Hotline Miami - br33dlove

Katana ZERO is a stylish neo-noir, action-platformer featuring breakneck action and instant-death combat. Slash, dash, and manipulate time to unravel your past in a beautifully brutal acrobatic display.
Hotline Miami - br33dlove

APE OUT is a wildly intense and colorfully stylized smash ‘em up about primal escape, rhythmic violence, and frenetic jazz. Build up nearly unstoppable momentum and use your captors as both weapons and shields to crush everyone on your procedurally generated path to freedom.
Hotline Miami - Valve
Today's Deal: Save 75% on the Hotline Miami series!*

Look for the deals each day on the front page of Steam. Or follow us on twitter or Facebook for instant notifications wherever you are!

*Offer ends Sunday at 10AM Pacific Time

Serious Sam 3: BFE

Update: In a tweet, Devolver Digital confirmed that this Steam sale is being held in conjunction with charitable speedrunning organization Games Done Quick. Devolver says they'll donate 10 percent of the sale's revenue to GDQ.

GDQ recently kicked off Awesome Games Done Quick 2018, a week-long speedrun marathon dedicated to breaking videogames every way possible and raising money for the Prevent Cancer Foundation. 

Original story:

Publisher Devolver Digital is running a quick Steam sale to ring in the new year. A handful of good indies are on sale through Monday, January 15, including gratuitous violence simulator Hotline Miami and contemplative puzzler The Talos Principle. Here's the full list: 

You'll also find some good discounts in GOG's New Year's Resolution sale, which started earlier today and runs through January 15. The first day's 'resolutions' (read: recommendations) are mostly meaty RPGs like Divinity: Original Sin 2 and The Witcher 3: Wild Hunt, and there's a good indie presence thanks to other games like Torchlight and Legend of Grimrock. 

They Bleed Pixels

Over 500 games are discounted on Steam this week, a sizable chunk of which are visual novels and cutesy anime games. But if gratuitous violence is more your thing, allow me to direct your attention to two of the sales' best games and steepest discounts: the Hotline Miami combo pack and They Bleed Pixels

Hotline Miami is a gory top-down action game about murdering gangsters in a chicken mask. As our own Graham Smith said in his review, it's "a tight, efficient game" that encourages brutal creativity and lives by trial-and-error. Through Monday, November 13, you can pick up the original Hotline Miami and the sequel, Wrong Number, for $6.79. Note that the individual games aren't discounted, so you have to buy the bundle. Luckily, the bundle is cheaper than either individual game. 

In a similarly grisly vein, 2D platformer They Bleed Pixels is available for $2—a hefty 80 percent off—through Monday. Phil called it "neat, but also absurdly difficult" back in 2015 when it received its big Crimson Update, which added a host of levels, speedrun leaderboards, and, crucially, improved blood effects. If you dig its chiptune music, you can also grab the soundtrack for $1, or kill two birds with one collector's edition9. for $2.59.

As previously reported, tech-noir tactics game All Walls Must Fall is also heavily discounted this week, as its Berlin Wall anniversary sale happened to line up with the weekly sale. Atmospheric survival game This War of Mine is another standout at 80 percent off. 

Hotline Miami - br33dlove

Our friends Terri Vellmann and Doseone have released their incredible, full throttle first-person shooter High Hell today! It's been called Hotline Miami 3D so it might be up your alley - watch the trailer below and give it a shot. If you purchase before November 2 you get their first game Heavy Bullets for free!

Also, today is the anniversary of Hotline Miami which was released five years ago today - thanks so much for your love and support from the start! Check out this nice retrospective from Tech Raptor!

Hotline Miami

In 2013 French electronic musician Kavinsky released a 13-track album of squelchy synths and triumphant lead lines called OutRun. It reveled in the forgotten sounds of 1980s movie scores, and the Ferrari Testarossa and palm trees on its cover referenced the 1986 arcade game the album took its title from. It’s an impeccably composed image so stylized it doesn't really resemble the game it's named after.

That’s the synthwave ethos: taking elements of a period of '80s excess millennials find irresistibly evocative, and modernizing them so they're just barely recognizable. As Robert Parker (a Swedish producer responsible for albums like Drive Sweat Play) told Time Out, "Synthwave is nostalgia with selective memory loss... [Synthwave artists] don’t really try to imitate the sounds 100 per cent, but rather take out some of the essential parts and put it in a modern context."

Kavinsky's OutRun proved so popular in the synthwave scene that it spawned its own subgenre. Quite how the music relates back to Sega’s 31-year-old racer isn’t clear, and perhaps isn’t important. What’s important is that the music inspired by a racing game went on to inspire a new wave of indie racing games. 

Games like Fraoula’s Neon Drive, Denver Productions’ OutDrive, and the ill-fated Power Drive 2000 (Kickstarted in 2015 but without a developer update since February of this year) all seem to agree on the tenets of the genre: angular concept cars screeching along retrofuturist highways through a miasma of purple and pink. Tron's neon lines often appear, as do Blade Runner's cityscapes. It's an unquestionably '80s vision, but the specifics of the decade often aren't in sharp enough focus to be recognizable—least of all the games they’re homaging. 

Perhaps synthwave fans couldn’t find satisfaction in revisiting the actual games of the ‘80s, so instead they created a new and imaginary vision of what games like OutRun were. Neon Drive achieves a heightened sense of 'eightiesness' by making the music an essential part of the drive. Rather than pulsing away at the periphery of the experience, the beats in Neon Drive propel the whole world forward, creating a rhythm-action racer in which you’re not so much driving the car as dancing with it—perfect synergy between sound and visuals.

The same could be said of the game that started it all: Hotline Miami. To players of a certain age it’s the kind of gratuitous and dark entity you imagined when your parents talked about violent videogames many years ago. But even at the height of that moral panic the reality was so much tamer than Hotline Miami. Doom’s blood-specked sprites have nothing on Hotline Miami’s eye-gougings or spurting arteries, or its utterly amoral characters. 

By setting itself so firmly in the 16-bit era with its visuals, Hotline Miami managed to attach itself to those original gaming boogeymen without playing anything like them. The score multipliers have at least half an eye on arcade gaming admittedly, and the top-down violence owes plenty to the original Grand Theft Auto. Yet Hotline Miami feels completely disconnected from gaming in the '80s or '90s on a mechanical level. Its quick restarts turn it into a hazy, endless dream, something that feels completely modern.

Hotline Miami's soundtrack, however, seems to gel with the pace and attitude of the game perfectly. Those 22 songs from the likes of Perturbator, Jasper Byrne, and Scattle have persistent beats matching your stubborn restarts while their glassy synth pads seem to implicitly reinforce the nihilism of the setting and dialogue. In many ways Hotline Miami is a horrible place to find yourself in, one you only stay in because you’re enjoying the violence so much. And as its creators have frequently pointed out, that was always the point.

Despite the obvious craftsmanship of both game and soundtrack, Hotline Miami was lucky to find the success that it did. Released in 2012, it found an audience who’d seen Nicolas Winding Refn’s Drive in theaters just a few months prior. With a hyper-stylized period setting, violence depicted with passivity, and a soundtrack full of Kavinsky, College, and Desire, Drive put synthwave in front of a mainstream cinema audience. Its poster, with a typeface inspired by 1983's Risky Business in hot pink contrasted against its dark blues, seems to have set out an indelible vision of that aesthetic.

If Hotline Miami represents the high point for synthwave-influenced games, the following year would see its low point. Far Cry 3: Blood Dragon ticked all the boxes of the aesthetic: late '80s typography, that familiar colour palette, and an ironic repurposing of period elements (in this case the voice of Terminator and Aliens actor Michael Biehn). On paper it was primed to rewrite videogaming past like its synthwave-soundtracked brethren and offer the kind of heightened nostalgia hit you can’t get from genuinely old titles, never quite as stylish or ‘of their time’ as you remember.

The reality of Blood Dragon was a thoroughly modern open-world game with retrofuturist elements sellotaped onto it. If you were being unkind, you’d say it was Far Cry 3 with a palette swap squeezed out of Drive’s poster.

Instead of finding harmony between those elements, Blood Dragon pit them against each other. What made Far Cry 3 great was that it perfected a burgeoning frontier of open-world game design—it was an impossible task to ask a game so focused on the to new evoke something historical or nostalgic simply by changing its appearance and getting Hicks from Aliens in to record some gravelly quips. 

Blood Dragon might be the first example of a game co-opting the synthwave ethos simply because it was in vogue, but it’s by no means the last. The danger with a genre of gaming and music as narrow and hard to define as this is that its output becomes reductive, simply hitting the recognizable trappings in order to give the 'come hither' finger to a hungry audience, without offering the chance to explore a remixed past that audience is really looking for. 

Games under the ‘synthwave’ tag on, for example, offer lots of stylish branding, but few seem to expand the retrofuturism concept further than that. 2D RPG Mistlurk is one exception to that rule: in Mistlurk you’re not just driving through the ubiquitous uncaring city, you’re actively trying to investigate and ultimately escape it. There’s an effort made to elaborate on the familiar tenets of the aesthetic, and give them deeper meaning. A meaning that’s underpinned, naturally, by gated snares and John Carpenter movie synths. 

Five years after Hotline Miami and six years after Drive, synthwave and indie games still enjoy a symbiotic relationship, and are still responsible for the occasional gem. Last year’s Furi found a new kind of atmosphere and excitement by pairing the aesthetic with incredibly demanding boss battles in a less urban and more fantastical setting. A certain kind of listener will tell you that technically the soundtrack is 'darksynth', but the atmosphere’s very much a part of this broader movement. A steady evolution of it maybe, in which the rules are relaxed a bit. 

Where that movement heads next is open to debate. It’s already had its breakthrough indie hit, and it’s already been absorbed into the mainstream. In music industry terms that means it's in trouble. To pick an example from a musical genre that's probably the antithesis of synthwave, we've had the moment where Limp Bizkit's chart success began the downfall of nu-metal. But right now at least, this little corner of gaming and music endures. As time drags us further away from the decade these games hark back to, game designers keep creating more ways to get back to it—or at least a hot pink version of it we can race through at top speed.

Hotline Miami - (Brendan Caldwell)

Top-down puncher Hotline Miami had brutality and baseball bats, but you know what it didn t have? Teleportation.

That is how I imagine most videogames are created. Just one man in a tie who is approached by developers like an oracle and who says: “do X but with Y.” Mr Shifty [official site] is about smashing through crowds of people while using a blink-like teleporting skill to dodge bullets and blows. It s out today and, like its masked mate from the 80s, it s all viewed from above. It looks hectic, but you can see that for yourself in the trailer below. … [visit site to read more]

Hotline Miami

The ever-outlandish Devolver Digital has teamed up with The Humble Store this week to give us the aptly named Devolver Digital week—a sale period which sees up to 85 percent off a selection of the publisher's games. 

Big hitters such as Hotline Miami, its equally brutal and stylish sequel Wrong Number, and philosophy puzzler The Talos Principle are all worth a punt if you're yet to play them—going for £1.39, £2.99 and £7.49 (or your regional equivalent) respectively, with 75-80 percent discounts. 

Not a Hero and Broforce are another two of my favourites listed, both of which are subject to 75 percent reductions at £2.49 and £2.99 in turn; while the gun-tastic bullet-hell shooter Enter the Gungeon is half price at £5.49.

The "point and click hugventure" Dropsy is another good shout at just £1.74, and, if you're extra tight for cash this week, I'd recommend gamified Tinder-like Reigns at £0.84, or the wonderful Downwell for £0.99. 

The Humble Store's Devolver Digital Week will run this week—the full list of discounted Devolver games can be found over here, with five percent of each purchase going to charity as per Humble's standard. As always, let us know your favourite deals in the comments south of here. 

Some online stores give us a small cut if you buy something through one of our links. Read our affiliate policy for more info.


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