This review contains spoilers
Hotline Miami 2 is very important to me. It has been for five years.
There are a lot of people who dislike it, and despite my personal love, I can see the issues they have. Still, the flaws to be found are nothing compared to its strong narrative and abundance of style. This game is a masterclass in worldbuilding, storytelling, pacing, and presentation.
Maybe it seems like a strange choice of media to put so much emotional stake in, but teens have latched onto stranger things. I find HLM2 to be a powerful, strangely intimate experience, one that deserves more love than it’s gotten since release.
SHORT REVIEW
Visuals: 5/5
Sound: 5.5/5
Story: 5.5/5
Gameplay: 4.5/5
Worldbuilding: 5/5
Overall game score: 5/5 [5.1/5]
IN-DEPTH REVIEW
Visuals:
HLM2’s look is nearly identical to HLM1, the neatest improvement being that you can now run over severed heads and basketballs to roll them around. Despite that, the game still finds a way to make notable improvements in its overall art direction, particularly in settings and visual effects; [SPOILERS] the levels range from a Hawaii warzone, to a dim, flashing Disco club, to a series of drug-induced hallucinations. [SPOILER ENDING] There’s a lot more creativity injected into the locations and their presentation, largely due to expanded cast and their individual stories.
The characters themselves are also very well-designed. Many of them sport a signature mask to reflect their true nature; this gives each a memorable silhouette, as well as providing the audience with a better understanding of characters that must share the stage with so many others. Take for example, the neo-confederate Jake, who wears a snake mask. It harkens to the ‘Don’t Tread On Me’ flag, as well as his skeevy ideals. Or there’s Tony, the confident badass of The Fans, who dons a tiger mask (purportedly worn by Jacket himself.) You could theorize that this symbolizes his strength and cunning, as well as his devotion to Jacket.
Though they’re not often shown in-game because of the top-down view, the cast’s outfits and full-body looks are just as interesting. Their comic art and fanart has always stuck with me. From Corey’s teal and orange Miami Dolphins getup, to Manny’s classic rugged detective ensemble, they each stand out with ease.
Moving on to the technical side of things. I won’t harp too much on the fantastic job that HLM does on visual clarity, since I’ve already covered that in my first review. All you need to know is that HLM2 continues to excel in using visuals to benefit gameplay. The bold outlines and coherent effects help players understand what’s happening on a moment-to-moment basis.
What I WOULD like to discuss is how much the visual style of HLM means to me personally. As an artist myself, these games demonstrate a belief that I hold dear - that your art does not need to be conventionally appealing to speak to an audience, or to flawlessly portray your intentions.
HLM’s appearance is certainly a bit strange. But the 80s aesthetics, stomach-turning gore, and attention to detail make it more intriguing than anything. Even the character portraits, which are quite ‘ugly’, have a certain charm. They eerily remind me of police sketches, as both skirt the line of uncanny valley to burn a face into your mind. I would not remember the characters’ appearances so vividly if not for this.
At the end of the day, despite its unusual appearance, there’s so much to appreciate about this duology’s art direction. None of it is because of perfectly realistic work, or a smooth, flowing style. It has its own style, and it makes use of it wonderfully.
Overall, 5/5.
Sound:
There is simply no denying that HLM2 has one of the best soundtracks of all time. Being three times the length and featuring many new artists, it’s arguably even better than HLM1’s. Each song manages to perfectly capture the essence and aesthetic of the game - from the electric sensation of Sexualizer to the chaotic and unsettling Run.
You don’t need me to tell you that music has always been the soul of HLM. As such, it comes as no surprise that the story’s grand finale would culminate in a track that not only perfectly fits the moment, but is possibly the best in the series. It deserves its own recognition.
There’s nothing I can say that will do this soundtrack justice, though. Even if you don’t plan to play HLM2, or you hate it with a burning passion, or you don’t listen to game music often, just trust me. Give this one a listen (or re-listen.) I promise it’s worth it.
Overall, 5/5.
Story:
I love HLM1’s story. It’s character-driven, surreal, and surprisingly complex. Through it, we're glimpses of a nation on the brink of war, ripe with nationalism and xenophobia. Yet that’s never the focus. Instead, the focus is on the protagonist. Jacket.
Jacket is a seemingly normal man that is roped into something much larger than him. Despite his average lifestyle, he’s shown to be combat-efficient and incredibly violent when set loose. Yet he also has moments of great compassion, and possesses a strong sense of loyalty.
Jacket is fascinating. He’s a very strongly developed character, and all without ever speaking a word of dialogue. Through actions alone, HLM1 perfectly portrays a man on a grizzly downward spiral. And although a lot of the dirty details are left open to interpretation, HLM1’s conclusion was satisfying enough; it would be difficult to build upon the Jacket narrative in any meaningful way.
So, instead, HLM2 does a complete 180. It’s no longer about Jacket’s personal narrative. Instead, it’s about the big picture. It hones in on the themes that were lingering in the background of HLM2, while also portraying how Jacket’s actions have had ripple effects on the Miami community.
HLM2’s cast is expanded dramatically to a whopping 13 playable protagonists. And these new protagonists are each catalysts for the themes, in their own unique ways. This is no longer a personal story of one man. It’s about 13 starkly different people who are caught up in the aftermath of that man’s actions. It’s about the different ways in which these people view and utilize violence. It’s about war, nationalism, the flaws of capitalism… it’s even about HLM fans themselves, and how all different types of people reacted to HLM1.
And even though Jacket is only there for a few short scenes, he remains the pin that holds the entire story together. Evan, a desperate journalist fixated on writing a novel about Jacket, goes to extreme lengths to reach his goals. The Fans are a group of copycat killers who worship Jacket as a hero, continuing the work of slaughtering Russians by the dozens. Manny, who is revealed to be a serial killer himself, is indubitably jealous of the attention Jacket’s case receives over his Miami Mutilator persona. The Son is picking at the last remnants of his Father’s empire, the very empire that Jacket took down in HLM1.
Possibly the most controversial plot device of HLM2, though, are the time jumps. While the first game has a few of these, they’re nothing compared to what the sequel implements. Many players view it as messy and confusing - but I heavily disagree with these assertions. Although this structure is a bit more difficult to wrap your head around, it allows for fantastic story pacing. The devs are given complete control over which moments to use as climaxes and cliffhangers.
Take, for example, Final Cut, the last chapter of act one. Here, we follow actor Martin Brown as he vicariously lives out violent fantasies through the movie he’s filming. And although we don’t know exactly when this takes place, what we do know is that Martin dies very suddenly in an on-set accident.
Even though Martin is the protagonist with arguably the least plot influence, the moment itself serves as one of the most important in the entire game. It draws the player in early-on, of course - but even more crucial is what it communicates to us. No one is safe. Anything can happen.
We never find out whether Martin’s death was a murder or an accident. That’s another thing to get used to with Hotline Miami; very little is spelled out for you. You’re left thinking and theorizing, fitting the puzzle pieces together to create your own version of events.
Yet, there are so many real, emotional stories to juxtapose the mindfuck. We are given a deeply intimate peek into the lives of complete strangers, people dealing with sympathetic personal issues. There are themes of family, and the expectations they place upon you. There’s betrayal, and there’s fierce loyalty. Protecting the ones you love, but losing them anyways. Brotherhood.
Don’t get me wrong, it’s still about nationalism, xenophobia, and violence. The war is not getting better, it’s only getting worse. So does anything we do ultimately matter? Is it all futile?
No, it does matter. Because, even if one day we’ll all die, our actions affect other people while they’re still here. We’re all human - including those that are unjustly seen otherwise due to bigotry. Maybe our species’ self-inflicted violence would be avoided if we took the time to see that.
Overall, 5.5/5.
Gameplay:
HLM 1 and 2’s mechanics are near-identical, to the point that all core elements are unchanged. Everything dies in one hit, you press R to restart, and you adapt your playstyle. The only big difference is the addition of many new weapons, which all feel great.
But two details - two very important parts of the bigger picture - were altered in a major way. In fact, it’s such a drastic difference that HLM2 feels like a brand new experience. So let’s talk about the level design and the enemy placement.
The biggest factor here is how much open space was introduced. This leaves you exposed to enemies much more often than in the first, where the rooms were claustrophobic and puzzle-like in the way they fit together. If you’re quiet, you have time to throw together a loose plan before bursting into each contained area. But HLM2 takes the opposite approach, instead relying on fast reflexes - and a lot of restarts - to learn about enemies you weren’t aware of.
A lot of people hate this change, and I can’t say I fully blame them. Off-screen kills lend to a sense of artificial difficulty in a few spots. But I must say that I still enjoy this version of the HLM formula. I find so much to love about playing it every time I pick it up.
The thing is that the developers don’t just throw you into a giant room with no clue of what to do - at least, not too often. On the contrary, they very competently apply this design philosophy to the core gameplay of HLM. Levels like Deathwish and No Mercy perfect it.
And it’s all because of geometry and size. Think about it this way - HLM1 rooms are pieced together perfectly like puzzle pieces, with some narrow hallways here and there to fill in gaps. Meanwhile, HLM2 levels usually have a ‘central’ room, which takes up a large part of the map. Other, smaller rooms are scattered around within it.
Another notable change made is how characters’ personalities are expressed through gameplay. In 1, Jacket takes the role of an everyman - his generic fighting style is modified only through what mask you equip. And even though we do get a taste of some character-based kits with Biker in the epilogue, it’s only for a few short levels.
But HLM2 doesn’t need everymen. Instead, there’s 13 protagonists, all of whom have their own personal approach to violence. Take Evan. He’s a journalist-turned-writer, a nonviolent man that has ventured into the dark underbelly of Miami for research; after hearing that description, it makes complete sense that Evan won’t use deadly weapons and incapacitates enemies instead of killing them.
There’s also Alex and Ash, a pair of chainsaw and gun-wielding siblings. They’re controlled at the same time, moving together, attacking individually with the left and right mouse buttons. They work cooperatively and watch each other’s backs, something that shows a deep trust between the two.
And then we have a character like The Son, who has three different unlockable playstyles. One is based off of the Bodyguard from HLM1, its icon showing her broken sunglasses, and The Son wielding her katana in combat. Another is inherited from his father, and shows a bullet engraved with the date 8/23/89. This is the day that Showdown takes place in HLM1, the day that Jacket kills The Father, The Grandfather, and The Bodyguard. We see the deep loyalty that The Son feels to family, even to those that have died. This is something expressed further through his commitment to making them proud.
At the end of the day, even though there are definitely flaws in HLM2’s gameplay, I still think that it’s very fun. What it lacks in clear-cut combat, it makes up for in ingenuity and character work. There are still a lot of great levels, too, ones that are specifically designed for the playstyles of whatever protagonist you’re controlling.
HLM2 set out to make a different kind of experience, something separate from HLM1, and I’d say that it overwhelmingly succeeded.
Overall, 4.5/5.
Worldbuilding:
In HLM1, players were given small glimpses of a world ravaged by war and nationalism. These surroundings change the course of Jacket’s life, as he is roped into a mass genocide scheme spearheaded by an organization known as 50 Blessings. Yet, even though these themes are just as important to the game’s messaging, the narrative ultimately stays focused on Jacket as a character.
In HLM2, you are actively participating in said war. You’re rebuilding the Russian mafia’s empire from the ground-up. You’re taking out an entire ship of Colombian cartel. You’re witnessing the direct unraveling of the planet.
It’s not that this type of action-packed storytelling is better. The first game perfects a personalized character arc with a silent protagonist. The surreal nature of everything adds so much style to the game, too, and the setting is perfectly integrated into this. HLM2 just serves to paint a clearer picture of its society.
And it still has plenty of intimate arcs, too. Evan’s storyline is ultimately about whether he should prioritize his family or his work, leading to the only player choice of the game. We’re shown how Richter was forced to work for 50 Blessings after they threatened the life of his ill mother, whom he cares for. Hell, The Henchman mainly serves to humanize the enemies you’re killing by the dozens.
But, again, as much as HLM2 is about its characters, it’s also about the bigger picture. It’s the end of everything these people know. The rotating cast provides us with 13 different perspectives into this world, balancing the protagonists with the external events happening around them.
And even though we get explanations for some of HLM1’s mysteries - and we learn a lot more about its world - HLM’s trademark surreal presentation never leaves. There are just as many new questions posed by 2, providing us with new theories, ideas, and trivia.
There are dozens of little details to notice, too, adding to the lore surrounding HLM. Each scene is packed with things for you to notice - Biker’s presence at Jacket’s trial, Alex’s ‘paraphernalia’, the living victim in the trunk of Manny’s car. Everything is so impressively fleshed out; it gives us a new level of insight into both the protagonists and the setting.
It’s everything it needs to be, and more. HLM2’s story and world build upon everything laid out by the first game. Yet, it still provides its own unique perspective of them. There’s something new to learn on every replay. There are a multitude of intriguing characters to explore. There are endless plot points and little details to theorize about. It’s perfect.
Overall, 5/5.
Overall game score: 5/5 [5.1/5]. I honestly, truly think this is one of the most underrated games of all time. Yes, HLM2 occasionally trips up. But its flaws are overshadowed by new ideas, captivating music, engrossing stories & characters, superb levels, and pure style. If you haven’t given HLM2 a try yet, I highly recommend it. If you didn’t like it the first time, replay it on an easier difficulty, and lose yourself in the narrative and music.
At the very least, give the soundtrack a listen.
There are a lot of people who dislike it, and despite my personal love, I can see the issues they have. Still, the flaws to be found are nothing compared to its strong narrative and abundance of style. This game is a masterclass in worldbuilding, storytelling, pacing, and presentation.
Maybe it seems like a strange choice of media to put so much emotional stake in, but teens have latched onto stranger things. I find HLM2 to be a powerful, strangely intimate experience, one that deserves more love than it’s gotten since release.
SHORT REVIEW
Visuals: 5/5
Sound: 5.5/5
Story: 5.5/5
Gameplay: 4.5/5
Worldbuilding: 5/5
Overall game score: 5/5 [5.1/5]
IN-DEPTH REVIEW
Visuals:
HLM2’s look is nearly identical to HLM1, the neatest improvement being that you can now run over severed heads and basketballs to roll them around. Despite that, the game still finds a way to make notable improvements in its overall art direction, particularly in settings and visual effects; [SPOILERS] the levels range from a Hawaii warzone, to a dim, flashing Disco club, to a series of drug-induced hallucinations. [SPOILER ENDING] There’s a lot more creativity injected into the locations and their presentation, largely due to expanded cast and their individual stories.
The characters themselves are also very well-designed. Many of them sport a signature mask to reflect their true nature; this gives each a memorable silhouette, as well as providing the audience with a better understanding of characters that must share the stage with so many others. Take for example, the neo-confederate Jake, who wears a snake mask. It harkens to the ‘Don’t Tread On Me’ flag, as well as his skeevy ideals. Or there’s Tony, the confident badass of The Fans, who dons a tiger mask (purportedly worn by Jacket himself.) You could theorize that this symbolizes his strength and cunning, as well as his devotion to Jacket.
Though they’re not often shown in-game because of the top-down view, the cast’s outfits and full-body looks are just as interesting. Their comic art and fanart has always stuck with me. From Corey’s teal and orange Miami Dolphins getup, to Manny’s classic rugged detective ensemble, they each stand out with ease.
Moving on to the technical side of things. I won’t harp too much on the fantastic job that HLM does on visual clarity, since I’ve already covered that in my first review. All you need to know is that HLM2 continues to excel in using visuals to benefit gameplay. The bold outlines and coherent effects help players understand what’s happening on a moment-to-moment basis.
What I WOULD like to discuss is how much the visual style of HLM means to me personally. As an artist myself, these games demonstrate a belief that I hold dear - that your art does not need to be conventionally appealing to speak to an audience, or to flawlessly portray your intentions.
HLM’s appearance is certainly a bit strange. But the 80s aesthetics, stomach-turning gore, and attention to detail make it more intriguing than anything. Even the character portraits, which are quite ‘ugly’, have a certain charm. They eerily remind me of police sketches, as both skirt the line of uncanny valley to burn a face into your mind. I would not remember the characters’ appearances so vividly if not for this.
At the end of the day, despite its unusual appearance, there’s so much to appreciate about this duology’s art direction. None of it is because of perfectly realistic work, or a smooth, flowing style. It has its own style, and it makes use of it wonderfully.
Overall, 5/5.
Sound:
There is simply no denying that HLM2 has one of the best soundtracks of all time. Being three times the length and featuring many new artists, it’s arguably even better than HLM1’s. Each song manages to perfectly capture the essence and aesthetic of the game - from the electric sensation of Sexualizer to the chaotic and unsettling Run.
You don’t need me to tell you that music has always been the soul of HLM. As such, it comes as no surprise that the story’s grand finale would culminate in a track that not only perfectly fits the moment, but is possibly the best in the series. It deserves its own recognition.
There’s nothing I can say that will do this soundtrack justice, though. Even if you don’t plan to play HLM2, or you hate it with a burning passion, or you don’t listen to game music often, just trust me. Give this one a listen (or re-listen.) I promise it’s worth it.
Overall, 5/5.
Story:
I love HLM1’s story. It’s character-driven, surreal, and surprisingly complex. Through it, we're glimpses of a nation on the brink of war, ripe with nationalism and xenophobia. Yet that’s never the focus. Instead, the focus is on the protagonist. Jacket.
Jacket is a seemingly normal man that is roped into something much larger than him. Despite his average lifestyle, he’s shown to be combat-efficient and incredibly violent when set loose. Yet he also has moments of great compassion, and possesses a strong sense of loyalty.
Jacket is fascinating. He’s a very strongly developed character, and all without ever speaking a word of dialogue. Through actions alone, HLM1 perfectly portrays a man on a grizzly downward spiral. And although a lot of the dirty details are left open to interpretation, HLM1’s conclusion was satisfying enough; it would be difficult to build upon the Jacket narrative in any meaningful way.
So, instead, HLM2 does a complete 180. It’s no longer about Jacket’s personal narrative. Instead, it’s about the big picture. It hones in on the themes that were lingering in the background of HLM2, while also portraying how Jacket’s actions have had ripple effects on the Miami community.
HLM2’s cast is expanded dramatically to a whopping 13 playable protagonists. And these new protagonists are each catalysts for the themes, in their own unique ways. This is no longer a personal story of one man. It’s about 13 starkly different people who are caught up in the aftermath of that man’s actions. It’s about the different ways in which these people view and utilize violence. It’s about war, nationalism, the flaws of capitalism… it’s even about HLM fans themselves, and how all different types of people reacted to HLM1.
And even though Jacket is only there for a few short scenes, he remains the pin that holds the entire story together. Evan, a desperate journalist fixated on writing a novel about Jacket, goes to extreme lengths to reach his goals. The Fans are a group of copycat killers who worship Jacket as a hero, continuing the work of slaughtering Russians by the dozens. Manny, who is revealed to be a serial killer himself, is indubitably jealous of the attention Jacket’s case receives over his Miami Mutilator persona. The Son is picking at the last remnants of his Father’s empire, the very empire that Jacket took down in HLM1.
Possibly the most controversial plot device of HLM2, though, are the time jumps. While the first game has a few of these, they’re nothing compared to what the sequel implements. Many players view it as messy and confusing - but I heavily disagree with these assertions. Although this structure is a bit more difficult to wrap your head around, it allows for fantastic story pacing. The devs are given complete control over which moments to use as climaxes and cliffhangers.
Take, for example, Final Cut, the last chapter of act one. Here, we follow actor Martin Brown as he vicariously lives out violent fantasies through the movie he’s filming. And although we don’t know exactly when this takes place, what we do know is that Martin dies very suddenly in an on-set accident.
Even though Martin is the protagonist with arguably the least plot influence, the moment itself serves as one of the most important in the entire game. It draws the player in early-on, of course - but even more crucial is what it communicates to us. No one is safe. Anything can happen.
We never find out whether Martin’s death was a murder or an accident. That’s another thing to get used to with Hotline Miami; very little is spelled out for you. You’re left thinking and theorizing, fitting the puzzle pieces together to create your own version of events.
Yet, there are so many real, emotional stories to juxtapose the mindfuck. We are given a deeply intimate peek into the lives of complete strangers, people dealing with sympathetic personal issues. There are themes of family, and the expectations they place upon you. There’s betrayal, and there’s fierce loyalty. Protecting the ones you love, but losing them anyways. Brotherhood.
Don’t get me wrong, it’s still about nationalism, xenophobia, and violence. The war is not getting better, it’s only getting worse. So does anything we do ultimately matter? Is it all futile?
No, it does matter. Because, even if one day we’ll all die, our actions affect other people while they’re still here. We’re all human - including those that are unjustly seen otherwise due to bigotry. Maybe our species’ self-inflicted violence would be avoided if we took the time to see that.
Overall, 5.5/5.
Gameplay:
HLM 1 and 2’s mechanics are near-identical, to the point that all core elements are unchanged. Everything dies in one hit, you press R to restart, and you adapt your playstyle. The only big difference is the addition of many new weapons, which all feel great.
But two details - two very important parts of the bigger picture - were altered in a major way. In fact, it’s such a drastic difference that HLM2 feels like a brand new experience. So let’s talk about the level design and the enemy placement.
The biggest factor here is how much open space was introduced. This leaves you exposed to enemies much more often than in the first, where the rooms were claustrophobic and puzzle-like in the way they fit together. If you’re quiet, you have time to throw together a loose plan before bursting into each contained area. But HLM2 takes the opposite approach, instead relying on fast reflexes - and a lot of restarts - to learn about enemies you weren’t aware of.
A lot of people hate this change, and I can’t say I fully blame them. Off-screen kills lend to a sense of artificial difficulty in a few spots. But I must say that I still enjoy this version of the HLM formula. I find so much to love about playing it every time I pick it up.
The thing is that the developers don’t just throw you into a giant room with no clue of what to do - at least, not too often. On the contrary, they very competently apply this design philosophy to the core gameplay of HLM. Levels like Deathwish and No Mercy perfect it.
And it’s all because of geometry and size. Think about it this way - HLM1 rooms are pieced together perfectly like puzzle pieces, with some narrow hallways here and there to fill in gaps. Meanwhile, HLM2 levels usually have a ‘central’ room, which takes up a large part of the map. Other, smaller rooms are scattered around within it.
Another notable change made is how characters’ personalities are expressed through gameplay. In 1, Jacket takes the role of an everyman - his generic fighting style is modified only through what mask you equip. And even though we do get a taste of some character-based kits with Biker in the epilogue, it’s only for a few short levels.
But HLM2 doesn’t need everymen. Instead, there’s 13 protagonists, all of whom have their own personal approach to violence. Take Evan. He’s a journalist-turned-writer, a nonviolent man that has ventured into the dark underbelly of Miami for research; after hearing that description, it makes complete sense that Evan won’t use deadly weapons and incapacitates enemies instead of killing them.
There’s also Alex and Ash, a pair of chainsaw and gun-wielding siblings. They’re controlled at the same time, moving together, attacking individually with the left and right mouse buttons. They work cooperatively and watch each other’s backs, something that shows a deep trust between the two.
And then we have a character like The Son, who has three different unlockable playstyles. One is based off of the Bodyguard from HLM1, its icon showing her broken sunglasses, and The Son wielding her katana in combat. Another is inherited from his father, and shows a bullet engraved with the date 8/23/89. This is the day that Showdown takes place in HLM1, the day that Jacket kills The Father, The Grandfather, and The Bodyguard. We see the deep loyalty that The Son feels to family, even to those that have died. This is something expressed further through his commitment to making them proud.
At the end of the day, even though there are definitely flaws in HLM2’s gameplay, I still think that it’s very fun. What it lacks in clear-cut combat, it makes up for in ingenuity and character work. There are still a lot of great levels, too, ones that are specifically designed for the playstyles of whatever protagonist you’re controlling.
HLM2 set out to make a different kind of experience, something separate from HLM1, and I’d say that it overwhelmingly succeeded.
Overall, 4.5/5.
Worldbuilding:
In HLM1, players were given small glimpses of a world ravaged by war and nationalism. These surroundings change the course of Jacket’s life, as he is roped into a mass genocide scheme spearheaded by an organization known as 50 Blessings. Yet, even though these themes are just as important to the game’s messaging, the narrative ultimately stays focused on Jacket as a character.
In HLM2, you are actively participating in said war. You’re rebuilding the Russian mafia’s empire from the ground-up. You’re taking out an entire ship of Colombian cartel. You’re witnessing the direct unraveling of the planet.
It’s not that this type of action-packed storytelling is better. The first game perfects a personalized character arc with a silent protagonist. The surreal nature of everything adds so much style to the game, too, and the setting is perfectly integrated into this. HLM2 just serves to paint a clearer picture of its society.
And it still has plenty of intimate arcs, too. Evan’s storyline is ultimately about whether he should prioritize his family or his work, leading to the only player choice of the game. We’re shown how Richter was forced to work for 50 Blessings after they threatened the life of his ill mother, whom he cares for. Hell, The Henchman mainly serves to humanize the enemies you’re killing by the dozens.
But, again, as much as HLM2 is about its characters, it’s also about the bigger picture. It’s the end of everything these people know. The rotating cast provides us with 13 different perspectives into this world, balancing the protagonists with the external events happening around them.
And even though we get explanations for some of HLM1’s mysteries - and we learn a lot more about its world - HLM’s trademark surreal presentation never leaves. There are just as many new questions posed by 2, providing us with new theories, ideas, and trivia.
There are dozens of little details to notice, too, adding to the lore surrounding HLM. Each scene is packed with things for you to notice - Biker’s presence at Jacket’s trial, Alex’s ‘paraphernalia’, the living victim in the trunk of Manny’s car. Everything is so impressively fleshed out; it gives us a new level of insight into both the protagonists and the setting.
It’s everything it needs to be, and more. HLM2’s story and world build upon everything laid out by the first game. Yet, it still provides its own unique perspective of them. There’s something new to learn on every replay. There are a multitude of intriguing characters to explore. There are endless plot points and little details to theorize about. It’s perfect.
Overall, 5/5.
Overall game score: 5/5 [5.1/5]. I honestly, truly think this is one of the most underrated games of all time. Yes, HLM2 occasionally trips up. But its flaws are overshadowed by new ideas, captivating music, engrossing stories & characters, superb levels, and pure style. If you haven’t given HLM2 a try yet, I highly recommend it. If you didn’t like it the first time, replay it on an easier difficulty, and lose yourself in the narrative and music.
At the very least, give the soundtrack a listen.