Prepare for your next meeting an appealing presentation where you show the customer journey, that is, what path your customers follow from the point when they're interested in your product until they purchase it. We're offering you timelines, roadmaps, tables and many other resources so you can decide the best marketing strategy.
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In Journey, the player controls a robed figure in a vast desert, traveling towards a mountain in the distance. Other players on the same journey can be discovered, and two players can meet and assist each other, but they cannot communicate via speech or text and cannot see each other's names until after the game's credits. The only form of communication between the two is a musical chime, which transforms dull pieces of cloth found throughout the levels into vibrant red, affecting the game world and allowing the player to progress through the levels. The developers sought to evoke in the player a sense of smallness and wonder and to forge an emotional connection between them and the anonymous players they meet along the way. The music, composed by Austin Wintory, dynamically responds to the player's actions, building a single theme to represent the game's emotional arc throughout the story.
The robed figure wears a trailing magical scarf which allows the player to briefly fly; doing so uses up the scarf's magical charge, represented visually by glowing runes on the scarf. The scarf's runes are recharged by being near floating pieces of red cloth, or a variety of other means.[4] Touching glowing symbols scattered throughout the levels lengthens the initially vestigial scarf, allowing the player to remain airborne longer. Larger strips of cloth are present in the levels and can be transformed from a stiff, dull gray to vibrant red by singing near them. Doing so may have effects on the world such as releasing bits of magic cloth, forming bridges, or levitating the player. This, in turn, allows the player to progress in the level by opening doors or allowing them to reach previously inaccessible areas. The robed figure does not have visible arms to manipulate the game world directly.[3] Along the way, the player encounters flying creatures made of cloth, some of which help the player along. In later levels, the player also encounters hostile creatures made of stone, which upon spotting the player rip off parts of the figure's scarf.[2]
Journey is a wordless story told through gameplay and visual-only cutscenes. The player's character begins near a small sand dune in a vast desert. Walking to the top of the dune, the character can see looming in the far distance a large mysterious mountain with a glowing crevice that splits its peak. As the character approaches the mountain, they find the remnants of a once-thriving civilization, eroded by sand over time. Scattered throughout the ruins at the end of each area are stones where the traveler rests and has visions of meeting a large, white-robed figure in a circular room. Art adorns the walls, describing the rise and fall of the player character's civilization, which also mirrors the player's journey. As the player journeys into the remains of a once sprawling city at the base of the mountain, they find they must also contend with roaming, ancient, and hostile automaton weapons left over from a war that ended the civilization.
A vision shows the traveler crumble before reaching their destination, but the traveler chooses to continue on. Eventually making it safely to the mountain itself, the traveler begins to make their way up it, struggling as they enter the colder climates and encounter deep snow and high winds. With the crevice still a fair distance away, the traveler falls and collapses in the snow. Six of the white-robed figures appear before the character and grant the traveler new energy, allowing the player to reach the summit of the mountain and walk into the crevice as the screen fills with white. The player is then shown the game's credits, playing over the ending cinematic scene. This scene shows a shooting star emanating from the crevice and traversing the path the traveler took through the ruins, and shows glimpses of other robed travelers heading towards the mountain. Eventually, the star comes to rest at the sand dune where the game began, and the player is given the option of starting the game again. As the credits end, the player is shown the usernames of the other travelers who shared part of the journey.
When development began, Sony expected the game to be completed in a year, rather than the more than three it finally took.[9] Thatgamecompany always expected to need an extension; according to Hunicke, they believed finishing the game within a year was "unrealistic".[10] Development ended up taking even longer than anticipated, as the team had difficulties paring down their ideas for the game and maintaining efficient communication.[10] Over the course of development the team grew from seven to eighteen people.[7][9] At the end of the second year, when Sony's extension had run out, the game did not spark the emotions in the player that the team wanted. Sony agreed to another one-year extension, but development ultimately exceeded even that.[11]
The game is intended to make the player feel "small" and to give them a sense of awe about their surroundings.[12] The basic idea, as designed by Chen, was to create something that moved beyond the "typical defeat/kill/win mentality" of most video games.[13] The team initially created a prototype named Dragon that involved players trying to draw away a large monster from other players but eventually discarded it after finding it was too easy for players to ignore each other in favor of their own objectives.[13]
The developers designed Journey like a Japanese garden, where they attempted to remove all the elements that did not fit, so the emotions they wanted to evoke would come through.[14] This minimalism is intended to make the game feel intuitive to the player, so they can explore and feel a sense of wonder without direct instructions. The story arc is designed to explicitly follow Joseph Campbell's monomyth theory of narrative, or hero's journey, as well as to represent the stages of life, so as to enhance the emotional connection of the players as they journey together.[15][16][17] In his D.I.C.E. speech, Chen noted that 3 of their 25 testers had cried upon completing the game.[11]
Unlike many games, where different songs have different themes for each character or area, Wintory chose to base all the pieces on one theme which stood for the player and their journey, with cello solos especially representing the player. Wintory describes the music as "like a big cello concerto where you are the soloist and all the rest of the instruments represent the world around you", though he describes it as not necessarily orchestral due to the inclusion of electronic aspects.[30][33] The cello begins the game as "immersed in a sea of electronic sound", before first emerging on its own and then merging into a full orchestra, mirroring the player's journey to the mountain.[34] Whenever the player meets another person, harps and viola are dynamically incorporated into the music.[32] While the game's art style is based on several different cultures, Wintory tried to remove any overt cultural influences from the music to make it "as universal and culture-less as possible".[30] Tina Guo features as the cellist for the soundtrack. She is a close friend of Wintory and has performed "Woven Variations" with him, an eight-minute live orchestral variation on the Journey soundtrack.[33] All the non-electronic instruments in the soundtrack were recorded with the Macedonia Radio Symphonic Orchestra in Skopje, North Macedonia.[35][31] A "Woven Variations" performance influenced the ending of the game: at the conclusion of development, Wintory was having difficulty with the ending to "Apotheosis", the final track of the game, while the development team was unsure how to end the player's journey at the top of the mountain. While they were planning a large, dramatic conclusion to both, in the concert Wintory had the orchestra fall away at the end of the piece to showcase Guo's cello performance. Inspired, Wintory and the team ended "Apotheosis" and the game the same way, with the game world fading away to leave only the player.[32]
The soundtrack was released as an album on April 10 on iTunes and the PlayStation Network.[36] The album is a collection of the soundtrack's "most important" pieces, arranged by Wintory to stand alone without the context of the player's actions.[30] The album comprises 18 tracks and is over 58 minutes long. It features the voice of Lisbeth Scott for the final track, "I Was Born for This". After its release, the soundtrack reached the top 10 of the iTunes Soundtrack charts in more than 20 countries.[34] It also reached No. 116 on the Billboard sales charts, with over 4000 units sold in its first week after release, the second-highest position of any video game music album to date.[37] The soundtrack was released as a physical album by Sumthing Else Music Works on October 9, 2012.[38] In 2012 Wintory released a download-only album of music on Bandcamp titled Journey Bonus Bundle, which includes variations on themes from Journey and Flow.[39] The soundtrack itself was subsequently released on Bandcamp on June 19, 2013.[40] An album of piano arrangements titled Transfiguration was released on May 1, 2014, on Bandcamp as both a digital and a physical album.[41] A two-record vinyl version of the album was released in 2015.[42]
In January 2016, Wintory started a Kickstarter for a Journey Live concert tour, in which the fifteen-piece Fifth House Ensemble from Chicago will perform the music from the game while a player works their way through the game. The ensemble will react to the player's actions, using a specially-scored version of the soundtrack, composed by Patrick O'Malley with Wintory's oversight, that breaks the music into small pieces to enable this reaction. Wintory had wanted to do a performance of the Journey soundtrack in this interactive manner but did not have the time to rework the soundtrack for this purpose. Wintory came to know Dan Visconti, the composer for Fifth House Ensemble, after Visconti published his praise for the Journey soundtrack and had encouraged other members of the ensemble to play the game. The group saw how Journey's soundtrack had been used for various Video Games Live concerts and believed they could pull off Wintory's vision of an interactive concert, doing most of the reworking of the soundtrack under Wintory's direction.[25] Sony provided Wintory with a modified version of the game with the music disabled for the concert performance.[25] The Kickstarter was launched for $9,000 in funding for a four-city tour, but within a few days already surpassed its funding levels, allowing for more cities to be included.[43] 2ff7e9595c
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