Strap yourselves in everyone, we’re taking a feel trip today.
Ori and the Blind Forest took out my game of the year for 2015, beating out many other worthy competitors such as The Witcher 3 and Bloodborne. The reason at the time, and it still holds true today, is that there’s been no other game that’s made me care so deeply about the characters so quickly and then used that against me. From the early moments on I was hooked and all the other aspects of the game’s craftsmanship just served to amplify those deep feelings I had. So to say that I had high expectations for the sequel is putting it lightly; I was expecting the kind of near perfection that they had delivered the first time around and was extremely nervous that they wouldn’t be able to match it. Spin forward to the game’s first moments and suddenly I’m back there, 5 years ago, just after the game finished with all those feelings rushing back again. Now here I am today having finished the game and taking a good week to process it emotionally before I could write the review.
Suffice to say, Moon Studios has done it again and I’m an emotional wreck because of it.
SPOILERS FOR ORI AND THE BLIND FOREST FOLLOW
Picking up right where The Blind Forest left off you follow the story of how Ori, Naru and Gumo raised the lone hatchling of Kuro (the original’s protagonist) who they’ve named Ku. She was unfortunately born with a broken wing, rendering her unable to fly. However Gumo finds a feather which he then attaches to Ku’s wing, giving her the ability to fly. Her and Ori then set off on their first journey together and follow a band of owls to the old forest of Niwen. However before they can return a storm hits and the pair gets separated. This is how your journey begins, a simple quest to reunite with your little owling, but the destination is far more meaningful than you can possibly imagine.
Ori and the Will of the Wisps maintains the original’s art styling with a little more emphasis towards the 3D elements than the 2D ones. The environments still have that wonderful dreamlike quality about them with their lavish use of bright colours, unreserved use of bloom and lighting effects galore. The simple fact that I have a screenshot directory with some 34 screenshots in it is a testament to just how gorgeous this game is, every one of the frames it renders not feeling out of place in a concept art reel. The only downside with the heavier focus on the 3D elements is that during some cutscenes the resolution of some models becomes apparent which draws away from the impact those close in scenes should have. There are some solutions for this available thankfully although none of them natively supported by the in-game graphics options. I’m hopeful that these will become available in future patches however as I’d love to play this again in full 4K resolution with all graphics settings pushed right to their limit.
I also have to give a special mention to the soundtrack that Gareth Coker, who was responsible for the original’s as well, created for The Will of the Wisps. Once again he’s managed to create a brilliant set of emotional pieces of music that beautifully match the events happening on screen. For many games the sound track is an afterthought so it’s always great to see when it’s given just as much care and attention as everything else that’s put in.
The Will of the Wisps retains the same core game loop as the original with some of it’s newer elements borrowed some elements from some modern metroidvania titles. The progression system has been significantly increased in breadth and complexity, no longer being a simple choice between a couple different skill talent trees. Instead you’ve got multiple different paths to progress through, each of them with different mechanics for their progression. The level design has also been significantly improved as whilst it follows the standard metroidvania trope (I.E. unlocking new areas in already completed mission with new abilities) not once did I feel like I was missing a significant part of a level because I didn’t have a certain ability. There’s also a myriad of quality of life improvements as well, making the journey to 100% a run through something I actually considered doing for the first time in…quite a long time. With this release Moon Studio has proven that they’re dedicated to developing extremely high quality titles and aren’t satisfied with simply retreading old successes.
The game’s platforming starts off from the basics once again, a good thing considering it’s likely been quite a while for many players since they played the original. Some of my old muscle memory was still there, like expecting double jump and wall sticking from the get go, but it didn’t take long before I had those few abilities and the game started lumping on more things on me to make the platforming sections more varied and challenging. Each of the games…I want to call them biomes… comes with a new ability that will be the main trick that you’ll use to progress through it. That ability then also unlocks other areas in other biomes as well, typically granting access to upgrades and other collectibles that you couldn’t get ahold of. Towards the end of the game this will also get you into situations that were obviously not designed for, like skipping entire sections, but that’s mostly to your benefit. There’s also a bit of emergent behaviour you can exploit here too, like in the main Moki town which you can easily clear out of most of its collectibles before you complete the requisite side quests. Overall the platforming is as solid as it ever was.
Combat feels much the same as it used to although, I admit, this may partly be because I didn’t invest as much time in progressing the combat abilities as I did the other parts of the game. There are new abilities, some of which are also required for unlocking certain areas of the game, but for the most part it’s still a dodge/attack game loop. To be sure there’s going to be some broken skill builds out there that will have you wrecking all sorts of havoc but I played it safe for the most part, favouring instead being able to recover from my mistakes rather than going full glass canon. Still though for a few of the boss encounters I’d switch out to a different build that then made those encounters a lot easier going as without some kind of damage buff some of them could take forever to complete.
Progression comes at a pretty steady clip thanks to the multiple different progression mechanics. For starters you’ve got your simple life/mana orbs which you can easily find throughout the levels and most will be available to you immediately or soon after unlocking the biome’s ability. The main avenue for progression is spirit shards which modify your current abilities or attributes. Initially you can only equip 3 at a time but that can be upgraded to a total of 8 if you complete all the combat shrines. Most of the shards can be found around the place but a choice few will need to be bought. About half can be upgraded as well, although none need to be upgraded to be useful. You can purchase and upgrade new combat abilities from a vendor as well, a couple of which you’ll need to purchase in order to unlock some of the areas of the map. I tried the spirit surge initially but it’s pretty underwhelming. The spear was by far my favourite as it did an absolutely insane amount of damage and is pinpoint accurate. The downside is the mana cost but that can be made up for with the appropriate shard selection. There’s also a myriad of side quests which change the world around you although I don’t believe they have an appreciable impact on how the game plays out (apart from opening up more secrets to you).
There’s also a bunch of time trials scattered throughout the game, pitting you against a ghost Ori in a race to the finish line. I think originally they may have included a wide variety of rewards but they only now give spirit light, the game’s main currency. Whilst this is certainly helpful it’s not like you’re always scrounging for it. Indeed if you complete the side quests and find most of the secrets then you’re likely going to be rolling in it. I usually kept above 6000 as I wanted to max out the damage buff from a shard I had but even when I did go and splurge on something I don’t remember it taking that long to get it back up again. Regardless the challenges themselves aren’t too difficult, especially considering you can just follow the ghost and then overtake them quickly right at the end (doesn’t matter if you win by an inch or a mile, right?).
You’d be forgiven for thinking that all these mechanics would make for a game that’s too busy but they all work together to give the game a steady, moderate pace. There’s always something you need to do but the game doesn’t punish you for taking your time to explore around and uncover all the secrets they’ve hidden around the place. This makes it really enjoyable to simply take your time with the level, figuring out all the tells they’ve built in that lead to secrets or hint at how the current blocking puzzle could be solved. The fact that I only got stuck a couple times is a testament to how well the game is designed.
The same niggle I had with the original makes an unfortunate return in The Will of the Wisps; that being the use of long platforming sequences that must be completed in one shot. There’s more than one in this but they’re thankfully 1) shorter than the original’s final boss fight and 2) somewhat better designed so that you don’t feel like you’re running up against unfair mechanics designed to make you fail. That improvement is then offset by some slight…mushiness in the keystroke detection which makes doing some of the more involved platforming a bit clunkier than it should be. To be fair it could be that I was attempting things you weren’t intended to do as I distinctly remember this grumble coming to the front when I was clearing out the Moki town before I’d done all the plants and building improvements.
PLOT SPOILERS BELOW
The game’s narrative follows a very similar trope to the original but god damn do they know how to find your heart strings and tug on them relentlessly. It wasn’t enough that the game’s opening moments made me remember the original’s tragedy with such vivid recollection that I needed a minute to compose myself before playing they then had to set up yet another tragedy after I had already bought into the game’s premise emotionally. To be sure the plot is simplistic and predictable but I couldn’t help but feel for each and every one of the characters. This is only made better by the fact that it didn’t rely heavily on the story that came before it either, the original’s characters only having a passing role in this game.
Probably the biggest thing that stuck with me, which is possible fertile ground for a sequel, is that they didn’t resolve Shriek’s storyline positively, instead condemning her to misery that she’s known her entire life. That honestly hurt me more than anything else given what you know of her backstory. But, having had some time to process it, I can see it for what it is: great storytelling that didn’t go the way I wanted to. That doesn’t make it bad, just sad for me.
Now I’d usually chide a game for hinting at a sequel but I’m happy with the way it was done here, for a couple reasons. Firstly it’s already established canon in the world and the current story threads (bar Shriek’s) are resolved. That means that any further games in the series will have to stand on their own and, quite likely, lose “Ori and” from the title. Whilst it’s beautifully sad how Ori’s thread resolved I’m glad it did as it’d be all too easy to keep riding that cute little spirit’s goodwill until all the money was squeezed out of him.
Ori and the Will of the Wisps is an exceptional sophomore release from Moon Studios, demonstrating that they’re exceptional craftspeople when it comes to the genre of metroidvania that’ll make you cry. If you’ve made it this far in the review then you know what I think about the game’s various elements and I’m not going to rehash them again. All I’m going to do is say that, no matter what kind of gamer you are, Ori and the Will of the Wisps is worth your attention. If you haven’t played the original then do yourself a favour and give it the once over so you can play its sequel immediately, I can guarantee you won’t be disappointed.
Ori and the Will of the Wisps is available on PC and Xbox One right now for $39.95. Game was played on the PC with 11 hours of total play time and 43% of the achievements unlocked.
The one thing I’ve always hated about most Metroidvania games is when they show you something that you’re not able to access with your current abilities. Often this manifests extremely early on as you explore the level only to find there’s a part you can’t get to with no indication of when you’ll get the requisite ability to explore there. Quite often those areas aren’t even necessary for you to explore, just a bonus or something, so their inclusion is merely to draw you back to earlier levels. To be fair there are some examples where this is done well, the revisiting of the level being driven by story or other mechanical elements, and for those I have far more leniency. I tell you this mostly preface my thoughts on Supraland as it’s this particular mechanic, as well as a handful of other issues, that made this a game I didn’t want to play past a couple hours.
The Steam store page for Supraland proclaims, among many other things, that the story is “minimal” and that’s absolutely true. Whilst the premise is quite cool, all the characters are toys in a kid’s sandpit, the plot itself is ridiculously basic: you’re the red guys and the blue guys have shut off your water supply and it’s up to you to turn it back on. However to actually get to the blue guys you have to make your way through numerous different challenges, many of which will require you to upgrade your equipment and skills in order to do. I’ve read elsewhere that there’s a little more too the story later on in the game but it does nothing to expand upon it at all, save for having little dialogue instances between NPCs which have nothing to do with the plot at all.
The graphics of Supraland are heavily stylized and simplified, giving it a very cartoony feel. The developers have managed to avoid the typical Unreal engine game feel, keeping the use of specularity to a minimum. There’s a heavy use of depth of field which is supposed to give you the feeling that you’re a very small being in a large world. To some extent this works however it can have the effect of simply making everything disorienting like in the screenshot below. The issue here is, of course, perspective as whilst the game touts that it only has a tiny map of 9m2 that’s somewhat meaningless if you’re scaled down in size. So try as you might to make it feel like a small world with tiny people it’s going to end up feeling just like normal anyway, no matter how much you try to use depth of field or tilt shifting to change that.
Supraland bills itself as a combination of games like Portal, Zelda and Metroid which is horrendously disingenuous as it’s much more akin to the run of the mill indie puzzle platformers we’ve seen many of over the past decade. To be sure there are elements that you could say are borrowed from each game: the platforming from Portal (although that’s a stretch), the semi-open worldedness of Zelda games and the reexploration mechanic from Metroid. Realistically it’s just a bog standard first person puzzler with a tacked on RPG progression system. There’s really nothing wrong with that but the appeal to authority of titles with much greater pedigrees is what’s getting me. Honestly I was going to write this off as just your average indie puzzler until I reread the Steam page but now I feel compelled to point out all the faults given that it thinks it’s a combination between 3 of arguably the most influential titles in the puzzler space.
The combat is simple and implemented poorly. There’s really no nuance to it at all with enemies just running directly at you or standing dead still whilst they shoot from you at a distance. There’s also no way to block so you’ll likely end up dying to the first enemies since their melee range is the same as yours and there’s nothing you can do to stop them from hitting you. Once you get the gun you can basically just kite everything around but in its default form it’s annoyingly slow. Not that you’ll be wanting for upgrades for long though, even with rudimentary exploration you’ll be unlocking the upgrades in no time flat, even with the requisite barrel running task that serves no other purpose but to burn more of your time. But let’s not judge the game based on the one attribute which it doesn’t trumpet the most, let’s take a look at its puzzles and exploration.
The puzzles are incredibly simple, most of which you’ll solve pretty much straight away without too much of a thought. Others are easily solvable with emergent behaviours that the developer hasn’t taken into account, like being able to bypass entire sections of the game by walking on terrain that hasn’t been properly walled off. This only gets more ludicrous the more mechanics you have access to, giving you all sorts of means to break the game and bypass core game mechanics. This would be fun if it weren’t for the fact that it also means that there’s a certain level of gank to puzzles you can’t bypass, necessitating replaying certain puzzles over a few times in order to get them to complete properly.
Exploration is rewarded, although most of the time it’s just a few coins hidden around a corner or somewhere else rather obvious. The other parts are, of course, hidden behind mechanics you don’t yet have access to, something which will necessitate you trudging all the way back through the levels in order to get back to it. There is a rudimentary fast travel system however you can’t access it from a map (I don’t believe there is a map, actually) and it takes a good 20 seconds for it to travel you somewhere. This makes retreading ground a pretty annoying experience and, given that most of those hidden rewards are just basic upgrades, there’s no real compelling reason to do so.
It’s for these reasons that I didn’t find myself drawn back to playing Supraland after the first night I sat down with it. The fact that most of the work was done by a single developer is commendable but the marketing of it could not be further off the mark. The game is simplistic in all the wrong places, making combat a chore, puzzles easily waltzed through and the prospect of going back to retread old ground something I don’t think any sane player would want to do. Of course the reviews on Steam paint a much different picture and so it’s quite possible I’m on the wrong side of the fence for this, but in all honesty I simply cannot see what others find enjoyable in this game.
Supraland is available on PC right now for $28.95. Total play time was 2 hours with 27% of the achievements unlocked.