![]() We wanted everyone to be able to enjoy the game. It doesn't matter if you don't press the button on time, but you'll get bonuses if you do.Ī lot of our accessibility options address full hearing issues. We tried our best to make it as accessible as possible with a positive gameplay loop. The tricky part was figuring out, if everything's automated, where's the player’s agency? How do we reward you? The very easy thing in game design is to make it have a negative loop: If you don't press things correctly you fail. You're not a rock star - but you can feel like one. So even if you're not on the beat, you'll feel like you’re on beat. Right from the beginning, the idea was that the game syncs up everything for you. People are gonna look at it as a colorful action game and assume it's accessible, so we need to address that. I knew that we couldn't make a game that was so hardcore in its rhythm sensibilities without making it playable for people that aren’t a musician. How important was it to make the game accessible, and were there any ideas in that regard that didn’t make the final cut?Īccessibility was a big factor for me personally. The development team left in both 808 and the markers on the bottom for gameplay, as some players found one helpful but not the other. That alone was fun to play, so when it finally came to pitch it with Bethesda, we already had people saying, “This is really, really fun.” Rhythm For All It's funny because the prototype is so close to the final product, maybe just a little bit less polished because it was made mainly by two people. Getting the first pitch approval was surprisingly positive in that aspect. We made a prototype to show that it's not just a cool idea on paper. Bethesda would probably never go for this, but it seems really cool in premise. It was a long shot that was weird, and I didn’t think it would get approved. I pitched it internally to Shinji Mikami and one of our producers from Bethesda. What was the initial pitch for this game? Was there any pushback, because it’s so different from what Tango is known for? When you're making a game five years in advance, you can't really plan that. That was our way of making fun of ourselves, but people said it felt very timely. Because we push for everything, we lose track of the scale and scope of things easily. The whole stage where you go to R&D and have to lower or destroy their budget to stop them is actually poking fun at ourselves. A lot of people deal with how work feels like a comedy because of how things don't work out. We’re lampooning that more than anything, but it's something that is very relatable to a lot of people no matter what industry you are in. You’d think that the larger a company gets, the more professional it would be, but it instead gets more chaotic. I'm not trying to make fun of our own team, but when you're making games, you can see, “Okay, these sections are not getting along.” or “We sent this email. ![]() While very real issues, it was more of a light-hearted jab at the idea of these large corporations being the masterminds behind everything, but the gears don't really align. It wasn't meant to be this biting criticism. Why did you feel this was an important story to tell? Hi-Fi Rush explores themes related to poor working conditions and employee exploitation. Hi-Fi Rush’s villains are all heads of different departments within Vandelay. Between its vibrant rhythm gameplay and surprisingly heartfelt story, Hi-Fi Rush has already gone down as an instant classic.Īccording to creative director John Johanas, Tango Gameworks had always planned to have a short marketing period but “gradually, that short release window just got shorter and shorter, because we couldn't quite find a good time to announce it and make it stand out on its own.” Corporate Comedy Chai joins up with a wild cast of characters, including a spunky hacker named Peppermint and her robotic cat 808, in order to take down the corrupt Vandelay Industries. Hi-Fi Rush is a unique mix of a rhythm and action game that tells the story of Chai, a young boy who gets the ability to “feel the beat” in the world around him. Despite that change, Hi-Fi Rush is a massive hit with fans and critics alike. Apart from that, it’s also a wild tonal shift for Tango Gameworks, a studio known for making horror games like The Evil Within. Hi-Fi Rush is the biggest surprise of the year, a wildly imaginative game shadow-dropped out of nowhere by Microsoft. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |