Where has a title that reminds one of some extremely obsequious attempt at being avant-garde, it particularly reminds me of Crispin Glover's What Is It?, a film with a lot of mists where he wears Elizabethan garb and worships ennobled people with Down syndrome. Inel's title is more accessible than that, it's fundamentally a maze game with a quadra-partite level design scheme, each of the four corners of the maze allows you to access the congruent corner of one of three other mazes. The aesthetics utilize powerful lighting and procedural animation to give the game a sense of ambient cloud, bathed in varying depths of light, with a maze made up of trans-physical tiles that can be reshuffled by the vacuum like a deck of Mahjong tiles. It evokes the same kind of feelings one can get for paid cash from titles like Flower, but there's a certain simplicity here that bears note.
The gameplay pays off really well when you finish the maze and the balloon floats away into an inscrutable sun while the maze crumbles at your feet and you ascend as well, though just out of reach, unable to get that damn balloon. Reply is less interesting because the maze is a singly scripted entity. Was Inel's reasoning for not pursuing a procedural generation script due to the pragmatism of designing a good maze generator? Was there an aesthetic reason behind that choice? Or was it not even considered. Maybe he'll stop by - where? Here, in the comments.