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Hohokum review

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  • Hohokum review

    Hohokum's scenes are unfamiliar - beguilingly so. In one, a tall violinist plays a melancholic tune while he stands under the throbbing light of a lamppost. His squat buddy sings full-throated by his side while, overhead, the buckshot stars wink approvingly. In another, an Indian elephant with a deep underbite plods through the jungle while a caged albino orangutan dangles from his tail, praying to be freed. Elsewhere, a businessman sits in the belly of a vast and complicated Heath Robinson-esque machine, waiting for bees to drop honey into its pipes which will travel through the tubing and, finally, be deposited in his coffee cup as a steaming drink. These are fever-dream vistas - the kind of places you wonder whether you've remembered wrongly, whether you were ever really there at all.
    You play Hohokum as a lithe snake known as Long Mover - or, more accurately, as the unblinking eye that sits at the head of the snake, its lingering tail sweeping behind. Hohokum's range of interactions is slim: go fast, go slow, steer. As you move through these weird scenes, you create trailing shapes with your tail while, every now and again, you can change things in the environment by butting into them with your head.
    Meanwhile, the game's palette of colours, shades, shapes and swirls is vast - but meticulously so. These painterly hinterlands are filled with Pantone fauna. Every psychedelic colour complements the next. It's striking, beautiful. Simply flying through these scenes, loop-de-looping overhead, swooping through the trees and rushes, is enough. No matter that the usual video game clutter is absent from the screen: the score ticker, the map, the inventory, the clutch of lives. This is a video game doing something that only a video game can do as it places you inside the landscape of its creators' imagination.
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