There were times when I wondered if I was even working toward a true ending, as the cheerful nature of this often aimless jaunt does its best to keep you in the moment.
There are other secondary “objectives” to consider in each environment, but the real goal here is to find and free all of the serpents.Ĭredits roll once every serpent is safe, but Hohokum doesn’t push you to progress to the conclusion. You play with the different pieces until the systems start to become clear, and after completing the given tasks in a world, a fellow serpent with its own distinctive colors and features is freed and sent back to your hub world. Flying over a clay pot sends it crashing to the ground, so what happens if I break all of them? What will that change? And once you bump into the right things, a light bulb goes off. You can’t attack or communicate with the many people or objects that paint the backdrop, so you’re instead left with no other choice but to bump into things. You direct a single serpent, dubbed the “Long Mover,” to sashay from place to place.
The greatest challenge might come from describing the game itself, though, as most of the worlds in Hohokum are brimming with nonsense. Failing to see the next step forces you to slither through every element of the geometry in frustration to find how to progress, transforming your previously relaxing session into a true test of commitment. However, once the heavy dopamine dose dwindles to a drip and your progression stalls, you begin to curse the given respect that was once so cherished. No two worlds are the same, and the creative manner by which you complete them often slap a contagious grin on your face. At its best, Hohokum provides pure, cathartic bliss through hypnotic movement that’s extenuated by the free-form puzzles.
The non-linear, experimental gameplay is the greatest strength of this audiovisual jewel, but it’s also the core of its most pervasive fault.
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