![]() The team was still small and we worked very hard to present something we’d all be proud of. Van Leeuwen: The biggest moment was the first E3 where we teased the game. It was exciting to suddenly take a step back and think, “Wow, it’s all coming together!” I’d never seen everything put together until that day. After years of planning and discussions, I remember opening the editor and zooming out to look at the entirety of Niwen we had built. Gritton: In our software, we have a series of screenshots for each scene that are all connected, and they show the layout of the world. That stood out to me because it takes a lot of programming and planning on the arts and animation side. ![]() We also managed to play every key melody from Blind Forest and Will of the Wisps. What experience from your time working on Ori stands out most?Ĭoker: One thing I'm proud of in the ending is how the music for the entire final encounter, which is split into multiple phases, all transitions seamlessly. Much of the dynamic light in the game is based on hand-painted maps. We hand shaped a lot of the normal information on meshes and our lighting system is very different from something you’d typically see. Van Leeuwen: For the 3D characters we used a lot of unusual techniques to make them blend in. Watching the video flipped gives your brain a fresh perspective on it and helps you notice flaws, which is helpful if you’ve already watched something 100+ times. I'd also flip a cinematic or trailer on the x-axis and watch it that way. Color can sometimes fool you into believing there is more value separation than there really is. ![]() I would lean on this to double check the values in our scenes. Gritton: Throughout production, I used software that would flip my monitor’s visuals to grayscale. It’s the only time in the game where you hear it, so it’s going to stand out. It’s not a big part of the track, but for me it was a silly little thing with a distinct sound. If you listen to the track, you'll hear three frog guiros at different pitches that I added an echo to. You drag across the ridges in the frog's back. They're actually just sculpted wooden blocks called frog guiros. Moon Studioĭid you use any unusual methods or items to create Ori’s aesthetics?Ĭoker: In the Kwolok's Hollow ambient track, you'll hear these cool little tick-tock sounds. Mora is a boss that Ori must free from a corruption. A lot of that environment is very dynamic as well. Van Leeuwen: The boss fight and escape with Mora is a good example of everything coming together into one spectacle, it really showcases the integration of big 3D models in a 2D environment and it has epic music from Garth Coker hyping you up during the fight. That sequence works well together while also telling a story - going from anticipation, to wonder, excitement, overconfidence, and ultimately danger. Gritton: The prologue’s flight sequence, combines visuals and music in a joyful and celebratory way. That's a philosophy that goes across the entire game - almost all of the environments have at least two musical loops - it's usually the "before you did the thing" loop and the "after you did the thing" loop, which allowed me to differentiate the tone of changing levels. That same melody plays in an epic form because you're fighting. You get the creepy Mouldwood music all the way until you meet the spider boss, Mora. I needed the melody of the monster to make it feel like there’s something constantly stalking you, so I had 50 string players of an orchestra play the same thing slightly differently to create an unnerving and unsettling feeling. What moment in the Ori series best showcases the interplay of visuals and music?Ĭoker: The Mouldwood Depths from Will of the Wisps was the first time we experimented with lack of light in the gameplay. Coker recording the soundtrack for 'Ori and the Will of the Wisps.' Top Dollar PR
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