It’s easy to fall in love with the idea of Soundfall. Its action role-playing gameplay marries concepts from twin-stick shooters and rhythm games, challenging you to stick with the beat as you attack enemies while dodging their blows. It’s a conceit that has been experimented with in multiple other games, sometimes to great effect. But those other successes manage to enhance the mechanic beyond its initial charm, which isn’t something Soundfall ever quite replicates in its extensive campaign.
Everything in Soundfall moves to the beat of the song playing in the background. All your actions require you to time them according to the beat to be effective, whether that’s your standard ranged attacks, up-close melee swipes, or damage-dodging dashes. Enemies are similarly tied to the same constraints. Their attack patterns don’t change with the beat, but the speed of them does. The build-up time associated with the shot of a sniper will be faster or slower based on the song playing, for example, while the speed of environmental hazards is similarly affected.
Playing in tune with Soundfall’s music initially feels exhilarating. It doesn’t take long to match up to the new rhythm presented by a new song, but it still feels satisfying to settle in and fire off hundreds of perfectly timed attacks and execute precise dodges. Enemy variety is sparse at first, but there’s a decent number of combinations that keep most skirmishes engaging enough, and certainly challenging enough to encourage you to keep hitting well-timed attacks to do the most damage you can. It’s enough of a hook that it makes the otherwise routine isometric action fun, but also what quickly becomes monotomous as Soundfall fails to do anything new with it beyond the initial rush.
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