![]() ![]() ![]() Some people might say it's bad to feel ignored, but I didn't feel ignored - it felt like we were so trusted with the thing that we wanted to do.” “And as a director on a project, or someone who's worked with someone for that long, it's the best feeling that you could almost have. “Towards the end of the project, was extremely hands-off because he clearly saw, like, he knew what we were doing,” Johanas explains. It tested very well, even during the prototype stage, where it was pure gameplay and no visuals. Mikami would check in to make sure they weren’t going off the rails, but Johanas’ and his team were always very serious about the project, and this brewed healthy confidence whenever they would show it off internally. “He’s a very good champion of, you know, ‘Make it but make it the game you want to make. “ has worked in all genres before, especially action games, and he saw the potential in the project,” Johanas says. His pitch came at the right time, as Tango was hungry to prove that the studio could step outside of the horror genre and succeed. ![]() After working as a designer on the first installment, Johanas directed The Evil Within 2 and its DLC before pitching Hi-Fi Rush internally. At university, Johanas taught himself drums to play in a Japanese rock band, covering songs by Number Girl - who he would later tap for Hi-Fi Rush’s licensed soundtrack.Īs an adult, he moved to a countryside town in Japan as part of the JET exchange program and worked as a teaching assistant, learning the language in his spare time, before applying for a job at Tango Gameworks. He later picked up bass, guitar, and piano, eventually forming a Radiohead cover band with his friends. He grew up playing music, a saxophonist in his school’s symphonic and late-night jazz bands. Johanas’ game dev origin story is a fun one. ![]()
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