The pitch for Unbeatable is an enticing one: a visually striking rhythm-adventure hybrid about a punk rock rebellion in a dystopian city where music is illegal – kinda like Jet Set Radio meets a more story-focused Taiko no Tatsujin, which is great in theory. But the promise of that concept doesn’t always line up with the disjointed yet heartfelt mess we actually got. Unbeatable positions itself as a mix of both story-driven exploration and pulse-pounding musical battles, but what that means in practice is a conversation-heavy walking simulator with occasional rhythm segments and a few genuinely brilliant moments awkwardly wedged in… plus an endless arcade mode that has some real promise. That’s where the rhythm game “meat” is hidden away, and it’s decently fun for a few hours with a great selection of tracks and plenty of challenges to unlock, though it’s a shame part of its selection is locked behind day-one DLC.
Welcome to a world where music is illegal, nobody remembers what it is, and, miraculously, you’re the only one who can bring it back! The story mode follows the vocalist Beat and her bandmates as they fight against HARM – a police force defending the music ban with lethal imprecision. The musical names and quirky characters would be charming if the writing supported them with consistent cleverness or emotional weight. Instead, what you get is a script that infrequently touches on what it really feels like to try and become a musician in a world that barely has space for you. The rest of it reads like a long back-and-forth Discord conversation between teenagers who think random equals funny. It works well in short bursts, but gets tiresome across the roughly eight-hour campaign.
It’s a shame that there’s this much filler between the parts that are genuinely moving, especially towards the end. But even during those latter parts, Unbeatable lurches from location to location with minimal clear connective tissue. One moment you’re talking to a guard in prison, the next you’re suddenly in the prison cafeteria with no transition or explanation. Then the camera cuts again and you’re asleep. Then you’re in the factory doing work detail. Now you’re skateboarding on a pair of headphones through an entire platoon of guards. There is some logic behind these transitions, but most of the time, Unbeatable’s zones are disorganized – its story feels like a cassette tape of vignettes that just teleport you between scenes, doing the bare minimum to show you how you got there, and that happens constantly throughout. It’s disorienting in the worst way – not as an artistic choice, but as a failure of basic storytelling. There are even a few drawn-out dialogue sequences that repeat themselves multiple times – you’ll literally see the exact same cutscene or conversation recycled for no clear reason.
But what’s most shocking about Unbeatable is how little rhythm gameplay actually exists in the story mode before the final chapter. You’ll spend the vast majority of your time running through empty environments, talking to poorly-written NPCs, and participating in mandatory minigames that have nothing to do with the core rhythm gameplay found in the arcade mode. For instance, there’s a bartending minigame with obnoxiously loud jazz providing sound cues. There’s a batting cage that appears out of nowhere. You’ll close sluices in a sewer in a “puzzle” that has you running back and forth while your incompetent bandmates keep turning valves back on as a “joke.” Even when rhythm sections do appear, they’re sometimes completely disconnected from what’s happening in the story – you might be mid-conversation, and suddenly you’re in a yard fighting someone with no setup or context. Thirty seconds later, it’s over and you’re back in your bunk talking about something else.
