They have to rely on light sources to survive traversing it, and then use a special skill which is unlocked while exploring it. Mouldwood Depths, realm of Mora and her children, is an area enshrouded in darkness, harmful to Ori when exposed to it. Let’s take a look at Mora’s boss fight in Ori and the Will of the Wisps 2020 © Moon Studiosĭue to the non-linearity of the level design, Ori may arrive at Mouldwood Depths at different points in the game with a vastly different set of equipment, which then has a significant impact on the length of Mora’s boss battle. One would think that, with the addition of proper boss fights, the music system in this game would have to change from its predecessor in order to address them, but the truth is that it didn’t, and it only goes on to prove that, even while working with extremely simple music implementation, a composer can still create a powerful impact with their music. One of such bosses is Mora, ruler of the Mouldwood Depths, whom Ori has to defeat to acquire the Eyes of the Forest, one of the three Wisps required to restore the light in Niwen. In Will of the Wisps, they have to fight and defeat them to progress. While Blind Forest did feature bosses, the only way for Ori to progress was to outrun and escape them. The combat system was upgraded with a vast array of tools and abilities to help Ori deal with enemies.Ĭementing this diversification of Ori’s combat skills was the addition of more traditional boss fights. The score for the sequel is darker and weightier than that for Blind Forest, its emphasis on choral writing and the deeper registers of the orchestra is noticeable, while still feeling like a natural extension of the sound from the first game.Īs I’ve already mentioned, Will of the Wisps brought a major overhaul to the combat system as well as the addition of several new traversal abilities. Like the rest of the developers, Gareth Coker sought to expand the scope and emotional range of his score, populating the music with a multiplicity of new themes, in addition to a number of returning ideas from the first one, as well expanding the sound of the game. They knew that there were a lot of places where they could take the sequel, and went above and beyond to realize their vision for it. Moon Studios ’s love and passion for this game shows at every turn. The level of detail put into every single aspect of it was a sight to behold. Major overhauls to the combat, massive enhancements to the traversal and deeper, richer level design gave us a game that we didn’t know could exist in this franchise. Will of the Wisps was a huge upgrade from its predecessor in nearly every regard. Though it was overshadowed by bigger, more popular games from the same year (in fairness, 2020 was a spectacular year for the industry), the general opinion I saw going around was that, while not many people played it in comparison to the bigger titles, those who did couldn’t deny how great it was, and often championed it for other people to experience it. Ori and the Will of the Wisps was ultimately released in March of 2020 to critical acclaim and positive reception from players. This desire for more of the game wasn’t a guarantee of getting one, though, given the game’s standalone narrative and well-rounded gameplay mechanics, and it would actually take two more years for Moon Studios to announce a sequel. The game developed a core, passionate fanbase that immediately started pushing for a sequel. Its music was written by then-newcomer Gareth Coker, who provided a vibrant and expressive score that perfectly complemented the gorgeous visuals and moving narrative. Its combination of tight platforming mechanics, engaging combat, rewarding Metroidvania exploration and emotional storytelling resonated with a lot of players around the world. When Ori and the Blind Forest was released back in 2015, it took the gaming world by surprise. DISCLAIMER: Contains mild spoilers from Ori and the Will of the Wisps’s main story.
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