I typically don't write reviews but…
Tango Gameworks's Hi-Fi Rush is a game with a fantastic concept and excellent execution, especially considering its complexity. Essentially, through Hi-Fi Rush, Tango Gameworks effectively explores the scenario of "What if Devil May Cry was a rhythm game?" Like Devil May Cry (of which I am also a huge fan), Hi-Fi Rush is a hack-and-slash game, but its approach to gameplay is unique due to its rhythm-based mechanics, which are integral to the overall experience. The combat centers around executing light and heavy attacks and various combos in time with the music, making listening to the music an active component of the gameplay and enhancing the overall immersion. The soundtrack consists of both licensed and license-free tracks of excellent quality, akin to an alternative/indie rock album. This genre of music complements the happy-go-lucky vibe and bright anime cell-shaded graphical style presented in the game, proving that graphical fidelity in video games isn’t what truly matters. This is something that the triple-A gaming industry, for the most part, doesn’t seem to understand.
While the combat in Hi-Fi Rush may take some getting used to, its skill curve and complex mechanics are far easier to master than those of Devil May Cry. Though I could compile a long list comparing the two games at a mechanical level, there are two main aspects that highlight how Hi-Fi Rush is much more accessible compared to Devil May Cry. First, Hi-Fi Rush uses an auto-targeting system, unlike Devil May Cry's manual lock-on targeting system. Second, Hi-Fi Rush’s version of the Devil May Cry style meter, referred to as the Rhythm meter, primarily builds up based on landing combos with good timing, rather than simply executing as many varied combos as quickly as possible, as seen in the Devil May Cry series. What makes Hi-Fi Rush’s Rhythm meter even more accessible is the game's consistent beat, which strikes a perfect balance. The beat is fast enough to maintain the fast-paced flow integral to real-time action combat systems but not so fast that your hands begin to hurt and fatigue after a while—an issue I encounter with the Devil May Cry combat system (a game that generally plays as fast as you and rewards your self-inputted fast gameplay). Overall, Hi-Fi Rush’s combat and gameplay are fluid and polished. More importantly, all of its inner workings and complexities, centered around its blend with music and rhythm game mechanics (which must have taken forever to get right), contribute to a fun gameplay experience.
Narratively speaking, Hi-Fi Rush isn’t anything remarkable. It tells a relatively basic, straightforward story that complements the level design. This isn’t a bad thing, as narratives across all mediums don’t need to be complex or thought-provoking to be good. The characters serve their purpose; they aren’t terribly complex, nor do they need to be, given that the narrative itself is written to accommodate this. Protagonist Chai, in particular, is a great character. While he’s written to be annoying, you can’t help but like him, which is exacerbated by Robbie Daymond’s excellent voice performance. Daymond is known for roles such as Goro Akechi in Persona 5 Royal (Atlus), Megumi Fushiguro in Jujutsu Kaisen (MAPPA), Prompto Argentum in Final Fantasy XV (Square Enix), and Lloyd Bannings in The Legend of Heroes series (Nihon Falcom). On a personal level, Chai resonated with me because he represents my close attachment to music, specifically my evolving love for rock music. Chai is a character that represents individuals like me, who at one point didn’t know how to play an instrument but still had a profoundly deep understanding of music. In particular, there is a cutscene towards the end of the game that effectively emphasizes this.
As a writer, what I appreciate most about Hi-Fi Rush narratively is its dialogue. The game has a comedic structure similar to movies like Deadpool (Marvel Entertainment) and video games like Sunset Overdrive (Insomniac Games), both of which are effective in their endeavors. This aspect of Hi-Fi Rush is particularly impressive since it’s typically very difficult to write a script with this type of comedic structure that doesn’t feel cringe-worthy. In contrast, Square Enix’s game Forspoken is an example of how to mess this up, resulting in a script that is wholly cringe-worthy.
As I finish writing this, a sense of sadness washes over me as I confront the realization that Xbox has shut down Tango Gameworks without any known sensible reason. The creative minds at Tango Gameworks produced one of the best games Xbox had published in many years. Consequently, Hi-Fi Rush, with all its amazing innovations, will never see a sequel, as without Tango Gameworks, there is no possibility of one. Hi-Fi Rush was clearly created by developers who were deeply passionate about crafting the best and most enjoyable gaming experience, rather than focusing solely on monetization. This dedication is sadly rare in the triple-A gaming industry, where companies with vast financial resources often refuse to take creative risks due to an extreme and at times unreasonable fear of financial loss. Hi-Fi Rush serves as a symbol in the triple-A industry of what it means to create something with passion, with the end goal of producing the best product rather than merely the most profitable one. While Hi-Fi Rush isn’t the best game I've ever played, I deeply appreciate it for what it is and what it stands for. And in an industry where the triple-A space often refuses to innovate, Hi-Fi Rush is more than enough for me.
- PC OPTIMIZATION -
☑️ Amazingly Optimized
🔲 Meets the PC port performance standard
🔲 The Port has some issues
🔲 PC port is in an Unacceptable State
🔲 Unplayable
- WORTH BUYING @ FULL PRICE -
☑️ Yes
🔲 Its Free
🔲 Wait for sale
🔲 No
ENGINE: Unreal Engine 4
Tango Gameworks's Hi-Fi Rush is a game with a fantastic concept and excellent execution, especially considering its complexity. Essentially, through Hi-Fi Rush, Tango Gameworks effectively explores the scenario of "What if Devil May Cry was a rhythm game?" Like Devil May Cry (of which I am also a huge fan), Hi-Fi Rush is a hack-and-slash game, but its approach to gameplay is unique due to its rhythm-based mechanics, which are integral to the overall experience. The combat centers around executing light and heavy attacks and various combos in time with the music, making listening to the music an active component of the gameplay and enhancing the overall immersion. The soundtrack consists of both licensed and license-free tracks of excellent quality, akin to an alternative/indie rock album. This genre of music complements the happy-go-lucky vibe and bright anime cell-shaded graphical style presented in the game, proving that graphical fidelity in video games isn’t what truly matters. This is something that the triple-A gaming industry, for the most part, doesn’t seem to understand.
While the combat in Hi-Fi Rush may take some getting used to, its skill curve and complex mechanics are far easier to master than those of Devil May Cry. Though I could compile a long list comparing the two games at a mechanical level, there are two main aspects that highlight how Hi-Fi Rush is much more accessible compared to Devil May Cry. First, Hi-Fi Rush uses an auto-targeting system, unlike Devil May Cry's manual lock-on targeting system. Second, Hi-Fi Rush’s version of the Devil May Cry style meter, referred to as the Rhythm meter, primarily builds up based on landing combos with good timing, rather than simply executing as many varied combos as quickly as possible, as seen in the Devil May Cry series. What makes Hi-Fi Rush’s Rhythm meter even more accessible is the game's consistent beat, which strikes a perfect balance. The beat is fast enough to maintain the fast-paced flow integral to real-time action combat systems but not so fast that your hands begin to hurt and fatigue after a while—an issue I encounter with the Devil May Cry combat system (a game that generally plays as fast as you and rewards your self-inputted fast gameplay). Overall, Hi-Fi Rush’s combat and gameplay are fluid and polished. More importantly, all of its inner workings and complexities, centered around its blend with music and rhythm game mechanics (which must have taken forever to get right), contribute to a fun gameplay experience.
Narratively speaking, Hi-Fi Rush isn’t anything remarkable. It tells a relatively basic, straightforward story that complements the level design. This isn’t a bad thing, as narratives across all mediums don’t need to be complex or thought-provoking to be good. The characters serve their purpose; they aren’t terribly complex, nor do they need to be, given that the narrative itself is written to accommodate this. Protagonist Chai, in particular, is a great character. While he’s written to be annoying, you can’t help but like him, which is exacerbated by Robbie Daymond’s excellent voice performance. Daymond is known for roles such as Goro Akechi in Persona 5 Royal (Atlus), Megumi Fushiguro in Jujutsu Kaisen (MAPPA), Prompto Argentum in Final Fantasy XV (Square Enix), and Lloyd Bannings in The Legend of Heroes series (Nihon Falcom). On a personal level, Chai resonated with me because he represents my close attachment to music, specifically my evolving love for rock music. Chai is a character that represents individuals like me, who at one point didn’t know how to play an instrument but still had a profoundly deep understanding of music. In particular, there is a cutscene towards the end of the game that effectively emphasizes this.
As a writer, what I appreciate most about Hi-Fi Rush narratively is its dialogue. The game has a comedic structure similar to movies like Deadpool (Marvel Entertainment) and video games like Sunset Overdrive (Insomniac Games), both of which are effective in their endeavors. This aspect of Hi-Fi Rush is particularly impressive since it’s typically very difficult to write a script with this type of comedic structure that doesn’t feel cringe-worthy. In contrast, Square Enix’s game Forspoken is an example of how to mess this up, resulting in a script that is wholly cringe-worthy.
As I finish writing this, a sense of sadness washes over me as I confront the realization that Xbox has shut down Tango Gameworks without any known sensible reason. The creative minds at Tango Gameworks produced one of the best games Xbox had published in many years. Consequently, Hi-Fi Rush, with all its amazing innovations, will never see a sequel, as without Tango Gameworks, there is no possibility of one. Hi-Fi Rush was clearly created by developers who were deeply passionate about crafting the best and most enjoyable gaming experience, rather than focusing solely on monetization. This dedication is sadly rare in the triple-A gaming industry, where companies with vast financial resources often refuse to take creative risks due to an extreme and at times unreasonable fear of financial loss. Hi-Fi Rush serves as a symbol in the triple-A industry of what it means to create something with passion, with the end goal of producing the best product rather than merely the most profitable one. While Hi-Fi Rush isn’t the best game I've ever played, I deeply appreciate it for what it is and what it stands for. And in an industry where the triple-A space often refuses to innovate, Hi-Fi Rush is more than enough for me.
- PC OPTIMIZATION -
☑️ Amazingly Optimized
🔲 Meets the PC port performance standard
🔲 The Port has some issues
🔲 PC port is in an Unacceptable State
🔲 Unplayable
- WORTH BUYING @ FULL PRICE -
☑️ Yes
🔲 Its Free
🔲 Wait for sale
🔲 No
ENGINE: Unreal Engine 4