Yesterday’s closure of Tango Gameworks by parent company Microsoft was a deep cut for millions in the games industry. Started by legendary game auteur Shinji Mikami, the small Japanese studio gave birth to excellent games like The Evil Within, Ghostwire Tokyo, and most recently, Hi-Fi Rush.
The 2023 rhythmic action-brawler was a complete shadow-drop, yet one of the best games of the year. And why wouldn’t it, with its lively art style and hectic gameplay? However, what elevates the game even further is its curated selection of licensed music, as director John Johanas reveals.
Licensed Music Makes Up A Chunk Of Hi-Fi Rush‘s Identity
Speaking with Touch Arcade, Johanas spoke about how the underlying concept of Hi-Fi Rush revolves around feeling like an interactive music video, and how licensed music was crucial to achieve that:
While I wouldn’t say it was an absolute necessity in achieving the game’s goals, there is just something so satisfying about hearing a licensed track come in and land perfectly with a scene. With the concept early on being based on the game feeling like “a music video being edited around you,” having licensed music, in general, let us make that concept more literal. It also lets us play around with gameplay since instead of the tracks evolving around YOUR playstyle, it lets us set you up to sort of play against the track.
Johanas also actively pursued specific tracks that resonated with the game’s atmosphere, saying, “As for the song choices, I just felt that they would convey the vibe and gameplay situations correctly, so I fought hard on pursuing them and I am so happy we were able to use the tracks that we did.“
Tango’s Chosen Soundtrack Is A Buffet Of Greatness
The result is a diverse soundtrack featuring a smorgasbord of genres, from the pulsating electronic beats of Wolfgang Gartner’s ‘Wolfgang’s 5th Symphony’ to the raw energy of The Black Keys’ ‘Lonely Boy’.
A closer look at some of the featured tracks goes a long way to prove Johanas right. Nine Inch Nails’ ‘The Perfect Drug’ perfectly embodies the game’s rebellious spirit. Similarly, The Prodigy’s ‘Invaders Must Die’ injects a high-octane adrenaline rush, perfectly complementing moments of intense combat.
The inclusion of lesser-known gems like Number Girl’s ‘INAZAWA CHAINSAW’ further exhibits Tango’s commitment to a curated experience, in addition to adding a bit of Japanese flair. This B-side from the pioneering Japanese rock band is perfect for evoking moments where both Chai and the player headbang in perfect synchrony.
Clearly then, Hi-Fi Rush‘s licensed soundtrack isn’t just there to sound nice, but an integral component of the gameplay, propelling players forward with an infectious energy and going hand-in-hand with the game’s properly fun mechanics and beautiful art style.
With such overflowing passion behind Hi-Fi Rush, it’s truly puzzling why Microsoft decided to shut down Tango. Given time, this IP could’ve been nurtured to be several times more successful than it was, and even Helldivers 2 director Johan Pilestedt agrees. Alas, it’s a tearful goodbye instead, for one of the best games of this generation.
