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.
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