The basic premise thus far is that you pan around a single-area point-and-click environment, looking for characters or artifacts, ultimately in the service of acquiring musical instruments. You then go through the magic door in a free-standing wall, back to your boundless isometric white room, where you set down these instruments and configure them. Some allow you to write a melody. Others are droning instruments where you just select a pitch; others yet are drums, which let you tweak their sound and step-sequence them. They all sync up, and the general course you take is finding one instrument, setting it how you like, and returning to the point-and-click environment, where the means to uncover yet another instrument have just been unlocked. You go back to your room, make your loop a little more interesting with another instrument, then repeat until you’ve found every instrument the game offers thus far.
The instruments themselves sound quite pleasant, although the granularity of sequencing is a little limited if you’re trying to do anything rhythmically complex. Then again, this is just a toy, and a truly charming one at that. Beyond the fun that can be had composing, and nearly anything with a little thought put into it sounding decent since the instruments are almost all in the same key, it’s such a delightful world to poke around on the other side of the door. The way interactable elements animate under your cursor, the strangeness of the conversations and of the characters’ desires for trades, the faint hint of your loop that you can hear coming from the door when you’re outside, and the stylistic contrast between the grayscale “outside” and the stark monochrome “inside” all make for an experience that’s candy for the eyes as much as it is for the ears.
It’s a great little prototype so far, and I look forward to what may come of further iteration. If I had to give one piece of feedback, it would be that it could do with some optimisation, as even natively it has a tendency to lag, which can really suspend disbelief when the animations of the instruments desync from the audio.
Yestin Harrison is a dilettante fascinated by anything from games to graphic design to planetary-scale distributed systems. When not performing his duties as webmaster at Rebind or kicking the site an occasional article, he's found anywhere there's a lark to chase. Reach him on the Web at ylh.io, and on twitter @yestinharrison.