Hatred

Hatred is an isometric action shooter released in 2015 by Destructive Creations, a small Polish studio that knew exactly what kind of noise they wanted to make. You play a nameless man who hates everything and everyone, and the game's only objective is mass civilian casualties. There is no redemption arc, no moral counterweight, no story scaffolding to soften the premise. The controversy around it is real and legitimate, and anyone picking this up should go in with eyes open about what they're choosing to spend time with. On a purely mechanical level, Hatred is a twin-stick-style shooter with a fixed isometric camera rendered in stark black-and-white with occasional splashes of red. You move through open environments, armed with pistols, shotguns, rifles, and explosives, eliminating targets and occasionally using downed survivors as human shields or finishing them with execution animations to recover health. The levels vary from suburban streets to military installations, and the difficulty ramps up meaningfully as police and military response escalates. The core loop is functional. It is not inspired. Cover usage matters, ammo management matters, and positioning against increasingly armed opposition gives it a modest tactical texture. But there is no build variety, no progression system worth calling one, and the mechanics never deepen past what you see in the first twenty minutes. What Hatred actually offers, for the player willing to engage with it honestly, is a kind of grim mood piece. The greyscale palette is applied with genuine visual consistency, and the ambient sound design, low industrial drones beneath screaming crowds, gives it an uncomfortable atmospheric weight. Running time is short, somewhere around three to four hours on a first playthrough. For what it is, that is the right length. A longer game with these mechanics and this premise would become genuinely unbearable rather than merely uncomfortable. It knows when to end, and that is not nothing. The gap between its Steam score (very positive, 84%) and its Metacritic score (43) is one of the more interesting data points in recent PC gaming. Critics read it as shock value with no substance. A vocal portion of players read it as a provocation they wanted to support on principle, regardless of mechanical quality. Both readings are partially accurate. The game trades on controversy more than craft, but the controversy is baked into the design intent, not bolted on as marketing. Whether that makes it interesting or just cynical is a call each player has to make for themselves. As someone who normally champions the handcrafted and the humane in indie games, I find Hatred genuinely difficult to recommend with warmth. It is technically competent, atmospherically committed, and bracingly short. It is also exactly as ugly as advertised, and the ugliness is the product. If you are drawn to extreme art as a category, or you study games as cultural artifacts, it earns a look. If you want a mechanically rich isometric shooter, there are better places to spend your time. Kai, Scout Team