If Ori and the Blind Forest was a "coming of age story", says Mahler, then Will of the Wisps is about "the second half of life", suggesting the original game's themes of loss, love, and kinship could transition into a more matured meditation on adulthood, responsibility, and the privileges and challenges of caring for others. "That way, we can send over concept art for a character, and say, 'Hey this is what we think this guy should sound like', and from there it's a process of constant iteration and feedback to get the noise just right." "We partnered with two different sound effect studios from the very early stages of Ori's development, as it was really important to be able to work with them from the beginning," says Mahler. Describing both music and sound as "integral" to steering the rhythms and tone of Ori and the Will of the Wisps story, Mahler explains how Moon Studios integrates sound design into its development pipeline. Its colourful cast of creatures may not be able to talk, but they certainly make noises, and everything, from the intonation of a joyful chirp to the timbre of a sonorous growl, is carefully crafted to telegraph exactly what its originator is feeling at any time. Ori and the Will of the Wisps' prologue, which Mahler reveals the team spent close to a year perfecting, does a fantastic job of presenting Ku as a part of the family from the get go.Ī key avenue for that kind of characterisation is Moon Studio's use of sound effects. He's the sole surviving legacy of the original game's main villain, Kuro, but Moon Studios has gone to great lengths to portray Ku as a character that the player should care about, especially as Ori begins to see him as a surrogate younger sibling. Take Ku, the baby owl last seen hatching from its egg at the end of Ori and the Blind Forest. We have people who come from places like Disney and Pixar, and I think it shows." "Our animation team is ridiculously talented. "One of the things we said from the beginning is that we didn't want to just repeat what we did with the first game, but really expand on the world," he tells me. "We're able to put so much expression into each character, conveying their mood, personality, and intention completely wordlessly." Thomas Mahler
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