Readers explore the links between hip-hop and Hotline Miami
My Beautiful Dark Twisted Fantasy
In his latest Alternate Soundtrack mash-up, Derrick Sanskrit paired Hotline Miami with Kanye West’s Yeezus, noting the intensity and nihilistic grime of both works. Caspiancomic thinks the connection between Yeezy and Hotline runs even deeper:
I think Ye’s overall career is a pretty good match for the rhythms of Hotline Miami. His first three proper albums all sound more or less like each other, and although they were pretty different from the “typical” hip-hop sound when they first came out. (At least College Dropout was. Late Registration and Graduation came out after hip-hop had started drawing from West’s style of production.) Compared to his later work, they sound like pretty ordinary rap albums. They were fun, fluffy songs for the club or putting on when chilling with friends. That’s the running-and-gunning-and-bludgeoning half of Hotline Miami: it’s similar to other games in the sense that the goal is to kill loads of dudes with no identities and no say in the matter. It’s fun, and it’s not challenging on an intellectual level.
Then you reach the comedown. For Ye, it started with 808s And Heartbreak and continues to this day, culminating with Yeezus. This was, for me at least, the point where Kanye stopped being fun and enjoyable and became a lot more introspective (as much as Kanye is capable of introspection) and alienating. This represents the second half of any Hotline Miami stage, when the carnage is finished and you have to walk back to your vehicle through the devastation you just caused—the “Oh God, what have I done” phase. It’s not fun anymore. It’s kind of sad and scary and weird.
And El Pollo Diablo dug deep to draw another, funnier parallel, comparing Kanye’s best bud/rival Jay Z to Hotline Miami’s second playable character:
Does this make Jay Z the Biker? He’s the guy who isn’t blinkered by his own desires, who wants to—and does—make it through.
He’s less versatile (he can’t pick up weapons or wear masks), but he plays to his strengths. He has three instant killers to his name (the biker’s throwing knives; Jay’s Reasonable Doubt, The Blueprint, The Black Album), and his cleaver represents his ability to drop a deadly guest verse.
In the end, he either silences his critics or he doesn’t, but he doesn’t give a fuck either way. He’s already won.
The Grand Experiment