Dead as Disco Preview

Growing up, the fighting game genre was defined for me by one game: Super Smash Bros. Brawl. Sitting down with my siblings and cousins, screaming until our voices gave out in 3-stock battles. None of us had put any real thought or strategy into fighting games — the only skill on the table was how fast we could mash a single button. Because of that, 99% of the gameplay was quite vanilla to me and didn't get my heart pumping…but that last 1%? That's what I spent the other 99% of the time chasing. That feeling was the intoxicating hit of serotonin that came from landing a Charged Smash. There was something about that freeze frame, combined with the crisp sound of the crit confirmation, that sent shivers down my spine.

Now it's been years since my Wii's disc drive finally gave out and the console became a family heirloom atop my parents' home entertainment center. Much like the console, my craving for that exhilaration faded and collected dust…but they do say the heart never forgets, and that has never felt more true.

Disco Never Died in Mama's House

Now, Mama was a product of the seventies, and like the song says, "the 21st night of September" was the day disco died but not in Mama's house. From birth until her funeral, and somewhere in heaven, the angels will be singing the Bee Gees. So of course, the music that flooded my childhood would find its way into the title that has consumed all of my free time over the last month…on a demo. A demo, I say!

Let's stop beating around the bush. Bursting its way onto my hard drive (yes…I still have not upgraded to an SSD) is the "neon drenched beat 'em up," Dead as Disco. As a big fan of indies and their "bite sized" nature, I'm used to downloading a multitude of demos, finishing them in a couple of nights, and uninstalling them to wait for the full release. But with Dead as Disco, for the past four weeks, it has not only held a permanent spot on my hard drive, it hasn't left my Steam launch page. I finished all the songs and story content weeks ago…but, like a fish on a hook, it keeps reeling me back in.

I think what keeps pulling me back, and the moment I was truly hooked, was the neural activation triggered by the first satisfying punch you throw during the tutorial. You start hearing the intro to Prophet's "Mission," and when the first NPC appears, you're smashing their face in, not to the sound of bone hitting flesh, but to the ever satisfying thud of a thick 808. That exact moment scratched something that had long been calcified beneath years of longing and nostalgia. From that point on, my body had found "that 1%" again.

Charlie Disco: Aura Incarnate

Now that I've explained how I got here, let me tell you why I plan to stay (and why I've already blocked out my calendar for the week of this game's release). Let me start with the game's main protagonist, Charlie Disco. Many have probably seen clips of Cowboy Bebop and Spike Spiegel "dancing" around enemies mid fight to the downbeats of Japanese jazz. Charlie embodies that same sense of fluid, eloquent combat but instead of jazz, you can "dance" and smack NPC faces in to whatever songs you want, since the game lets you upload any tracks from your local library. I've found that my preference leans toward the game's original soundtrack, because it syncs up better with the combat (and given the "why" I'm here, that sync is a must), but regardless, this feature also satisfies another itch: seeing the music videos stuck in my head come to life.

And it's not just the combat. Charlie Disco is aura farming from the moment the game boots up. Like a suave Casanova, his shadow saunters onto the neon drenched yellow background and hits disco pose after disco pose before calmly bopping back to his idle animation, snapping his fingers. The game hints at potential customizations to Charlie's look, meaning "anyone" can eventually become Charlie, but as a jumping off point, I think the devs nailed the vibe for their protagonist.

The Bosses: Two Worlds Apart

And it doesn't stop there. Two bosses are available in the beta (with the rest shown only as silhouettes), and I can already tell that each story boss is going to be as diverse and distinct as these two are. The playable bosses are Hemlock and Arora. One is a toxic electro punk mech monster who tries to slice you open with a battle axe guitar to hard rock solos, like something ripped from a Spider Man comic; the other is an intergalactic K pop diva who will "gently" try to put you to sleep, forever, with wave after wave of zombie like dolls and flaming asteroids, all while her giant body double dances perfect choreography. Seeing the dramatic gap in style between these two already has me hyped for the continued evolution of music genre and character design when the full game releases. Even if you don't like punk or K pop, the variety we've already seen convinces me that one of the unreleased bosses is going to be "the perfect rival" for everyone who gives this game a try.

The Art: Living Inside a Glow Stick

I've mentioned the art a couple of times, so I'll address it here. The game's tagline of "neon drenched" describes it perfectly. From the characters to the environments, everything oozes the feeling of a world painted with the inside of a glow stick. The lighting constantly shifts from daytime rave to blacklight darkness, but wherever you go, you and the boss are always the brightest things on the stage. The opening cutscenes are beautifully drawn and animated, and they left me craving more. My only qualm is with Arora's in game model. This may be intentional given the "army of dolls" theme she carries, but her model's neck and facial expressions feel a bit stiff during the in game cutscenes, as the face and neck don't move at all. The team does an amazing job showcasing her dancing ability and the taunts you can use mid fight, but after the beauty of the fight's intro, it left me wanting more. That said, resources are finite, and if the choice is between polishing cutscenes into full cinematics versus refining combat and adding more songs, I'll choose the music every time.

The Combat: Neon Blooded Chaos

Oh, you want to hear about the combat? Alright, alright, I got you. The combat is as simple or as complex as you want it to be (and I'll admit, for any true fighting game enthusiast, it's probably on the simpler side, but I digress). Each fight is a series of attacks, counters, takedowns, dodges, and finishers, all set to the heart pounding beats of the soundtrack. The combat is relatively free form, but most actions beyond the base attack require certain conditions to be met first. For a non fighting game, this works beautifully, as there are no specific button combinations to memorize for certain combos. Knowing that my takedown "skull" meter is full and my "fever rush" bar is maxed is all I need to decide it's time to go to town. Target priority is up to you, though the game does nudge you in certain directions and combo strings tend to come together naturally. If you want complete autonomy over every punch speed and the freedom to decide between a leg sweep or a jumping knee, this might not be the combat system you're looking for. But for what I want, fighting and rhythm melding together in beautiful, neon blooded chaos, it's ideal.

Like most rhythm games, a closing circle helps you time attacks, counters, and dodges. Hitting it just right and landing a "perfect" unlocks unique combos, freeze frames, and sequences, giving you half a second to plan your next takedown while also just admiring the vibe and flair that define Charlie's character.

A Word From a Non Rhythm Gamer

Here's my PSA: I am by no means a rhythm gamer. I love music, and it permeates my free time, but I have tried OSU, DJ Max Respect, Guitar Hero, Rock Band, and more, and I am horrible at all of them (my sense of timing always goes sideways and I have to reset). Fittingly, my favorite rhythm games tend to be the ones with unique concepts where the rhythm difficulty becomes almost secondary (Melatonin being my personal favorite). I have about 24 hours logged in the demo so far (about 4 of those in the beta) and have only managed to defeat Hemlock. I'm still working on Arora. The difficulty feels genuinely satisfying; being punished for mistiming is frustrating in the best way, which makes finally defeating a boss all the more rewarding. Difficulty options currently include Normal and Easy (I'm not aware of any planned Hard mode), and I've stuck to Normal so far out of respect for the devs' intended experience, though we'll see how many more face plants from Arora's mage staff it takes before I cave. I have friends who are true rhythm gamers whose sense of timing baffles me, and for those of you out there, Normal might actually feel too easy. But I think what this game really centers on is something simpler: it's fun. The concept, the vibe, and the gameplay all orbit the enjoyment of the process. The satisfaction of every punch and finisher, hitting the beats, absolutely demolishing NPC faces at key moments in a song for unique takedowns, that's what it's all about.

The Verdict

As I've pointed out, the game isn't perfect, but in spite of that, I'm betting on its potential. If I can sink this much time into a demo, I think the devs have more than earned my trust for the full release. So, to my music fans: grab your popcorn, this is going to be a ride. To my beat 'em up fans: prepare your palates, because here's a little spice for your usual meal. And to my rhythm gaming fans: all I ask is that you dip your toe in. I'm convinced you'll find exactly what you're looking for.

Well, that's all for me today. To all the indie hunters out there…happy hunting. You never know what's waiting out there in the endless, unexplored void of Steam.

Life is a Game Magazine was supplied a preview copy of Dead as Disco for this preview