These are what we call the 'YMMV items.' Things that some people find in this work. We call them 'your mileage might vary' because not everyone sees these things in the same way. This starts discussions in the trope lists, a thing we don't want. Please use the discussion page if you'd like to discuss any of these items.
Foe Yay: Kyle and Bradley. Let's put it this way: If the only thing changed in the entire game was Bradley's gender, and the entire rest of the game was kept completely unchanged... the thing would be immediately classified as a totally straight, heterosexual chasing-the-lost-love-interest story. This isn't mere subtext in Hotel Dusk, this is just plain TEXT.
More Homoerotic Subtext than Foe Yay, really. Brian tells Kyle in his letter that he harbours absolutely no ill will against Kyle despite the fact that Kyle shot him, and Kyle states straight out to Ed that he doesn't hate Brian, that chasing Brian has nothing to do with revenge. He just wants to understand. Besides, let's recap the pre-game events:
Kyle quits his job as a respected police officer, essentially throwing away his entire (and very promising) career, because it was getting in the way of finding Brian Bradley. Granted, his superiors were probably going to fire him anyway... over not doing his job any more due to spending all of his time hunting down his erstwhile partner.
He has spent every waking moment of the three years before the game doing essentially nothing but following up any leads that might lead him to Brian. He took the job he has partially because it would allow him to move around quite a bit, making his hunt easier.
On top of all of that, he's in almost exact same position as Kevin Woodward. Partner made some shady deals to protect someone they loved? Check. Accused his partner without giving them a chance to explain? Check. Drove his partner away? Check. (Granted, Kevin did it with words and Kyle did it with a bullet, but still.) Regrets it horribly and desperately wants to hear his partner's side of the story? Check. Threw away his successful career and gave up everything just to find his missing partner? Check. Driven to the bottle just to deal with the loss? Check. It's hard to imagine that the writers missed the glaring parallels.
Mila. Oh God, Mila. Witnesses her friend get kidnapped by a complete stranger at the age of nine, brutally struck by said person and put into a coma, wakes up ten years later as a mute, searches for her father for six months with no sense of direction, and passes out again in the same room where her friend was kidnapped this time losing her breath and narrowly pulled back from the edge. And for all of her trouble, what does she learn? That her father may have been killed by Kyle's partner in the heat of rage when he came to visit her, as revenge for killing his own sister whose name was also Mila. Poor girl. For all of the crap she went through, there's no argument that she deserved a happy ending, either with Kyle or Rosa.
By contrast, most of Kyle's deadpan snarking were Lost in Translation to the French version, in which the furniture-clicking comments are even more generic and boring; however, it has Louie call Melissa by the cutesy nickname "Meli-Melo" as he picks her up to carry her back to her room, making the already heartwarming scene just unbearably adorable.