One developer who joined the team as it was increasing in size noted Chai’s snapping was on the first and third beat of the measure, and suggested it should be on the second and fourth beats, because it’s more akin to “a natural drumbeat, one that you’d do with a kick drum.” And so, the snapping changed. These kinds of tweaks happened all throughout development. I was always looking at that, that helped me out.’” “And some of the initial feedback was like, ‘oh, I didn't even notice it was there.’ But then we had some other people and they're like, ‘wow, that thing was essential. “We thought we had one solution where we have 808 the cat over your shoulder, just giving you the pulse,” said Johanas. We said it has to survive on gameplay alone.” “We specifically didn't have any graphics in the beginning. What Johanas found while making Hi-Fi Rush was that people found their way to the beat in surprisingly different ways. Whole pieces of the environment, like pipes and platforms, move to the beat. The main character, Chai, snaps his fingers to the beat. There are cues everywhere about the neverending beat that defines the game. Crucially, attacks still happen if the player is off the beat, but they’re more powerful in rhythm. A basic attack might be hitting X X X X, while a heavy attack might be Y Y Y. Hi-Fi Rush layers mechanics on pretty fast, but at its most basic level, players tap buttons to execute attacks. How can we convey as much as possible without saying, ‘hey, press here, or you're going to miss,’ so you don't feel bad. “When you see UI, you think, ‘oh, I have to press it to that button,’” said Johanas. If you’re making the game centered around music, Mikami challenged the Hi-Fi Rush developers to see how far you can go without telling the player anything about what they’re being asked to beyond what they can see and hear. One of Mikami’s recommendations to Johanas and the team early on was to develop the game without a user interface (UI).
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