Thomas Mahler

Thomas Mahler
Born	(1984-01-08) January 8, 1984 Austria
Nationality	Austrian
Occupation(s)	Video game designer, creative director, entrepreneur
Years active	2003–present
Known for	Co-founder and CEO of Moon Studios
Website	www.moongamestudios.com

Thomas Mahler is an Austrian video game designer and artist, best known as the co-founder and CEO of Moon Studios and the director of the acclaimed Ori series of video games. He began his career as a cinematic artist at Blizzard Entertainment, contributing to titles like StarCraft II, before leaving in 2010 to establish Moon Studios in Vienna. Under Mahler’s direction, Moon Studios developed the award-winning Ori and the Blind Forest (2015) and its sequel Ori and the Will of the Wisps (2020), as well as the action role-playing game No Rest for the Wicked (2024).

Mahler’s work is noted for its artistic style, challenging gameplay, and innovative development practices, which have had a significant impact on the Metroidvania platformer genre and are now extending into action role-playing games.

Early Influences and Inspirations

Mahler’s creative foundations lie in both classical art and video games. He studied traditional sculpture at the Academy of Fine Arts in Vienna, an experience that he said “completely changed” his way of approaching design.

This art background informed his meticulous attention to visual detail and iterative creation process. Mahler was also an avid gamer, drawing inspiration from the titles that defined his youth and early career. He has cited Nintendo classics and challenging platformers as formative influences – Super Mario Bros. 3 and modern indie games like Super Meat Boy set the “gold standard” for tight platforming controls that he aimed to surpass in his own games.

Mahler admired how those games nailed responsiveness and fun, an ethos he carried forward into the Ori series. During his stint in the industry’s mainstream, Mahler worked on Blizzard’s cinematic team, contributing art to projects such as StarCraft II, and learning from Blizzard’s high production values. At Blizzard he also began experimenting with game development in his off-hours. Inspired by the burgeoning indie scene – successes like Castle Crashers, Limbo, and Braid – Mahler felt encouraged to pursue independent game creation. He spent late nights prototyping a hybrid FPS/RTS game called Warsoup while still at Blizzard, motivated by these indie games that “hit it big” on digital platforms.

The creative freedom and innovation in the indie space convinced him that he could forge his own path. In 2010, after finishing work on StarCraft II, Mahler left Blizzard to co-found Moon Studios with Gennadiy Korol, determined to build original games on his own terms. This leap into independent development was driven by Mahler’s early inspirations: the artistry of animation and sculpture, the tight gameplay of classic platformers, and the entrepreneurial spirit of the indie game movement.

Game Development Philosophies

Mahler is known for a game design philosophy that blends gameplay-first thinking with emotional storytelling. He often emphasizes that fun and player engagement are paramount – “fun comes first,” he says, describing an approach similar to Nintendo’s design ethos.

In developing Ori and the Blind Forest, Mahler and his team spent months perfecting the core mechanics and controls, believing that if a game is fun to play even in a simple prototype, it will shine when fully realized. He holds up challenging games like those by Hidetaka Miyazaki (director of Dark Souls) as validation that difficulty can enhance enjoyment. When Microsoft initially suggested that Ori might be too hard for a general audience, Mahler resisted lowering the difficulty, aligning himself “on the Miyazaki side” of the debate – he believes overcoming challenges creates memorable, rewarding moments for players. According to Mahler, games should occasionally make the player feel “like you can’t do it,” only to then empower them to succeed, resulting in an “oh my god!” sense of achievement.

Another pillar of Mahler’s philosophy is rigorous iteration and polish in design. He likens his development process to sculpting: start with a rough shape and refine it continually until the form is perfect. In practice, this meant Moon Studios built far more content for Ori than what shipped, then carefully distilled the game down to its most impactful elements. Mahler’s background in fine arts taught him that removing what doesn’t work is as important as adding new ideas. This iterative “excessive polish” approach became a hallmark of Moon Studios’ games. It is reflected in the Ori series’ tightly tuned platforming mechanics and level design, which critics have noted feel exceptionally smooth and responsive.

Storytelling and atmosphere are also important in Mahler’s work, though he approaches narrative as something that must complement gameplay. The Ori games feature poignant, largely wordless storytelling, and Mahler has explained that the narratives were shaped organically by the team’s experiences. Ori and the Blind Forest was crafted as a coming-of-age fable about love and sacrifice, culminating in what Mahler envisioned as “two mothers facing each other” to illustrate that a mother’s love can move mountains. For the sequel Ori and the Will of the Wisps, Mahler was “amazed that Microsoft let us tell the story we wanted” because it delivers a definitive, bittersweet ending to Ori’s arc. He approached Will of the Wisps with the idea of completing the life circle – showing Ori grow up, mentor a child, and ultimately make a selfless sacrifice as a parent figure. Notably, as Moon Studios spent a decade on the Ori saga, many team members (including Mahler) were themselves having children, and those life events “influenced the story we wanted to tell” in the game. Mahler wanted to capture “how bitter-sweet moving on in life can be,” a theme that gives Will of the Wisps a mature emotional resonance. In interviews, he described the tale as a humane one about empathy – showing that light and dark characters share the same dreams and sorrows, and that understanding can break cycles of pain. Despite these deep narrative themes, Mahler maintains that gameplay needs often drive creative decisions (for example, Ori’s game mechanics like spirit wells were introduced for their gameplay utility). This underscores his belief that story should support the game experience, not detract from it.

Mahler’s overall vision for game development combines a respect for tradition with a drive for innovation. He has said that Moon Studios’ goal is to create the “best games in the world” by learning from giants like Nintendo and Blizzard – studios that earned players’ trust through consistent quality. At the same time, he resists creative stagnation. “I don’t see us just making Ori 2, 3, 4, 5 and 6,” Mahler stated shortly after the first game’s success, indicating his reluctance to endlessly churn out sequels. This philosophy led Moon Studios to pursue new genres after the Ori duology, rather than immediately developing an Ori 3. Mahler is open about wanting each project to push boundaries. In the Ori series, that meant revitalizing the Metroidvania genre with higher production values – he aimed to “show the world what a 2D Metroidvania could look like in today’s time”, on par with top-tier Nintendo platformers. In his next project (the action-RPG No Rest for the Wicked), Mahler similarly set out to innovate on genre conventions, describing the game as a “genre-bending” Action role-playing game designed to evolve over many years of development. His guiding principle is that each game should have its own identity and strive for excellence in gameplay and presentation, ensuring that Moon Studios earns a reputation akin to a “Studio Ghibli of games” in the eyes of players.

Workstyle and Leadership

Thomas Mahler’s leadership style at Moon Studios is closely tied to the company’s unique remote-first operation. From its founding in 2010, Moon Studios was conceived as a “virtual studio” with no central office – an uncommon approach at the time. Mahler, based in Austria, assembled a team of developers spread across the globe, from countries like Australia, Israel, the United States, and beyond. He believed that location should not limit talent, stating that if he had relied only on local Austrian developers, “there’s no way we could have done Ori” due to the limited talent pool. By recruiting internationally, Moon could “work with the best and most talented people” regardless of geography. The studio utilized online collaboration tools – version control software, project management systems, and communication via Skype and similar platforms – to coordinate work across time zones. Thanks to these tools, Mahler noted that the anticipated difficulties of distributed development “never really materialized,” even in the early 2010s when such practices were relatively rare.

Mahler has been outspoken about the advantages of a distributed team. He questions the need for a traditional office, saying “I just don’t see the value in sitting down together in an office” when the existing pipeline allows seamless remote collaboration. One major benefit, in his view, is the ability to hire exceptional people regardless of their location or personal circumstances, without forcing anyone to relocate. This approach enabled Moon Studios to grow from a core team of under 10 people to around 20 at peak during Ori and the Blind Forest’s development (with many contractors), while still maintaining a tight-knit culture. Mahler deliberately kept the studio small in its early years, heeding the lesson that scaling up too fast can be dangerous for a creative team. He often cites id Software’s John Carmack, who kept his teams small even after blockbuster successes, as an example he admires in studio management.

Fostering a “family” atmosphere and open communication is central to Mahler’s leadership. With a team of only a few dozen spread worldwide, Moon Studios has to be intentional about culture. Mahler encourages a flat hierarchy where “anybody can suggest ways to improve the game” and everyone’s ideas are considered – from senior designers to playtesters. He explicitly rejects the strict “auteur” model of game development where a single visionary’s word is final. In Mahler’s view, imposing one person’s ego on a project is counterproductive: “If you put your ego out there and are like, ‘No, I’m the CEO...I always have the best ideas,’ that’s just...bullshit and it ruins a company really quickly,” he says bluntly. Instead, he wants every team member to feel ownership and responsibility, as he believes this brings out their best work. Mahler’s mantra is that lack of ego and a willingness to listen lead to better games. He has said that he’s perplexed by studios where talented developers “just have to do what [one director] is saying” even when those decisions affect everyone’s years of effort. At Moon, he strives to avoid that dynamic, preferring collaborative decision-making and giving credit to the team as a whole for the studio’s success.

Moon Studios under Mahler’s leadership has remained a highly productive and successful outfit. By 2020, the studio had grown to over 80 team members across 40+ countries, and it built internal tools (like a proprietary communication platform codenamed “Apollo”) to facilitate its remote collaboration. Mahler also organized periodic in-person retreats – at one point flying the team to Disneyland Paris – so that coworkers could finally meet and bond in real life. These efforts reflect Mahler’s recognition that some traditional team-building is still valuable even for a virtual studio. Under his guidance, Moon Studios pioneered a successful model of multinational, remote game development that has since become more common industry-wide. Mahler’s hands-on creative leadership and outspoken nature have made him a prominent figure in game development discussions about work culture, with Moon Studios often cited as an example of the potential of distributed teams.

Public Reception and Legacy

Thomas Mahler’s games have been met with widespread critical acclaim and have left a notable legacy in the gaming industry. The Ori series in particular is celebrated as one of the defining platformer franchises of the 2010s, often praised for marrying beautiful artistry with tight gameplay. Ori and the Blind Forest released in 2015 to “universal acclaim” on some platforms, earning high marks for its heartfelt story, hand-painted visuals, fluid gameplay, and memorable musical score.

Critics hailed it as a new benchmark for the Metroidvania genre – Destructoid’s review even called Ori “a new classic,” noting it succeeded as both an accessible introduction to the genre and a rewarding challenge for hardcore players. The game’s poignant narrative (told without dialogue) and striking art style resonated with players and reviewers alike. Some compared Ori’s animation quality and emotional impact to the films of Studio Ghibli, highlighting how its “dreamlike” visuals and sensitive storytelling elevated it closer to interactive art. Mahler’s ability to infuse the game with this level of polish and emotion helped Ori and the Blind Forest stand out in a crowded field of indie titles.

Commercially, the Ori games have also been very successful. Blind Forest recouped its entire development cost within just a week of launch, and it went on to sell millions of copies. Its sequel, Ori and the Will of the Wisps (2020), likewise enjoyed strong sales and critical praise. The Ori franchise’s popularity demonstrated a robust appetite for high-quality Metroidvania experiences and encouraged other developers and publishers to invest in the genre. Fans of Ori often cite it as one of the best modern examples of a Metroidvania, on par with classics from Nintendo and Konami, thereby cementing Mahler’s influence in reviving and advancing the genre.

The Ori series has garnered numerous awards and accolades, underscoring its legacy. At the 2015 Game Awards, Ori and the Blind Forest won the award for Best Art Direction, recognizing its gorgeous visuals. It also earned honors such as the 2016 BAFTA Games Award for Artistic Achievement, and multiple categories at the D.I.C.E. Awards, including Outstanding Achievement in Animation and Art Direction. The game was frequently listed in “Game of the Year” discussions and won the Golden Joystick Award for Xbox Game of the Year in 2015. Its sequel Ori and the Will of the Wisps continued this award streak – upon release, it was named the Xbox Game of the Year at the Golden Joystick Awards 2020, marking the second time Moon Studios achieved that title. Will of the Wisps was lauded for expanding on its predecessor in every way: richer combat, a sweeping orchestral soundtrack, and an emotional narrative climax. GamesRadar+ described it as “one of the best platformers ever made,” and players flocked to it on Xbox Game Pass and other platforms. Though Will of the Wisps had some technical issues at launch, patches smoothed out performance, and the game’s reputation grew to match Blind Forest’s, with many considering the two Ori games collectively as modern masterpieces in game design and art.

Mahler’s work on Ori has had a lasting influence beyond just sales and awards. The games demonstrated that a small, remote team could produce an experience to rival big-budget studio productions, potentially influencing how future indie projects are perceived and funded. Notably, the success of Ori (an indie-developed game published by Microsoft) may have encouraged major publishers to support more indie studios with creative visions. Critics and developers often point to Ori as a case study in how investment in indie projects can pay off in both quality and commercial terms. Mahler himself has argued that large publishers should invest in indies – and Ori’s triumph gave weight to that argument. Additionally, the Ori series has inspired a generation of players and aspiring game designers with its blend of challenging gameplay and touching storytelling. The character Ori and side characters like Naru and Ku have become beloved figures, sparking fan art, speedrunning communities, and persistent calls for a continuation of the series. While Moon Studios moved on to new endeavors after 2020, the Ori games maintain active fan communities and are frequently cited as among the best games on Xbox One and Nintendo Switch for their generation.

Following the Ori saga, Mahler’s pivot to the action role-playing games genre with No Rest for the Wicked has been closely watched by industry observers. Announced as a departure from Moon’s platforming roots, No Rest for the Wicked is a top-down hack-and-slash ARPG with a dark fantasy setting, drawing inspiration from classics like Diablo while injecting Mahler’s design philosophies. Early previews touted it as a “genre-bending” ARPG that could push the genre forward. Mahler described Wicked as Moon Studios’ most ambitious project – even likening its development to the studio’s “Lord of the Rings,” in the sense of being an epic undertaking they plan to build upon for years. The game was released in early access on PC in April 2024, published initially by Private Division. It saw a strong start, with tens of thousands of players trying the game upon launch, but also encountered typical live-development challenges. Over the months after release, the player count declined as the team gathered feedback and worked on improvements. In response, Mahler and his team committed to significant updates, including one titled “The Breach,” which added substantial content and overhauled core systems to better meet player expectations.

The journey of No Rest for the Wicked took a pivotal turn when Take-Two Interactive decided to divest Private Division in late 2024. Rather than allow uncertainty to linger, Mahler negotiated Moon Studios’ acquisition of the publishing rights to Wicked, enabling the studio to continue the game independently. Moon Studios announced it had become “fully independent,” free to develop No Rest for the Wicked without corporate oversight.

Mahler stated that this independence should give players “more confidence” in the team’s vision, as Moon can now evolve the game on its own schedule and communicate more openly with the community. The decision aligns with Mahler’s long-held preference for creative freedom and control. While No Rest for the Wicked’s long-term legacy is still being written, Mahler’s handling of the project shows his commitment to adapting and innovating. The game’s development is an ongoing collaboration with its player base – an example of Mahler applying his iterative philosophy on a live product. Some Metroidvania fans were initially dismayed that Moon Studios shifted focus to a “Souls-like” ARPG, fearing it could be years before another Ori-like title emerged. In response, Mahler hinted that the studio has not ruled out returning to the Metroidvania genre as Wicked continues to grow, suggesting that Ori’s influence will persist in Moon’s future endeavors.

In summary, Thomas Mahler’s career has significantly impacted modern game development, from the way games can be made to the way they are received. Through the Ori series, he proved that an independent studio spread across the world could deliver a critically acclaimed, commercially successful title that stands toe-to-toe with the best in the genre. The Ori games revitalized interest in 2D exploration-platformers and set a high bar for artistry in games, contributing to the broader acceptance of video games as an art form. Mahler’s bold leadership and design choices – prioritizing quality, challenge, and creative integrity – have earned him a place among contemporary game directors noted for their vision. As he ventures into new genres with No Rest for the Wicked, Mahler continues to push boundaries, aiming to leave a similar mark on the action RPG genre as he did on platformers. His legacy is still evolving, but it is clear that Thomas Mahler has already influenced how games are crafted and appreciated, and he remains a prominent voice in championing innovation in the gaming industry.

Expanded Details on Major Projects

Ori and the Blind Forest (2015)

Ori and the Blind Forest was Mahler’s directorial debut and the first game from Moon Studios, released for Xbox One and PC in March 2015. Development on Ori began around 2011 after Mahler pitched a prototype called “Sein” to Microsoft – a small-scale platformer that impressed the publisher more than Moon’s earlier FPS prototype (Warsoup). With Microsoft’s backing, Mahler led a core team of about 10 developers (and several part-time contributors) in crafting the game over four years.

The team worked remotely and often met in person only virtually; in fact, the full team gathered face-to-face for the first time at E3 2014 when Ori was publicly revealed with a trailer. Mahler focused the development on perfecting the gameplay “feel” – he recalls that within weeks of prototyping, Ori already felt as responsive as top-tier platformers, which gave the team confidence. Inspired by titles like Super Meat Boy, he and gameplay programmer David Clark continually tweaked Ori’s movement until it was satisfyingly fluid. Early design experiments were plentiful; for example, an area set inside a giant creature’s belly was created and later cut, as Mahler applied his philosophy of trimming ideas that didn’t fit the final vision.

When Ori and the Blind Forest launched, it was met with critical acclaim and strong sales. Reviewers were impressed by the game’s lush, hand-drawn art and atmospheric presentation, often noting it was unusually beautiful for a 2D platformer from an indie studio. The gameplay earned praise for its tight platforming mechanics and clever “Metroidvania” level design, which combined to create a rewarding sense of exploration. Critics also highlighted the emotional story — the opening sequence, which wordlessly depicts Ori’s adoption and the death of its caretaker Naru, moved many players and drew favorable comparisons to Pixar film openings in terms of emotional impact. The game holds an average score of 88/100 on Metacritic for Xbox One. Commercially, Ori was an immediate success: it became profitable within just one week on sale. Phil Spencer of Microsoft Studios revealed it was one of the fastest-selling new “indie” titles on Xbox at the time. The game’s popularity extended over time with a Definitive Edition released in 2016 and a Nintendo Switch port in 2019, broadening its audience.

Ori and the Blind Forest received numerous awards and honors. It won the Best Art Direction at The Game Awards 2015, recognizing its stunning visual style, and it won Artistic Achievement at the 2016 BAFTA Games Awards (with Mahler attending the London ceremony to accept). At the 2016 D.I.C.E. Awards, Ori took home accolades for animation and art, highlighting the craftsmanship of the Moon Studios team. It was also nominated for the prestigious Game Developers Choice Awards and Independent Games Festival awards. Players have since placed Ori and the Blind Forest on several “Best of” lists for its generation, and it’s credited with helping revive interest in high-quality 2D platform adventures on consoles. The success of Ori firmly established Thomas Mahler as a notable creative director and Moon Studios as a studio to watch.

Ori and the Will of the Wisps (2020)

Following the success of Blind Forest, Mahler and Moon Studios immediately began work on a sequel, determined not to rest on their laurels. Ori and the Will of the Wisps was announced in 2017 and released in March 2020 for Xbox One and Windows 10 (and later for Nintendo Switch). Mahler’s approach to the sequel was to “elevate every pillar” of the original game rather than simply rehash it. This meant a larger scope, new gameplay systems, and an even more ambitious story. The team expanded significantly for Will of the Wisps – by 2020 Moon Studios had over 80 developers from 43 countries contributing – but they remained a decentralized workforce communicating largely online. One challenge in development was overhauling the game engine; Will of the Wisps switched to a fully dynamically lit world, which allowed for more complex scenes but also led to some technical hurdles that had to be optimized before launch.

Mahler’s design additions in Will of the Wisps included a more robust combat system (Ori can acquire different weapons and abilities, effectively adding ARPG elements to the platforming formula) and a side-quest system with NPC characters, which made the world feel more alive. Despite these new features, the sequel maintained the series’ signature aspects: challenging platforming sequences, intricate Metroidvania map progression, and a focus on heartfelt narrative moments. The story of Will of the Wisps continues Ori’s journey, this time exploring themes of family and legacy – it introduces a young owl named Ku that Ori cares for, and ultimately concludes with Ori’s transformation into a guardian spirit tree. Mahler opted for a bold ending that gives a sense of closure to Ori’s tale, something he was pleasantly surprised that the publisher allowed. This definitive ending was risky, but it earned admiration from fans for its emotional weight.

When Ori and the Will of the Wisps was released, it was greeted with critical acclaim comparable to its predecessor. Reviewers praised it as an improvement on Blind Forest in nearly every regard. The game’s visuals and art direction were widely lauded; many scenes in Will of the Wisps are even more elaborate and picturesque, solidifying Moon Studios’ reputation for artistic excellence. The soundtrack, composed by Gareth Coker, received particular praise (it won several awards on its own) and contributed to the game’s powerful atmosphere. On the gameplay side, the new combat mechanics and boss encounters were well-received, adding variety to the experience. Some critics noted that Will of the Wisps was a bit more combat-heavy and slightly less tightly paced than Blind Forest, but overall it delivered a deeper experience. Technical issues at launch (frame-rate drops and bugs) were the main points of criticism, but post-launch patches quickly addressed these for most players.

In terms of reception, Will of the Wisps attained a 90/100 average on Metacritic for Xbox One, indicating universal praise. It was frequently described as one of the best platformers of its generation, with GamesRadar+ calling it “an early front-runner for Game of the Year” in 2020. The game earned multiple award nominations and wins. Notably, it clinched Xbox Game of the Year at the 2020 Golden Joystick Awards, the same honor Blind Forest had won in 2015, making Moon Studios a two-time winner of that category. It also won awards for its audio and music. Many publications included Will of the Wisps in their top games of 2020 lists, and it was a finalist for the SXSW Gaming Awards Game of the Year. Commercially, while specific sales figures for the sequel alone are not public, the series’ overall success and its release on Xbox Game Pass meant it reached a very large audience quickly, contributing to its popularity and fanbase growth.

Ori and the Will of the Wisps reinforced Thomas Mahler’s reputation for delivering high-quality experiences. It showed that the success of Blind Forest was not a one-off, and that Moon Studios could consistently produce top-tier games. With two critically acclaimed titles under his belt, Mahler had firmly left his mark on the platforming genre. The Ori duology’s influence is evident in subsequent Metroidvania games, which are often measured against Ori’s standard for gameplay polish and aesthetic beauty. After Will of the Wisps, Mahler decided to conclude Ori’s story on a high note, rather than extend the series immediately. This decision, while disappointing to some fans eager for more Ori, is in line with his philosophy of avoiding creative stagnation and only returning to a franchise when there is a compelling reason. The legacy of Ori continues to grow, with many considering the two games among the best 2D action-adventure titles ever made.

No Rest for the Wicked (2024)

No Rest for the Wicked is Thomas Mahler’s first major project outside the Ori series and represents a venture into a new genre: the action role-playing game (ARPG). It is an isometric ARPG set in a dark medieval fantasy world ravaged by a demonic plague named The Pestilence.

The project was born from Mahler’s desire to diversify Moon Studios’ portfolio and apply the studio’s design principles to a genre he personally enjoys (Mahler has mentioned interest in games like Diablo and Dark Souls). Development on No Rest for the Wicked began in the late 2010s, overlapping with the final years of Ori and the Will of the Wisps. The game was formally announced in 2021 as part of a partnership with Private Division, a publishing label under Take-Two Interactive, which agreed to fund and publish the title. This marked the first time Moon Studios worked with a third-party publisher other than Microsoft, and it suggested significant ambition – partnering with Private Division indicated Wicked was aiming for a broad multi-platform release (including PC, Xbox Series X/S, and PlayStation 5).

Mahler’s vision for No Rest for the Wicked was to create a “Diablo-like” ARPG with unique twists and a strong endgame focus. He positioned the game as a long-term platform that the studio would build on for years, stating that Moon Studios planned to support it with new content and updates. In interviews, Mahler referred to Wicked as Moon’s “LOTR” (Lord of the Rings), implying it’s an epic undertaking for the studio. The game’s design incorporates both single-player and cooperative multiplayer elements. It features a dynamic world that can be explored non-linearly, character classes with extensive skill customization, and a loot system with procedurally generated weapons and gear. One notable design choice (reflecting Mahler’s penchant for challenge) is the inclusion of item durability on powerful weapons – a mechanic aimed at maintaining game balance by limiting how long players can rely on over-powered loot. Mahler explained that with durability in place, the team could safely introduce very strong weapons because their use would be temporary, preventing the game from becoming too easy. This shows Mahler’s continuous interest in balancing difficulty and player reward, similar to his approach in the Ori games but translated to an ARPG context.

No Rest for the Wicked launched in early access on Steam in April 2024. The early access model was chosen so the development team could iterate on the game with direct player feedback, aligning with Mahler’s iterative design philosophy. The initial early access release attracted a surge of players (peaking over 30,000 concurrent users on Steam) and garnered a mix of excitement and constructive criticism. Players praised the game’s art style and fluid combat (Moon Studios brought its flair for visuals to a 3D environment, with detailed character models and effects), but some found the difficulty punishing and certain systems, like controls and the durability mechanic, divisive.

Over the next few months, the player base dipped as is common with early access titles; by late 2024, concurrent players were significantly lower. Rather than be discouraged, Mahler took this as an opportunity to improve the game substantially. The team worked on a major content update called “The Breach,” which Mahler billed as the largest update to date, effectively doubling the game’s world size and adding new enemy types, bosses, and loot, along with significant quality-of-life improvements and rebalanced progression. The Breach update was released in October 2024, requiring players to start a fresh playthrough to experience the redesigned game, a decision Mahler justified by the extent of the changes.

The journey of No Rest for the Wicked took a pivotal turn when Take-Two Interactive decided to divest Private Division in late 2024. Rather than allow uncertainty to linger, Mahler negotiated Moon Studios’ acquisition of the publishing rights to Wicked, enabling the studio to continue the game independently. By November 2024, Moon Studios announced it had become “fully independent,” free to develop No Rest for the Wicked without corporate oversight.

Mahler stated that this independence should give players “more confidence” in the team’s vision, as Moon can now evolve the game on its own schedule and communicate more openly with the community. The decision aligns with Mahler’s long-held preference for creative freedom and control. While No Rest for the Wicked’s long-term legacy is still being written, Mahler’s handling of the project shows his commitment to adapting and innovating. The game’s development is an ongoing collaboration with its player base – an example of Mahler applying his iterative philosophy on a live product. Some Metroidvania fans were initially dismayed that Moon Studios shifted focus to a “Souls-like” ARPG, fearing it could be years before another Ori-like title emerged. In response, Mahler hinted that the studio has not ruled out returning to the Metroidvania genre as Wicked continues to grow, suggesting that Ori’s influence will persist in Moon’s future endeavors.

External links

• Moon Studios official website
• Thomas Mahler on X