![]() They went completely against the game’s overall “balls to the wall” vibe. The only other issue I had with the gameplay as a whole was the reliance on mandatory parrying sections in order to defeat a few enemies. The responsiveness in these sections wasn’t the best, though. They can also be called up mid-level in order to clear some small puzzles. You can also call in support from a handful of teammates, who are mostly useful to deal with specific kinds of enemies, such as ones with specific kinds of shields. Basically, it’s not mandatory to play Hi-Fi Rush like a rhythm game, it’s just (very heavily) encouraged. It just so happens that music will constantly play at the background, and if you press these buttons according to the beat, they become stronger, and you earn more points and deal extra damage. At its core, it’s your standard Devil May Cry/ Bayonetta-esque fare: light attack, heavy attack, dodge, parry, and the occasional QTE to unleash a finisher move. If you’re thinking that Hi-Fi Rush plays just like Metal: Hellsinger, being a rhythm game disguised as something else, don’t worry, it’s way more accessible than that. Toggle the metronome on if you’re having a hard time pressing buttons to the beat of the level’s tune. It’s the kind of fast-paced, unforgiving, ultra-fun assault to the senses Platinum used to make ten years ago at an alarming pace… but possibly better. It’s a really freaking good hack ‘n’ slash game that just so happens to use rhythm elements to enhance its gameplay, not hinder it. Sure, that helps a lot, but the game is more than just the sum of its sources of inspiration. I don’t like Hi-Fi Rush just because of the nostalgia. Hi-Fi Rush perfectly encapsulates the aesthetics, carefree sense of innovation, visuals, and gameplay from the PS2/GameCube era of gaming, arguably the pinnacle of game development and creativity as a whole, and as a result, it’s brilliant. Its cartoonish visuals felt like a perfect combination of both Viewtiful Joe and Auto Modellista. ![]() Its sense of humor reminded me of God Hand. The rhythm-based gameplay may seem innovative, but it did remind me of Mikami’s forgettable (and forgotten) GameCube exclusive, P.N.03, which was also a rhythm-action hybrid. There’s a lot of Devil May Cry in Hi-Fi Rush, namely in its control scheme and gameplay. It’s just like Bioshock Infinite, but cartoony. The game feels like the perfect combination of most games Shinji Mikami had helped develop in the 2000s which weren’t survival horrors. On surface, it’s a Devil May Cry type hack ‘n’ slash, with Baby Driver like rhythm elements. He can conjure a guitar-shaped axe and deal massive damage to everyone around him, if he keeps attacking them to the beat of whichever song is being played at the time.Īs a result, Hi-Fi Rush is a phenomenal amalgamation of genres and sources of inspiration. As a result, Chai is called a defect to be disposed of by Vandelay (as in, killed), but the iPod inside his body and his mechanical arm give him powers to defend himself against foes. His MP3 player somehow falls on the surgery table, and is grafted on his chest. He undergoes an experiment in order to get a mechanical arm from the Vandely Corporation, but something else happens in the process. He’s your typical kind-hearted idiot, a teenager who dreams of becoming a rockstar, but there’s a problem… one of his arms simply doesn’t work. In Hi-Fi Rush, you play as a boy named Chai. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |