This article was originally published in Italian on Thegamesmachine.it in 2016.
In 2001, from the vivid imagination of Tetsuya Mizuguchi (Space Channel 5, Lumines), came Sony’s first major virtual reality title. No, I haven’t made a mistake with the date; it’s all true!
The story behind REZ (a play on the word “resolve”) centers around the aforementioned game designer, who was then working under SEGA’s label, and his dream of creating a shooter that would immerse the player in a deep trance. At the beginning of the 2000s, REZ arrived on Dreamcast and PlayStation 2, thrusting players into a delirious acid tunnel of synesthetic visions, where the only task was to shoot everything that moved on the screen while simultaneously composing music. Anyone who’s ever tried this techno-infused on-rails shooter can confirm: REZ was made for VR fifteen years ago, long before the days of HTC Vive and Oculus Rift. Luckily, time has allowed technology to evolve in a way that suits Mizuguchi-san, who, in the meantime, left the gaming world to teach at Japanese universities. What better moment, then, to revisit his timeless masterpiece and once again wear the “dirty” hat of a visionary game designer?
Rez Infinite is the latest iteration of the on-rails shooter, which has also appeared on Xbox 360, but on PlayStation 4, it’s reintroduced with support for 4K resolution (at least on PlayStation 4 Pro), 3D Audio, and, most importantly, VR mode.
It’s important to note that this game shouldn’t be considered one of Sony’s exclusive VR titles, as it’s also playable on a “regular” TV. However, playing it in VR has become so essential for me that I’ve completely forgotten about its dual nature. In VR, Rez Infinite is undeniably the fruition of a concept from over fifteen years ago—the true essence of a shooter that shows no signs of aging, despite the date printed on its SEGA Dreamcast packaging. The goal of the game is simple: by holding down a button and moving the crosshair, you can “tag” enemies (up to a maximum of eight). When you release the button, you’ll see them take damage. There’s also a typical “super shot” that makes everything on screen shine, but that’s not the point. The action flows quickly on an imaginary track, as you float through spaces with an aesthetic halfway between a Tron-like world and the low-poly look typical of early 3D shooters without textures.
And then there’s the music—a mix of techno, house, and minimal sounds where every interaction on screen adds a note to the score, changes a beat, creating an original track. The action is relentless, while the simplicity of the aesthetic becomes a powerful tool, capable of transporting even the most skeptical player into a true cyberspace journey.
REZ was an excellent title on paper and fantastic with a controller in hand, but believe me, in VR it’s an entirely different experience: being there, behind the anonymous humanoid protagonist, able to tilt your head upwards to chase even the most elusive enemies or quickly turn around to follow the massive level bosses is one of the best gaming experiences I’ve ever had. And fortunately, it’s rendered at one of the highest resolutions available on PS VR, probably thanks to the extremely lightweight graphic design.
A shooter where action turns into music—an idea that’s much (much) easier to experience than to explain, and fundamentally recommended for everyone, as it’s a classic every gamer should try at least once.
While the HD mode includes all the content from the Xbox 360 edition, Infinite adds a new level called Area X, which feels like a teaser for a sequel. In VR, Area X is playable at a slightly lower resolution than the main adventure, but even then, it’s easy to get lost in the particle effects and dreamlike atmosphere. This single new level also allows you to freely navigate space, “accelerating” with the shoulder buttons as if piloting a ship, and turning your head to direct the iconic polygonal humanoid that has always been at the heart of the franchise. Area X is an excellent example of how REZ could evolve into a hypothetical sequel, and while it leans towards Child of Eden in terms of sound (though without the collaboration with the Genki Rockets band this time!), I have to admit that the thought of playing additional levels like this gets my adrenaline pumping.
Finally, speaking of longevity, just like the original, REZ can be completed in a handful of hours. But to complete the additional challenges, achieve the highest scores, and dive into the obsessive pursuit of trophies, the playtime will increase significantly, as some unlockable content is tied to play hours. And yes, you can even activate “trance” mode to make all connected controllers vibrate. If you miss the Trance Vibrator sold with the PS2 edition, you can still replicate it with the special option. For a better world.
I’m convinced that, thanks to REZ Infinite and PlayStation VR, I’ve finally experienced the real REZ—what Tetsuya Mizuguchi had in mind when he poured the 250 MB of data (about) that made up the first version of the game onto the PlayStation 2 disc. While the game is playable on a TV, trust me, find a Sony VR headset at any cost and try it in VR: you won’t regret it.