The tale they tell – with only music and visuals – is euphoric and genuinely funny at times, and is the perfect window dressing to the game’s central action. The story mode also features an enjoyably interactive mixture of 2D cutscene and level select, and though there’s no real cost to dying during these sections, they’re also not somewhere you can just switch off from. Those pink shapes take on various forms, from traditional shoot ’em up bullets and the cannons that fire them, all the way up to manically grinning bosses with huge faces and flailing limbs. It’s a clever use of the monochromatic dangers, and one that’s satisfying and understandable.
A lot of the time it’s about working your way into a pocket of calm, which typically isn’t there for more than an instant, though you’re often afforded some warning as to where to be as the pink shapes fade into place. The game’s visual language is clear, distinctive, and deeply enjoyable, despite the majority of the game fundamentally being just a little blue square that’s constantly under attack by pink stuff. Think Geometry War 2’s Pacifism mode and you’ll be some of the way there, though you’re afforded a dash manoeuvre that sees your shape behave like a skittish tadpole in a pond full of fluorescent carp. You’ll take your square (or triangle, pentagon and circle if you’re playing with others), and have to dodge an array of neon pink things that appear across the pitch-black screen. The titular Beats dictate just what it is those Shapes are doing, and barring a late section in the single player game, there’s not a hint of firing a weapon at anything.
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