It’s not just the music and not just the art and not just the gameplay. So if I need more time to help sell a musical moment, I can ask for it. ‘But one of the things I do like about Moon is that every department is constantly talking to each other. It’s kind of like putting together a big jigsaw puzzle, except you’re also creating the pieces. But as you can imagine, with there being interactive elements coming in and out, you’ve got to take into account that stubborn player who is going to sit and look at the amazing art for three minutes straight. And putting together something like that, it has to feel pretty much like one continuous piece of music. ‘So we take the time at the beginning to build up the relationship between Ori and Ku. You could not put a sequence like that in the middle of the game, especially in a game which is generally fast flowing and is emphasising freedom of movement. ‘We did a similar kind of thing with the opening of Ori And The Blind Forest, but doing it at the beginning allows us to set up the characters and set up the story. ‘One of the cool things about Moon Studios is they do like to have the composer on early, not just for scenes like the intro but also for the gameplay’, he told us when we asked about how he went about scoring the lengthy, but mostly gameplay-free, intro sequence. He was also the composer on the first game, which picked up several awards for its score, at everything from the Golden Joysticks to the industry-voted DICE Awards. We had a lengthy chat with senior producer Daniel Smith on the day, but we also had a phone chat with composer Gareth Coker, a Brit based in the US. By default Ori has no means of defence beyond a prodigious leap, but in true Metroidvania style he collects a steady stream of upgrades that help with either combat or traversal and often enable you to reach areas that were previously inaccessible (requiring at least some back-tracking, although we didn’t get far enough to see if there’s any fast travel).Īll of that is as you’d expect of any Metroidvania, although Will Of The Wisp is clearly a step above in terms of both its level design and the visuals and audio.
#THE ART OF ORI AND THE WILL OF THE WISPS MOVIE#
There’s a real ‘80s children’s movie vibe to Will Of The Wisps, as Ori finds himself in a highly dangerous wilderness where almost everything seems to be out to kill him and he’s forced to battle creatures many times his size. Ori is not only one of the best Metroidvania games of the generation but it featured some of the best visual storytelling too, tugging on heartstrings with such force that it takes a hard-hearted soul to make it through the whole game without blubbing.
But Xbox boss Phil Spencer took a personal interest in the game and Microsoft ended up buying the franchise and promoting the game as a major exclusive. But while many older franchises may have struggled this generation there have been important successes introducing new ones, most obviously with Ori And The Blind Forest.Īt first, Ori looked to be just another in an endless line of indie Metroidvania games.
#THE ART OF ORI AND THE WILL OF THE WISPS SERIES#
With the release of Halo Infinite this Christmas, and rumours of a new Fable sometime after, Microsoft are poised to try and breathe new life into series which currently sit at a low ebb. The long-awaited sequel to Ori And The Blind Forest is finally almost finished and GameCentral has spoken to both the composer and producer. In terms of lore, there's a lot we could dive into and explore more in-depth.Ori And The Will Of The Wisps key art (pic: Microsoft) I think Ori's world could very easily transfer to other media. Continuing to expand on what we've already established could be a lot of fun." I ask if the Ori series could transition into another form, such as a comic book or animated show, an idea Gritton is clearly in favour of (although he gives no indication if anything is in the works): "There are some inherent restrictions to story-telling in a game, so that could be really interesting. Sometimes I’ll have an idea that I think would be cool to explore, so I make a note of it and file it away for now. "Although we don't have anything planned at the moment, I think there's a lot of potential there. "As you mentioned, both prequels and spin-offs would give us an opportunity to expand on the lore while giving a fresh perspective. "There are a lot of possibilities for stories to tell in Niwen or Nibel", explains Gritton.
It would really come down to whether or not there's a story that the team is excited to tell." With the character of Ori's story seemingly complete, I asked if the team would prefer to approach a new game as a prequel or spin-off. Play Asked if there were any plans in place for an Ori follow-up after or alongside that new game, art director Jeremy Gritton made clear that, "For now we're focused on our newest title, but we've left the door open for a return to Ori's world.
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