Hatred мод на гитлера
Genocide crusade in first-person view.
Playthrough of «truck stop» level by Destructive Creations team
This adds the postal dudes voice to the antagonist.
This mod is currently being worked on, but it’s nearly complete; I’ve just decided to share this with all of ya.
All sounds belong to Running With Scissors (RWS).
Decided to take it out of beta after so long; but that doesn’t mean i won’t update it :).
Because darkness sometimes needs a little light.
In this mod I decided to take the base game and colorize it.
«So, what is this garbage about?»
Devil May Cry Overhaul is a mod that initially intended to put the best soundtracks of the good Devil May Cry games that fits nicely in Hatred in order to create an eerie atmosphere at early main campaign and a t.
— «Super Human Reflex» feature added, press keyboard «caps-lock» to activate a 10 seconds max bullet time,
with 6 seconds cooldown and cancelable during use by pressing «caps-lock» again
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«Führy»
This mod isn’t meant to promote nazism or any sort of prejudice against any race or color, it’s made for entertainment purposes because Hitler and «genocide crusade» are 2 things that matches themselves very well. Do not expect a mod about killing jews, blacks or any sort of «ethnic cleanser» stuff from me because I am not willing to waste my time with something like that.
«Führy» is a TC that swaps Notim Portant with Hitler, adds flamethrower to the Home stage and makes cinematic executions easier to trigger.
It’s only the base game with swapped main-character and a flamethrower at the starting point, by far, my mod that took me less time and effort to do.
Known bugs and oddities
I CAN’T EVER ♥♥♥♥♥♥♥ REMEMBER TO GET THE EYES JOITNS POSITIONED ACCORDINGLY BEFORE SPENDING AGES RIGGING THE ♥♥♥♥♥♥♥ MODEL, SO HIS EYES ARE STATIC FOR NOW.
«-OMG 2.7 GB file to dld fk yu»
Both windows and Linux versions sizes are 1.5GB each, but steam will download a
700MB compressed file.
«-Y my progress has beem resetd?»
-Your progress hasn’t been reseted, each TC has its own savefile, but you can «cheat» that..
«-How do I xfer all my progress to the mod then?»
To transfer your progress to this TC savefile, all you have to do is follow these steps.
«- Muslim mod plsssssssssssssssssssssssssss»
It’s already done, check «Refugee Simulator 2016» out.
«- I don’t like dis, my grandma was killed in the ho. «
[BLOCK] I don’t give a ♥♥♥♥ about who you are and I’m not willing to deal with whinners. The disclaimer is loud and clear, so sniff off playa.
«- ds is ofensive, post moar»
Nazis, commies, craptivists, supremacists, all of them suck balls, but no doubt that commies are tied with nazis.
«- Can I play dis with color mod?»
«- Can I play dis wif FPS mod?»
«- Can u maek a «X» mod?»
«- Are oranges orange?»
NEWS FLASH STORYMODE ♥♥♥♥♥♥♥. I HAVEN’T FORGOT YOU! I ALMOST DID, BUT I’M GLAD I DIDN’T!
Hatred
Destructive Creations | Released 2015
Hatred fills your whole body. You’re sick and tired of humanity’s worthless existence. The only thing that matters is your gun and pure Armageddon that you want to unleash. You will go out for a hunt, you will clear the New York outskirts of the humans with a cold blood. You will shoot, you will hurt, you will kill, you will die. There are no rules, no compassion, no mercy, no point of going back. You are the lord of life and death now and you have the full control over lives of worthless human scum. You will also run, you will need to think, you will need to hide and fight back when armored forces will come to take you down. You will have no mercy for them, because they dare to come in your way. Only brutality and destruction can clear this land. Only the killing spree will make you die spectacularly and go to hell.
Super Not Important
This mod adds a small selection of «super powers» for the protagonist to use in his killing spree.
super not important fantasy
Hatred: Bad Company
hatred: bad company war
Hatred: Color Mod BETA
Hatred: Color Beta This mod is simple, all i want to do is add as much color as i can to the main game (plus survivial modes). Currently this is a beta.
hatred: color mod beta realism
Hatred «The Room» Mod
Replaces the main guys voice with The Room’s Tommy Wiseau’s voice
hatred «the room» mod comedy
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Hatred 1.666
This mod isn’t meant to promote any sort of. well, ♥♥♥♥ it, you’ve read it from other mods I posted here already, so whatever.
-The default campaign maps got through some changes to make them more challenging;
-The whole game was colored from scratch, top-tier ♥♥♥♥ bro;
-The last 2 campaign maps (Army Base and Power Plant) were replaced with Prison (brand new map) and Rockshield;
-Survival mode was removed, you should check out Survival Overhaul mod instead, I never touch this mode anyway;
-A lot of bugfixes to the default game bugs such as the non-shooting shotgun bug and the stretching-limbs bug for female characters;
-Added lewd TV shows to the list of television shows. Ellon Musky will turn anime girls into reality;
-Added weapons such as AK-47 to some houses with no weapons from default stages;
-Added Desert Eagles to special places;
-Destruction chunks (wall blocks and similar ♥♥♥♥) last longer;
-Blood splashes are spawned 20% more frequently on victims;
-Blood no longer looks like weak paper paint, gore is gud now;
-Nearby explosions blur the vision;
-Flashbangs actually blind the player for a short time;
-Bullet tracers were reduced in size;
-New grenade explosion effect;
-Improved RPG explosion effect and damage;
-Shorter grenade’s trail;
Hatred мод на гитлера
‘Hatred’: Gaming’s ‘Springtime For Hitler’
In October of last year, the Internet exploded with controversy over the announcement of the video game “Hatred.” Described by its own main character as the story of a “genocide crusade” in its announcement trailer, and featuring gruesome close-up execution animations as well as a chilling black-and-white aesthetic, the game seemed tailor-made to offend a video-games press obsessed with respectability and political correctness, to say nothing of the sort of humor-deprived, context-ignoring scolds who have recently turned gaming into an arena of controversy all over again.
Nevertheless, there was something fundamentally intriguing about the game. While the “Postal” franchise had already exhausted the premise of playing as a mass shooter, no one had bothered to revisit it, and certainly not with this apparent level of realism and gravity. “Postal,” at least, had an impish, tongue-in-cheek sense of humor that made distancing yourself from the game’s atrocities much easier to do—that is, if you weren’t already distanced enough by the primitive graphics the game and its sequel employed.
“Hatred,” with its despairing aesthetic, Marquis de Sade-esque philosophizing from its main character, and hyper-realistic depiction of its own atrocities, afforded no such comfort. Granted, there was a question of whether the game’s darkness would simply become desensitizing, or whether a game that revolved around shooting innocent people would get boring once the initial shock value wore off, but these concerns seemed impossible to address until the game came out.
Bottom line: as someone with an interest in how innovative and transgressive art can affect a genre, I found the game fascinating, and even defended it in print by comparing it to other ultra-violent works of art:
Perhaps ‘Hatred’ will be gaming’s ‘Vasa de Noces,’ and go down in history with ‘Custer’s Revenge’ as a colossal misfire. Perhaps it will be gaming’s ‘Salo,’ and will be imitated by developers even as it is viewed with leery eyes by mainstream gaming fans. And perhaps it will be gaming’s ‘Titus Andronicus’ and force us all to contemplate the murderer in ourselves even as we exercise his will on defenseless pixels. But one thing is certain: In order for us to have games we can love, we must also find games we can hate.
A Clever Way to Market ‘Hatred’
Well, now the game is out. So which of the scenarios outlined above turned out to be true? Ironically, none of them. Considered solely as a game, “Hatred” is instead a fairly standard entry in the twin-stick shooter genre, albeit with a slightly darker aesthetic and an uglier premise.
I have no doubt that historians of gaming as an art form will one day look at this game and wonder at the fuss. At least one reviewer even called the game a “tempest in a teapot.” Seemingly overnight, “Hatred” went from being described as an unspeakably ugly mirror of gaming’s id (and, according to one irresponsibly hysterical writer, a neo-Nazi mass-murder simulator) to being labeled as simply dull. What happened?
The game’s developers thoroughly duped the games media, this author included. While “Hatred” is simply rote when considered solely as a game, when considered as a cultural phenomena, it looks like one of the most clever instances of satire in recent memory.
To begin with, “Hatred’s” marketing campaign was clever enough to be devised by Don Draper, so thoroughly did it manage to mislead while being entirely honest. I say “entirely honest,” because at first blush, this game is just as grim as advertised.
Its soundtrack is a doom-metal-inspired ominous hum that puts one in mind of despair and mental illness. Its black-and-white, isometric view gives one the impression of observing the whole affair through either a security camera or the camera on a police helicopter. The game’s plot (such as it is), which involves executing an act of domestic terrorism so terrible it would put al-Qaeda to shame, is precisely the kind of disturbed cut-rate Nietzschean fantasy one imagines Adam Lanza or Seung-hui Cho rehearsing in his own mind. The game’s main character looks and sounds like he walked out of central casting for a Columbine-era B-movie horror film, with filthy, lanky black hair, a leather trench coat, and a subterranean basso profundo growl.
Not only that, but the game goes out of its way to refuse to explain this frightening antagonist except with reference to his eponymous, undirected “hatred,” which he expounds on in nihilistic speeches and asides throughout the game. Not only that, but this hatred appears to sustain the main character’s life, since health is literally regained by engaging in brutal, sadistic executions of one’s victims. In fact, given the amount of punishment the main character can take and mete out, it’s almost more accurate to describe him as a walking natural disaster than as a real person.
In short, this game confronts us with unvarnished alienation and antisocial rage without the comfort of an explanation or a motivation for it, and forces us to act it out with ruthless hyper-competence.
Yes, ‘Hatred’ Is Hilarious
So why does this mislead? Because when you put this all together, the end result isn’t chilling or genuinely sociopathic: it’s absolutely, bloody hilarious. This isn’t gaming’s “Salo” or “Titus Andronicus.” It’s gaming’s “Springtime for Hitler.” It’s satire that works because it plays everything straight, and in so doing, shows just how ridiculous and pathetic it all is.
The game’s creators have repeatedly described “Hatred” as a rebuke to political correctness, and that it is, but not at all in the way the game’s trailers and promotional materials would’ve led you to believe. Rather, it’s a game that takes every single plot element that generations of moral scolds have declared will inspire real-life mass murder, plays all of them straight, then forces you to realize that there’s no way you can possibly identify with any of it.
I, at least, am terribly ashamed that I didn’t see this coming. There was always a very knowing tone to every statement by the game’s creators about their artistic vision, but because I, like every other critic, assumed their final product would be as terrifying as its trailers made it out to be, I assumed this was just those creators enjoying the forthcoming scandal. I should have paid more attention to the language they used, particularly the common refrain that “Hatred” was “just a game,” but still one that was meant to make the player think why someone would do what its main character does.
Having seen it, I finally understand what they meant. At first I wasn’t sure, but somewhere around hearing the main character intone, without a hint of irony, that “my weapon understands me,” I became convinced I had it right. “Hatred” really is just a game, in the sense that its darkness is so thoroughly unsubtle as to render empathy with the experience it depicts thoroughly impossible.
There’s More to This Game than Jokes, Though
At the same time, because the game forces the player to experience what is otherwise a very real and horrifying tragedy in such grim detail, it forces us to ponder where the disconnect is. What, if not melodramatic and directionless hatred, actually would force someone to do what the main character does? Because the explanations the game supplies are so intentionally self-parodic, we are forced to turn to our own imaginations for convincing explanations, and in the process, to ponder what would drive us to such extremes.
This particular dramatic conceit works so well because, at bottom, “Hatred” actually assumes something deeply respectful and optimistic about its player: Namely, that he or she will be incapable of empathizing with a purely malicious mass shooter. The game’s overly stylized darkness is so over-the-top that it carries an implicit question for anyone playing it: “Come on, can you really identify with this? Can anyone?”
It’s a very humanistic question, when you consider it. For a game this brutal to assume that no one could take inspiration from it is, in fact, to assume that the vast majority of people are incapable of the kind of pure malice the game’s main character expresses. It assumes that we will find his malevolent monologues overwrought and silly because his one-dimensional hatred simply fails to resonate with the sum total of our experience of human beings. It assumes that we will see nothing but schlock in the unremitting brutality of its aesthetics because of something naturally good in us that will find that brutality oversimplified and absurd. The game places us as the drivers of pure tragedy, only to show us that pure tragedy untouched by light is really indistinguishable from farce.
Is it possible that “Hatred” might resonate with genuinely disturbed people, or people with harsh life experiences? Sure. And given the cathartic function that video games (particularly shooters) can serve for the disturbed, this might be a feature, not a bug. However, for those not afflicted with a life experience that connects with the ravings and carnage of “Hatred,” this game can also be a source of relief. For in giving us the opportunity to play it, it also congratulates us for being incapable of identifying with it.
In short, by traversing the bleak, virtual landscape of Hatred, we find ourselves reassured that our real world will never match it because beauty and love exist.