“I want to cherish this IP.”
Image credit: Bethesda Softworks
A sequel to Hi-Fi Rush is being considered “positively” but studio Tango Gameworks is “considering various opportunities” before fully committing.
In a new interview with IGN, studio head Colin Mack, Hi-Fi Rush director John Johanas, and Hi-Fi Rush project manager Kazuaki Egashira discussed the future of the franchise.
After Microsoft closed Tango Gameworks it was acquired by Krafton. At the time of the acquisition a sequel to rhythm action game Hi-Fi Rush had begun, but Mack has now clarified the studio is considering its options.
“We are considering a sequel positively,” said Mack. “We are not yet at the stage where we can say specifically, ‘This is what we’re going to do’.”
“Many of our staff have a lot of love for [Hi-Fi Rush], so we feel like we have options,” added Johanas. “We’re currently at the stage of considering various opportunities.”
Johanas stated many members of the development team have a “strong attachment” to Hi-Fi Rush, adding: “Not only the game but also the characters and the world are beloved by us, so I want to cherish this IP.”
However he believes it’s “important to try new things”, which is seemingly a philosophy that itself led to the development of Hi-Fi Rush – a clear change in tone for the studio following The Evil Within.
Indeed, Egashira said creating new experiences is “in the DNA of Tango Gameworks”.
“Hi-Fi Rush became popular as a new IP, but if Hi-Fi Rush were to stay the same forever, it would eventually become outdated,” he said. “I think Tango Gameworks is about taking on new challenges. I hope to continue to work in a way that puts developers at the centre, without losing our passion.”
As previously reported, Krafton head of corporate development Maria Park stated a build for a Hi-Fi Rush sequel was about six months old ahead of the studio acquisition.
“[Tango] want to make sure [it] surpasses the expectations of the existing fans,” said Park. “For instance, some of the feedback about Hi-Fi Rush was that some people felt it was [just] going through factories, so now they want to give a more open world type of experience. I don’t think it’s going to be completely open world, but a more dynamic environment [that] you play in. Also, having more advanced technology applied to the rhythm action so that it feels more synchronised.”
