Hatred elicits conflicting emotions. And it has nothing to do with the game’s premise. Intense passages that need expertise and a keen eye might be thrilling, but we quickly notice the repetitive gameplay pattern and design flaws.
The narrative is quite simplistic and just acts as backdrop. The main character, an unnamed psychopath, aims to purge the globe. The individuals surrounding him, in his opinion, are the dirtiest. He heads out into the streets, well equipped, to begin his sick twisted mission. The sadist in a dark cloak does not confine himself to the near vicinity. Following towns and sites, railway stations and waterways can be observed from above. Everywhere we go, we exterminate ludicrous throngs of people and law enforcement personnel. Nobody is going to be able to stop us. We are also not guided by the hand because the maps are big and frequently non-linear. The journey, however, is quite formulaic and short, lasting only five hours. So we kill helpless individuals, and after a while, the police and special forces come after us. The presence of armed commandos is the game’s greatest strength, since uniformed officers may make their presence felt even on the easiest difficulty setting. At higher stages, we must think carefully in order to pick the best place and collection of weaponry to withstand hostile attacks.
One of the benefits of Hatred is that it presents a major task. A well-designed shooting model is also advantageous since each weapon acts differently and is more effective in different scenarios. The arsenal is a fairly ordinary collection of contemporary weaponry. We have an assault rifle, submachine guns, a shotgun, and the ability to use a flamethrower and a rocket launcher on occasion. Grenades and Molotov cocktails round out the experience. We only sense discomfort, subconscious resistance, and revulsion during the initial executions. The gaming environment rapidly loses its realism, and the absurdity of the scenario takes control. The contentious issue has a direct and detrimental impact on the gameplay. The moments of the game where the main purpose is to eliminate civilians are the most monotonous and least interesting. So we’re still waiting for the law enforcement personnel to show here so we can begin the true, skill-based fun. When seeking for unique solutions, the creators go above and beyond. Our psychotic hero cures wounds by killing the wounded. We must withdraw, returning through the streets we have visited in order to locate the injured individual and regenerate health points. Executions of this sort are followed by a horrible scenario, which we soon disable from the game menu since it gets tedious, repetitious, and inhibits us from progressing swiftly. This is another example of how the theme affected the gaming concept poorly.
We face side tasks in addition to the main mission goals, which are generally often confined to murdering a set number of individuals. Unfortunately, they frequently end up being the same thing. For example, we must get rid of all retail customers and hotel visitors. Only a few exceptions exist to the norm. There is a lack of variation, such as setting a bomb and ensuring that no one defuses it or keeping hostages. There are no collectibles or co-op modes in the game, so there is no reason to return once you’ve finished it. There is also no hero growth system, and the game save mechanism which is tied to completing side tasks falls short. The graphics, on the other hand, are intriguing. We see a lot of gray, sometimes with bright accents like neon lights, police car lights, and fires. The design is clever and complements the somber tone.
The devastation of the environment is also remarkable. Shooting at an ordinary house’s wall patiently will cause it to disintegrate. A well-placed grenade will allow you to rapidly enter the building. Cars explode in stunning fashion. We can occasionally utilize automobiles, but only police cars, which is typically not lucrative. However, optimization proves to be a disaster. The game looks nice, but that doesn’t justify the game’s present technical level. It is difficult to reach beyond 30 frames per second with a configuration that fulfills the specified requirements, and with more disorder on the screen, animation drops are obvious. Reducing the number of visual possibilities is ineffective. Fortunately, there were no major technological flaws or issues. When we separate the game’s premise and clever marketing from the gameplay, we get an average product that may be monotonous and undeveloped at times. When we look at the situation, we soon discover that it lacks depth, and the death of people is merely a well-planned ruse to pique our attention.
Furthermore, the authors have been cornered by the cruel subject matter: most of the plot-driven solutions are the weakest point of the gameplay itself, and it is most exciting when there are conflicts with an armed and trained opponent.