Ori

Ori's bash launches you in any direction off enemies and projectiles. The bash lets the player pick the launch direction, so they shape the path instead of triggering a fixed animation. It also turns enemies and projectiles into the movement tools, so the space itself becomes the moveset.

Game Maker's Toolkit sets it beside Mario's generous mid-air control and Rocket League's granular physics as analogue movement. It contrasts it with Zelda's hookshot, which locks Link into one predetermined path. Ghostrunner and Sunset Overdrive are named as related cases of using the environment for movement, where flow comes from bouncing from one object to the next.

Ori spreads its moveset across the whole game instead of front-loading controls. The game starts with only movement and jumping, so newcomers face the basics alone. Upgrades like extra jumps and new attacks arrive across the campaign, so the finished moveset is huge but nobody is overwhelmed.

The source calls this stretching the learning curve over the entire game and says other Metroidvanias do the same. It also cites the Spider-Man skill tree and DOOM Eternal's gradual weapons and enemies as comparable.

Ori is cited as a game that lets players choose how powerful they feel. It appears among the examples (with Forza Horizon 4 and Hades) of a design principle: systems should make a player feel powerful and masterful at every skill level. One player may lower difficulty and use assists while another takes the hardest rules, and both can be at their optimum challenge.

The source gives no Ori-specific detail on this beyond naming it as an example.