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Tommy and I went out that day in search of the most ridiculous sweater vests we could find, broke into Sears Photos and used their setup to take what would become our team headshots. It suddenly seemed so insane how serious everyone takes an industry whose goal is supposed to be entertainment. I remember the day we got an email from Nintendo asking for head shots and a developer bio. We had sounds, animations, and everything with one quick export that the engine could easily manipulate and call when needed.Įdmund: Very early on, both Tommy and I became a bit frustrated by the very rigid work environment most developers told us we needed to have in order to be taken seriously and get things done. This paid for itself with the very first export of Meat Boy that Ed did.

Basically it was a script that packed all the Flash symbols into one texture and exported animation information with sound cues. The only other tool we had was the Flash Exporter I made.

The in-game level editor was invaluable because it provided Edmund the ability to make levels with a 'what you see is what you get' mindset. There weren't many tools used with Super Meat Boy. When a bug would pop up, I could track it down immediately no matter how low to the hardware it was. I honestly feel the reason we were able to do this is because I was so involved with the code. Personally, I think that's record time for a game made by two guys with as much content as it has.

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Since we're indie and can do what we want, and since I had the skill set, I simply enjoyed doing the engine.ĭevelopment of Super Meat Boy took 18 months from the first line of engine code I wrote to the last line of error messaging code I wrote before final submission to XBLA certification. I enjoy all aspects of game programming, from the engine to the gameplay. Also, I got into games to program games, not to script them.

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That way, if something breaks, I know exactly where and how to fix it. I'm sort of a control freak when it comes to code I like to understand everything that's going on in my codebase. Tommy: When I tell most people that I made the engine and tools myself, they usually ask, 'Why did you do that?' My friends over at FlashBang try to cram Unity down my throat every single time I talk to them, but I stand by the decision to make our own tools and engine. Getting this console deal was basically our one big break, our one shot to show everyone who we were and what we could do. We just wanted to make something fun and have fun making it. I knew right away that whatever we decided to work on together would be fun, and this was how Super Meat Boy got made. Working with Tommy felt a lot like hanging out with my best friend in junior high, nerding out and going off on tangents that would annoy just about everyone around us. I've worked with a lot of programmers over the years, and my past artist/programmer relationships were always a bit alien. Originally my first pitch to Microsoft was Gish 2, and Nintendo was more interested in an expanded version of Aether, but the deciding factor was actually determined by a chance friendship.

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In 2008 I was contacted by Microsoft and Nintendo about working on something for their download services. I had no idea it would become one of my most-played Flash games, let alone spawn a full-fledged console game. Super Meat Boy originated as a simple Flash prototype that an online friend of mine (Jon McEntee) and I made during our free time over the course of three weeks.

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When I was in middle school I would draw up designs for what I thought would be the ultimate video game: full of blood, huge bosses, epic worlds, and a story that would follow an immortal hero through hell, the end of the world, and beyond.

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