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Hotline Miami (Горячая Линия Майами in cyrillic alphabet) is a game by cactus and Dennis Wedin (Dennaton Digital), published by Devolver Digital, about a hitman who is forced to confront his past and remember all of the missions he has done.To know more about the characters there's a page for it. We recommend you take a quick look at it anyway, since none of the characters have official names and the entries below use their most common Fan Nicknames.For a better idea of the atmosphere, see the storyline trailer, live-action trailer, first gameplay trailer, and second gameplay trailer.Gameplay is simple - it is a top-down 2-D action game with movement by WASD and a few other buttons for killing. All you have to do is kill all enemies and not be killed, although this is easier said than done. Why? You die within one hit. And you will die plenty of times.A sequel is in the works, titled Hotline Miami 2: Wrong Number. Set in The Nineties, it deals with multiple factions that have arisen after the events of the first game. View the teaser trailer here and the gameplay trailer here.
This game contains examples of the following:
Absurdly Sharp Blade: Any sufficiently-long blade can cut mooks in half, lop off their heads, etc. Shorter blades can still eviscerate and disembowel mooks with one slice, and a thrown knife will instantly kill anyone it hits, regardless of its speed, should it land blade-first.
Absurdly Spacious Sewer: In the epilogue, the Biker spots a custodian scurrying into the basement of a building. He follows and discovers an underground waterway full of masks, building floor plans, and phones.
All Your Base Are Belong to Us: Richter eventually turns up at your apartment. He murders the Hitman's girlfriend, then reclines his legs in the living room until the Hitman returns, whereupon he shoots you in the head.
Alternate Character Interpretation: Invoked by different playthroughs. In "Neighbors", the hitman finds all the Phonehom employees dead, and has the boss immediately and violently fly at him, roaring his intent to tear him apart. In the Biker's perspective, killing them is optional, and the Biker warns the Hitman twice to leave. The Hitman, instead, charges him without a word. When the Hitman dies, the Biker mutters that "[he] made [his] choice."
Also invoked in regards to Richter, the hitman who takes the PC's girlfriend out, and seemingly himself. After a turning point in the game, the Clerk is slain at every establishment the Hitman goes to, replaced by a strange bald man who wants him to leave - either politely, with passive-aggressiveness, or plain old grumpiness. When he shows up in person, he's more of a Faux Affably EvilSmug Snake. And even later, when the Hitman finds him in the police jail, he's genuinely apologetic and even knows that won't likely stop the Hitman from killing him.
Alternate History: A subtle one; the point of divergence or even what that divergence was is vague at best. The Big Bads are motivated with breaking up a Russo-American Coalition in 1989, so it can be assumed the Cold War played out differently, at least.
Anachronic Order: Subtle, and more as a way to represent the protagonist's increasingly obvious psychosis than anything else. The missions appear to take place in chronological order, but the after-mission sequences (during which the protagonist drives to a supermarket, pizzeria, video store etc.) take place out of chronological order, with characters in these sequences referring to events that don't take place until several missions later. For example, after the first mission the protagonist chats with a supermarket clerk who laments the protagonist's loss of his girlfriend. It turns out the reason this happens is because Jacket's in a coma.
Anti-Climax: Attempting the final level without discovering the hidden password has you confronting the two janitors in their underground base, only to leave all the questions unanswered. It's lampshaded by the Chicken-mask-wearing man: "You will never see the whole picture."
Batman Gambit: The janitors relied on hitmen who'd be easily recruited - such as the Biker, whose idea of fun is 'violent murder' - and would keep them in line by tricking them into believing there would be consequences if they don't make a hit.
Batter Up: The very first weapon the hitman gets to try out.
Battle Butler: Some of the mooks in the Hotel level are hotel servers carrying what appears to be food on platters, until they proceed to pull out an uzi when they notice you.
The Berserker: The riskier your playstyle, the higher your score.
Black and Gray Morality: The hitman's enemies are certainly some nasty characters, shown to have chopped up and mutilated people, kidnapped drug-addicted women, etc., but the hitman himself is not sure he is in the right.
Blood Knight: The biker's idea of fun and excitement is murdering people.
Bloodier and Gorier: Jones the alligator mask leaves lakes of blood after killing enemies, no matter which weapon you'll use.
Bodyguard Babes: After the hitman kills the panthers in "Showdown," the Ninja Girl tells the mob boss to "Leave him to me," and a fight will commence. She uses throwing knives at range and a sword for close quarters.
Boring, but Practical: The basic knife doesn't seem very sexy when things like shotguns, katanas, and machetes are available, but it's probably the most useful weapon in the game. With decent range and the highest swing speed in the game, you can basically just keep clicking attack and simply walk through all your enemies to slice them up. With other melee weapons you have to properly time your swings, or else end up missing and being brained by your opponent's own weapon. Additionally, throwing it will kill a lot of enemies in one hit, whereas other thrown weapons will only knock them down.
Boss Arena Idiocy: The two water fountains in the room provide cover from the final boss' MP5s. He will periodically reload and will be vulnerable for a few moments while he does. Upon her death, the mob boss' lieutenant (Ninja Girl) drops 3 throwing knives that are required to defeat him.
Camp Straight: The biker wears a pink vest and has interesting choices in furniture. However, he also seems to have female lover(s) at his apartment between missions.
Car Fu: The third boss tries to do this to the hitman.
Chekhov's Gun: A very subtle one: the pamphlets for the "50 Blessings" organization, that can be found in both the protagonists' apartaments. Most players won't even notice them, but in the Golden Ending they turn out to play a pivotal role in the plot.
Contract on the Hitman: The biker has the same employers as the hitman; when he wants out and begins to sabotage their plans, the hitman is sent to clean up the mess. Later on, a rat-masked killer is dispatched to off the hitman. It doesn't stick. It later turns out this technically wasn't the case - they sent the Hitman to Phonehom to kill the Biker when he was interfering with his employers' plans, but the Janitors outright admit that nothing but empty threats keep the hitmen in line.
Creator Cameo: The dialogue from the janitors alludes to indie game development, since the two resemble cactus and Dennis. And yes, you can murder them.
Biker: Who are you working for? Dennis: No one, haha! cactus: We're independent, we did it all ourselves! Dennis: Hard to believe isn't it?
The unkillable DJ on the dance floor? It's Perturbator, who wrote the song "Miami Disco" that's the level's song.
Cruel and Unusual Death: Some of the finishing moves are this. For example, pouring a pan full of boiling water down a mook's throat.
Death by Irony: The third boss is finished off by being set on fire with one of his own molotov cocktails.
The janitors accidentally provide one of their assassins with the clues and the means to track them down and kill them.
Defeat Means Playable: The cops confiscate Richter's weapon and mask once he's taken into custody. This rat mask can be found and collected on the top floor of the precinct. If worn, the hitman starts the chapter with a silenced Uzi, the same weapon Richter used to kill the hitman's girlfriend.
Zigzagged with the Biker: Jacket must kill him in the course of the storyline, which results in a series of chapters in which the player plays as the Biker near the end of the game - in one of which the Biker kills Jacket. Um... what?
Determinator: The hitman to the point where, even after he wakes up from a coma caused by getting shot, he still manages to sneak out of the hospital while barely conscious and go all the way back home. He jumps straight into his old clothes and gets right back to killing.
Dramatic Unmask: The Biker, after you defeat him in the lobby at Phonehom. The bald clerk from the Hitman's hallucinations is later revealed, upon bursting in on his jail cell, to be Richter, the hitman who shot the player's girlfriend.
The Dreaded: The hitman is this, to the point where the local police chief barricades himself in with four other cops and tries to reassure them that they will all survive.
Drone of Dread: Once you have completed your objectives in a level, the soundtrack cuts out and is replaced with a low, buzzing drone as you make your way out of the building, probably intended to symbolize the rush of adrenaline and psychosis wearing off when there's no more killing to be done.
Eagleland: 50 Blessings, which is Type 2, for America. They do not like the thought of America forming a coalition with Russia.
Early Game Hell: First-time players will most likely get their ass kicked during the early levels. When they get used to it... it gets harder.
Even Evil Has Standards: The Biker, despite joining the hotline for violent thrills, is baffled at the senseless killings.
In the Golden Ending, the biker's still not impressed: he dismisses the 50 Blessings as a bunch of "nationalist scumbags". If the player decides to kill them, it's certainly this, even after the Biker declares that he doesn't care about politics.
In addition, the Biker can spare the workers at Phonehom and leaves the people who give him information on the conspiracy alive. Compare the Hitman, who spares a grand total of one person, and would have shot his way out of the hospital if he wasn't half-dead.
Evil Is Hammy: In contrast to Jacket's role as The Quiet One/Silent Protagonist, Biker is very flamboyant and confrontational, and seems to enjoy shaking the life out of the pig-masked assassin in his apartment, and very dramatically threatens Jacket.
Excuse Plot: A critical examination of this concept. The only context the protagonist receives for the murders he has to commit is a series of disjointed messages left on the answering machine on his phone. As the game goes on, it starts to point out how crazy someone would have to be to commit so many murders at the behest of messages on an answering machine, and suggesting that the protagonist doesn't really care about why he's committing the murders - he just enjoys the violence for its own sake. And yes, these observations are directed just as much at the player as the protagonist.
An alternate reading proposed by Errant Signal argues that the Excuse Plot is the entire point of the game, and that the game is built upon stating by implication that narrative is meaningless to gameplay.
Evil Cripple: The head of the local Mafiya is wheelchair bound.
Executive Suite Fight: Against the Russian Mafiya boss, the last fight of Jacket's storyline. He unleashes his pet panthers against you, then his kunoichi bodyguard, and then he starts spraying bullets everywhere.
Exposition Fairy: A hobo leads you though a series of rooms to outline the game's controls. He is actually a figment of the bum sleeping beside the first level's dumpster, whom the hitman ruthlessly killed.
Eye Scream: The finishing move on the first boss is to gouge out his eyes. The hitman also starts hallucinating dead corpses whose eyes are gone.
Face Death with Dignity: A few of the NPCs certainly do: namely, the hitman who killed your girlfriend, the two Mafiya leaders, and the janitors.
Fan Nickname: There is no official name for anyone in the game, so fans have improvised names as follows:
The main character: the hitman, jacket (because of his "B" college jacket), Richard (for his starting mask), MC ("main character")
The first boss: the producer, since he's apparently making music tracks.
Golf Clubbing: Complete with a finishing move where the hitman tees-off a mook's head.
Good Old Fisticuffs: Always an option, especially if you can get the drop on a lone enemy. Tony the Tiger makes your unarmed attacks lethal, even allowing you to take on dogs bare-handed.
Gratuitous French: Wearing Phil (the fish mask) during a mission will play the dialogues in French.
Guide Dang It: Getting Jones the alligator. That crowbar in the first room of Full House? You use it to open up the manhole outside of the building after finishing the level. There isn't any indication of this unless you pick up the crowbar and go back there to see the red arrow.
The Guards Must Be Crazy: The enemies primarily pick up on noise, scent, direct visual contact, etc. and will not care about mysteriously-opened doors, the sight of other dead mooks, or broken windows.
Heroic Resolve: Right after he seems to be almost on the verge of death and wakes up in a hospital, delirious and tired, Jacket escapes from the hospital, dons his old jacket, and shoots out an entire police station and Mafia headquarters to massacre everyone he believes is responsible for the death of his female companion.Heroic Resolve indeed.
Hollywood Silencer: The silenced handgun, which is quieter than most melee attacks, at the cost of a fifty-fifty chance of only wounding the target. Using Peter the Unicorn makes all your weapons silent.
How We Got Here: "Does April the 3rd mean anything to you?" The story apparently begins in the eleventh chapter, after the hitman has been hospitalized with a gunshot wound to the head..
Human Sacrifice: One of these is being performed in the center of the first bonus mission.
Informed Ability: The Biker is apparently some sort of DJ or musician, or at least dabbles in music judging by the keytar and turntables in his apartment.
I See Dead People: Following the battle with the biker, the hitman's version of events becomes increasingly distorted, with zombies of the men he's killed beginning to show up around his home and in public.
The Don Juan mask allows you to kill enemies by slamming doors into them.
Interface Screw: Nigel the Bat reverses the controls. Oscar the Mole turns the screen dark and red.
As the hitman gets closer to remembering his girlfriend's death, quick flashes of static start appearing. Then there's the hospital level.
The game also likes to do whatever it can to disorient you, from making the stage sway back and forth as you move to causing TV-style flickering on your monitor.
Invincible Minor Minion: SWAT officers appear unexpectedly at the end of one of the missions, and you have to escape from them. Thanks to their body armor they're immune to most attacks, and the few attacks that do work on them will only knock them down for a couple seconds.
It Never Gets Any Easier: In fact, the hitman starts to suffer mentally as a result of his work. His first mission results in him puking his guts out. Halfway through, he begins hallucinating his victims, mutilated corpses, and has no idea what reality is.
Arguably subverted; it's likely he's not hallucinating because of guilt, but rather because his dreamscape is starting to fall apart.
Just Following Orders / Nothing Personal: The hitman confronts Richter in a jail cell during Chapter 13, Assault. Richter reveals he himself does not understand the events at play. The player can then either strangle him to death or spare him.
Just You and Me and My GUARDS: Before you get to lay hands on the Russian mob boss, you'll have to contend with his pet panthers and female bodyguard.
Kaizo Trap: The Chapter Clear banner is no promise of safety. SWAT shows up in one level, while a van tries to run you over and deploys a molotov-throwing boss and several goons.
The final boss shoots himself with a revolver, whose bullets pierce multiple targets. And you can't move while he does it. Position yourself carefully.
Light Isnot Good: Both protagonists and antagonists embody this, as does the sinister bright, neon-lit setting.
Knife Nut: The hitman can be this, and the biker is also this. Dennis the Wolf lets you start each level already armed with a knife.
Leave No Survivors: The hitman must kill all enemies. He can never just go straight to his objective.
Long Song, Short Scene: The music that plays in the main menu, apartments, and after the "chapter complete" sign all last a very long time. Of note is the main menu theme, "Horse Steppin'" that lasts 10 whole minutes.
Losing Your Head: The headless corpse of the Biker is still fully-conscious.. at least in the Hitman's hallucinations.
Once the Hitman glimpses himself lying in a hospital bed, he falls to his knees and pulls his own head off.
In the Biker's playthrough, during the fight at Phonehom, he ensures Jacket is dead by stomping it into a red puddle.
Luck-Based Mission: The weapons that spawn on a level are randomized, so if you rely on a single play-style, then the game will be very luck-based. Additionally, mooks occasionally deviate from their usual patrol routes, which can ruin a run if you're not very quick on your reactions.
Made of Iron: The bosses, who are able to take quite a bit of damage before the hitman can finish them off. Even the Flunky Boss, who surrenders without getting into a straight-up fight, takes a very long beating.
Loosely justified for the first boss, at least, as he's wearing a bulletproof vest.
The Mafiya: The mooks you kill are all Russian, as confirmed by most of the NPC dialogue. Especially the Golden Ending
Malevolent Masked Men: The purpose of the masks is apparently to make it seem as if there are many killers on the loose.
There ARE many masked hitmen on the loose, as evidence by the masks you find in levels being next to dead bodies, the fact that Richter was sent to kill Jacket via phone message, Both Biker and Jacket have newsletters for 50 Blessings, which if the Golden Ending is canon then everyone who signed up for that newsletter agreed to "die for their country" and anyone who thought about about backing out were given empty threats. Even without the cannon ending, the janitors still imply there being many more operatives that the handful we saw during the course of the game not to mention the box of masks in their sewer lair.
Mask Power: The hitman gets a variety of animal masks, each of which has a different ability. For example, Tony the Tiger increases his unarmed power, while Don Juan the Horse upgrades the door-slam takedown into a lethal move.
Mind Screw: Things get weird the farther you get in the game.
Mood Whiplash: In the course of the game, we go from a slightly weird but twistedly fun scenario involving a nameless anti-hero who kills nameless mobsters, to said main character slowly going insane from a bizarre combination of Schizophrenia and PTSD and finding his female companion's dead body in his apartment. We then go to the main character determinedly hunting down his girlfriend's assassin by taking out an entire police station and destroying every last one of the mobsters. This is all followed by The Biker's psychotically upbeat and energetic attitude, followed in turn by his ultimate disappointment at finding out that the entire set up was a game created by janitors, who were basically trolling. So yeah… we go from exciting action to mind-bendy weirdness and back again.
Mook Chivalry: Downplayed. Sure, the enemies all attack at once, but they all charge straight forward with absolutely no regard to self preservation.
Morality Pet: The junkie the hitman rescues and takes care of, with no apparent motivation other than pity. Also a kind of a sanity pet. Watch the game from chapter to chapter and notice how the hitman's apartment gets steadily nicer and more comfortable, more like something a well-adjusted person would live in up until the point she gets Stuffed In The Fridge.
Mysterious Employer: Just who is leaving the messages on the hitman's machine? The janitors either hire or intimidate hitmen into killing targets.
Nameless Narrative: None of the characters are given official names. Wrong Number averts this with several named characters such as Martin Brown and Manny Pardo.
Nintendo Hard: One knife stab, baseball bat to the face, bullet to anywhere, etc. will kill you instantly. And you frequently face multiple opponents at once, who have insane reaction times and swing/shoot faster than you can. Then you play as the biker, who only has three custom throwing knives, and faces more gunners than you have knives. In either case, you either have to play very carefully (which nets you less points, as the game encourages recklessness), or rush everyone and hope a shot just grazes you.
No Dead Body Poops: Averted. Some melee kills result in a beaten, bloody gangster with a urine stain in his pants.
No-Gear Level: The hospital. Making matters more difficult: The camera angles are loopier than usual, and the overlay is mimicking poor cable TV reception. This mirrors the pain and disorientation of the Hitman, whose head is still swathed in bandages.
No-Holds-Barred Beatdown: Woe betide whoever the Hitman has to take down with his bare hands. Even worse for many of the bosses.
Nonstandard Game Over: Getting caught in the hospital level results in mundane things like getting put in restraints, and being sent back to your room.
Becomes Fridge Brilliance with the revelation that the first part of the game is "the Hitman" replaying his memories during his coma. His dissonantly benevolent, omnipresent friend could be a tie to his life from an earlier, innocent time, before said previous "worst Incident ever" sent "the Hitman" to the other side of the country... which, possibly, was the same one that turned him into a psychotic hitman?
No Sell: An unintentional example. The Silenced Uzi and pistol take two bullets to kill a normal guard. Due to that and the Silenced guns being silent, a guard shot in the back of the head with one bullet won't even flinch.
The Scary Black Man type of mook, who needs a shotgun blast or an entire magazine of assault rifle fire to kill him.
Not So Different: The rat-masked killer sent to kill the hitman and his girlfriend says this to the hitman later on, when the hitman comes to seek revenge, though it's more of a confession than a taunt.
Office Golf: The boss of the telephone company has a golf bag in his office. The hitman has to pick up a golf club to fight against the boss.
Once an Episode: Every mission until waking up in the hospital begins with the hitman getting a message on his answering machine describing his next job, in coded language. He walks downstairs, gets in his car, and heads off.
After each mission, the hitman stops by one of the establishments run by the dude with the square-rimmed glasses. The dude comments on the apparent mental state or health of the hitman, then offers him something "on the house." The hitman silently takes it and leaves. Then all of the dudes with the square-rimmed glasses start getting replaced.
The Patient Has Left the Building: In the level "Trauma", your character (who has just awoken from a coma) must sneak out of the hospital. It's the game's only Stealth-Based Mission, and your character will freeze up every so often as a wave of dizziness takes over him.
As the Biker, he spares his interrogation targets, and unlike the main game, it's possible to just ignore all the Phonehom workers instead of chopping them up.
Pixel Hunting: Each password piece appears as a small purple square which can be very hard to see unless one is specifically looking for them. The Rasmus mask will add a small glow around the pieces making them more noticable.
Psycho for Hire: The hitman is possibly this and the biker is definitely this.
Psychotic Smirk: The two janitors never stop grinning when Biker confronts them. They do, however, stop smirking when Biker tells them he bypassed their computer.
Punch Clock Villain: A few of the enemies in the game, such as the rat-masked man who shot the hitman and his girlfriend. He's apologetic, but knows as little about the men who ordered the hit as you do.
Right Hand Versus Left Hand: The Hitman and the Biker are both pawns of the same mastermind. The latter is marked for death when he starts tracing the calls, and the Hitman is summoned to stop him. Who survived the battle at Phonehom, however, is up to interpretation.
Sanity Slippage: The shop visits between missions eventually become disjointed and surreal, with corpses appearing everywhere, the Sensory Abuse of the mind-trippiness increasing, and the dialogue becoming increasingly Mind Screw-y. Yahtzee even wrote that he thought it was the best portrayal of what it would feel like to be insane he'd ever seen in video games.
Scary Black Man: The first boss. He returns as a mook that is only vulnerable to guns, and his corpse can block shots, leaving other ranged enemies shooting you in the face.
Schrödinger's Player Character: A variation. Since Jacket and Biker meet and fight to the death at one point, only one of their plotlines can be canon. What's been shown of the sequel suggests that Jacket's ending is the canon one.
Sensory Abuse: The bright colours, the flashing, the way the view sways as you move... yep, this disorienting combination of visual elements merges pretty well with the rest of this game's aesthetic. 3/4ths past the game, your screen will fill with static, and as you try to escape the hospital, your vision fills with blurry, white noise to indicate the Hitman's about to double over in pain. It's a sneaking mission, so you'llneed to time your episodes right..
Sequential Boss: As opposed to the other bosses, which soak up a lot of hits, the final boss is three opponents strung together that go each down quickly. First two panthers who you face in melee, then a ninja who you throw your weapon at to take down, and finally the head of The Mafiya, who uses dual uzis.
Shaggy Dog Story: The hitman's rampage against the Russian mob after he destroys the police station. In the non-linear Playable Epilogue, it is shown that the evidence folder turns out to be a Red Herring to draw suspicion away from the actual organization who organized the hits on him and his girlfriend. In the final dream sequence, the Rooster Mask straight up tells the hitman that nothing he does from that point on will make any real difference.
Shoot the Hostage: The objective of Mission 04: Tension, although it's more like blow up the hostage.
Driver's jacket can be found as as level dressing.
Smug Snake: The ferret-faced assassin who murders Jacket's girlfriend.
The Two Janitors only wear a smug, condescending smirk, happily taunting the player over their ignorance. Only in the Golden Ending do you get to wipe it off their ugly faces.
Sinister Surveillance: The creepy janitor who watches the Hitman in his apartment and during his hit for one of the chapters. With good reason, he's the other half of the overlying conspiracy.
Spanner in the Works: The Biker, who, bored of his job and fearing retaliation, goes after those behind the conspiracy.
Split Personality: Jacket "visits" the room with the three masked personas at the start of each Act. The cover art for Hotline Miami shows "Richard" wearing the hitman's distinctive jacket. The horse shares the same lower body as the hooker, and Ramsus is wearing a mobster suit.
Spy Speak: Lots of Type-2 speak when it comes to the orders sent to the hitman.
More ambiguously, the bearded clerk who appears in different stores to give the hitman something for free just for showing up while making idle conversation after each mission. It seems he might be paying off the hitman for jobs finished, but it's not clear if he's being snuck money in those free pizza boxes, or if he's just killing for free pizza.
Stealth-Based Game: Not strictly required, but practicing stealth is much more likely to lead to winning the game than just rushing in guns blazing.
Stealth-Based Mission: The only instance in the game where the player is forced to be stealthy is a sequence in which Jacket has to escape from a hospital. It's fair to say this was the least well-received part of the game.
Sunshine Noir: The bright neon colors and upbeat music of the setting combined with the exploration of the game's criminal underworld qualify it as this. Especially in Biker's arc.
Super Reflexes: The second boss can dodge anything and will also instantly-kill the hitman at close range unless he is busy getting his cleaver unstuck from the wall.
Super Strength: Possessed by just about everyone in the game. For example, one of the bosses can punch the hitman's brains right out.
Tactical Suicide Boss: Played with. The Biker is a cleaver-wielding man who kills you instantly if you get close, but mostly keeps his distance. He occasionally lunges at you, which is easy to dodge, and eventually tosses his cleaver at you—it gets stuck in a wall, and he tries to pull it out while you're free to bash his skull open. But in the final chapter you get to relive the battle from the boss's perspective. When the protagonist comes in, you can kill him simply by walking up to him and ending his life with a single cleaver slash, as opposed to engaging in overtly complex and suicidal tactics.
Take That: The only thing the fish mask, Phil, does is... translating the dialogues in French. A jab to Fez creator Phil Fish.
Terms of Endangerment: One particular phone call refers to your targets as "VIPs". During your second visit to the hitman's watering hole, the barkeep kicks you out after announcing tonight is "VIPs only," so naturally, the only guests are corpses.
Throw Away Guns: Since you are incapable of reloading guns, it's bound to happen.
Throwing Your Sword Always Works: Normally averted/downplayed. Throwing a bladed weapon has an equal chance of either landing handle first and stunning the enemy or landing blade first and killing them. Exaggerated with the Jake the Snake mask, which combines this with Made of Plasticine by making it so any thrown bludgeon, blade, or gun will mow through multiple enemies like a hot blade through butter, even if it's lost some of it's momentum and can be perceived as sliding across the floor.
'Tis Only a Bullet in the Brain: Even a headshot can't keep the hitman down. However, he is still woozy from surgery, and only escapes the hospital through sheer luck and pluck.
Title Drop: In the third chapter intro. The phone call is from the "dating service" Hotline Miami.
Tomato in the Mirror: Much of the game is told in flashback. The hitman is actually lying comatose in the hospital, still alive but replaying his own bloodbaths over and over in his head. He might also be Dead All Along, having been killed by the Biker, though this is up to your interpretation.
Trouble Entendre: Unlike the hitman, who follows his assignments without question, the biker's phone messages get increasingly agitated as he ignores them. The last call is from a 'funeral home', announcing that his tombstone is engraved and ready to be delivered. "With a little luck you should be getting it before the weekend!"
Unstable Equilibrium: Higher scores earn the player new weapons and masks (which grant the player bonuses when worn). Better players will find the game substantially easier later on as a consequence.
Unwitting Pawn: Hell-bent on avenging the murder of his girlfriend, the Hitman storms the police precinct looking for her killer. He then backtraces the calls to the Mafiya stronghold. What he doesn't realize is that his girlfriend's killer was not in the Russians' employ. Wiping out the mobsters only furthers the real antagonist's goals.
The Phonehom company, which places out the recorded messages for each Hitmen. Someone bugged the system.
We Have Reserves: The janitors of 50 Blessings don't care that they'll be killed - there's many more like them. All they need are five more years.
We Sell Everything: The hippie dude with the square-rimmed glasses is always manning a store the Hitman heads to. Be it a bar, pizza parlor, VCR store...
It's been called a Spiritual Licensee of Drive; director Nicolas Winding Refn is even specifically thanked in the credits.
You ALL Look Familiar: After each job, the Hitman heads over to a bar, eatery, or video store to unwind. The same clerk is working the counter at each establishment (though thinly-disguised behind hats), and always offers his wares "on the house." After the Hitman escapes from the police, the clerk is found dead in every store he worked in, replaced by a taciturn bald man who gives you nothing and wants you to leave.
You Bastard: Subtly done with the gameplay and atmosphere themselves. The game plays deliberately like an adrenalin-fueled haze until you kill everyone - then, the music stops, leaving the player to ponder his carnage.
Outright thrown into the Biker's face at the end of his play through by the janitors, if you haven't found the puzzles. They mock his blind need for violent fun. Given that his primary reason for hunting down the conspirators was because he was bored and sick of his job...
They also insult the Hitman's blind following of orders - there would be no real consequence if they refused, besides threats, and never once in the Hitman's playthrough do you find out who you're killing or why - nor do you slow down to do so.
The Biker rebels against the evil conspiracy - not because of any sense of morality, or guilt, but because he's bored, and wants to kill some more. Given that the last levels of the game will most likely become repetitive, due to the One-Hit Kill, Nintendo Hard nature of the game, this may be a potshot at gamers who are frustrated with the gameplay and care nothing for the virtual mayhem they cause - only that when it stops being fun, they want it to go away.
"Do you like hurting other people?" The three animal-masked people that predate each chapter also question the violence that the protagonist partakes in.
It's also been theorized that the secret ending is a mockery of gamers who want story to their gameplay, by suddenly tacking on an international conspiracy plot that's out-of-genre and doesn't really answer any more beyond that.
You Have Outlived Your Usefulness: The hitman ends up blowing up another animal mask killer who was captured and is being interrogated by the Mooks. Later in the game, the forces behind the animal mask killers send another one to the hitman's apartment to kill him and his girlfriend... not for anything that he did, but simply because they no longer need him.
While it's not shown until later, it turns out you were sent to Phonehom to kill the Biker, who had decided to find out who was behind the conspiracy.
Mission Pack Sequel: Wrong Number originally started off as a DLC to the first game. Eventually, the developers decided that it became large enough to warrant becoming its own game and as such they stated that they added little to no changes gameplay-wise.
The unsubtle moralizing in the original is taken to even bigger levels in the sequel with "The Fans", copycat killers who want to continue the same old violence from the events of the first game and are perpetrating the senseless violence. Word of God via Dennis Wedin says that they are meant to symbolize fans of the original game who wanted the sequel to be exactly the same.
It's been theorized by game journalists that the staged rape in the sequel is another potshot at gamers - sure, fine, they're content with delivering violent torture on nameless mooks, but as soon as something just as unpleasant comes up that breaks the video game-y violence, they complain.
Hi, thanks for calling Tv Tropes Hotline! We'd like it if you could head down to the Hotline Miami page and spruce it up a little. Add some tropes, fix some links, add to the index, you know the drill. And remember, be discreet! * click *