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Here’s an example that sets the controls property to "true": src: This property specifies the audio file to play. : This property specifies whether the audio is muted or not. muted : This property specifies whether the audio is muted or not. : This property specifies whether the audio file is looped or not. loop : This property specifies whether the audio file is looped or not. : This property specifies whether the audio file is autoplayed or not. autoplay : This property specifies whether the audio file is autoplayed or not. : This property specifies whether the audio file is preloaded or not. preload : This property specifies whether the audio file is preloaded or not. : This property specifies whether the audio controls are displayed or hidden. You can also customize the audio controls by using the following properties:Ĭontrols : This property specifies whether the audio controls are displayed or hidden. 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Previous festival cancelations be damned, this one happened and it was special. In the weeks leading up to Panorama, there was reason to fear Frank Ocean’s Friday night (July 28) headlining set would never come to be. We were concerned during development that we would potentially dumb down the experience too much, so we had to essentially build the game out both ways. The challenge was onboarding people in a way that was less aggressive and more welcoming - or really just changing the learning process and tutorial from being mostly front-loaded to being throughout the game. The reason I keep coming back to the game is I just love the flow of it and the feel of it.” One of our key objectives with OlliOlli World was saying, “Why are we putting barriers and skill requirements on people to be able to feel like they get into the flow?” We’ve spent 13 years now refining our game’s flow state, and ultimately, we want to allow as many people as possible to feel the flow in our games. They came to us and said, “Once I got good at it, I just got stuck in this flow. With OlliOlli World, what we realized is that people who really liked the early Olli games were the people who got really good at them. They were “the Super Meat Boy of skateboarding games” that were super tough moment-to-moment that required pixel perfect timing. Both of the first OlliOlli games were cited for being pretty hardcore. I think it’s one of the biggest challenges we had for this game. It’s meant to be a nice place to hang - whether you’re just hanging in the menus or you’re skating around or you just put the game on pause and listen to the music.įrom a gameplay perspective, what went into creating a title that is both kid-friendly, but also surprisingly deep and complex when it comes to really mastering it? When we combined all of these things together, you’ve ultimately got this wonderful experience of OlliOlli World. Then you have the designers who took what was ostensibly just 2D, left-to-right platforming in the first two games and scaled it to this world that can really go all over the place. I think a lot of that comes from the work that the narrative team and the art team have done to flesh out this very wacky and offbeat world. How did you go about building that into a unique setting for the game? In addition to the soundtrack, the world of Randlandia is really something else. Sometimes we’re literally still researching where the rights were and just desperately trying to find all of the appropriate people to license that music up until the evening before the game was launched. There are always tracks in every game that we’ve done that I absolutely have to have, and sometimes it’s a real struggle to find the rights for it. I could probably outsource it to someone, but it’s something I’m very passionate about. It’s something that I do alongside my day job of running a video game studio with around 70 people. Picking the soundtrack for all of our games is a labor of love for me. Simon Bennett: For me, as a music fan and a connoisseur of the slightly more alternative side of electronic music, it’s very much picking music that I absolutely love. SPIN: What went into putting together this substantial alt-electronic soundtrack, particularly considering OlliOlli World is really a pretty indie title? SPIN spoke with Simon Bennett, the founder and director of Roll7, to get an inside look at one of the most surprising titles of the year. But while it may look family friendly, the 100ish levels of skateboard platforming provides some of the deepest and most complex action-based gameplay of any game released this year. Part skateboarding romp and part action-platformer, the latest from British developer Roll7 takes players through a whole new adventure through the OlliOlli universe that began with 2014’s game of the same name.Ĭompared to the previous two titles, OlliOlli World ditches the quaint pixel art for a massively expanded world, character creation, top-notch electronic soundtrack and adorable new art style that shows off the colorful setting of Radlandia the team has built. When people talk about skateboarding video games, there’s generally one name that they mention - and that name isn’t OlliOlli World.īut truthfully, OlliOlli World puts a wildly different spin roughly based on the genre that Tony Hawk popularized. Just like NoiseTrade, PureVolume is another platform for musicians anywhere in the world to share their creations. To check out some of the free options, follow the link! 6. 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