Tango Gameworks, developer of memorable horror outings such as The Evil Within and Ghostwire: Tokyo, just debuted Hi-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-styled No Straight Roads.In fact, Hi-Fi Rush and No Straight Roads bear 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, though No Straight Roads was released two years before Hi-Fi Rush, it didn’t receive the same amount of attention that the Bethesda-published title is likely to. Plus, while No Straight Roads earned mostly positive reviews, reviewers and fans alike found it to be a largely style-over-substance sort of experience.Though the game has only been out for two days, some fans have already claimed that Hi-Fi Rush is what No Straight Roads strove 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 praised Tango Gameworks and publisher Bethesda for their work and clarified that many of the challenges facing No Straight Roads and 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 Roads served as something of a new beginning for Hazmer after years of working on the Final Fantasy franchise. Similarly, Hi-Fi Rush appears to be a fresh start for Tango Gameworks after last year’s somewhat-underwhelming Ghostwire: Tokyo. That said, the budgets behind both No Straight Roads and Hi-Fi Rush likely 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 with similar titles like Metal: Hellsinger and Trombone Champ, rhythm gaming seems to be returning to prominence. Though it isn’t likely to reach the same peaks once scaled by titles like Guitar Hero and Rock Band in the late 2000s, Hi-Fi Rush and No Straight Roads are nonetheless part of a new renaissance that gamers who love marching to the beat of the music will certainly enjoy.