It concludes it in an extremely satisfying way, equal parts closure and redemption, fall and rebirth (making me suspect of Max Payne 3, but we’ll see). Remedy’s masterpiece not only plays noir conventions, but also takes advantage of its sequential status to drop references to the first game’s story and complicate a rather simple narrative.

Remedy has a stunning game on its hands. Max Payne 2 simply exceeds the first in every way and really defines what a sequel should do, enhancing both the game mechanics themselves and the story attached. From the opening notes, Max Payne 2’s music embodies all of these elements in equal measure. Max Payne was always about mood, style, and tone – any one with knowledge of American pop culture has to know the film noir style, which drips with cynicism and drama. You wouldn’t think such a minor thing would vault one game over the other. Max Payne 2 uses a much more affecting, emotional, and sad funeral dirge: Whereas the first game gives a lowbeat techno main theme: Max Payne 2 establishes its tone from the very title screen. NOTE: Obviously plot spoilers for both games up ahead.

Elements of style max payne 2