Super Meat Boy Galaxy is a prototype for a 3D version of Super Meat Boy set on a Mario Galaxy-esque globe. It was created by developer at Preloaded, Aubrey Hesselgren, as a 30th birthday present for Super Meat Boy programmer, Tommy Refenes. On his blog, Hesselgren has announced that he's decided to hold his own prototype to ransom in an attempt to raise £10k for the The Samaritans. Here's the ransom note.
Hesselgren describes the prototype as "just a bit of a throw away experiment. It was never intended as a “pitch” to make such a game." If the £10k goal is met, Super Meat Boy Galaxy will be released from its basement, wrapped in a police blanket, led away to safety and then released to the public for everyone to play. If it doesn't meet the target, those who donate will still get a copy of the prototype. Though Hesselgren has hinted that he'll probably end up releasing it for everyone to play anyway adding "I'm the worst ransomer ever."
"Bear in mind that this is a prototype, and as such will not be as friendly and polished as a final game," he adds. "Its main purpose was to investigate whether Super Meat Boy’s kinaesthetically pleasing platforming physics could survive the leap to 3D, given the right camera and level layouts." This video suggests that those pleasing platforming mechanics translate rather well, don't you think?
Developer Aubrey Hesselgren has released a video of his "completely unofficial 3D version" of Super Meat Boy, which he whipped up for Tommy Refenes' (one half of Team Meat) 30th birthday. Using Unity and Blender, Hesselgren - also known as HilariousCow - combined SMB's bloody walljumping with the wraparound worlds of Super Mario Galaxy, and the result is a demo/proof-of-concept that's far better than many commercial attempts to move a 2D series into the third dimension.
Of course, with this being a birthday present - and "a bit of a training exercise" - Hesselgren has said that he probably won't release it to the wider world. At least we'll always have this video, which shows that it is possible to convert something like Super Meat Boy into 3D, if you take the time to get over the camera hurdles. Can someone do Binding of Isaac next, please?
Hotline Miami is all about learning through repetition, then executing a perfect murder ballet.
Tyler Wilde, Associate EditorThe word "repetitive" commonly has a negative connotation, and it's especially used negatively (all the time, every time, forever and ever) when talking about games. And often it's followed by a bunch of no elaboration at all. That doesn't make sense. I'm sure I've done it before, but criticizing a game for being "too repetitive" and leaving it at that is—strictly speaking—meaningless. A game might lack variety, but every game is repetitive. We repeat some pattern of input—running and shooting, stacking blocks, bouncing balls off blue dots—over and over, and expect uniform feedback. Then the problem changes slightly, and we tweak our input pattern. And then again. And yet "too repetitive" is lobbed at games all the time.
Alright, I know that sounds a bit pedantic, and I do recognize the difference in tone between "repetition" and "repetitive." Lack of variety is a fair criticism, but "too repetitive" is an extremely vague way to say it, and it dodges the truth: when we criticize a game for being "too repetitive," I think we often mean that we just don't like what we're doing. "It's repetitive" is shorthand for "this isn't fun (for some reason)."
If we like what we're doing, repetition is desirable. I like solving puzzles in Portal, and once I solve one I want to solve more. I don't want to solve the exact same puzzle again, but I don't want to stumble into a surprise Sudoku chamber, either. So Portal gives me increasingly clever arrangements of portal-ey logic problems. The puzzles get harder, but they're all just iterations of the same basic spatial problem I solved in the first puzzle. So after all my twisty, knotty figuring arrives at a solution, it always seems just as simple as the first time. That sense of clarity comes from repetition.
Super Meat Boy replays your failures, illustrating your own learning process.
Repetition is also how we learn, and both Super Meat Boy and Hotline Miami succeed by embracing that power. They present problems in small chunks—a level in Super Meat Boy and a floor of thugs in Hotline Miami—and rapidly reset them every time we fail. Each attempt gives us new information to apply to the next, building layers of experience on the way to that one perfect run. And that perfect run feels good: it's an accomplishment, like unknotting an especially tricky puzzle in Portal. Except in Hotline Miami there's more brain-stuff and skull chunks lying around afterward.
The same goes for Counter-Strike, StarCraft, and the rest. At their most basic levels, they're about repeating and mutating input patterns to solve variable, but not totally unpredictable, problems. The variables in Counter-Strike, for example, are the guns, maps, and opponents. That's been enough variety to keep us repetitively shooting at each other for 13 years.
Repetition can be pretty damn fun, so we've got to be specific, and always ask ourselves if it's really the repetition of a theme that bothers us, or the theme itself. I can shoot bad guys all day, so complaining that "the shooting is repetitive" in Medal of Honor: Warfighter would be confusing. Further examination would reveal that the guns, maps, and enemies have specific traits I don't like, which has nothing to do with repetition (except that the more I do them, the less I like them).
Fearing the dreaded "repetitiveness" may even be bad for games: that's probably how we end up with off-key phrases at pivotal moments, like a boss fight which takes away the gun I've been using the whole time and sticks me in a surprise platformer. It's variety, but it screws up the whole composition. A performance of Rachmaninov's Piano Concerto No. 2, for example, would not benefit from an unexpected dubstep interlude. No, I wasn't talking to you, Skrillex. Are you drunk? Go home, dude.
Anyway, if at first glance this looks like an ostentatious rant about a personal pet-peeve, then you may have seen correctly. But maybe not: try Googling any game name with the phrase "too repetitive." It's everywhere. I get what's meant by it (sort of, kind of, some of the time), but it says very little. It may not even be a criticism, because games like Hotline Miami wouldn't be fun without repetition. If dying and respawning didn't reset the level, and our prior kills stayed bloodied, it would be ruined. Maybe then we'd say that it's not repetitive enough?
Edmund McMillen, the man behind Super Meat Boy and The Binding of Isaac has announced the release date for The Basement Collection. A grab bag of his earlier projects, many of the titles have been polished up with new visuals, music, and even content in some cases. It'll release on August 31st for $4 on Steam.
The promo on McMillen's website lists the following games:
Time Fcuk (updated with new content + levels and achievements) Aether (updated with new content, graphics make over, improved physics and achievements) Spewer (updaed with new content, graphics make over, improved physics, new levels, new music track and achievements) Grey Matter (added achievements) Coil (added achievements) Meat Boy(flash prototype) (no new content) Triachnid (no new content) Secret game (locked) (updated with new content, soundtrack, difficulty modes and achievements)
McMillen also boasts that "Every game will come with bonus content, ranging from development sketches to early playable prototypes and tech demos," and "will also feature four very large bonus unlockables that should make fans of my work quite happy." The Basement Collection will also come with a free soundtrack, including 10 fan-made remixes.
"Who would have thought a game about an abused child fighting off his mother with his tears could ever sell 700k copies in less than a year? Not me, that's for ****ing sure."
So begins an e-mail that Binding of Isaac co-creator Edmund McMillen sent us this morning. The popularity of the Wrath of the Lamb DLC has helped his weeping foetus roguelike rack up an incredible number of sales - but its launch, McMillen says, could have gone better.
"The limitations of Flash and the abundance of items caused an infinite number of variables that we simply couldn't effectively test, and it kinda sucked. We were able to squish all the major game breaking bugs in the 1st day of release, but it still left a bit of a bad taste in my mouth - so we decided to do yet another content update to the already bloated experience."
Wrath of the Lamb version 1.3 is out now and if you already own the DLC then the update doesn't cost anything. It adds new items, bosses, enemies, music and a new ending cutscene "that should shed some light on the game's story even more."
McMillen has also announced on his blog that he's working with Tyler Glaiel of Eyebrow Interactive on remastered versions of three of his flash games - Aether, Time Fcuk, Spewer and "an extra little unlockable game."
The games will be updated with achievements and bundled together as 'The Basement Collection', which will cost $3 on Steam.
Check out our Binding of Isaac review for more on why the game deserves your attention. The launch of Super Meat Boy is also covered in detail in Indie Game: The Movie, which we also liked.
Boys in their bedrooms, drop-out dreamers, shut-in gore fetishists - if ever a film were to quash the red-top stereotypes of game developers than this would surely be it. Indie Game: The Movie follows four of the most thoughtful, hard-working and sensitive young fellows you could probably find in this business or any other, and is both a clarion call for the thrilling creative freedom of independent development and a grim warning of its near-lethal stakes.
The sheer graft underpinning the development of Braid, Fez or Super Meat Boy is writ large here, and accompanied by no small amount of heartache. Charting half a decade of development, the filmmakers cherry-pick from a catalogue of dramas, as the four developers struggle with the threat of financial oblivion, acrimonious legal wrangles, corrosive relationships with corporate gatekeepers, depression, insomnia, bad diets and eccentric facial hair.
Just how much they sacrifice to ship their game, and just how much they suffer both before and after, makes for moving viewing. The film deftly sketches their characters, too: a shot here of the meticulous Jon Blow, developer of Braid, sitting with stiff poise in a bare apartment; a shot there of Super Meat Boy’s Tommy Refenes drowsily pawing through a pile of grease-stained to-do lists. Refenes and his Team Meat partner, Edmund McMillen, are an endearingly asymmetrical duo - the tattooed, moustached McMillen is relaxed and warm, but touchingly vulnerable, while the skeletal Refenes is dryly cynical and seems permanently exhausted. You suspect his energy levels might improve if he didn’t survive on microwave burgers.
It’s Phil Fish, however, who offers the most wrenching story of all. While everyone seems willing to kill themselves to make their game, only in Fish’s case does this appear to be a literal threat. His game, Fez, has been in development for years by the film’s start, and has yet to ship when the titles roll. You get a glimpse of the reason for this in Fish’s painstaking pixel-perfect overhaul of the game’s textures - the third they have undergone. Like all of the film’s subjects, this man is a perfectionist, possibly to the point of self-annihilation.
Curiously, though the film expertly explains the passion it fails to describe the projects at which it is directed. Sure, we know Braid does something funny with time, and Fez goes all 3D - but how these things are manipulated to create elegant puzzles and transcendent epiphanies goes unrecorded. Blow even describes sinking into a depression when Braid’s rapturous reception failed to acknowledge his meta-narrative, but we never even understand how brilliant Braid’s time-contorting mechanics are, let alone what its meta-narrative entails. For the uninitiated, all three of the featured platformers might end up looking very similar, and though the film focuses on the human story behind these developments, the intelligence and intent of their construction surely deserves more space. As it is, without a ready explanation of the games’ ambition and worth, the film undersells the development as something akin to tilting at windmills.
There are some striking insights when the devs are allowed to discuss the design process: Blow describes how he structures his game as a dialogue with the player, so that the mechanics tumble out as minor revelations during play. Making an intimidating conundrum isn’t the interesting thing, he suggests, but bringing the player to a comprehension of it. Perhaps this answers Blow’s own puzzle: one reason for the lukewarm response to his narrative ambitions may be that they appeared opaque for opacity’s sake.
Some of the connections the film makes are a little crude and possibly overly-manipulative: McMillen talks about his game’s protagonist, Meat Boy, a character whose absence of skin leaves him vulnerable and in constant pain. He needs his girlfriend, who is made of plasters, to complete him. Cut to: interview with McMillen’s girlfriend. It’s a metaphor, see.
The film also sags in its last part, apparently not quite sure what to do with Super Meat Boy’s tremendous success, except repeat it several times. Oddly, it even revisits a long mission statement Blow gives at the film’s start. Maybe the filmmakers were hoping for material provided by the launch of Fez, but Phil Fish’s ever-retreating schedule evaded them. The lack of conclusion to his tale does leave something of a void, although it is heartening to know, as we now do, that he has probably since become rather rich.
Was it worth the effort? Refenes pays off the mortgage on his parents’ house, McMillen buys his girlfriend a hideous cat, Blow pours millions into his next development (The Witness), all because they ship their games and people love them. By the fortuitous choice of its subjects the movie escapes the difficulty of wrangling a heartwarming tale from bankruptcy and suicide, but it’s not a story without moments of bleakness. Indie Game: The Movie is an inspiring film, and even if it is rather vague about the specific appeal of the games themselves, it delicately articulates the passion, idiosyncrasies and brilliance of the developers as they pursue uncompromised creativity - and at what cost.
Come with me, back into the distant past. Don't mind that wibbly blurry effect and that "WooOOoOOooOO" noise, that's just what happens when you go back in time. We're almost there. All you have to do is click this link and make the transition to April 4 2011!
I've always wanted to say that. If you just took the trip, you'll know exactly what I'm talking about. You'll also have a good idea as to whether or not you'd like to purchase the games going in the return of the potato sack sale on Steam.
Indie Game: The Movie is available to download on the official site and iTunes. It'll be released on Steam in about seven hours time, making it the first ever full-length movie to be released on the platform.
You could use Steam's remote download feature to kick it off from your office/school/college then watch it while eating your tea this evening. That's what I'm planning on do.
Alternatively, you can purchase on the official site and sneakily stream it in the corner of your monitor. Or just buy it on iTunes and watch it on your iOS device from a toilet cubicle.
Indie Game: The Movie was directed by Lisanne Pajot and James Swirsky. It follows Tommy Refenes and Edmund McMillen as they create Super Meat Boy in late 2010 as well as Phil Fish, who struggles to prepare his first public demo of Fez. A post-Braid Jonathan Blow also features as he decides what to do after his massively successful indie. Jim Guthrie composed the score; he's the musician behind the Superbrothers: Sword and Sworcery EP.
We'll have our review of Indie Game online soon. Are you excited about watching?
Innovative platformer Braid, differently innovative platformer Super Meat Boy and horror adventure game Lone Survivor have been added to the already immensely successful Humble Bundle 5. Anyone who's already bought the bundle will be able to grab the new games gratis. If you haven't already bought the bundle (WHY???), you'll need to splash out more than the average (currently $7.87) to get the three games included.
The latest Humble Bundle has been the best yet, packing Bastion, Limbo, Amnesia, Psychonauts and Superbrothers into one tidy and cheap virtual box. Now it's hard to know how it could be any more awesome, unless it added Half-Life 3 to the roster. We're also not sure how any future bundle can stand a hope in hell against its sheer blinding awesomeness.
Astronomers, heed my call: have the stars that control the fate of digital distribution may entered some strange alignment? After releasing a board game earlier today, we learn that Steam will be selling a film on the service next month. Appropriately, it's Indie Game: The Movie.
The Kickstarted film has been popping up in theaters since March, and will also be available on iTunes when it releases on Steam on June 12. I wouldn't expect this—at the very most, Valve is testing the waters for selling other content with something that's highly relevant to gamers.
If you're wondering if Fez might make its way to PC, I'll refer you to a quote from creator Phil Fish made to NowGamer: “Fez is a console game, not a PC game. It’s made to be played with a controller, on a couch, on a Saturday morning. To me, that matters; that’s part of the medium. I get so many comments shouting at me that I’m an idiot for not making a PC version. ‘You’d make so much more money! Can’t you see? Meatboy sold more on Steam!’ Good for them. But this matters more to me than sales or revenue. It’s a console game on a console. End of story.”