That isn't to say the game's obtuse to the point of vexation. It's probably for the best someone already killed this one. Beyond that, characters talk in ideograms, new abilities to purchase have little animations to demonstrate what they do rather than lines of description, and the game is filled with an imaginary language that - given the prominence of ciphers in Fez - I'm semi-concerned I'll have to decipher at some point. The game is very light on actual script though - the only time it deigns to explain anything in English is when you activate a warp shortcut. You're given little context as to why, but rather brief flashes of a coyote-like animal guide, shadowy murderous horrors and glimpses of how the world used to be shortly before it was annihilated by these grisly Nausicaa: Valley of the Wind " God Warrior" titans, whose enormous corpses make for some striking imagery while exploring. The game is top-down, and has you move through areas in a not-always linear fashion to reach a boss and activate an important-looking arrow-shaped block. Hyper Light Drifter on the whole shares more of its DNA with a Legend of Zelda or a Secret of Mana. There's a deeper mystery to the game beyond what we're seeing on the surface level, though nothing quite as meta as Phil Fish's one non-Twitter-related dive into insanity. In that last regard, as well as with much of its pixel art and chill synth music, it has a tone and atmosphere equivalent to PolyTron's Fez. It has a lot of problems on the PS4: incredible slowdown in almost every area where there's a lot going on, some awkward and unintuitive controls once it's handed you all the tools (which doesn't take long), and some deliberately obtuse level design that is meant to conceal a lot of passages and areas for the sake of keeping its secrets well hidden but often comes across as overly busy and garbled. I'll be honest, it took a while for me to warm up to Heart Machine's Hyper Light Drifter.
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