Ynglet nails an aspect of the music game genre I first felt in Tetsuya Mizuguchi’s 2001 classic Rez. I’m talking about the way it makes space for player input within its generative soundtrack; specifically, how the music only truly pops when I start twirling my analogue stick and pressing buttons. In Rez, I do this to obliterate geometric enemies; in Ynglet, all I have to do is move. Because my own input doesn’t ever land perfectly on the beat, these interactions—whose effects are visual and aural—spray and scatter beautifully across the snap-lock grid of its electronic music score. For a wonderful few minutes, the game makes me feel like a jazz drummer, even if I’m only jamming with the computer.
This is a companion discussion topic for the original entry at https://www.vice.com/en_us/article/5dbd9a/ynglet-musical-platformer-review