We need you to feel like the music is part of the game and it’s almost lifting you up and making you feel better. We didn’t like the idea of you being very constricted by the music. “I know that there’s lots of games where you’re tied to a track, like the music is the main point. “I was particularly focused on the 3D action brawler feel,” Johanas tells Digital Trends. That was due to a music-first approach that could sometimes come at the expense of gameplay. Though there has been no shortage of rhythm-action games with similar ambitions, Johanas found that nothing out at the time quite matched his vision. Johanas would pitch the project to Bethesda after Tango Gameworks wrapped production on The Evil Within 2 and spend a year hammering out the basics with a single programmer before expanding the team to around 20 members. He compares the game to a good 10- to 12-track album where every song is high-quality and nothing drags down the run time (“all killer, no filler” as he describes it). A musician himself, Johanas wanted to capture the highs and lows of that experience and place them into a succinct experience that wouldn’t overstay its welcome. When Johanas originally dreamed up the basic premise of Hi-Fi Rush, his goal was to bring the “kinetic energy of live performance” to a Dreamcast-style action game. That makes for a more user-friendly rhythm game that makes sure even its least musical players can still keep up with the beat. While many of its tricks are immediately visible to players when they fire it up, others function like a background instrument that you might not be able to pick out on a casual listen but would notice if it was removed from the mix. In an interview with Digital Trends, Johanas explained the ins and outs of Hi-Fi Rush’s musical gameplay.
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