As the best "Castle of Galaxy" type game in my mind in recent years, I have always been interested in the story behind Ori. I saw this article in the second half of 2015, but because I was lazy and busy, I couldn't finish it until the final version of Ori. Later, it was put on ho

Category：hotcomm

2025-05-22

As the best "Castle of Galaxy" type game in my mind in recent years, I have always been interested in the story behind Ori. I saw this article in the second half of 2015, but because I was lazy and busy, I couldn't finish it until the final version of Ori.

was put on hold later. It was only after the year-end sorting two days ago that I remembered this and then I decided to sort it out.

The first time I posted such a formal post on NGA, I am not a professional translator, so I can't avoid mistranslations. I hope I can forgive you. Text below

, long text warning.

[Translation] The sincerity of Studio Moon: The Elf and the Forest [1]

Author: Thomas Mahler Studio CEO and Game Director

Introduction

"It is precisely because of the difficulties."

We founded Studio Moon in 2010. At that time, we knew very little about the journey we were about to begin. We started this adventure just because we felt that there was something to express and that we had to get out of the existing system. Because we knew we could not create such works as employees in other companies, we had no choice but to start our own studio and start working towards our goals.

In the whole life, if you are lucky enough, there will be some chances to fight for something that really makes sense. It’s not just about supporting a family, but about truly changing the concept of the past. When creativity and enthusiasm are inspired by this goal, something really unusual happens.

We chose this name "Moon Studio" to remind ourselves not to forget our original intentions forever. At that time, we understood that we wanted to build a studio and develop games that people really care about, and we hoped to be helpful to the changes in the entire industry. We have had experience in game development before, so we understand that it is extremely difficult to achieve this goal, both from a research and development perspective and from a commercial perspective. At that time, we remembered President Kennedy's classic remarks:

We decided to land on the moon, we decided to land on the moon in this decade, and accomplish other things, not because they are easy, but because they are difficult, because this goal can best test our resources and skills, because this challenge is something we are willing to accept, because this challenge is something we are unwilling to postpone, because this challenge is determined to win, and the same is true for other challenges!

We knew nothing at the time, and now looking back at the elves and forests, we are very proud to finally achieve our goal. We developed the games we wanted to make, and we worked side by side with publisher Microsoft to face all the challenges and ultimately succeed.

Elf and Forest have become the focus of the industry, received high praise, and were recommended at all important exhibitions such as E3, Gamescom, PAX, etc., and a large number of fans have petitioned for a sequel!

[ http://gamasutra.com/db_area/images/news/242530/proudest_moment.png ]

[i]One of our proudest moments: After the promotional video on display at E3, the game media gave very positive feedback, giving us countless "best" awards[/i]

Correct decision-making

Talent recruitment/working environment:

Any studio is the most important aspect when talking about the development of a successful game. We were very lucky to quickly attract a group of talents through our stories from the beginning and formed the Moon Studio.

htmlOn the studio of 0 is like a group of mobs from all over the place. Literally from everywhere, because we realized early on that in order for studios to have a place in today’s market, we had to do something different from other studios. We decided not to rent an office somewhere and only recruit local talents.

On the contrary, through previous experience in other studios, we quickly reached the conclusion and formed a "virtual studio", so we can recruit outstanding talents from all over the world and communicate through the Internet.

Because of the "distributed" nature of our studio, it was not until the E3 exhibition in 2014 that many employees of the studio met for the first time

We quickly recruited some outstanding talents. At the beginning, our work was just some very small prototypes. One of the projects that showed its greatest potential was called "Sein". This project is like a hybrid of traditional "Castle of Galaxy" and platform jump types, where players play as a forest elves to play. After that, we made up our minds and couldn't innovate for innovation. We hope to make a game to pay tribute to the 2D games that accompanied us. We referred to works such as "Super Metroid", "Castle of Demons·Monthly Night Casino", " Super Carnivore Boy ", etc., and thought about how to reflect the influence of these games and sublimate them in a more meaningful way. The idea of

has built the most basic stage for us. Within a few weeks, we quickly completed a platform action demo and used it to recruit more newcomers. We then handed the project over to Microsoft and reached an agreement with them on distribution and development.

Eventually, Moon Studio became the studio we really wanted to create: made up of every passionate and responsible individual, everyone has a say in everything we are doing, and that’s another lesson we have learned in other studios. We hope that every member of the studio can make his own voice: if you don’t like some of the things we are doing and put forward, your opinions will be taken seriously. Every employee recruited in the studio must have this idea, as well as the passion, motivation and talent to create something really different from us, and we want to work together to make games that we can never finish on our own.

Here I would like to express my sincere thanks to every friend who has devoted his sincere and passion to the elves and the forest. We hope to produce some works that participants are proud of, and hope that they can recall them from time to time and perhaps tell their children and grandchildren the stories.

Cooperation with Microsoft

For any startup, it is a terrible thing to create a platform-exclusive work under a huge umbrella like Microsoft. So we ask ourselves all those scary questions:

Will Microsoft allow us to make games we really want to make?

Will Microsoft interfere in our creative vision/will they understand our creative vision?

Will Microsoft force us to make choices that we are unwilling to make?

Will Microsoft give us plenty of time to make a good game?

Will they properly market our products instead of letting us drown in their 3A big IP as unknown small trademarks.

Fortunately, we soon discovered that Microsoft was able to understand the products we wanted to make and gave us freedom to create: freedom to grop, freedom to fail, and freedom to learn and improve. Once a week, we sat down with producer Torin Rettig to discuss what happened last week. We show Microsoft all the material we have done, tell them what they are doing now and what they want to do in the next few weeks, explain to them what we are struggling with and what we want the elves and forests to be. It was a surprisingly straightforward partnership, and Microsoft never forced us to do anything we felt was not good for the project. Two years of development of

have passed. Torin pulled himself away from this project and devoted himself to the "Killer Instict" project. Once again, we are worried that maybe now Microsoft will start to force us to do things that we don't want to do.

Daniel Smith becomes our new producer. He quickly expressed his love for games like Ori to us, and after we felt that he "understood", he quickly skipped the introduction stage. He also made us understand that Microsoft is still supporting us behind the scenes, things have not changed, and Microsoft has always supported our vision. When we need resources, they give us resources. For game design, they will not interfere in anything except some suggestions and private feedback.

Even if there are changes in personnel management, we still completely dominate the development. We lived with Ori 7*24, and we first felt that Microsoft or any other "outsider" could not understand what we really wanted to do, but we finally found that Microsoft understood it, so we were very grateful for their trust.

For them, investing in small independent studios like us with members spread all over the world, and being able to fully trust us to create some truly different works. This is a huge test of trust and luck. Fortunately, the final result is both good for each other.

Shortly after the personnel changes, rumors about Microsoft's new hosting platform were rampant. At that time we began to worry about being bound by the agreement, which led to us that we might still be on sale on the XBox360 after the new console was launched. We think that Elf and Forest can be a great brand on the new Microsoft console: the 2D platform action category has shown strong recovery momentum in recent years, and we are likely to be the first 2D platform action game on Microsoft's new console. Also, we felt maybe we could do something on the new hardware that we couldn't do on the XBox360... So soon we raised our concerns at a producer meeting.

It was at that time that Mark Coates was introduced to us: Mark met us and showed an XBox One in front of us. At this time, no media had any details about this new Microsoft console. We were surprised and were very happy that Microsoft could share this information with independent developers like us, and they eventually allowed us to change the initial protocol. Ori decided to release it simultaneously on XBox One and PC, which is also the first time for Microsoft. More importantly, Mark has been our important partner and friend since then. He often gives us some excellent advice and help and support us with Dan.

[i] Daniel Smith and Mark Coates from Microsoft gave us feedback and suggestions, and soon became an indispensable part of the team. This photo is from Meltdown Comics in Los Angeles when they were hosting a launch celebration for us. [/i] Something happened after

, which further proves that the cooperation with Microsoft is exactly what we dream of. At the 2014 E3 exhibition, they decided to showcase the elves and forests on the main stage.

htmlFor more than 0 years, when I went to the cinema with my friends or brothers, I often dreamed that one day my own works could also be displayed on the big screen... I even fantasized about this feeling and the reactions of the audience I saw. So when we learned that we could face so many viewers on that huge screen in E3, we could not believe in our good luck at all!

We decided to use the materials we have completed, and Microsoft is very satisfied with this trailer. They even discussed that maybe we can use our trailer as the opening of the E3 show! In the end, they chose to open the show with the next generation of Call of Duty, but we still got a shiny moment in the middle of the show. Afterwards, we found that Microsoft even made bracelets for everyone in the audience, and when our trailer started playing and the Tree of Soul was lit, all bracelets began to glow, the entire hall was lit, and the audience started cheering and applauding. When I looked at the audience and observed their reactions, tears came down uncontrollably. For the first time in more than three years, I felt that those hard work paid off and I finally felt relieved, as if I felt that our work had suddenly become "real".

[i]2014 E3 exhibition, when the scene of the Soul Tree began to be displayed on the screen, the lights went out, and the orange light emitted by the bracelet made by Microsoft filled the entire room! [/i]

Our exhibition on E3 was a great success and won a lot of awards. The promotional video that has devoted our efforts has also been selected by the media as the best promotional video on E3.

was put on hold later. It was only after the year-end sorting two days ago that I remembered this and then I decided to sort it out.

The first time I posted such a formal post on NGA, I am not a professional translator, so I can't avoid mistranslations. I hope I can forgive you. Text below

, long text warning.

[Translation] The sincerity of Studio Moon: The Elf and the Forest [1]

Author: Thomas Mahler Studio CEO and Game Director

Introduction

"It is precisely because of the difficulties."

[ http://gamasutra.com/db_area/images/news/242530/proudest_moment.png ]

[i]One of our proudest moments: After the promotional video on display at E3, the game media gave very positive feedback, giving us countless "best" awards[/i]

Correct decision-making

Talent recruitment/working environment:

Because of the "distributed" nature of our studio, it was not until the E3 exhibition in 2014 that many employees of the studio met for the first time

Cooperation with Microsoft

For any startup, it is a terrible thing to create a platform-exclusive work under a huge umbrella like Microsoft. So we ask ourselves all those scary questions:

Will Microsoft allow us to make games we really want to make?

Will Microsoft interfere in our creative vision/will they understand our creative vision?

Will Microsoft force us to make choices that we are unwilling to make?

Will Microsoft give us plenty of time to make a good game?

Will they properly market our products instead of letting us drown in their 3A big IP as unknown small trademarks.

, which further proves that the cooperation with Microsoft is exactly what we dream of. At the 2014 E3 exhibition, they decided to showcase the elves and forests on the main stage.

Our exhibition on E3 was a great success and won a lot of awards. The promotional video that has devoted our efforts has also been selected by the media as the best promotional video on E3.People began to learn about our work, and Ori immediately had a large number of fans, and almost the same day, everyone started to create fan works for Ori!

I think we would never have had such an opportunity if we had not signed an agreement with a big publisher like Microsoft.

Once again, I hope to thank every Microsoft employee for their support for our vision and help us make an excellent game. I hope every Microsoft employee can be proud of it too!

Prototyping/early implementation:

In the Studio of Month, we are believers in rapid prototype output and early integration: any time we have an idea about the game, we will implement it immediately, instead of writing some tools or building some environment before starting to work.

is like an animation studio will perform their films with storyboard first. Only when all the animations work properly and "feel" right will they really enter production. We have adopted a similar process in development. We start with a very, very basic demo and add content to it to ensure that the "feel" of this basic version is completely correct. This means we're always dealing with things like manipulating and interacting with the world, until everything really makes fun (although at this point you're just manipulating a gray square in a gray world) we're starting to create real material.

For many aspects, including the picture, storyline, etc., they are just polishing our core work. We always regard it as the only highest priority: interaction.

For the Ori project, we firmly believed that it would be successful in a very early stage, just because we had a platform-action demo after a few weeks of formal production, and we thought this demo felt better than the super carnivorous boy we highly praised. We appreciate Nintendo's Super Mario Bros. 3. Also very much loved the work of Edmund McMillen and Tommy Refenes in Super Meat-Pregnant Boys, but naturally, we hope to go a step further in all respects.

It is also worth mentioning that we did a lot of "animation design" work in the initial stage. Our animator James Benson created a series of short videos to show how Ori interacts with the world and enemies. We also asked him to use animation to express the new abilities that Ori will gain during the game. Because these are short videos, we don't need to submit them to the game, so we can have everyone in the studio watch these videos and decide which moves and abilities have the most potential. This is like a "story show". Instead of doing some test animations into the game, it may be discarded due to better results in the future, we simply make these destined videos from the beginning to help us figure out how Ori travels through the whole world and interacts with the environment.

Making an early prototype to show our passionate results to the entire team and publisher has proven to be an extremely effective thing. After we had some really fun content, we finally had this intuition that we could finally finish this work, and friends at Microsoft could sit down and start playing our games, understanding that we weren’t just dreaming in the daytime.

Unity:

When we founded Moon Studios, we understood that we should focus on creation. We don't want to be the kind of company that focuses on "technology" and sells games based on the cool engines they create. No, we want people to evaluate our performance with just one, the only point:

"Does we provide players with a truly unique experience?"

So we quickly decided to use Unity for development, without considering making our own engine at all. We don't want to spend a year doing these technical preparations. We hope to start the prototype production immediately, add content as soon as possible, and display it to our publishers. Unity provides us with the tools to do all of this.

As the development deepened, Microsoft and the Unity team reached an agreement to port the Unity engine to all Microsoft platforms, including XBox One.This is very important to us because we hope it will be available on both the XBox One and PC. After the agreement was agreed, we could directly talk to some Unity engineers, and even let them specifically help us with some optimizations to help Ori run at 1080p 60 frames per second on the XBox One.

has advantages and disadvantages to using some middleware technologies, but for us, it is most important to be able to get started immediately and verify whether our design is correct and fun.

Music/Working with our own composer:

In a very early days of our project, we saw Gareth Coker's work on a mod website. At that time, Gareth was not famous and only participated in some small game mods, but his musical works stand out from other composers. I contacted him and told him about Ori and our development vision. He was very interested and quickly made some very potential musical materials.

When I write Ori and the Blind Forest stories, I often listen to some movie composers for inspiration, such as James Horner, Thomas Newman, James Newton Howard. I also got inspiration from works such as "The Lion King" and " Steel Giant ", and they all told some epic stories based on human nature. We hope our story can touch people, and to achieve this, music must be a close and complete part of it. Just as the score of a movie can completely change the movie during editing (because music is also a narrative method), we believe that Ori's score can also be used by us to better tell the story.

So we signed an agreement with Gareth, who stayed in the team throughout the development process, was able to read the earliest story drafts, immediately played with the latest version, and attended our meetings to understand our latest status. We were impressed by the results of

[i]Gareth, and we raised a funding to allow him to record Ori's tracks in Nashville with a whole symphony band[/i]

Soon, we started doing storyboards for most story flows. This is exactly when Gareth's work begins to shine: we animate the individual storyboards, and Gareth pairs these animations with specific music, which is a complementary process, and we let the music guide the rhythm of the story and vice versa. We were so proud of these animations that we shared them with our friends and family, and soon they gave us warm feedback.

Finally, there is one important thing that we naturally do right, that is, using music as an extra narrative tool is very critical, and we hope other friends can learn this from it too. Ori's plot is a very rich allegorical story, but we chose to narrate most of the plot through music and animation rather than just using text conversations.

During the development of most 3A games, composers are hired to create the theme song of the game, but often have no say in the plot, especially the rhythm of the plot development. The cutscenes only really work in the final editing phase. That is the process of forming a "close" and a whole process of each part of the game. That was the moment when the miracle happened.

In the gaming world, "editing" is not a necessary process. Of course, many studios rely on storyboard performances, but few studios will create animations that are fully soundtracked and then import them into the game as it is. This process has helped us a lot. If we hope to tell profound stories and arouse the feelings of players, music is a very important weapon and should be treated the same as scripts and animations.

wrong choice

Bug:

bug hit us off guard. Ori has undergone a lot of tests before it was released, and we are full of confidence and believe that not many players will encounter bugs. However, after we put Ori on the shelves, thousands of players purchased the game, and soon some players began to complain about bugs in the game. Even now, players who encounter bugs are very few compared to the overall number of players.But when your game has thousands of players playing, even the most difficult bugs to reproduce will be encountered by players.

For example: within a few days after the release, players found all the vulnerabilities that can be used to interrupt animation sequences. In fact, we know that most of the vulnerabilities exist and have not been dealt with because we believe that 99.9% of players will not be affected. But the remaining 0.01% of players can use these vulnerabilities to achieve incredible clearance time when performing fast attack challenges.

Of course, we started to make correction patches for players who encountered bugs at the first time. Despite this, it still hurts us very much when players encounter these problems. It was just after years of hard work that we finally brought our children to this world. Everyone expects to have a good rest, but has to face these setbacks and players who have every reason to be frustrated. This incident has taught us profound lessons.

One person and multiple angles/development time:

This is another lesson we have learned. When we created Moon Studio, we wanted to form a "Dream Team" that recruits only those versatile and energetic employees. The strategy of

was implemented as planned, but what was not implemented as planned was our development cycle. From the earliest prototype production stage to the subsequent pre-production stage, we completed all the system tests, developed the necessary tools for the subsequent assembly line work, and finally the actual production stage, completing all the materials at this stage, and finally polishing the game. All of this ended up taking about 4 years of development. The reason why

causes such a long development cycle is time and resources. Even the most talented and efficient employees only have 24 hours a day, and time is obviously our most precious resource. Hiring employees with multiple skills does prove extremely effective, but at the same time, if an employee is responsible for two jobs at the same time, when he starts one, he will inevitably ignore the other.

In the early stages of Ori's development, a small team of skilled team was doing very smoothly because the work was not so heavy at this time. We are just considering some of the settings, designs and technical solutions needed to complete the game. Everyone is responsible for some predictable tasks and there is nothing to be postponed.

But when we enter the mass production stage, especially in the second half, if we can hire more employees, we will definitely be able to significantly shorten the development time. But at the time, we didn’t have enough resources to hire new employees, nor enough time to train these new employees.

That being said, we are still very cautious about the studio expanding its employees according to the needs of individual projects. Because many studio lessons tell us that expanding the team too quickly is often a disaster in the end. We just learned one thing about this: even if you are extremely passionate, you still can't have more time every day.

Emotional Management/Overtime

Reflecting on the topic of "Crunch" is very difficult. Every studio I have been to clearly state that “overtime means management failure”, but at the same time, every project I participate in has experienced more or less overtime.

The entire industry is facing such a problem, and there is almost no reasonable plan for game development. There is no way to predict what problems you will encounter and how much resources you will spend in the end, especially projects with very long development cycles. The longer the project is, the more unknowns you encounter, and the more difficult it is to make reasonable plans. These unknowns often lead to additional problems, which means that developers often need to work overtime in order to get the project online on schedule.

Obviously, we don’t like working overtime, and we don’t enjoy it. We don't want employees to work very exaggeratedly. But that being said, we did work overtime several times during the development stage to get the project online on schedule. The way we handle overtime is very simple. We try our best to plan reasonably, plan very carefully, provide some buffering for overtime work, and are 100% sincere and open to everyone in the company.

Everyone can fully understand at any stage where the project is, what tasks still need to be completed and what quality standards we expect. Our system respects individuals. If an employee is in poor condition one day, is uncomfortable or wants to take a day off for no reason, there is no problem for the team.

But at the same time, each employee also takes responsibility in the studio, each of them is responsible for one aspect of the game, if they drag on the back they know and they understand the impact on the rest of the game. What we ultimately want is to let employees take responsibility, but at the same time let them arrange their own schedules, and maybe occasionally lag behind the progress, they should understand and adjust their status themselves without lagging behind the next node.

is also proud of us that we allow employees to make mistakes. In fact, it is natural to make mistakes. Only in a very rare case can a designer, artist, or engineer achieve the final standard for the first output. In the studio, everyone has a say in the game's main modules, and if someone raises a potential question, the relevant team will communicate with him. The freedom of

also comes with an additional cost: it means it takes longer to meet the standards we expect, and we let the results speak, but every little improvement brings additional development time, so progress inevitably gets slowed down.

deals with so many geniuses and giving them the freedom to achieve the best output puts us in a very difficult situation. You want them to love their work, hope they produce the best work, and hope they work happily. But obviously not everything works. We still think that working relationships with you at Moon Studio are great, but at the same time we realize that our expectations sometimes put pressure on colleagues, especially when facing deadlines.

Ultimately, we think these extra journeys we have taken are worth it and each of us is proud to have created such an unforgettable experience. But as studios, we must always realize that some employees may be overdrawing their energy or being under excessive pressure.

Studio Growth

This is also a point that we will change in the future. Ori started with a scattered small project, and we were still a scattered small studio. We devoted ourselves to it, which also means we put all the eggs into the same basket. Ori is our only focus throughout the development stage, and it is a difficult problem for Ori to have such a long development cycle.

Looking to the future, one of our visions is to give employees more freedom to explore. When we consistently explore all the potential of a project in development, we also make sure that employees can have other content to dabble in when they feel dizzy, and most developers should have the corresponding experience.

is often in development, it is helpful to take a weekend free time to do something different. Sometimes, your head is filled with information about projects in development, so that some obvious problems are ignored. In this case, giving the mind a little touching a different thing helps a lot. Inspiration comes from various places, so people should be given the freedom of exploration to inspire inspiration and ensure stability in their state. You can do some work on other projects or just take a little time to recharge yourself.

For me personally, I encounter such a problem every time. I will choose to do something different to make myself clear. Facing completely different challenges, you will become excited, and the output of prototypes, and the solution of problems will all become very efficient, perhaps just because the brain doesn't have to keep going through the same cycle.

So we are now working on multiple very interesting prototypes at the same time, some of which are relatively complete and can let us sit down and play, while some are still in the concept stage, but still show great potential.

In the future, we will integrate this method into our daily development cycle: we will have a "core" project that takes over our main focus, and a smaller team will be able to develop a sub-project and allow employees to switch between the two projects. This approach is not only conducive to creative work, but also has value in business logic, so that the window period between our projects will be shorter and we will no longer put all the eggs in the same basket. Another benefit of

is that this allows us to give new IPs that require a longer development cycle a little more time. When you create a brand new IP, there are brand new world settings and brand new characters that require time to evolve slowly, while at the same time, you can control the development team as small as possible during the prototype stage, keeping the budget of these prototypes at a lower level. This is ideal for both developers and publishers because their risks are relatively low.

Market/Make people excited

Many people will wonder why we are criticizing market strategies. In the past year, we have appeared in almost all major exhibitions and gained huge exposure, which is what we will do for our subsequent works. But we do see a lot of things we should have done better, which should make players more excited.

Although Ori has been exposed in occasions such as E3, Gamescom, Pax, GDC, etc., there are still some core players who have not even heard of Ori's name when they are released. We didn't interact with our fans through social networks until after the E3 show. We focused on the "mainstream" market promotion strategy, and lacked communication with players who were not on NeoGAF, IGN, Gamespot, Gametrailers and other websites.

Another thing we regret not being prepared for is the peripheral aspects of the game. Ori should have become a very suitable product for gaming peripherals. We all love making Ori dolls, T-shirts, mugs and so on. We received hundreds of emails from fans asking us about the game’s perimeter, but we couldn’t respond well. We focus on development ourselves, and we remain the same since then. But we can try to contact third parties, cooperate with Microsoft, and seize these opportunities.

Conclusion

Listing Ori set the end of a four-year journey for most of the moon studio colleagues. Ori starts from a small idea and quickly goes beyond what each of us imagines. In your life, there is rarely such opportunity to work for a real dream project, a project that touches people's hearts, makes them laugh, makes them cry, and even inspires them.

Ori is such a project, and as the first project of our scattered small studio, it will be recalled from time to time.

Almost four years ago, we set out to build our own studio. We don't want to take a smooth road, we know there is no shortcut to go. We are destined to embark on a difficult road. We are eager to create, and we gathered a group of developers from all over the world who are full of love and passion for their works to form a close and united family.

[i] End of the journey: On March 9, we celebrate Ori release at Meltdown Comics in Los Angeles. From left Daniel Smith, Thomas Mahler and Gennadiy Korol[/i]

There is no doubt that the colleagues at Yuezhi Studio are the best and smartest people I have the honor to be able to work with. I feel extremely proud of the feat we have achieved together. Any time a group of talented people gather together and have the opportunity to change the status quo, miracles will happen. I hope Ori is a project that we can still review happily even as time goes by. Although there are sweet and sour and bitter in it, perhaps it is these ups and sour and bitter that make this project unusual.

Still, there is still the light we always pursue in the distance. Although our lives have been completely changed, our original intention of creating Moon Studio remains unchanged. We are still down-to-earth and humble, because better yet, and we hope to have the next opportunity to work together in a work that touches our players again and touches their hearts and minds.

Last but not least, we want to thank all the fans who are enthusiastic about supporting us. We are constantly amazed by the blessings sent, the art creations, the storylines and all the works inspired by Ori.

To all of our Ori fans: There is no way to accurately express how much we value your support and how important these support is to us.

Thank you sincerely.

[1]: Ori and the Blind Forest has several commonly used translation names, and the official translation name on steam is used here.

This article is translated NGA: ptez533

This is very important to us because we hope it will be available on both the XBox One and PC. After the agreement was agreed, we could directly talk to some Unity engineers, and even let them specifically help us with some optimizations to help Ori run at 1080p 60 frames per second on the XBox One.