Tango Gameworks, developer of memorable horror outings such asThe Evil WithinandGhostwire: Tokyo, just debutedHi-Fi Rush, an ultra-vibrant rhythm brawler that’s totally removed from the studio’s previous works, on the same day it was revealed. Atypical marketing strategy aside,Tango Gameworks’ effort has received some very positive reviews, though it has also caused a small dust-up with Wan Hazmer, co-founder of the indie studio Metronomik which was behind the similarly-styledNo Straight Roads.
In fact,Hi-Fi RushandNo Straight Roadsbear more than just cursory similarities. From presentation to gameplay mechanics and overarching themes, the two titles feel as if they’ve been drafted from the same set of design documents. Unfortunately, thoughNo Straight Roadswas released two years beforeHi-Fi Rush, it didn’t receive the same amount of attention that the Bethesda-published title is likely to. Plus, whileNo Straight Roadsearned mostly positive reviews, reviewers and fans alike found it to be a largely style-over-substance sort of experience.
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Though the game has only been out for two days, some fans have already claimed thatHi-Fi Rushis whatNo Straight Roadsstrove to—but couldn’t—become. Hazmer addressed these criticisms on Twitter, stating that, while he agrees in some capacity, the remarks still sting. He also praisedTango Gameworks and publisher Bethesdafor their work and clarified that many of the challenges facingNo Straight Roadsand its potential sequel stemmed from the budgetary concerns that many smaller indie studios face.
Strangely enough, comparisons between the two titles run even deeper.No Straight Roadsserved as something of a new beginning for Hazmer after years of working on theFinal Fantasyfranchise. Similarly,Hi-Fi Rushappears to be afresh start for Tango Gameworks after last year’s somewhat-underwhelmingGhostwire: Tokyo. That said, the budgets behind bothNo Straight RoadsandHi-Fi Rushlikely weren’t comparable, and Metronomik’s game feels, in many places, like a product of budgetary compromise.
Minor controversy aside, these two titles both serve as excellent examples of the emergence of the rhythm genre in the indie space. Along withsimilar titles likeMetal: HellsingerandTrombone Champ, rhythm gaming seems to be returning to prominence. Though it isn’t likely to reach the same peaks once scaled by titles likeGuitar HeroandRock Bandin the late 2000s,Hi-Fi RushandNo Straight Roadsare nonetheless part of a new renaissance that gamers who love marching to the beat of the music will certainly enjoy.
