US cable TV network HBO has optioned the rights to make a fictional TV series based on forthcoming documentary Indie Game: The Movie.
According to Deadline, the film's directors Lisanne Pajot and James Swirsky signed on the dotted line at the annual Sundance Film Festival in Utah over the weekend, where the film premiered to glowing reviews.
Initial reports that HBO wanted to turn it into a half-hour comedy have proved wide of the mark, with a post on the movie's Facebook page today stating "HBO has optioned IGTM for the basis of a (fictional) series. It is NOT a comedy. It is NOT a sitcom."
Hollywood veteran Scott Rudin - whose credits include 2011 Oscar winner The Social Network, Moneyball, The Girl With The Dragon Tattoo, The Queen and Wes Anderson's take on Roald Dahl favourite The Fantastic Mr Fox - will reportedly produce. No word on potential casting choices, but the mind boggles.
It's worth noting that not every property that gets optioned by a network necessarily makes it through to full production.
The film follows a number of recent indie titles through development, including Super Meat Boy, Braid and Fez. Take a look at a trailer for the flick, which is due out later this year, below.
HBO is limbering up for a television drama tackling the most harrowing and difficult subject it's approached yet: indie video games. It's early days yet, but the American cable channel has unexpectedly optioned documentary Indie Game: The Movie to make a half-hour series. And in true indie style, it's already been misunderstood.
The initial report from Deadline said that Home Box Office's series would be a comedy, raising more than a few eyebrows in the indie community. However, the original documentary's makers Lisanne Pajot and James Swirsky insist that's not the case.
"HBO has optioned IGTM for the basis of a (fictional) series. It is NOT a comedy. It is NOT a sitcom," the pair explained on Facebook.
The documentary follows the trials and tribulations of the developers behind Fez, Braid and Super Meat Boy. Presumably HBO's series will be inspired more by the tone and struggle than the developers themselves, though we must say James Van Der Beek would make a mean Phil Fish.
The series is being produced by Scott Rudin, who's backed The Social Network, Moneyball, True Grit, No Country for Old Men, and heaps of other fine things.
"The people involved, the network involved - all are, BY FAR, the best people possible to make this show," Pajot and Swirsky say. "We are ecstatic about the possibilities of working with this team. All you need to do is look at the list of HBO series titles & Scott Rudin's IMDB and you can see why we think this is a brilliant thing. We want to see this show happen. We want to watch this show."
Do remember that optioning something doesn't guarantee it'll be made, merely that it could. The documentary made its premiere at the Sundance Film Festival on Friday, then will have a theatrical release followed by the DVD. Here's a peek at it:
Team Meat's indie darling, Super Meat Boy, has now joined the elite video gaming ranks reaching "Platinum" status last month. While the game debuted on Xbox Live Arcade, it's likely that the game is still showing its best performance on PC. The title raced past one million sales, as it recently expanded to Mac, and eventually found its way on the fourth Humble Indie Bundle.
The PS3 is one of the highest-profile platforms Meat Boy hasn't touched, and unfortunately, it doesn't appear that's going to change any time soon. "SMB will never be on PS3 sorry," the team's Twitter apologizes. However, it's likely the team's next game will manage to show on Sony's black box. "We will dev for the PS3 eventually!," a recent tweet proclaims.
While little is known about Team Meat's next game, it promises to be less "straightforward" than Meat Boy. "I think it's going to be more ambitious design-wise and it's going to be more of a challenge for us. It's a bigger project. It's going to be fun and that's exactly why we're into it. It's going to be pretty fresh."
And no, "there will never be a SMB2!," the dev told the world, in case you're asking.
Great news for two top indie games. A Team Meat tweet announces that "Super Meat Boy past the million sales mark last month!" The spattery plaformer recently featured in the superb Humble Indie Bundle 4, which took more than two million dollars in total donations before it closed. "PLATINUM BABY!" said the devs, understandably pleased.
The lovely indie RPG, Bastion has passed the half million mark. "It’s been a good year," said writer, Greg Kasavin on the Bastion blog. Sales on Steam and Xbox Live Arcade pushed Bastion over the half million mark and its success put Supergiant in a good position to start work on their next title. "It goes to show that a lot of folks out there like what we’re doing and want us to keep going, which is great, because we intend to stick together as a team and do just that," says Kasavin.
Woo! We liked both games very much. Find out why in our Super Meat Boy review, and our Bastion review.
It was independent games development's darling of 2010, and all who dared cross it risked the righteous anger of its creators and fans. But badass platformer Super Meat Boy still is not available on mobile gaming's No. 1 platform. And I don't think it's because one of its creators got into a pissing contest with Apple.
It's probably because this kind of game really isn't fun with multitouch screen control, a conclusion reached after spending some time with CheeseMan, the best port of Super Meat Boy you can put finger quotes around. Frankly, I'm not sure it wasn't published by proxy for Team Meat. Either way, it's available now for 99 cents on the iTunes App Store.
CheeseMan is, evidently, doing its thing with the blessing of Edmund McMillen and Tommy Refenes, the creators of Super Meat Boy. Dr. Fetus, their game's antagonist, is right there staring CheeseMan in the face on the first level, after all. Other Meat Boy characters will appear later. And the same gameplay style is there throughout—you're an anthropomorphized cheese cube instead of a meat wad, zipping through a platform level, avoiding spikes, sawblades and other gruesome instant-death traps, clinging to and double jumping from walls and trying to reach the goal in as little time as possible.
Your strategy evolves as it did in the original Super Meat Boy, too. Basically, you go haul ass into some uncharted part of the screen, die, remember there's a hazard there, and try not to hit it in your next life. Controls are carried out on a virtual game pad of left and right and a jump button.
These are not ideal controls for this kind of game. So much of Super Meat Boy involved technical, perfectly timed jumps that you really need fixed, physical controls that you can feel with your digits through a long gaming session, rather than virtual squares that feel no different when you reposition your hands after picking your nose.
My parkour jumps between walls never went smoothly, even without hazards forcing me to act quickly. Too many times I simply wall-humped my way to the top rather than try to switch my left thumb while hammering the virtual jump button at the same time. This is on an iPhone, whose playing surface dimensions reasonably approximate a gamepad controller. On an iPad, I'm not sure what it's like.
CheeseMan is allegedly published by AlphaNoize, a German shop founded in November of this year. It, like Team Meat, is a two-man outfit made up of Hicham Alloui and Arne Worheide. I have no idea if these are pseudonyms, aliases, alter egos or secret identities. They don't appear to be anagrams. Alloui's bio lists work for Ubisoft in his credits.
Maybe CheeseMan is totally original; maybe it exists with a license from Super Meat Boy. Maybe it is the game that allows Team Meat to reach the iOS without compromising the intellectual stance Refenes took way back in March 2010, when he declared iOS devices to be the "Tiger handheld game of this generation."
None of the intrigue changes the fact that you are still playing an extremely demanding platformer with virtual controls, whether meat, cheese, or something else is involved. Good luck.
We've done a lot of big-budget games so far in our Best Video Game Music of 2011 series, but there were some great indie soundtracks released, as well. One of the very best of those was Danny Baranowsky's dangerous, dark, synthy work on the Zelda-esque roguelike The Binding of Isaac.
Described by our own Stephen Totilo as "A wonderfully warped Old Testament Take on The Legend of Zelda," The Binding of Isaac was a rigidly difficult game that centered around punishing exploration and experimentation as players made their way through a series of randomly generated basement levels in an attempt to help the titular hero escape from his mother's zealotous captivity.
It was a wonderfully challenging, creepy game, but what put it over the top for me was Baranowsky's sinister soundtrack. A dark combination of synths and electronic beats, it took a bit of Danny Elfman, a touch of Muse, a hint of old-school Final Fantasy boss music, and brought 'em all together into something dark and unique.
For this entry in our series, I thought it would be fun to chat with Baranowsky about the process behind writing three of my favorite tracks.
This is one of the first tracks to play in the game, and one of the most evocative. It's got this winding, ever shifting 6/8-ish thing going on, and the melody twists and turns and never quite resolves the way you expect it to. The chord progression almost reminds me of a creepy (or, creepier) version of "The Carol of the Bells," which feels appropriate, given the sinister biblical allegory of the game. Here's Baranowsky:
"Welcome to the basement" was kind of the idea [with "Sacrificial."]. Something brooding, a little "music-box"-y, and inspired by classical choral music (to fit in with the biblical allusion). But at this point the way I write is very based on state of mind, I try to consume the aesthetics of the game and the situation of the track at hand, and just be absorbed in it and just.....go.
That it ended up being in 9/8 with other parts in 6/8 just kind of happened, I felt like the asymmetry of it would help to make people not get comfortable in any kind of familiar rhythm, while at the same time having sections that were something to ground the track and give people a feeling of progression.
This piece is gorgeous. Nothing says "a moment of calm in the storm" like some wide, wandering ambient chords. I love the natural sixth that turns up in here—most minor tonalities have a flat sixth, but here, we've got an "A" landing while in C minor (kind of sounds like it's over a Bb chord, actually). It's that brightness that gives things a pensive air, as opposed to the driving dread of most of the other tracks on the soundtrack. Which is fitting, since it plays inside of the "safe" secret rooms in the game.
Late in development, most of the music was done, and I had some time to polish/add extra shit, and so I started doing like the "Shop Theme (Greed)" and "Ambush Room Theme (Burning Ambush)", and I felt that the secret rooms (you find them by bombing walls) was a great opportunity to introduce music unlike most of the rest of the game, kind of a contrast to the madness/insanity/evil of the rest of the game.
Indeed it was.
The funny thing about "Respite" is that the idea for the arrangement came to me instantly, and the whole track was sone in about 15 minutes. Not terribly impressive, it's very short, but the funny thing is Omnisphere (the VST used to make it) had some some dumb ass bug that made it POP every time it looped. I spent hours screaming at my buddy Jimmy Hinson (Big Giant Circles, worked on Mass Effect 2 soundtrack) who is kind of an Omnisphere guru and he calmed me down and helped me fix it. and then, to top it all off, because of the way the game was coded (flash) all the tracks have gaps when they repeat anyway, so it didn't even matter....
This track is shit-hot. In my opinion. What starts out as the sort of typical boss-battle-ish driving thing quickly morphs into something more notey and more compelling. Right around 0:33 shit gets real, as the beat double-times with this cool-as-heck ascending sixteenth-note line in E minor, pulling up, up, up and back around to the driving, building main theme. A terrific example of boss-style music done right.
I don't know why but boss music has always been my favorite music from probably anything ever. I can't begin to try and guess how many hours of my life I've listened to the boss themes from FF4, FF6, FF7 and FF8 on loop. I like to think my boss themes are very Uematsuean (i just coined that), which feels like blasphemy to say, but he is by far the greatest influence on my with regards to music in general, and certainly boss themes.
As influences go, you could certainly do a lot worse than Final Fantasy maestro Nobuo Uematsu, a.k.a. the guy who wrote J.E.N.O.V.A.
You can download the The Binding of Isaac soundtrack for ridiculously cheap from Baranowsky's BandCamp page, and he has also just released a very cool album of piano renditions of tunes from his killer Super Meat Boy soundtrack. Check 'em both out.
We'll be back tomorrow with another of 2011's best video game soundtracks.
"The Best Game Music of 2011" is a multi-part series highlighting the best video game soundtracks of the year.
The well-meaning earnestness and awesome gaminess of the Humble Indie Bundle IV are being exploited by evil internet users who would probably sell their own grans to be in with a chance of winning the latest Steam competition.
According to the Humble Indie Bundle blog, distinctly un-humble buyers are using the Steam codes from the Humble Indie Bundle to legitimise throwaway Steam accounts created specifically to enter Valve’s current raffle. “It’s a lose-lose situation for the indie developers, charities, Valve, and Humble Bundle,” says the blog.
To combat this, the minimum you’ll have to spend in order to get Steam keys in your Bundle is $1, instead of 1 cent. If the Scrooges among you can’t afford the $1 minimum you can contact the Humble Indie guys and they’ll send you the Steam keys - if you promise not to resell them or otherwise abuse them.
The incessant, nauseating loop of Band Aid on the radio and tear-jerking ads for homeless dogs on the telly are there to remind us that Christmas isn’t just about being drunk for a whole day, but that it’s also about donating to charities and hard-up indie game developers. Let's just hope the Humble Indie guys don't lose faith in the goodness of humanity.
Rock, Paper, Shotgun - email@example.com (Alec Meer)
Good news and less good news from the Humble Bundle camp today. The happier end of the bargain is that purchasers of the current Humble Bundle 4 now get the base contents of Humble Bundle 3 (i.e. VVVVVV, Crayon Physics Deluxe, Cogs, And Yet It Moves, and Hammerfight) added to their pack. That’s if they’ve bought HB4 already. If they haven’t, they’ll have to beat the average price to get the bonus goodies. The average price is currently $5.17 million. (more…)
Did that headline get your attention? Good, because you should go and read this super-cool piece by Kill Screen's Lana Polansky about mechanics, practice, saxophone, jazz, and Street Fighter. (It also features the amazing illustration above, drawn by Daniel Purvis.)
Wait, why the heck am I referring to myself in the third person? Ugh. Anyhow, Polansky's piece is tackling an angle near and dear to my heart, looking at how Street Fighter requires a strict, musical mastery of its systems before play is possible:
I can't imagine a more perfect example than Street Fighter for how a game system can treat practice and play. It not only demands a fairly profound understanding of how its mechanics work, but allows players to combine those mechanics in intriguing and unusual ways once they understand them. Once mastery is achieved, the feeling of play emerges.
From there it goes to a lot of super brainy places, like… the work of Hungarian psychology professor Mihaly Csikszentmihalyi and Bit.Trip Beat and Super Monkey Ball.
It's a cool piece, and worth a read. Everyone we can get to start talking about music and games in this way is a win, as far as I'm concerned. The two have so much in common, we gotta get those crazy kids together more often.