Rush E Rhythm Games

[Candi Ruman]

My favourite part of Hi-Fi Rush comes at the end, then, when you unlock the Rhythm Tower. An onslaught of back-to-back battles spread across 60 floors, this is absolutely where Hi-Fi Rush thrives. With platforming shoved to the side in favour of a combat-focused gauntlet that lets you revel in its forgiving rhythm action, you can really settle into bashing and bopping to the beat. The stress of jumping across that gap and awkwardly falling to your death removed, I found time to focus solely on learning combos and finally find my dancing feet.

The Rhythm Parry is a special enemy mechanic in Hi-Fi RUSH. Certain strong enemies, when close to being destroyed, can unleash enraged attacks that force Chai's attention towards them, and if the onslaught is parried or dodged, it leaves the enemy open for a finishing blow.

Developed by Zanzo for Vandelay's enemy units, and first implemented in BRU-T1L, Rhythm Parries are initiated when the enemy is close to destruction. Indicated by an orange aura, the enemy will attempt to create distance and sometimes block all attacks until it can perform a shockwave - if Chai is caught in the shockwave, the Rhythm Parry starts proper. Though Chai can dodge or parry the shockwave itself, the enemy will attempt it at least twice before losing the aura, and will re-enter the enraged state if attacked enough again without being defeated.

Once initiated, the enemy will indicate the rhythm of the attacks it'll perform, which doesn't follow the level's regular beat, and start the attack. The game's current Difficulty indicates the percentage of successful parries or dodges to incapacitate the enemy - at Hard and above, the Rhythm Parry must be entirely completed. If not completed to the threshold, the enemy will either attempt another after dealing damage, or lose its enraged state. However, if successful, a special Beat Hit can be performed to destroy the enemy in one hit, though if ignored, the enemy will still be stunned long enough to allow a counterattack.

Either BRU-T1L unit assumes an anticipating pose, twisting their arms while setting their hands to buzzsaw mode. When unleashed, they slash twice vertically across the screen, then try to push towards Chai thrice using one buzzsaw horizontally. Once parried, the BRU-T1L Unit would be shoved back and left in a dazed position when open for defeat.

The WA-ES-2 units first recite a Haiku poem while a drum beats create the parry attacks. When unleashed, they slash their dual swords at Chai. Once parried, it assumes a fatigued position when open for defeat.

The VU-T0R1 units will flap their wings for a moment before spreading them out, which causes the mechanical 'feather' blades on it to flare out before assuming an attacking pose. When unleashed, it slashes twice diagonally across the screen at Chai with its feather blade wings, first with its left wing, then right wing, before then letting out an energy roar. Once parried, The VU-T0R1 will fall to the ground in exhaustion, leaving it open for defeat.

The KEM-0N0 leaps back and stomps four times to the rhythm. When unleashed, it ducks its head down, firing lasers at Chai from the plasma cannon on its back, directly behind its head. Once parried, it'll be left standing in place open for defeat.

Though not modified with robotics before Track 8, Korsica is capable of starting Rhythm Parries repeatedly and regardless of her health; this mechanic makes up her special boss fight, as Chai's objective is to avoid hurting her directly. She is also the first enemy to introduce Dodge commands in them, as her cyclones can disrupt parries.

The BL-1Z5 unit first does two hooks, then readies itself to fight Chai in a fighting stance. When unleashed, it'll throw out a series of flame punches at Chai (first right and left hooks, left overhand punch, then a right uppercut, and finally, a punch). Once parried, the BL-1Z5 unit is left in a powered down state, leaving it open for defeat.

The ARM-D11 first jumps and spins before landing on the ground crouched, then quickly stand up before retracting all limbs to revert back into ball form and revving up. When unleashed, it first rams into Chai, bouncing off of him, followed by two quick slashes and jabs from the spiked ends on its mechanical back arms. The ARM-D11 unit will then leap back into ball form to quickly rev up and ram into Chai again. Once parried, the ARM-D11 will bounce off of Chai and be left exhausted, leaving open for defeat.

The KEM-N0 unit will create two holographic copies of itself prior to its Rhythm Attack. It'll jump in the air and convert into ball form, revving up. When unleashed, the KEM-N0 unit bounces at Chai, while its two holo-clones slash at him. Based on the beat of the rhythm, the real KEM-N0 unit will always have a Parry beat, while its holographic copies will have a Dodge beat. Once parried, the hologram copies will disappear as the KEM-N0 unit crouches down, leaving it open for defeat.

Hi-Fi Rush is, at its core, a character action game in the vein of titles like the Devil May Cry series and similar contemporaries. The player, who controls a young man fighting capitalism using his magnetic trash guitar and an ipod built into his chest, is tasked with defeating waves of enemies using combinations of light attacks, heavy attacks, dodges, blocks and parries, special moves, and combo moves. The combat system is similar to many other games, but what sets it apart is how it incorporates music rhythm elements into combat.

Hi-Fi Rush rarely, during regular gameplay, requires the player to attack on the beat of the music to execute attacks, and get through combat, at least on lower difficulties. There are exceptions, most notably minigames where the player must press specific buttons with decent accuracy to do things like restarting a generator, but during most combat on easy and normal difficulty, rhythm accuracy is not necessary for progression.

Hi-Fi Rush, as a game does a lot to try and support the player being able to find, and play on, the beat. Game elements on screen bounce to the beat, the player character walks and runs to the beat, pressing Select on your controller brings up a metronome at the bottom of the screen, and by pressing the attack button when your last attack connects with the enemy, you can be confident that your next attack also hit on beat. Shouts in the soundtrack tell you if your attack landed on beat, little music notes appearing next to your character show you are on beat, and visible words on screen tell you if your timing was, or was not, perfect.

For comparison, I recently discussed a music rhythm game called Melatonin, which contained in its accessibility settings the option to have a single clear visualiser on screen for the beat of the music, as well as a basic and clear metronome sound. This kind of simplified audio visual feedback as an option would be helpful for some players, even if my personal experience was one of valuing how much visual feedback for the beat the game is saturated with.

Players can alter the volume of specific game elements, including music, voice, sound effects, and musical effects in game, allowing for prioritising elements of the mix that make it easier for you to follow the beat while playing.

In the dedicated accessibility menu, Players can slightly increase text size for subtitles, apply colourblind filters, include speaker names in subtitles, set a background for subtitles, and change subtitle background opacity. Context Subtitles can also be activated, which take in world text on things like signs or a screen on a blimp, and display them as clear to read subtitles. Lastly in the subtitles category, non story related callouts, such as characters shouting out the names of attacks during combat, can also be presented as subtitles, as their own separate option.

The final setting to mention, which sounds great on paper but suffers in execution, is Auto Action Mode. With this setting active, which is only able to be used on normal or easy difficulty, players can simply press any attack button to the beat, and the game will control which attacks and combos the player uses.

Our work focuses on measuring sleep and circadian rhythms in different contexts and then testing various interventions to reduce circadian misalignment and sleep loss to reduce symptom burden and improve overall health outcomes. We have extensive experience in the use of prescribed sleep/dark patterns, light treatments and exogenous melatonin treatments to reduce circadian misalignment.

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