30-06-2013 12:53
[justify]Hotline Miami ÔÇô a deliriously violent videogame that stood out in a year full of assassins, exotic ways to cause harm and elaborate gunplay ÔÇô asks players a searching question: do you like hurting people? Heads are crushed with bats, throats are slit with kitchen knives and machine guns bullets cause arterial rain to spatter across living room carpets and ramshackle tenement stairwells. Sometimes a dying bad guy will crawl around on his hands and knees, blindly bumping into the walls for a while. And you may not even care enough to put him out of his misery.
At the end of each mission, you walk back to your car, retracing your bloody footsteps through the building youÔÇÖve just painted red. As you pass each mangled corpse, youÔÇÖre forced to witness the carnage that youÔÇÖre responsible for. ItÔÇÖs grim, disturbing and not a little nauseating (even the silent protagonist, dubbed ÔÇÿThe JacketÔÇÖ by fans, pukes after the first mission). So the question, as posed in surreal cutscenes by the gameÔÇÖs animal-masked puppet masters, lingers: do you like hurting other people? And if you donÔÇÖt, why are you still playing?
Hotline Miami is provocative in its attempt to question our attitudes to simulated mass murder. Yet despite being released just before the Sandy Hook Elementary School shootings, itÔÇÖs managed to avoid being dragged into the current round of tabloid outrage over videogame violence. Instead, its impact has been confined to gamers and the game industry itself. Which is pretty much how two-man Swedish developer Dennaton planned it.
ÔÇ£We wanted it to be disturbing and we wanted people to feel the violence,ÔÇØ says graphic artist Dennis Wedin. ÔÇ£But we werenÔÇÖt afraid about it being controversial, because itÔÇÖs pixel art. If weÔÇÖd made it in 3D and very realistic then it might have been different. But the graphics keep the game out of the spotlight. At Gamescom, they had to rate all the games, so two people came over and played it. And they gave it a 12, I think, because the graphics are so colourful.ÔÇØ
His partner, well-known freeware developer Jonatan S├Âderstr├Âm (AKA Cactus), agrees: ÔÇ£We wanted to show that we were self-conscious about the kind of game we were making.ÔÇØ How ironic, then, that Hotline Miami began as the most violent, least self-conscious game imaginable.
Some people make games. Some people craft games. Some people churn out games like a one-man production facility. Ever since he started releasing freeware games in 2004, S├Âderstr├Âm has fallen into the latter category, firing out new titles at the rate of M60 ammo rounds. And inspired by everyone from Japanese developer Ikiki to novelists such as William Burroughs, his output has often been avant-garde.
![[Imagen: aQWVF6L.jpg]](http://i.imgur.com/aQWVF6L.jpg)
Super Carnage was a game he started working on back in 2004 when he was 18: a top-down shoot ÔÇÖem up in which the aim was simply to kill as many people as possible. It was a teenage boyÔÇÖs game: sick and violent, and little more than that. After struggling with the AIÔÇÖs pathfinding, though, S├Âderstr├Âm filed the game in the ÔÇÿunfinished and unreleasedÔÇÖ box and went to work on other things.
It might have stayed unfinished if S├Âderstr├Âm hadnÔÇÖt met Dennis Wedin, singer and keyboard player in metalcore band Fucking Werewolf Asso. They collaborated on a promo game based on the band (a psychedelic, punk 8bit outing named Keyboard Drumset Fucking Werewolf) and an unfinished game called Life/Death/Island that grew too big for them to handle.
Running out of money and with bills to pay, they decided the next game would be their first commercial release. Flicking through S├Âderstr├ÂmÔÇÖs collection of unfinished prototypes, Wedin came across Super Carnage and instantly saw its potential. TheyÔÇÖd spend the next nine months holed up in WedinÔÇÖs apartment creating what would become Hotline Miami.
It was fucking hard, recalls Wedin of going into development with no budget and no clear idea of how theyd even sell the finished product. Some days we were so fucking tired, and we didnt know if we were going to earn anything from this game or if anyone was even going to play it. But we always loved playing it. As soon as I made some graphics, and we put them in, and tried it out, it felt so good and all the motivation was back.
While the core gameplay of Hotline Miami owed much to Super Carnage, there was a big change. Before they started development, S├Âderstr├Âm and Wedin hung out watching movies for inspiration. Among them were vigilante superhero adventure Kick-Ass, Miami-set drugs documentary Cocaine Cowboys and Drive, Nicolas Winding RefnÔÇÖs neon-tinged, bubblegum pop-scored thriller about a Hollywood stuntman who gets caught up in a heist gone wrong. Raising questions about screen violence, Drive was a movie with smarts. It got S├Âderstr├Âm and Wedin thinking: what if a videogame could do something similar? What if Super Carnage wasnÔÇÖt merely a game in which you killed people, but a game that posed questions about what it meant to kill people in a game?
Layering on a surreal narrative full of flashbacks and cutscenes featuring men in animal masks, Hotline Miami turned its violent game design into something more than the sum of its parts. ÔÇ£Me, IÔÇÖm into games that are just games,ÔÇØ explains Wedin. ÔÇ£But Jonatan thinks a lot about how he wants the player to think about the game. He believes the game should leave something with the player when they stop playing.ÔÇØ
Like all S├Âderstr├ÂmÔÇÖs releases, Hotline Miami was put together using GameMaker, YoYo GamesÔÇÖ development toolkit. ÔÇ£One of the reasons I donÔÇÖt move on from GameMaker is that there are very few tools that allow you to make games as fast,ÔÇØ he explains. ÔÇ£ItÔÇÖs very easy to use and you can code pretty sloppily in it. It gives you a lot of pre-built-in functions and tools that youÔÇÖd have to invest a lot of time in making yourself if you used another engine.ÔÇØ
There is a downside to the flexibility and speed that GameMaker offers, though. ÔÇ£ItÔÇÖs a lot slower than most other engines, where you can use the hardware a lot more efficiently. And you canÔÇÖt do whatever you want, because you are limited to what GameMaker was designed for, which is mostly 2D games. It doesnÔÇÖt have support for shaders or stuff like that ÔÇô at least not in the version IÔÇÖm using.ÔÇØ
Using an older version of the software threw up other issues that didnÔÇÖt become apparent until after Hotline MiamiÔÇÖs release, such as the troublesome fact that certain printers would stop the game from running correctly. ÔÇ£A lot of strange things happened after we released the game. I guess most of it has been fixed in the new version of GameMaker. But weÔÇÖre still using the old version that wasnÔÇÖt really built for the newer operating systems.ÔÇØ
For the dev team, though, the biggest challenge was creating the enemy AI. Hotline Miami is a game that requires you to kill or be killed. Its fast-paced instadeath design demands that its enemies are worthy adversaries. There are various AI behaviours in the game, such as random enemies that move between rooms armed with guns, or patrolling enemies who donÔÇÖt respond to gunfire, but will shoot at you if youÔÇÖre spotted. Each enemy is also capable of switching behaviours to give a sense of variety.
Some players found the enemiesÔÇÖ uniform appearance and switching behaviour confusing, fuelling suggestions that the AI was broken, because the bad guys didnÔÇÖt always respond to gunfire or chase you.
ÔÇ£It was intentional!ÔÇØ laughs Wedin. ÔÇ£The game is mainly a puzzle game. ItÔÇÖs not a Metal Gear sneaking game. If enemies reacted to the gunshots and bodies, they would destroy the puzzles in the room. All the rooms are designed so that there are a few ways to enter the room and solve the puzzle. But if you just started shooting outside the room and they all came running out, youÔÇÖd just destroy that.ÔÇØ
In other words, more believable AI would have resulted in a less enjoyable game. ÔÇ£If you added those elements to the AI, the suspense and waiting element would be gone,ÔÇØ Wedin adds. ÔÇ£It would turn into a corridor shooter like Loaded or something.ÔÇØ
Proper planning and preparation, as any British Army squaddie will tell you, prevents piss-poor performance. In Hotline Miami the ÔÇÿseven PsÔÇÖ help keep you alive. On every mission, itÔÇÖs the lulls that matter, as you linger outside doors and plan how youÔÇÖre going to storm inside and absolutely, positively kill everyone in that room.
Which guy should you take down first? Which weapon is best suited to the roomÔÇÖs goons? Baseball bat or shotgun? Stealth approach or kamikaze death run? Meanwhile, the gameÔÇÖs hypnotic electronic soundtrack, featuring music from MOON, Scattle and Perturbator, pulses on, prefiguring the revelation that this is all a feverish nightmare straight out of the David Lynch mould. And those surreal and menacing cutscenes show your hitman meeting masked figures in dingy rooms, who quiz him about his motivation, asking: ÔÇ£Do you like hurting other people?ÔÇØ
It seems like a question worth asking of the developers themselves. ÔÇ£No,ÔÇØ they respond in eerie overlapping synchronicity in our Skype conference call. ÔÇ£But we do like violent games,ÔÇØ Wedin laughs. ÔÇ£That is the main question for the game: do you like violence? Do you like violent games? Why do you like violent games?ÔÇØ
ItÔÇÖs a question that, on one level, Hotline Miami embodies the answer to: its fast-paced, adrenalin-charged gameplay distils pure, gut-level thrills into an addictive package. Yet the more you enjoy the game, the more troubling it becomes. Why are you taking pleasure from what is, essentially, a nihilistic murder simulator? Even within the context of the game, there are no justifications for your actions. ItÔÇÖs simply violence for the sake of violence.
ÔÇ£We didnÔÇÖt want the player to have a purpose for hurting people,ÔÇØ explains Wedin. ÔÇ£ThereÔÇÖs no girlfriend thatÔÇÖs been kidnapped, or president, or a country in need or anything. ItÔÇÖs just some weird phone calls you get that make you go and kill. Most games these days try to make it legit to kill enemies. You donÔÇÖt do it because youÔÇÖre bad. You do it to save a person or do something good. We didnÔÇÖt want that for our game.ÔÇØ
ÔÇ£The game is a slap in the face,ÔÇØ Wedin continues. ÔÇ£A lot of players get angry with the ending ÔÇô especially when they unlock the second ending and it doesnÔÇÖt give them anything more.ÔÇØ
Despite such frustrations, Hotline Miami quickly made friends. The team at Vlambeer, creator of Super Crate Box, sent a copy to publisher Devolver Digital, which knew of S├Âderstr├Âm and Wedin, and was intrigued that they were making the jump into the commercial sphere.
ÔÇ£I had no idea what kind of game was going to drop into our lap at that point,ÔÇØ says project manager Graeme Struthers. ÔÇ£When I got my build, I was just so happy. The music and the colour palette ÔÇô it all just really came together for me in one magic burst of pixel joy. I didnÔÇÖt connect with feeling queasy or worried by the violence, let alone thinking about the underlying story. I was just having a blast.ÔÇØ
Devolver took the game to the inaugural Rezzed expo in Brighton, where it won Game Of The Show. ÔÇ£I had the buzz of watching the awareness of the game spread around that show and people just playing, smiling and enjoying,ÔÇØ remembers Struthers. ÔÇ£It honestly never crossed our mind that the gameÔÇÖs take on violence and the actual brutality of the game could be an issue. I thought Dennis and Jonatan produced a game of such perfect poise within such a tight universe that they had already given context to what was going on, and that people would get where they were coming from.ÔÇØ
By the end of February this year, Hotline MiamiÔÇÖs critical success had morphed into hard sales, with just over 300,000 copies bought on PC, despite having been heavily pirated. ThatÔÇÖs a success in any indieÔÇÖs book, but DennatonÔÇÖs overheads are so low that itÔÇÖs made the gameÔÇÖs poverty-stricken nine-month development more than worthwhile ÔÇô both creatively and financially. ÔÇ£We can make more games and have money to spare,ÔÇØ says S├Âderstr├Âm.
Still, the sudden influx of cash has been slightly surreal for the pair. ÔÇ£IÔÇÖm not really used to having money to spend. IÔÇÖm just not that materialistic, I guess,ÔÇØ continues the coder, who doesnÔÇÖt own a HD TV, a decent stereo or even a current-gen console. ÔÇ£I am used to eating cheap noodles and fish sticks. And that hasnÔÇÖt really changed yet.ÔÇØ
For the gameÔÇÖs release party at WedinÔÇÖs apartment, the frugal pair went to the local store to buy booze and emerged with three beers each. ÔÇ£We were like, ÔÇÿWhy didnÔÇÖt we buy a lot of beer so we could have a really big party?ÔÇÖ ItÔÇÖs just really hard to change your pattern.ÔÇØ
With Hotline MiamiÔÇÖs follow-up already in development, the future for Dennaton Games looks financially secure. Meanwhile, a separate team has been working on porting the original into a new engine for a Vita and PS3 release. ÔÇ£It will be cool to have a game on a console. It will be a dream come true,ÔÇØ says Wedin. ÔÇ£If you have played games your whole life, to actually have a game released on a console is kick ass.ÔÇØ Now all S├Âderstr├Âm needs to do is buy himself one.[/justify]
At the end of each mission, you walk back to your car, retracing your bloody footsteps through the building youÔÇÖve just painted red. As you pass each mangled corpse, youÔÇÖre forced to witness the carnage that youÔÇÖre responsible for. ItÔÇÖs grim, disturbing and not a little nauseating (even the silent protagonist, dubbed ÔÇÿThe JacketÔÇÖ by fans, pukes after the first mission). So the question, as posed in surreal cutscenes by the gameÔÇÖs animal-masked puppet masters, lingers: do you like hurting other people? And if you donÔÇÖt, why are you still playing?
Hotline Miami is provocative in its attempt to question our attitudes to simulated mass murder. Yet despite being released just before the Sandy Hook Elementary School shootings, itÔÇÖs managed to avoid being dragged into the current round of tabloid outrage over videogame violence. Instead, its impact has been confined to gamers and the game industry itself. Which is pretty much how two-man Swedish developer Dennaton planned it.
ÔÇ£We wanted it to be disturbing and we wanted people to feel the violence,ÔÇØ says graphic artist Dennis Wedin. ÔÇ£But we werenÔÇÖt afraid about it being controversial, because itÔÇÖs pixel art. If weÔÇÖd made it in 3D and very realistic then it might have been different. But the graphics keep the game out of the spotlight. At Gamescom, they had to rate all the games, so two people came over and played it. And they gave it a 12, I think, because the graphics are so colourful.ÔÇØ
His partner, well-known freeware developer Jonatan S├Âderstr├Âm (AKA Cactus), agrees: ÔÇ£We wanted to show that we were self-conscious about the kind of game we were making.ÔÇØ How ironic, then, that Hotline Miami began as the most violent, least self-conscious game imaginable.
Some people make games. Some people craft games. Some people churn out games like a one-man production facility. Ever since he started releasing freeware games in 2004, S├Âderstr├Âm has fallen into the latter category, firing out new titles at the rate of M60 ammo rounds. And inspired by everyone from Japanese developer Ikiki to novelists such as William Burroughs, his output has often been avant-garde.
Super Carnage was a game he started working on back in 2004 when he was 18: a top-down shoot ÔÇÖem up in which the aim was simply to kill as many people as possible. It was a teenage boyÔÇÖs game: sick and violent, and little more than that. After struggling with the AIÔÇÖs pathfinding, though, S├Âderstr├Âm filed the game in the ÔÇÿunfinished and unreleasedÔÇÖ box and went to work on other things.
It might have stayed unfinished if S├Âderstr├Âm hadnÔÇÖt met Dennis Wedin, singer and keyboard player in metalcore band Fucking Werewolf Asso. They collaborated on a promo game based on the band (a psychedelic, punk 8bit outing named Keyboard Drumset Fucking Werewolf) and an unfinished game called Life/Death/Island that grew too big for them to handle.
Running out of money and with bills to pay, they decided the next game would be their first commercial release. Flicking through S├Âderstr├ÂmÔÇÖs collection of unfinished prototypes, Wedin came across Super Carnage and instantly saw its potential. TheyÔÇÖd spend the next nine months holed up in WedinÔÇÖs apartment creating what would become Hotline Miami.
It was fucking hard, recalls Wedin of going into development with no budget and no clear idea of how theyd even sell the finished product. Some days we were so fucking tired, and we didnt know if we were going to earn anything from this game or if anyone was even going to play it. But we always loved playing it. As soon as I made some graphics, and we put them in, and tried it out, it felt so good and all the motivation was back.
While the core gameplay of Hotline Miami owed much to Super Carnage, there was a big change. Before they started development, S├Âderstr├Âm and Wedin hung out watching movies for inspiration. Among them were vigilante superhero adventure Kick-Ass, Miami-set drugs documentary Cocaine Cowboys and Drive, Nicolas Winding RefnÔÇÖs neon-tinged, bubblegum pop-scored thriller about a Hollywood stuntman who gets caught up in a heist gone wrong. Raising questions about screen violence, Drive was a movie with smarts. It got S├Âderstr├Âm and Wedin thinking: what if a videogame could do something similar? What if Super Carnage wasnÔÇÖt merely a game in which you killed people, but a game that posed questions about what it meant to kill people in a game?
Layering on a surreal narrative full of flashbacks and cutscenes featuring men in animal masks, Hotline Miami turned its violent game design into something more than the sum of its parts. ÔÇ£Me, IÔÇÖm into games that are just games,ÔÇØ explains Wedin. ÔÇ£But Jonatan thinks a lot about how he wants the player to think about the game. He believes the game should leave something with the player when they stop playing.ÔÇØ
Like all S├Âderstr├ÂmÔÇÖs releases, Hotline Miami was put together using GameMaker, YoYo GamesÔÇÖ development toolkit. ÔÇ£One of the reasons I donÔÇÖt move on from GameMaker is that there are very few tools that allow you to make games as fast,ÔÇØ he explains. ÔÇ£ItÔÇÖs very easy to use and you can code pretty sloppily in it. It gives you a lot of pre-built-in functions and tools that youÔÇÖd have to invest a lot of time in making yourself if you used another engine.ÔÇØ
[img=1000x562]http://i.imgur.com/H7Kn8j2.jpg[/img]
There is a downside to the flexibility and speed that GameMaker offers, though. ÔÇ£ItÔÇÖs a lot slower than most other engines, where you can use the hardware a lot more efficiently. And you canÔÇÖt do whatever you want, because you are limited to what GameMaker was designed for, which is mostly 2D games. It doesnÔÇÖt have support for shaders or stuff like that ÔÇô at least not in the version IÔÇÖm using.ÔÇØ
Using an older version of the software threw up other issues that didnÔÇÖt become apparent until after Hotline MiamiÔÇÖs release, such as the troublesome fact that certain printers would stop the game from running correctly. ÔÇ£A lot of strange things happened after we released the game. I guess most of it has been fixed in the new version of GameMaker. But weÔÇÖre still using the old version that wasnÔÇÖt really built for the newer operating systems.ÔÇØ
For the dev team, though, the biggest challenge was creating the enemy AI. Hotline Miami is a game that requires you to kill or be killed. Its fast-paced instadeath design demands that its enemies are worthy adversaries. There are various AI behaviours in the game, such as random enemies that move between rooms armed with guns, or patrolling enemies who donÔÇÖt respond to gunfire, but will shoot at you if youÔÇÖre spotted. Each enemy is also capable of switching behaviours to give a sense of variety.
Some players found the enemiesÔÇÖ uniform appearance and switching behaviour confusing, fuelling suggestions that the AI was broken, because the bad guys didnÔÇÖt always respond to gunfire or chase you.
ÔÇ£It was intentional!ÔÇØ laughs Wedin. ÔÇ£The game is mainly a puzzle game. ItÔÇÖs not a Metal Gear sneaking game. If enemies reacted to the gunshots and bodies, they would destroy the puzzles in the room. All the rooms are designed so that there are a few ways to enter the room and solve the puzzle. But if you just started shooting outside the room and they all came running out, youÔÇÖd just destroy that.ÔÇØ
In other words, more believable AI would have resulted in a less enjoyable game. ÔÇ£If you added those elements to the AI, the suspense and waiting element would be gone,ÔÇØ Wedin adds. ÔÇ£It would turn into a corridor shooter like Loaded or something.ÔÇØ
Proper planning and preparation, as any British Army squaddie will tell you, prevents piss-poor performance. In Hotline Miami the ÔÇÿseven PsÔÇÖ help keep you alive. On every mission, itÔÇÖs the lulls that matter, as you linger outside doors and plan how youÔÇÖre going to storm inside and absolutely, positively kill everyone in that room.
[img=1000x562]http://i.imgur.com/Ruyz0wy.jpg[/img]
Which guy should you take down first? Which weapon is best suited to the roomÔÇÖs goons? Baseball bat or shotgun? Stealth approach or kamikaze death run? Meanwhile, the gameÔÇÖs hypnotic electronic soundtrack, featuring music from MOON, Scattle and Perturbator, pulses on, prefiguring the revelation that this is all a feverish nightmare straight out of the David Lynch mould. And those surreal and menacing cutscenes show your hitman meeting masked figures in dingy rooms, who quiz him about his motivation, asking: ÔÇ£Do you like hurting other people?ÔÇØ
It seems like a question worth asking of the developers themselves. ÔÇ£No,ÔÇØ they respond in eerie overlapping synchronicity in our Skype conference call. ÔÇ£But we do like violent games,ÔÇØ Wedin laughs. ÔÇ£That is the main question for the game: do you like violence? Do you like violent games? Why do you like violent games?ÔÇØ
ItÔÇÖs a question that, on one level, Hotline Miami embodies the answer to: its fast-paced, adrenalin-charged gameplay distils pure, gut-level thrills into an addictive package. Yet the more you enjoy the game, the more troubling it becomes. Why are you taking pleasure from what is, essentially, a nihilistic murder simulator? Even within the context of the game, there are no justifications for your actions. ItÔÇÖs simply violence for the sake of violence.
ÔÇ£We didnÔÇÖt want the player to have a purpose for hurting people,ÔÇØ explains Wedin. ÔÇ£ThereÔÇÖs no girlfriend thatÔÇÖs been kidnapped, or president, or a country in need or anything. ItÔÇÖs just some weird phone calls you get that make you go and kill. Most games these days try to make it legit to kill enemies. You donÔÇÖt do it because youÔÇÖre bad. You do it to save a person or do something good. We didnÔÇÖt want that for our game.ÔÇØ
ÔÇ£The game is a slap in the face,ÔÇØ Wedin continues. ÔÇ£A lot of players get angry with the ending ÔÇô especially when they unlock the second ending and it doesnÔÇÖt give them anything more.ÔÇØ
Despite such frustrations, Hotline Miami quickly made friends. The team at Vlambeer, creator of Super Crate Box, sent a copy to publisher Devolver Digital, which knew of S├Âderstr├Âm and Wedin, and was intrigued that they were making the jump into the commercial sphere.
ÔÇ£I had no idea what kind of game was going to drop into our lap at that point,ÔÇØ says project manager Graeme Struthers. ÔÇ£When I got my build, I was just so happy. The music and the colour palette ÔÇô it all just really came together for me in one magic burst of pixel joy. I didnÔÇÖt connect with feeling queasy or worried by the violence, let alone thinking about the underlying story. I was just having a blast.ÔÇØ
[img=1000x562]http://i.imgur.com/3JJcYuP.jpg[/img]
Devolver took the game to the inaugural Rezzed expo in Brighton, where it won Game Of The Show. ÔÇ£I had the buzz of watching the awareness of the game spread around that show and people just playing, smiling and enjoying,ÔÇØ remembers Struthers. ÔÇ£It honestly never crossed our mind that the gameÔÇÖs take on violence and the actual brutality of the game could be an issue. I thought Dennis and Jonatan produced a game of such perfect poise within such a tight universe that they had already given context to what was going on, and that people would get where they were coming from.ÔÇØ
By the end of February this year, Hotline MiamiÔÇÖs critical success had morphed into hard sales, with just over 300,000 copies bought on PC, despite having been heavily pirated. ThatÔÇÖs a success in any indieÔÇÖs book, but DennatonÔÇÖs overheads are so low that itÔÇÖs made the gameÔÇÖs poverty-stricken nine-month development more than worthwhile ÔÇô both creatively and financially. ÔÇ£We can make more games and have money to spare,ÔÇØ says S├Âderstr├Âm.
Still, the sudden influx of cash has been slightly surreal for the pair. ÔÇ£IÔÇÖm not really used to having money to spend. IÔÇÖm just not that materialistic, I guess,ÔÇØ continues the coder, who doesnÔÇÖt own a HD TV, a decent stereo or even a current-gen console. ÔÇ£I am used to eating cheap noodles and fish sticks. And that hasnÔÇÖt really changed yet.ÔÇØ
For the gameÔÇÖs release party at WedinÔÇÖs apartment, the frugal pair went to the local store to buy booze and emerged with three beers each. ÔÇ£We were like, ÔÇÿWhy didnÔÇÖt we buy a lot of beer so we could have a really big party?ÔÇÖ ItÔÇÖs just really hard to change your pattern.ÔÇØ
With Hotline MiamiÔÇÖs follow-up already in development, the future for Dennaton Games looks financially secure. Meanwhile, a separate team has been working on porting the original into a new engine for a Vita and PS3 release. ÔÇ£It will be cool to have a game on a console. It will be a dream come true,ÔÇØ says Wedin. ÔÇ£If you have played games your whole life, to actually have a game released on a console is kick ass.ÔÇØ Now all S├Âderstr├Âm needs to do is buy himself one.[/justify]
http://www.edge-online.com/features/the-making-of-hotline-miami/
