CREDITS (RAW) - HackMD

# CREDITS (RAW) <color=orange>REVOLVER</color> LEFT: 2018 Original by FlyingDog RIGHT: 2022 Remake by Victoria <color=orange>REWOLWER</color> LEWY: 2018 Oryginał wykonany przez FlyingDog PRAWY: 2022 Przeróbka wykonana przez Victoria *The first weapon as well as the first model ever made for the game. As usual, there was no concept art, so the design was made up on the spot by FlyingDog based on a prompt from me. Victoria has since then remade the model and texture while keeping true to the original design, making for a straight visual upgrade.* Pierwsza broń i pierwszy model stworzony dla tej gry. Jak zazwyczaj, nie było żadnego konceptu, więc model został wymyślony na miejscu przez FlyingDog na podstawie mojej sugestii. Od tamtego czasu Victoria przerobiła model i tekstury zachowując wierność oryginalnemu projektowi, otrzymując proste ulepszenie wizualne. *The revolver originally had different green and red variations. The old green variation was the ability to ricochet shots off of surfaces, inspired by Revolver Ocelot. Unfortunately, while cool in concept, it was extremely unwieldy and awkward to use, requiring far too much set up and positioning to be used efficiently, clashing hard with the game's fast pace. The idea of showing off marksmanship via ricocheting shots stayed however, and was reinterpreted into the now iconic and far more useful coin version.* Oryginalnie rewolwer miał inne zielone i czerwone warianty. Stary zielony wariant miał możliwość rykoszetowania strzałów od powierzchni, inspirowaną przez Revolver Ocelot.(Nie wiem jak nazywa się ta postać w polskim help) Niestety, mimo iż koncept wymiatał broń była okropnie nieporęczna i niewygodna w użyciu, wymagając o wiele za dużo przygotowań i pozycjonowania by efektywnie jej używać co konfliktowało z szybkim tempem gry. Pomysł popisywania się strzelectwem przez rykoszetowanie strzałów pozostał i został przerobiony na ikoniczną i bardziej przydatną wersję monetową. *The red variation was a dual wield variation, where the left revolver was fired with the primary fire and the right revolver with the secondary. As with the green variation, this was cool in concept, but mechanically it was very uninteresting beyond the initial novelty. I had some ideas on how to "fix" it, but I ended up scrapping it entirely instead, and since then the dual wield idea has been reinterpreted into the much more fun and freeform dual wield powerup.* Czerwony wariant był trybem ?podwójnego władania?, w którym lewy rewolwer był operowany przez przycisk głównego strzału a prawy rewolwer strzałem alternatywnym. Tak samo jak w zielonym wariancie, zamysł był dobry lecz mechanicznie był nieinteresujący po chwili użytkowania. Miałem parę pomysłów na "naprawienie" go, lecz końcem końców całkowicie usunąłem projekt a pomysł na ?podwójne władanie? został przerobiony na o wiele ciekawszy/e i swobodniejszy/e ?dopalacz?/wzmocnienie. --- *<color=orange>FILTH</color> LEFT: 2018 Original by Toni Stigell and FlyingDog RIGHT: 2020 Remake by Jericho, BigRock and Victoria* <color=orange>FILTH/PASKUDZTWO/PASKUDA</color> LEWY: 2018 Oryginał przez Toni Stigell i FlyingDog PRAWY: 2020 Przeróbka przez Jericho, BigRock i Victoria *The Filth, originally just called "Zombie" or "Husk", was the second enemy designed for the game. We didn't have concept artists at the time, so I just told Toni to make a scrawny zombie like the ones from Quake. This was the usual process before BigRock joined as the first concept artist, and the contrast in design quality makes it clear that creative concept artists can really make a big difference.* Paskudztwo, oryginalnie/wpierw nazwany po prostu "Zombie" lub "Husk/Łuska", było drugim wrogiem zaprojektowanym dla gry. Nie mieliśmy wtedy artystów koncepcyjnych, więc poprosiłem Toni o cherlawego zombiaka jak te z Quake'a. To był normalny proces zanim BigRock dołączył jako pierwszy artysta koncepcyjny, i kontrast w jakości modeli daje do zrozumienia jaką róznicę mogą zrobić kreatywni artyści koncepcyjni. *An interesting aspect of the Filth is that, in the early versions of the demo, people complained about the AI of the melee enemies being too dumb, but those complaints completely stopped after the redesign. The new version actually looks like a mindless swarming monster that only thinks about eating, so it being dumb no longer felt out of place or like a flaw. Properly messaging the purpose of an enemy or object through how it looks is an often underappreciated aspect of character design.* Ciekawym aspektem Filth/Paskud jest to, że we wczesnych wersjach dema, ludzie narzekali na głupie AI przeciwników walczących wręcz(?) / na to, że AI przeciwników krótkiego zasięgu było zbyt głupie/tępe, ale te skargi zupełnie znikły po przeróbce. Nowa wersja rzeczywiście wygląda jak bezmózgi potwór co myśli tylko o jedzeniu/najedzeniu się, więc jego tępota nie była już postrzegana jako nie na miejscu lub jako wada/błąd gry. Odpowiednie pokazanie roli przeciwnika lub obiektu poprzez to jak wygląda jest często niedocenianym aspektem projektowania postaci. *The new design is inspired by the debut album by Swans, which is also where the enemy got its name from. At first the model's mouth and teeth were much smaller, but I just kept telling Victoria "BIGGER!" until we reached the point it's at now.* Nowy projekt był inspirowany debiutanckim albumem od Swans, skąd wzięła się również oryginalna nazwa przeciwnika. Z początku paszcza i zęby modelu były dużo mniejsze, ale zwyczajnie mówiłem Victorii "WIĘKSZE!" dopóki nie osiągnęliśmy stanu w jakim jest teraz. *The Filth was originally colored orange to make it fit into the Prelude chapter, but it actually became an issue where people would often have a hard time seeing them since they fit in too well, so their primary color was swapped to green instead.* Paskudztwo/Paskudy pierwotnie było pomarańczowe aby lepiej pasowało do rozdziału Preludium, ale stało się to problemem gdy ludzie często mieli kłopoty z zobaczeniem go gdyż pasowało trochę zbyt dobrze, więc jego podstawowy kolor został zamieniony na zielony. --- ADDITIONAL MUSIC CREDITS: DODATKOWE PRZYPISY MUZYCZNE: *"Take Care", the shop theme: Sampled from "Were You Foolin'" by the Russ Morgan Orchestra (Public domain)* "Take Care", motyw sklepu: Próbkowany z "Were You Foolin'" przez Orkiestrę Russ Morgan (Domena publiczna) *"Cerberus" in 0-5: CERBERUS: Classical music sampled from "Mars, the Bringer of War" from Gustav Holst's Planets Suite (Public domain)* "Cerberus" w 0-5: CERBER: Muzyka klasyczna próbkowana z "Mars, the Bringer of War" z Planets Suite Gustava Holst'a (Domena publiczna) *"Clair de Lune" in 1-4: CLAIR DE LUNE: Written by Claude Debussy, performance by Laurens Goedhart (CC 3.0 license)* "Clair de Lune" w 1-4: CLAIR DE LUNE: Napisane przez Claude Debussy, wykonane przez Laurens Goedhart (Licencja CC 3.0) *"BWV 639 'I call to you, Lord Jesus Christ'" in 3-2: IN THE FLESH: Written by Johann Sebastian Bach (Public domain)* "BWV 639 'I call to you, Lord Jesus Christ'" w 3-2: WE WŁASNEJ OSOBIE: Napisane przez Johanna Sebastiana Bacha (Domena publiczna) *"The Spinal Staircase" in P-1: SOUL SURVIVOR: Sampled from "Sourire d'Avril" composed by Maurice Depret (Public domain)* *"CHAOS" in P-1: SOUL SURVIVOR: Bass clarinet and soprano saxophone improvised and recorded by Quetzal Tirado* *"Deep Blue" in 5-1: IN THE WAKE OF POSEIDON: Tenor saxophone improvised and recorded by Quetzal Tirado, edited by Hakita* *"Fallen Angel" in 6-2: AESTHETICS OF HATE: Adapted from "BWV 639 'I call to you, Lord Jesus Christ'" by Johann Sebastian Bach* *"7th Symphony, 2nd Movement: Allegretto" in Intermission 2: Written by Ludwig van Beethoven, performance by Lambis Vassiliadis (Public domain)* --- *<color=orange>STRAY</color> LEFT: 2018 Original by Toni Stigell, FlyingDog and Hakita RIGHT: 2020 Remake by Jericho and Sam* <color=orange>STRAY/ZABŁĄKANY/TUŁACZ/STRACHAJŁO</color> LEWY: 2018 Oryginał przez Toni Stigell, FlyingDog i Hakita PRAWY: 2020 Przeróbka przez Jericho i Sam *The Stray was originally just called "Projectile Zombie" or "Projectile Husk" and, for one short period of time, "Stalker", though that name was then instead given to the enemy that has it now. Toni was busy at the time, so I, with my limited Blender knowledge, just edited his original Filth model to make the original version of the Stray, and then FlyingDog made the texture for it. Again, we didn't really have any concept art, so the texture was just based on the prompt "A skeleton with all the organs and meat still inside it", or something like that.* Tułacz oryginalnie był nazwany "Zombie Pociskowy/Strzelający Zombie" albo "Łuska Pociskowa/Strzelający Husk/Martwiak" i na krótki czas "Tropiciel", jednak to imię było oddane przeciwnikowi który teraz je ma. Toni był wtedy zajęty, więc ja, z moją ograniczoną wiedzą Blendera, po prostu przerobiłem jego pierwotny model Paskudztwa by stworzyć pierwszą wersją Tułacza, a potem FlyingDog zrobił dla niego teksturę. Znów, nie mieliśmy konkretnych konceptów, więc tekstura była bazowana na zdaniu "Szkielet ze wszystkimi organami i mięsem dalej w środku", czy jakoś tak. *The new version, based on Jericho's design for the Soldier, still keeps that general idea but executes it in a much less cartoony way.* Nowa wersja, bazowana na projekcie Żołnierza od Jericho, dalej trzyma się tej ogólnej idei ale wykonuje ją w dużo mniej kreskówkowy sposób. --- *Heya! Welcome to the developer museum. I'm Hakita, the lead developer of the game. I started off working on the game mostly by myself, but overtime the game has grown a lot and I've gotten so many wonderful people helping me out over the years, so here they all are!* Hejka! Witaj w muzeum deweloperów. Jestem Hakita, główny deweloper gry. Zacząłem pracować nad grą w większości samemu, ale z czasem gra urosła znacząco i otrzymałem pomoc od tak wielu wspaniałych ludzi przez te wszystkie lata, więc oto są wszyscy! *This museum was mostly created by Vvizard, with just touchups, iteration, writing and additional easter eggs by me. You can find him in the "Rest Room" down the hall and to the left.* Te muzeum zostało stworzone przez Vvizard, z małymi detalami, iteracją, i niespodziankami ode mnie. Możesz go znaleźć w "Pokoju Odpoczynku" w dół korytarza i na lewo. *Take a look around! The first floor is for all the people who have helped out with the game's development and the second floor is all kinds of other neat development related things, like cut content and early versions of stuff. There's also plenty easter eggs hidden around the museum!* Rozejrzyj się! Pierwsze piętro jest dla wszystkich którzy pomogli z rozwojem gry, a drugie piętro jest dla najróżniejszych ciekawostek związanych z tworzeniem gry, jak wycięta zawartość i wczesne wersje różnych rzeczy. Jest również mnóstwo niespodzianek schowanych w muzeum! *Most developers will have a book like this in front of them, in which you can read details of how they helped in the creation of this game. Here's mine!* Większość deweloperów będzie miało książkę taką jak ta przed nimi, w której możesz poczytać o tym jak pomogli w tworzeniu tej gry. Oto moja! --- *<color=orange>HAKITA</color> - CREATOR OF ULTRAKILL* <color=orange>HAKITA</color> - TWÓRCA ULTRAKILL(a) (WIP) *I started development on the game on February 1st, 2018. At the time it was just me, with FlyingDog and Toni Stigell making an occasional 3D model. While the development team has changed and grown since then, I still do the majority of the work myself... Just closer to like 60% of it now than the old 99%.* Rozpocząłem prace nad grą pierwszego lutego, 2018. Wtedy byłem tylko ja, i FlyingDog oraz Toni Stigell dodający czasem modele 3D. Wprawdzie od tego czasu zespół deweloperski się zmienił i rozrósł, ale ja dalej robię większość pracy sam... Tylko teraz bliżej do jakichś 60% zamiast starego 99%. My contributions include: <size=18> - All direction, game design, sound design, story and animation - All level design, except this museum, the Sandbox and 5-S - All music, except some public domain songs and songs by guest composers (who you'll find down the hall and to the left) - Most writing, programming and art direction - Just in general, if it's in the game, I had my finger in that pie </size> Mój wkład obejmuje: <size=18> - Całe kierownictwo, projektowanie gry, dźwięków, fabuły i animacji - Projekt wszystkich poziomów, oprócz tego muzeum, Piaskownicy i 5-S - Cała muzyka, oprócz utworów z domeny publicznej oraz od kompozytorów gościnnych (których znajdziesz w dół korytarza i po lewej) - Większość pisania, programowania i kierunku artystycznego - Ogólnie, jeśli coś jest w grze, to maczałem w tym palce </size> <color=orange>"Thank you for playing, and hopefully enjoying, ULTRAKILL. It's insane to me that a passion project I started just based on what I thought was fun in games has grown to be such a massive success. I've met so many amazing people thanks to this game and the community that has grown around it has been a source of much joy (and plenty of anguish) in my life. It's a rare gift to be able to not only create a work like this with full creative control, but also to be able to make a living off my own art without having to compromise on my vision, and it's all thanks to New Blood, all the developers here in this museum, and most importantly... YOU!"</color> <color=orange>"Dziękuję ci za zagranie w, i mam nadzieję polubienie, ULTRAKILL. Dla mnie to niepojęte że projekt z pasji, opierający się tylko na tym co myślałem że może być fajne w grach, wyrósł w tak ogromny sukces. Spotkałem tak wiele świetnych ludzi dzięki tej grze, a społeczność która zebrała się wokół niej daje mi wiele szczęścia (oraz boleści) w życiu. To rzadka okazja by móc nie tylko stworzyć projekt jak ten z pełną kreatywną kontrolą, ale też móc zarabiać na życie z własnych dzieł bez zdawania się na kompromisy, a to wszystko dzięki New Blood, każdemu deweloperowi w tym muzeum, oraz... TOBIE!"</color> --- <color=orange>SHOTGUN</color> LEFT: 2019 Original by FlyingDog RIGHT: 2022 Remake by Victoria <color=orange>STRZELBA</color> LEWY: 2019 Oryginał przez FlyingDog PRAWY: 2022 Przeróbka przez Victoria *As with the revolver, the shotgun was made by FlyingDog without concept art, and later remade by Victoria, keeping it faithful to the original design while updating it to fit the game's new visual style better. The new version is lighter in color, since the original matte black style ended up very muted due to the game's vibrant colored lighting, though the people who preferred the old style can use the first color preset to get it back.* Tak jak z rewolwerem, strzelba została zrobiona przez FlyingDog bez żadnych konceptów, a później przerobiona przez Victorię by lepiej pasowała do nowego stylu wizualnego gry, pozostając wierną pierwotnemu wyglądowi. Nowa wersja ma jaśniejszy kolor, gdyż oryginalny matowo-czarny styl był bardzo zagłuszony przez jaskrawe oświetlenie gry, choć ci co preferowali stary styl mogą go przywrócić używając pierwszego ustawienia koloru. *The shotgun had some balancing issues when it was originally added since all enemies already died from just a couple of revolver shots, making the shotgun feel pointless in comparison, leading to a bad first impression. Eventually I had the idea of changing the projectile code slightly, making it so shotgun projectiles don't get destroyed when hitting an enemy that is already dead. This small change is really what opened the shotgun up, turning it from just a slow single target damage dealer into a chaotic weapon of mass destruction, making it useful against both tankier enemies as originally intended as well as crowds of weaker enemies.* Strzelba miała parę problemów z balansem po pierwotnym dodaniu do gry, jako że wszyscy wrogowie już ginęli od kilku strzałów z rewolweru to strzelba wydawała się niepotrzebna, prowadząc do złych pierwszych wrażeń. Ostatecznie miałem pomysł by zmienić trochę kod pocisków, sprawić żeby pociski ze strzelby nie niszczyły się po uderzeniu przeciwnika który już jest martwy. Ta mała zmiana znacząco otworzyła możliwości strzelby, zmieniając ją z powolnego narzędzia na jeden cel w chaotyczną broń masowego zniszczenia, dzięki czemu jest użyteczna zarówno na odporniejszych wrogów jak i na tłumy słabszych wrogów. --- <color=orange>JERICHO_RUS</color> - CONCEPT AND TEXTURE ARTIST <color=orange>JERICHO_RUS</color> - ARTYSTA KONCEPTÓW I TEKSTUR *Jericho joined the team in 2019, shortly before the original Prelude demo's release. He's responsible for many of the game's character designs and most of its weapon designs, as well as all the level textures for layers 2-4 and some textures for the Wrath layer.* Jericho dołączył do zespołu w 2019, chwilę przed wypuszczeniem pierwotnego demo/a Preludium. Jest odpowiedzialny za wiele projektów postaci w grze i większość projektów broni, jak również za wszystkie tekstury poziomów w warstwach 2-4 i niektórych tekstur w warstwie Gniew. Some of his biggest contributions include: <size=18> - The designs for V1 and Gabriel - The designs for many enemies, such as the Drone, Streetcleaner and Soldier - The designs for all weapons and alternate weapons, with the exceptions of the original revolver and shotgun - The main promo art, which is used as the game's cover art - Most level textures, including all level textures for layers 2-4 - All the art for 2-S </size> Niektóre z ich największych zasług: <size=18> - Projekty V1 i Gabriela - Projekty wielu przeciwników, np. Dron, Desynsektor i Żołnierz - Projekty wszystkich broni i broni alternatywnych, z wyjątkiem oryginalnego rewolweru i strzelby - Główny obraz promocyjny, używany jako okładka gry - Większość tekstur poziomów, wliczając wszystkie dla warstw 2-4 - Wszystko w 2-S </size> <color=orange>"A quote from the developer themselves. Ie. a short thanks, some joke, whatever."</color> <color=orange>"Cytat od samego dewelopera. Np. krótkie podziękowania, jakiś żart, cokolwiek."</color> --- <color=#3EF242>BEN MOIR</color> - ADDITIONAL PROGRAMMER <color=#3EF242>BEN MOIR</color> - DODATKOWY PROGRAMISTA *Ben aka "Zombie" is New Blood's resident programming wizard. He hops around from project to project, fixing tricky issues and giving general programming advice. If there's a problem, he knows the solution.* Ben aka "Zombi" to miejscowy programista-czarodziej New Blooda. Skacze od projektu do projektu, naprawiając zawiłe zagadnienia i dając ogólne porady programistyczne. Jak jest problem, on zna rozwiązanie. *Although most of his work on ULTRAKILL is in the form of helping other programmers, he has himself also programmed some of the systems in the game, such as the controller support and the auto aim assist.* Mimo że większość jego pracy nad ULTRAKILL jest w postaci pomagania innym programistom, sam również zaprogramował niektóre systemy w grze, takie jak wsparcie kontrolerów i asysta celowania. <color=#3EF242>"Hey, Hakita! Can we say 'fuck' in the game?"</color> <color=#3EF242>"Hej, Hakita! Możemy powiedzieć "kurwa" w grze?</color> --- <color=#E93436>MEGANEKO</color> - GUEST COMPOSER <color=#E93436>MEGANEKO</color> - KOMPOZYTOR GOŚCINNY *I met Meganeko in early 2020 after BigRock, who is a fan of his, noticed he followed the ULTRAKILL Twitter account and asked if he'd be interested in collaborating. Originally I didn't have anything specific in mind, but once he sent me a soundtest clip that showed the kind of sound he'd go for, it immediately struck me as the perfect music for an endless survival mode.* Spotkałem Meganeko wcześnie w 2020 po BigRock'u, który jest jego fanem, zauważyłem że śledzi konto ULTRAKILL na Twitterze i zapytałem się czy byłby zainteresowany współpracą. Nie miałem nic konkretnego na myśli, ale gdy wysłał mi klip testowy pokazujący dźwięk w jakim by się kierował, od razu mnie uderzyło jako idealna muzyka dla nieskończonego trybu przetrwania. *That soundtest eventually, through months of iteration, became The Cyber Grind's titular background music. In a way, you can thank him for causing the creation of that mode.* Ten test dźwiękowy w końcu, po miesiącach iteracji, stał się tytułową muzyką w tle Cyberprzemocy (The Cyber Grind). W pewnym sensie, możecie mu dziękować za spowodowanie istnienia tego trybu. <color=#E93436>"Playing the alpha demo got me incredibly inspired! Getting to channel that back into the game was a bit surreal. Big thanks to Hakita and BigRock for reaching out!" </color> <color=#E93436>"Zagranie w alfa demo niesamowicie mnie zainspirowało! Możliwość skierowania tego z powrotem do gry była trochę surrealistyczna. Wielkie dzięki dla Hakity i BigRocka za kontakt!" </color> --- <color=orange>STEPHAN WEYTE</color> - VOICE OF MINOS PRIME <color=orange>STEPHAN WEYTE</color> - GŁOS MINOSA PRYMARNEGO *As with most people, I mainly knew Stephan Weyte as the voice of Caleb from Blood, but hearing him as Nyarlathotep in Dusk made it clear that he still had the skills, so even before joining New Blood, I had already decided that I wanted Stephan to voice someone in ULTRAKILL. When time came to choose the voice for Minos Prime, the choice was obvious.* Jak z większością ludzi, znałem Stephana Weyte głównie jako głos Caleba z Blood, ale słysząc go jako Nyarlathotep w Dusk uświadomiło mi że dalej ma umiejętności, więc nawet zanim dołączyłem do New Blooda, już zadecydowałem że chcę aby Stephan był głosem kogoś w ULTRAKILL. Gdy nadszedł czas by wybrać głos Minosa Prymarnego, wybór był oczywisty. *Stephan was lovely to work with, and his voice lends so much richness and character to Minos that I really can't imagine him any other way.* Stephan był cudowny podczas pracy z nim, a jego głos użycza tyle głębi i charakteru Minosowi, że nie mógłbym go sobie wyobrazić inaczej. --- <color=#BD8BF3>LUCAS VARNEY</color> - ADDITIONAL PROGRAMMER <color=#BD8BF3>LUCAS VARNEY</color> - DODATKOWY PROGRAMISTA *Lucas is another New Blood programmer, mostly working on his own game but occasionally jumping in to help with ULTRAKILL when needed. His contributions have been mostly optimization related, helping make the game run better as well as creating development tools that allow for easier per-level optimization.* Lucas to kolejny programista New Blooda, głównie pracujący nad swoją grą ale czasem pomagający przy ULTRAKILLU gdy jest to potrzebne. Jego zasługi są głównie związane z optymalizacją, pomagał sprawić aby gra chodziła lepiej oraz przy tworzeniu narzędzi deweloperskich które pozwalają na łatwiejszą optymalizację poziomów. <color=#BD8BF3>"Many thanks to everyone here, including you, the one reading this! It's always been my dream to work on video games, but I never thought I'd be 'good enough' to do it professionally. I dropped out of high school early due to anxiety and I really felt like I was throwing my life away. But I never gave up, and I never will! Whoever you are out there, never lose hope, and always know that there's no shame in being yourself and doing the things you love, so long as nobody gets hurt. You're more than your label, and you're worth more than your credentials. Enjoy the little moments, embrace what makes you happy, and be the best person you can be."</color> <color=#BD8BF3>"Wielkie dzięki każdemu tutaj, również tobie, ty co teraz czytasz! Zawsze marzyłem o pracy nad grami, ale nigdy nie czułem się jako 'wystarczająco dobry' by robić to profesjonalnie. Rzuciłem szkołę średnią wcześnie przez lęki i naprawdę czułem jakbym zupełnie wyrzucał swoje życie. Ale nigdy się nie poddałem, I nigdy się nie poddam! Kimkolwiek tam jesteś, nigdy nie trać nadzei, i zawsze wiedz że nie ma wstydu w byciu sobą i robieniu co się chce, dopóki nikomu nie dzieje się krzywda. Jesteś czymś więcej niż twoja etykieta I jesteś wart więcej niż twoje kwalifikacje. Ciesz się małymi chwilami, zaakceptuj to co cię uszczęśliwia, i bądź najlepszą osobą jaką możesz być."</color> <33333 basedbasedbasedbased --- <color=#6a36be>FLYINGDOG</color> - 3D ARTIST <color=#6a36be>FLYINGDOG</color> - ARTYSTA 3D *FlyingDog joined the team right at the start of development in early 2018, designing and creating many of the first 3D models and their textures. Although most of these models have since been remade and replaced, they're still based on his original designs and many of his original models can still be seen here and there as easter eggs. His final contribution to the game was the texture for the Feedbacker arm in mid 2019.* FlyingDog dołączył do zespołu na samym początku projektu we wczesnym 2018, projektując i tworząc wiele z pierwszych modeli 3D i ich tekstur. Wprawdzie większość z tych modeli zostało przerobionych i zamienionych, ale wciąż są bazowane na jego oryginalnych projektach i wiele z jego pierwotnych modeli dalej są tu i tam jako niespodzianki. Jego ostatnim udziałem do gry była tekstura Nawracacza w środku 2019. Some of his biggest contributions include: <size=18> - The designs and original models for the revolver, shotgun and Malicious Face - The original model and texture for the nailgun - The textures for the original versions of the husks and Swordsmachine </size> Niektóre z ich największych zasług: <size=18> - Projekty i pierwotne modele rewolweru, strzelby i Złośliwej Mordy - Pierwotny model i tekstura gwoździarki - Tekstury pierwotnych wersji łusek i Fechtmaszyny </size> --- ADDITIONAL CREDITS: DODATKOWE PRZYPISY: *Special thanks to:* Specjalne podziękowania dla: *Magnega for telling me my previous game, Untraceable, was unfun, causing an existential crisis that resulted in me dropping that project and making ULTRAKILL instead* Magnega za powiedzenie mi że moja poprzednia gra, Untraceable, była niefajna, powodując kryzys egzystencjalny przez który rzuciłem tamten projekt i stworzyłem ULTRAKILL zamiast niego *Mikko Tamper and Robert Raulus for their continued support as well as beta testing and giving feedback* Mikko Tamper i Robert Raulus za ich ciągłe wsparcie, jak również beta testowanie i dawanie opinii *B.G.B. and Splendid for beta testing and giving feedback* B.G.B. i Splendid za beta testowanie i dawanie opinii --- <color=#e09e2e>MANDALORE</color> <color=#9884bb>HERRINGTON</color> - VOICE OF MYSTERIOUS DRUID KNIGHT <color=#eabbd7>JOY YOUNG</color> - VOICE OF OWL <color=#e09e2e>MANDALORE</color> <color=#9884bb>HERRINGTON</color> - GŁOS TAJEMNICZEGO RYCERZA DRUIDA <color=#eabbd7>JOY YOUNG</color> - GŁOS SOWY *I originally met with Mandalore in late 2019 after his review of Dusk, when I DM'd him to ask him to elaborate on some criticisms he had mentioned of retro shooters. At the time ULTRAKILL was just a small no-name project, but he still took the time to not only write an in-depth reply, but also to play ULTRAKILL's demo and give very useful feedback for it.* Pierwszy raz spotkałem Mandalore w późnym 2019 po jego recenzji Dusk, gdy do niego napisałem by poprosić o doprecyzowania pewnych krytyk które miał o strzelankach retro. Wtedy ULTRAKILL był małym nieznanym projektem, ale i tak spędził czas by nie tylko napisać dogłębną odpowiedź, ale też by zagrać w demo ULTRAKILL i dać bardzo użyteczne opinie. *As thanks for his help, I wanted to make a little joke boss fight featuring him and Joy based on some in-jokes from their Mystery of the Druids stream, using clips from his EYE review as his voicelines. Once he saw the boss, he offered to not only re-record those lines, but also record completely new ones with Joy, which they improvised together.* Jako podziękowanie za jego pomoc, chciałem dodać żartobliwie bossa zawierającego jego i Joy na podstawie paru żartów z ich streama z Mystery of the Druids, używając linijek z jego recenzji EYE jako głosu. Gdy zobaczył bossa, zaoferował nie tylko nagrać te linijki ponownie, ale też nagrać zupełnie nowe z Joy, które zaimprowizowali. <color=#e09e2e>"Visit me</color> <color=#9884bb>in the tombs with piped in music. How classy. Thanks for playing!"</color> <color=#eabbd7>"here for a good time, not a bad time"</color> <color=#e09e2e>"Odwiedź mnie</color> <color=#9884bb>w grobach z muzyką sklepową. Jak stylowo. Dzięki za zagranie!"</color> <color=#eabbd7>"jestem tu na dobry czas, nie na zły czas"</color> --- <color=#FFB2DC>JACOB H.H.R.</color> - WRITER (PROSE & DIALOGUE) <color=#FFB2DC>JACOB H.H.R.</color> - PISARZ (PROZA I DIALOGI) *Jacob joined the team in early 2020 to help write the prose and dialogue for the game after I met him through a mutual game developer friend. He's mostly responsible for the writing in the various books you find around the levels, as well as Gabriel's dialogue and the prose for the intermission cutscenes. In Act I, I came up with a general outline of what I wanted each text to have and he would write it with some tweaks and edits from me afterwards, while in Act II the prose writing was more of an even 50/50 split between us.* Jacob dołączył do zespołu we wczesnym 2020 by pomóc pisać prozę i dialogi dla gry po tym jak go spotkałem przez wspólnego znajomego dewelopera. Jest głównie odpowiedzialny za pisanie w różnych książkach do znalezienia w poziomach, oraz dialogi Gabriela i prozę w przerywnikach. W Akcie I, miałem ogólny zarys tego co chciałem zawrzeć w każdym tekście i on by je pisał z paroma edycjami ode mnie potem, a w Akcie II pisanie prozy było bardziej równym podziałem 50/50 między nami. *Most of those great poetic phrases and impactful lines that have become iconic in the ULTRAKILL community are thanks to his skills with the English language.* Większość tych niesamowitych poetyckich fraz i najlepsze linijki które stały się ikoniczne w społeczności ULTRAKILL istnieją dzięki jego umiejętnościom w języku angielskim. --- <color=#aa0000>KEYGEN CHURCH</color> - GUEST COMPOSER <color=#aa0000>KEYGEN CHURCH</color> - KOMPOZYTOR GOŚCINNY *Keygen Church aka Master Boot Record approached me in mid-late 2022, and I was already a fan of his music as Keygen Church, so I was very happy to have him on board as a guest composer. The timing was perfect as well, since his style fits so well with the aesthetics of the Heresy layer, so he created the first battle theme for P-2, titled "Tenebre Rosso Sangue".* Keygen Church aka Master Boot Record skontaktował się ze mną w środku 2022, a ja już byłem jakon jego muzyki jako Keygen Church, więc byłem bardzo szczęśliwy mieć go na pokładzie jako kompoytora gościnnego. Czasowo również wyszło idealnie jako że jego styl pasuje świetnie do warstwy Herezji, więc stworzył pierwszy motyw walki w P-2, tytułowany "Tenebre Rosso Sangue". *We also collaborated on the connected ARG, with him doing most of the heavy lifting since he had already done similar things with his projects.* Współpracowaliśmy również nad połączonym ARG, gdzie on robił większość ciężkiej roboty, jako że już robił podobne rzeczy w swoich projektach. <color=#aa0000>"Low Resolution. High Imagination. Praise the code."</color> <color=#aa0000>"Niska Rozdzielczość. Wysoka Wyobraźnia. Chwalmy kod."</color> --- <color=orange>HECKTECK</color> - ADDITIONAL PROGRAMMING <color=orange>HECKTECK</color> - DODATKOWE PROGRAMOWANIE *Heckteck was brought onto the team temporarily in early 2022 thanks to their experience and skills making mods for ULTRAKILL, to overhaul the style system to include staleness as well as other related quality of life features.* Heckteck został przyjęty do zespołu tymczasowo we wczesnym 2022 dzięki ich doświadczeniu i umiejętności w tworzeniu modów do ULTRAKILL, by przebudować system stylu aby zawierał świeżość broni, oraz inne powiązane polepszenia. <color=orange>"the harvest is lacking this year"</color> <color=orange>"żniwa są trochę małe w tym roku"</color> --- <color=orange>SAMUEL JAMES BRYAN</color> - 3D ARTIST <color=orange>SAMUEL JAMES BRYAN</color> - ARTYSTA 3D *Sam joined in mid 2019, early into the Limbo layer's development and is responsible for modelling most of the enemies in Act 1, including V1, V2 and Gabriel. His last modelling work for the game was the Sisyphean Insurrectionist in early 2021 and he has mostly moved on to different projects since then, though he still occasionally helps out with feedback and modelling advice.* Sam dołączył w środku 2019, wcześnie w tworzeniu warstwy Otchłań i jest odpowiedzialny za modelowanie większości wrogów w Akcie 1, wliczając V1, V2 i Gabriela. Jego ostatnim modelem dla gry był Powstaniec Syzyfowy we wczesnym 2021 i od tamtego czasu przeszedł do innych projektów, chociaż czasami daje opinie i udziela rady o modelowaniu. <color=orange>"No idea, ask Hakita."</color> <color=orange>"Nie mam pojęcia, pytaj się Hakity."</color> --- > TU SKOŃCZYŁEM --- <color=#4AACBD>FRANCIS XIE</color> - CONCEPT AND TEXTURE ARTIST Francis joined the team in 2021, around the start of the Wrath layer's development, when he was picked up as a general artist for New Blood thanks to his incredible ULTRAKILL fanart. Some of his biggest contributions include: <size=18> - The designs for the Leviathan, Ferryman, and the pre-corpse version of Minos and Sisyphus, as well as their portraits. - The design for the church organ in 6-2: AESTHETICS OF HATE - The design for a cut weapon called the Beamcutter - The unique level textures for 5-3: SHIP OF FOOLS as well as almost all the textures in the Heresy layer - The plushie designs of all the developers </size> <color=#4AACBD>"I simply wouldn't be here without this game and I'm so happy it's ULTRAKILL. Thank you Hakita, the rest of the dev team, and everyone in New Blood for being such great people who always support what I do. Special thanks to my best friend who urged me to pursue what I truly love; being a part of this team has been a dream come true. Here's to the greatest project!"</color> --- <color=orange>LENVAL BROWN</color> - VOICE OF SISYPHUS PRIME I approached Lenval in early 2023 after hearing his fantastic performance as the narrator in Disco Elysium and feeling that his deep, textural voice would be the perfect fit for King Sisyphus. He was a pleasure to work with and helped really make Sisyphus stand out as his own unique character. --- <color=orange>TONI STIGELL</color> - 3D ARTIST Toni Stigell joined the team right around the start of development in early 2018. We had previously worked together on a few small projects including a now-cancelled stealth game called Untraceable, which is the origin of the thinking man statue that eventually became Cerberus. Alongside that, he modelled many of the early character models for ULTRAKILL until leaving the project in mid 2019. He also made the original Filth model's animations, and though those have since been replaced, Something Wicked still uses one of them, making that the only animation in the game that I haven't made myself. Some of his biggest contributions include: <size=18> - The original models for the husks, Swordsmachine and Feedbacker arm - The design for the original version of the Filth - Getting me into DMC in the first place </size> --- <color=#20FF20>SALAD</color> - ARTIST OF JAKITO <color=#20FF20>SALAD</color> - ARTYSTA JAKITO *Salad drew Jakito.* Some of their biggest contributions include: <size=18> - Jakito </size> Salad narysował Jakito. Niektóre z ich największych zasług: <size=18> - Jakito </size> <color=#20FF20>"Are you in or are you skin?"</color> <color=#20FF20>"Are you in or are you skin?"</color> (idk) --- <color=#DA6B6D>BIGROCKBMP</color> - CONCEPT ARTIST BigRock joined the team in early 2019, during the Prelude's development. He was the first concept artist for the game and responsible for the designs for many of the game's bosses, such as the game's first ever character design, the Swordsmachine. Some of his biggest contributions include: <size=18> - The designs for many of the game's bosses, such as the Swordsmachine, the Corpse of King Minos, and the Hideous Mass - The designs for many of the game's enemies, such as the Mindflayer, the Idol and the Sentry - The designs for all of the bosses in the Prime Sanctums - The painting of the rocket launcher wielding Ferryman in 5-3: SHIP OF FOOLS </size> <color=#DA6B6D>"When Hakita asked me to design a boss for his game I had no idea that ULTRAKILL would become this big. To see so many people draw fanart of the characters I've designed is both intimidating as it is inspiring me to continue, try and grow as an artist, and I hope my work inspires someone to pick up a pencil as well."</color> --- <color=red>CAMERON MARTIN</color> - QUALITY ASSURANCE LEAD <color=#6a36be>DALIA FIGUEROA</color> - QUALITY ASSURANCE, PROMO FOOTAGE & SCREENSHOTS <color=#11c324>TUCKER WILKIN</color> - SENIOR QUALITY ASSURANCE <color=#e28eb6>SCOTT GURNEY</color> - TECHNICAL QUALITY ASSURANCE The New Blood QA team (Cameron, Dalia, Tucker and Scott) are responsible for making sure the game runs properly and without any major bugs. It's thanks to them that ULTRAKILL looks and feels like a functioning game despite being a mess of duct tape, spaghetti, glue and prayers underneath. Prior to ULTRAKILL joining the New Blood catalogue, I had to do QA myself, and even that smaller amount of bugtesting makes me question how these people manage to stay sane. ...Well, relatively sane. <color=red>"In the immortal words of the great Hungarian centre-forward Nandor Hidegkuti - 'Amikor eljön a forradalom, a zeneipar lesz az első amely menni fog. Köszönöm szépen'"</color> <color=#6a36be>"Be it games, music, movies or the company of others, be sure to enjoy the good times that you experience and always look back on life with a positive note. Life is precious, and after all, It's your own show. Enjoy your life to its fullest and give everyone respect and love. A smile on someone's face is worth its weight in gold!"</color> <color=#11c324>"Of all the scars on my psyche, this one will always remain a favored one. from that cursed door to the accidental spawner arm slip, its been a great time regardless! Sometimes videogames can be cool as hell. hopefully we can get more of them!"</color> <color=#e28eb6>"Being able to help bring to fruition a strong creative vision like Hakita's has been an absolute honor and an unforgettable experience. I will remain forever grateful for the opportunity, and I look forward to whatever might come next!"</color> --- <color=silver>EMANUIL "CABALCROW" CHIZHOV</color> - ADDITIONAL PROGRAMMER CabalCrow was one of the first hardcore ULTRAKILL fans who helped spark the game's speedrunning scene. He also helped out a lot with figuring out bugs before the game got a QA team and recorded most of the trailer footage in early trailers. His programming contribution comes in the form of the climbstep system he created in 2020, which allows players to smoothly step onto and over small ledges and obstacles. <color=silver>"you know what they say 50 bucks is 50 bucks"</color> --- <color=#ee0c47>VVIZARD</color> - MUSEUM DEVELOPER Vvizard was picked up temporarily in late 2022 to create this museum thanks to his experience and skills with an early version of the ULTRAKILL level editor. He designed the level and made all the models and textures for it. If you were wondering why it's the best looking level in the game, he's the reason. <color=#ee0c47>"ULTRAKILL is special to me in a way that is just a book's length worth of words, working on this game is something I will hold close to my heart, always. I hope I can continue to work with the wonderful people at New Blood and the interactions I've had with community helped bring me to be a part of this team. Sometimes I wonder where the dominos fall begins and where it will end. But if Oyff ever sees this, a good youtube video (The ULTRAKILL Rip and Tear) really can change your life."</color> --- <color=#8f65da>MAXIMILIAN OVESSON</color> - UI ARTIST Maximilian joined the team in 2018, early in the game's development. He's responsible for the weapon icons used in the UI, the game over skull animation as well as the game's logo. <color=#8f65da>"I'm proud to have played a small role in creating ULTRAKILL and grateful for the opportunity to be a part of this game. Thank you for having me and thank you to all the players for your support."</color> <color=orange>MALICIOUS FACE</color> LEFT: 2018 Original by FlyingDog RIGHT: 2022 Remake by Victoria The Malicious Face, called "Spider" in the game files thanks to its transparent spider legs, was actually the first enemy to be designed for the game. Although iconic now, its design was supposed to be quite different originally, as I wanted a more stark and simplified look, but FlyingDog, only modelling as a hobby, had a hard time pulling it off without any concept art to aid him, so we eventually compromised with this version. This was back when I was stupidly ambitious and had no idea what I was doing, so there were a bunch of ideas thrown around that ended up not making it in. The mouth was supposed to move and open when firing, but the rig was buggy and we couldn't get it to work. The eyes were also originally seperated from the main mesh, since I had the idea that it would be cool if you could shoot them out with the revolver for extra damage or to cause the enemy to become blind and attack indiscriminately, which sounds really cool in concept, but in execution would not only be too much complexity for an early enemy but would also give them a hard counter that the player would always resort to, which I've wanted to avoid to make the game more open to player expression. This was before Doom Eternal came out and had a big focus on weakpoints and hard counters. Another idea I had at one point was for there to be a hole in the back of its head, exposing the brain, allowing for nimble players to score big damage, but this also never materialized. Me coming up with all these dumb ideas, often after the model was already done, but never committing to them was, very understandably, frustrating to FlyingDog. The new model by Victoria is a beautiful almost 1:1 recreation that manages to keep the iconic look while improving the visual quality while actually decreasing its resolution. --- <color=orange>PITR</color> - LEAD PROGRAMMER PITR already started helping out with programming in late 2019, but was officially added to the team in early 2020 thanks to his ULTRAKILL mods and an early attempt at a custom level system. He's responsible for most advanced programming in the game, such as systems like cheats, Cyber Grind patterns and subtitles. He also created the entirety of the Sandbox and 5-S, with only minor aesthetic touch-ups from me. Basically, if you look at the game's code and see anything that's actually done well, it's probably by him. Some of his biggest contributions include: <size=18> - Programming and level design for the Sandbox and 5-S - Programming for most of the advanced systems like cheats, Cyber Grind patterns and subtitles - Lots of programming optimization and bugfixes - Lots of miscellaneous programming help </size> --- <color=#20afdb>GIANNI MATRAGRANO</color> - VOICE OF GABRIEL Gianni originally approached me offering his talents in late 2019, but we didn't start working together until mid-late 2020, a bit less than a week before the game came out in Early Access. Despite the short timeframe, he knocked it out of the park, not only defining and solidifying Gabriel's character and voice but also delivering fantastic performances that manage to capture both his visceral intensity and the subtler nuances of his internal world. Since then he's only gotten better, and I'm very glad to work with someone who understands both my vision of the story and the character of Gabriel so well that he was able to improvise all of the taunts in Gabriel's first fight. He's a joy to work with and the dream of any over-ambitious indie developer like me. <color=#20afdb>"Can you write in it that I said thank you to gay people."</color> --- <color=#F5ABB9>VICTORIA HOLLAND</color> - LEAD 3D ARTIST AND GRAPHICS PROGRAMMER Victoria joined the team in early 2020, late into the Limbo layer's development. She started off working alongside Sam but from Act 2 onwards, she's been responsible for all 3D models in the game with the only exception of the Sisyphean Insurrectionist. She also handles the programming of all shaders and almost all graphical systems and optimizations. Some of her biggest contributions include: <size=18> - Many of the Act 1 models, including the Filth, the Corpse of King Minos and the Railcannon - All of the Act 2 models, except the Sisyphean Insurrectionist - Programming for all the shaders - Programming for most graphical systems and optimizations </size> <color=#F5ABB9>"Waste no time to fear. Take the leap and embrace the person you want to be. You're not alone, so live your authentic self, and always enjoy the journey."</color> --- <color=orange>BLACK HOLE CANNON</color> PRIMARY FIRE: Launch a black hole SECONDARY FIRE: Activate a launched black hole A cut superweapon that was intended to work via a meter that got filled by killing enemies. It was made around early 2019, shortly after the addition of the shotgun, with the intent of it being introduced much later in the game. The player would have the choice of using their kill meter for a temporary buff a la Devil Trigger from Devil May Cry, or a shot with the black hole cannon. The meter was scrapped due to these kinds of mechanics often leading to issues with hoarding and balancing, since encounters can't be balanced around whether or not the player has meter, leading to battles being either too easy with meter or too hard without it. Instead, the DT buff mode idea was turned into the dual wield powerup, which avoids that issue since the level designer controls when the player has access to it, and the Black Hole Cannon's role became filled with the Railcannon, a lower commitment superweapon that's weak enough to not become an ace-in-the-sleeve crutch for players to skip tricky encounters with and usable often enough that the player doesn't feel a need to hoard it. Although the Black Hole Cannon was incredibly powerful when it was originally made, since the only enemies in the game were the basic husks, the game has grown far more chaotic and explosive since then, making it quite weak in comparison. I've kept its original power level for this museum version for the sake of an accurate portrayal, so if it seems weak, that's because it was just made for killing Filth, Strays and Schisms. The Black Hole Cannon never got a visual design or model, hence why it's represented by a stretched out shotgun. This lead to many people thinking it was supposed to be a shotgun variation, but that was never the intent. --- <color=orange>NAILGUN</color> LEFT: 2019 Original by Jericho and FlyingDog RIGHT: 2022 Remake by Jericho and Victoria The first weapon to be based on concept art, drawn and designed by Jericho, as well as FlyingDog's final contribution to the game. The rougher, simpler original model still fit the visual style at the time, but since then the graphics have improved, making it stick out like a sore thumb, which was one of the primary reasons we wanted to redo the old weapon models, alongside the custom color system. The nailgun is probably the weapon that had to go through the most iteration before it finally found its place in the arsenal. In fact, it wasn't until the Sandbox update in Summer 2021 that it finally really clicked in, meaning it took 2 years of constant tinkering and iteration to make an automatic weapon fit the ULTRAKILL arsenal. The biggest change was the change from infinite ammo to recharging ammo, giving players more reason to switch away from it after a bit of use, but the change that finally really made it click was speeding up the equip animation, which made switching to it in combat much smoother, making it feel like an organic part of weapon combos. Some scrapped ideas and versions include a high damage slow recharge harpoon and a version that allowed for firing both barrels simultaneously, increasing rate of fire at the cost of the player's movement speed. The former eventually evolved into the magnet and the latter into the overheat, so despite how much things have changed, parts of the originals still remain. --- <color=orange>SCHISM</color> LEFT: 2018 Original by Toni Stigell, FlyingDog and Hakita RIGHT: 2020 Remake by BigRock and Sam The Schism, originally just called "Super Projectile Zombie", is another edit of the original Filth model. Toni and FlyingDog were both busy around this time, so this model didn't even get a unique texture. It's just the original Filth's texture without the orange tint! The new version still uses the same skeleton and animations, which means the extra arms just flop around like ragdolls since they have no animation data attached to them. The new designs for the Husks were drawn and modelled in a bit of a rush to get them done in time for the Prelude facelift we were doing for the new version of the demo after the game got picked up by New Blood, which meant the new designs only got one sketch from one angle each. This lead to a funny incident where Sam, while making the model, misunderstood the sketch and thought that the head was just sticking out really far in front instead of being on the shoulder, which lead to the first iteration of the model to look like a xenomorph! --- <color=orange>SWORDSMACHINE</color> LEFT: 2019 Original by BigRock, FlyingDog and Toni Stigell RIGHT: 2022 Remake by BigRock and Victoria Swordsmachine was the first enemy to be designed by a concept artist, and the difference really shows! BigRock's wonderful Blame!-inspired design is rich with implied character that later became explicit when I wrote the data entry for it. The original model, made by Toni Stigell and textured by FlyingDog, unfortunately lost a lot of the nuances the original design had, but it fit the visual style of the game at the time, and we were all amateurs who didn't know how to do any better. Victoria has since then remade the model based on BigRock's original concept art and perfectly translated it to 3D. One of the earlier iterations of Swordsmachine's design had a gory human torso, as the enemies at the time were leaning more in the direction of Strogg-like human-machine hybrids before we had the setting, visual language and story properly figured out. --- <color=orange>BEAMCUTTER</color> Design by Francis, WIP model by Victoria. PRIMARY FIRE: Hold to fire beam SECONDARY FIRE: Place/Remove beam drone A sixth weapon which was cut early into its creation due to running into many design issues and to avoid arsenal bloat and weapon role overlap. Based on the lightning gun archetype, it fires a sustained beam that requires the player to track their target to deal continuous damage. It deals reduced damage while standing still to discourage the player from staying still while firing, though in this version you can just move back and forth quickly to fulfill that requirement without making aiming much harder. Sustained fire weapons are very difficult to make work well with ULTRAKILL's combat system, as proven by how many iterations the Nailgun had to go through before it found its place in the arsenal, and since infinite ammo means every weapon has to have its own niche in order to not make any other weapon obsolete and the Nailgun already filling a similar role, I made the choice to cut it instead of trying to force it into an already full arsenal. The front of the weapon was supposed to spin when the beam is being fired, but this WIP model has no rigging. No sounds were implemented yet either, so it may seem quite weak in terms of feedback in comparison to the finished weapons. While I do like the weapon in concept, I do think it was the right call to cut it. I prefer a smaller arsenal where every weapon is distinct and useful over a larger arsenal where some of them become obsolete with the introduction of others.