![]() “I gave the direction that it shouldn’t look like a Japanese anime but not like an American cartoon either”, and indeed “we looked at things like FLCL, but from an American perspective I always sent the team photos of things like Futurama, because it’s an American thing see the world in a silly and ridiculous way”. The idea, the game director tells us, was that “we wanted it to be stylized and almost have a cartoonish feel”. “We knew there were people who were digging into the ‘Xbox & Bethesda Developer Direct’ hoping to find out something, and we were like, ‘oh please, don’t find out everything.’ But, luckily, no assets were leaked so no one knew what it was going to look like or what.”Īlso because part of the surprise behind the title is represented by the truly unique artistic direction. “Part of it happened, I think the name came up,” explains Johanas, recalling how the name Hi-Fi Rush had been around for a while. On the developer side you get a little nervous not doing a traditional release, but we knew that anyone who saw the game internally wanted to play it right away – the first thing they said to us was, where is it, I want to play it now”.Ĭlearly, part of the stress came from the possibility that a last-second leak could spoil the surprise. Internally we were super, super confident in what we had. The launch so on the spot, at least apparently, “was not an idea of Microsoft but of marketing and PR of Bethesda, who thought it was a nice approach for this game. We spoke about the shadow drop, but also about the distinctive stylistic code, the gameplay in step with the music and the future, both of the game and of the development team, with the game director John Johanas, in the same role already with the appreciated (and so extremely different) survival horror The Evil Within 2.
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