityscape to move around in. From what I've seen it's very well-made, but has the concession of being reduced to what the level editor allows.

I have a confession to make: I have never finished Hotline Miami 2. I loved the first game so intensely that when the sequel released I was incredibly excited! At the time of release, I didn't get the point of the first game. When the game asked if I liked hurting people, I said "in this context, yes.". Then I played the second one. I got to playing as The Fans, whose own rhetoric was shockingly close to things I had said in the context of the game. It took until about halfway through for the narrative to finally make sense. This game wasn't about the characters, it was about me, who wanted the violence, who wanted the gore and rage to be poured all over each level of the game. It shook me, and I put it down. It really made me think, did I actually like hurting people? And the fact that it got me asking myself that was fucking *terrifying*. Both games are truly beautiful in the way they ask their questions, and the visceral way in which the player is expected to respond.

I don't think that it's a coincidence that when these games were made there was a rush of nostalgia for the 80s; retrowave and synthwave were at their peaks, Ubisoft had put out Far Cry 3: Blood Dragon, Hobo With A Shotgun was in theaters not long before the first game, all of this violent, grindhouse retreading of 80s hits with a desperate sense of escapism. The initial optimism of the 2000s had totally faded by this point, entering into a new decade weary from Terror Alerts, wars fought on "bad intelligence", and a sheer desperation to escape back to a decade of pop culture bliss. The problem really lies in like what happened with Hotline Miami's fans: the decade they crave never existed. The 80s was just as gripped by paranoia, financial instability, and constant proxy wars. There was only a desire to escape to the vibes of the era, no matter how gritty and blood soaked they were, a desire to live in essentially a music video of slasher movie clips, synth music, and eternally beautiful men and women. As someone who dabbled in writing that kind of world, an 80s that did not and could not exist, it's a very seductive idea. Waking you up to the idea that your actions have consequences and that you can die and will die is a horrifying statement to most people, but it's a pretty simple truth. Those who love to hurt people will soon find there's nothing left but ashes. And those who want to escape to a world that doesn't exist based on their incorrect assumptions of what it was like (the 50 Blessings, the Fans and Martin--both are excellent examples of this) will soon find reality will catch up with them no matter how far they run.