
Test your abilities in two new game modes, uncover new rewards and even a few secrets in the Arcade Challenge! Update! Feel the beat as wannabe rockstar Chai and his ragtag team fight against an evil megacorp in a world that syncs to the music.
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Stats
All-time low is the lowest price we've recorded for this game since we started tracking it.
Updates
Build ids and update times come straight from Steam's PICS — the same source SteamDB reads. Patch history grows as we record new builds.
Engagement
Hours played at review time, across 614 reviews with recorded playtime.
Reviews
Themes across 614 recent reviews and how positive each mention is. A keyword signal, not full sentiment analysis.
positive critical· bar length = how often the theme comes up
Reviews
Main story completion on very hard, and normal clear of BPM tower. Probably my favorite game that mixes the rhythm genre with another. I am about to go play Metal Hellsinger for the 2nd time which previously was that. This game is great, I highly recommend it. The combat is extremely fun, there is so much player expression that I can easily tell I haven't reached anywhere close to the ceiling even though I was making my fingers cramp with the combos and speed I was pressing buttons at. There are mechanics added at a consistent level that it never gets old during the first playthrough. Mechanics added felt like they were naturally stacking on-top of the mechanics you already knew, and added to the flow of combat rather then taking it away like some other hack and slash games, or even boomer shooters can end up doing. (definitely not talking about doom dark ages here) However it does have some issues, level design is good but there is a lot of platforming, and I just don't really find it fun in this game. The sections that are on the rails, and just have you timing button presses and dodges, those are amazing, they are all in rhythm, but the actual platforming is just a bit boring. Yea you can jump in rhythm and sure sometimes the obstacles move in time to the beat as well, but it never felt like a requirement to do it in rhythm, and typically it was difficult to time your jumps and dashes to the rhythm because of the movement speed, lack of horizontal air movement, and extremely high jump distance. Outside of traversal, I have one large complaint about the combat that causes another large issue. The targeting system feels more like a suggestion. Point your left stick at the enemy you want to hit, but it will often go to an enemy that is very close to you, even if they are to the right of where you are trying to go. Combine this with the slow horizontal air speed, and end-lag on falling, it can be frustrating to get to enemies in the air, or enemies that will dodge in the air. This also applies to the partner tag system, which sucks when multiple enemies cannot be hit until you hit them with the right partner. It was never bad enough to where I felt like I was going to bite my controller from frustration, but there were enough times that I recognized where the game was messing up my flow rather than my own doing (tbf most of the time it was my own fault) The 3rd to last boss in the game also killed me a total amount of times more than all of my other deaths combined. I don't think she was supposed to be that difficult, but even then my problems with said boss aren't exactly due to difficulty but due to some other issues. Some enemies can place down a static field of damage, normally I don't mind these like fire on the ground you have to avoid, but others act as just, a giant laser that you can't touch, but it can be very limiting when you have no way to deal with it and just have to wait it out while the enemy sits inside. I'm sure if I was better I could've timed a directional parry on some other enemy then use the i-frames from that to go and hit them but this feels like a big demand compared to the rest of the game, especially since the boss mentioned previously uses this type of attack constantly, with no other enemies nearby to try to get i-frames off of. (also at the time of fighting the boss I didn't purchase the upgrade that makes this possible) I recommend keeping music, and dialogue at max, and turning down all other volume aspects, sometimes it can get drowned out by the sfx. (I think there is one more for like game audio warnings or smth, idk that one can also be kept at max.) If the game ended shortly after that boss I honestly probably would've disliked this game but thankfully this has one of the best endings I've ever seen in a game. I highly recommend this to anyone who enjoys music, or hack and slash games.
Good game
Insanely good and fun rhythm game
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pretty neat
tol
好玩,只可惜找藏起来的道具让我觉得有点麻烦,而且给的钱币还是太少了,感觉什么时候都不够用
A very awesome game. Not without flaws, but those are minor like to small hook activation ranges. A fun story, great characters and designs and the game does not overstay one's welcome. Even if you are not that musical (like) me, it's a lot of fun and will make you smile.
我理解《Hi-Fi RUSH》为什么能获得这么多好评,它的美术风格、动画演出和音乐都很有特色,制作完成度也很高,能看出开发团队投入了很多心思。 但它并不符合我的口味,又因为家庭库有人游玩时长超过了2个小时,无法退款,遂发表差评,防止和我口味相似的人踩雷。 我原本比较喜欢《DOOM Eternal》《鬼泣5》这类动作游戏,以为自己也会喜欢这种节奏感动作游戏,但实际上体验下来完全不是一回事。《Hi-Fi RUSH》的核心玩法要求玩家尽可能跟随节拍进行攻击、闪避和连招,而我更喜欢自由控制战斗节奏,根据战况自主做出决策,而不是让音乐来决定我的出招时机。简单的说,这个游戏就像音游一样把控玩家,而不是玩家把控节奏,这完全不符合我的习惯。 漫画风格做得不错,画面很干净,剧情是经典美式青春片小尬剧。 这并不是游戏质量的问题,而是个人喜好的差异。如果你喜欢音乐节奏、风格鲜明、充满动画演出的动作游戏,或者说音游,它依然是一部值得尝试的作品;只是对于像我这样更偏好自由战斗节奏和沉浸式氛围的喜好自己把控战斗节奏的玩家来说,它可能不会那么对胃口。 以及如同灾难般的跳跳乐手感,这个完全是减分项,是我见过做的最烂的。
I suck at this
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Trends
Modeled estimate over time, reconstructed from Steam's monthly review histogram.
Engagement
DAU/MAU are modeled from peak concurrent players (≈×8 and ×28) — Steam publishes no active-user counts, so treat these as rough estimates, not reported figures.
Audience
Audience
Languages: English*, French*, Italian*, German*, Spanish - Spain*, Arabic, Spanish - Latin America*, Portuguese - Brazil*, Polish*, Russian, Simplified Chinese, Traditional Chinese +2 more
Estimated from the language of this game's reviews — a proxy for where players are, not official Steam demographics.
Games most often reviewed by the same players — an audience-affinity signal from our review sample, not full ownership data.
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