Why Does Celeste Feel So Good to Play? | Game Maker’s Toolkit
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Why Does Celeste Feel So Good to Play? | Game Maker’s Toolkit

August 28, 2019


If you’re making a platformer, you’ve
got to get your main character feeling good. Because sloppy physics, unresponsive controls,
floaty jumps, and imprecise movement are completely toxic in platformer design. So it’s vitally important that you get this
stuff right. And if you wanted a character to learn from,
you could do a lot worse than looking at Madeline – a twenty-something wannabe mountain climber,
and protagonist of 2018’s award-winning platformer, Celeste. Her controls are tight, precise, and responsive. You can put her exactly where you want, and
ping from platform to platform with fluidity and accuracy. And the game not only works at a super casual
level, but it even holds up when you delve deep into Celeste’s toughest challenges. So how, exactly, is this achieved? Well, to figure it out, I went on a bit of
a journey. I pulled apart the game’s code. I went frame-by-frame on Madeline’s animation. I chatted to Celeste speedrunners. And I spoke to a couple people who know the
game better than anyone else… MATT: I’m Matt Thorson, director and co-creator
of Celeste. NOEL: I’m Noel Berry and I’m programmer and
co-creator of Celeste. And so, after all that, here’s what I learned
about the killer controls of Celeste. So let’s go back to the very beginning and
look at Madeline’s most basic move: her run. A character’s run can be split into three
parts: acceleration, top speed, and deceleration. As in, once you start moving the stick, how
long does it take the hero to get up to top speed? And how long does it take to stop, when you
let go? Getting these two curves right is especially
important. Keep them short and the character will feel
stiff and robotic – like in Mega Man 11. Make them long and the character will feel
heavy and lumbering to set off, like in Super Meat Boy – and slippy and uncontrollable to
stop, like in Super Mario Bros 3. That game generally feels great to play, but
Mario does feel like he’s running on ice at times. In Celeste, Madeline has ultra short acceleration
and deceleration curves. It takes her about six frames to get to full
speed – which happens roughly four times faster than Super Meat Boy. And she comes to a stop in just three frames
– about nine times faster than Mario in New Super Mario Bros U. Those digits are just high enough to make
Madeline feel human, and to stop you from being able to do huge standing jumps – but
short enough that she almost instantly does what you tell her to do. You’re very rarely going to slip off the
edge of a platform, in this game. Her top speed is relatively low, too. And unlike Mario and Meat Boy, there’s no
run button to get even more speed. I think this is just fast enough to feel fluid,
but slow enough that you feel in total control at all times. We can do a similar process with the jump. First, we calculate the character’s jump
height by looking at high they can jump – compared to their own body size. So in New Super Mario Bros U, Mario can jump
to a point that’s four times his own height, while Meat Boy can jump massively high, to
about six times his own height. And then we can look at each character’s
jump curve, noting the climb, hang time, and fall. This also gives us a total jump time. So Meat Boy has a tall and lengthy jump, making
the character feel rather floaty. Yarny from Unravel, on the other hand, has
a really short jump, and not much hang-time, making this wooly rag-doll feel surprisingly
heavy, and leaden. Madeline, again, sticks to the short end of
the spectrum. She goes up and down very fast, but with quite
a lot of hang time so you can line up your landing. And she can jump to about three times her
own height – giving her one of the shortest jumps around. Like her run, these numbers are enough to
make her feel bouncy and animated – but about as far from floaty as you can get. There’s more that makes Madeline’s basic
movement feel good, of course. There’s the fact that she can change direction
very quickly, with no skidding. And how she has massive amounts of air friction,
which means if you stop moving the stick in mid-air, she’ll almost instantly fall straight
down. That makes it easier to land precisely where
you want to. And then there’s the more fundamental design
of the game’s camera. Celeste is a zoomed-out game, where – at times
– the entire room is framed by a static viewpoint. This means that the screen isn’t flipping
out all over the place, which makes it easier to be precise with your runs and jumps. If Madeline is the only thing moving, it’s
easier to put her where you want to. The devs did have to compromise on detail
for the characters and environments, but I think it was worth it. Now, Madeline’s movement is entirely hard-coded,
and written in Visual Studio, with the help of Microsoft’s XNA framework. So the devs didn’t use the built-in gravity
or physics systems you sometimes find in game engines like Unity and Game Maker, as they
preferred to have precise control over the player’s input. So I asked Matt and Noel how they came to
these numbers for Madeline’s movement. MATT: A lot of it was intuitive, a lot
of it was just from making a lot of platformers. To get a sense of what you want a platformer
to feel like and what works. NOEL: And a lot of it was just experimentation, right? Like trying things and getting people to playtest
it, and seeing how it feels and watching them and seeing like “oh that did not work as intended”, so
this needs to be toned down, this needs to be better. MATT: And it changed a lot through development
too. Lots of little changes – even big changes. NOEL: And like in regards to how the pacing
feels when you’re platforming, like when should you be stopping and when should you
be more flowing. The mechanics changed to kind of like make that all feel
better. So those are the basics, but there’s way
more to Madeline – in the form of two extra moves you can use when scaling the mountain. One is the climb. Hold the trigger and Madeline will snap to
a wall, and then can climb up it, and bounce off for a springy wall jump. Unlike Meat Boy, who slides up walls uncontrollably,
Madeline sticks to surfaces like glue. Climbing is dictated by a stamina system – Madeline’s
got 110 stamina points, though that’s not shown to the player, and they depreciate at
different rates depending on whether you’re holding still, climbing, or doing a climb
jump. The other move is the dash. Hit the dash button and Madeline will fire
off into the direction you’re holding. She can only dash once in mid-air – elegantly
represented by her hair turning blue – so you’ll either need to touch the ground or
grab a crystal to replenish your stock. The dash does take control away from you,
because Madeline fires in one direction at max speed. But that’s only for the first 0.15 seconds
of the move. From there, she slows down and you’re given
control back, meaning you can cancel the momentum of the dash to stop yourself flinging into
spikes. This gives the move more nuance and expressiveness,
compared to the same, more static move in Celeste’s PICO-8 precursor. With these three mechanics – the jump, the
climb, and the dash – Celeste becomes a rapid-fire, resource-management puzzle of managing vertical
space, and picking when and where to execute different moves. A jump here, a dash there, on to the wall,
then back off to regain stamina and replenish your dash, before jetting off again. Each move has its own feel, speed, and level
of control – giving the game an exciting, ever-changing pace. All part of the developer’s plan, as it
turns out. MATT: Like, a lot of problems in Celeste can
be solved in multiple ways. Like you could either dash or you could climb. There’s some where you could only use one
or the other, or you have to use both in different combinations. But the dash was always supposed to be the
more chaotic option where it’s kind of harder to control, whereas the climb is more methodical
and you have more precise control of it. It’s not just the numbers that makes Madeline’s
moveset feels so good: art, animation, and sound effects help sell the feeling, too. Like the squash and squeeze on her jump, which
really emphasises the movement in her body. The way tiny dust particles kick up, and the
controller rumbles, when you hit the ground, to sell the impact. The four-frame pause and microscopic screen
shake whenever you dash, which makes the jolting movement feel even more heightened. And the trail of shadows and the blazing white
contrail, which emphasise the speed and direction. Celeste isn’t a bonkers Vlambeer-style juice
fest, but these subtle and short-lived effects do a lot of heavy lifting in making the game
feel better – and giving feedback to your inputs and actions. While Celeste is a very hard game at times
– and gets even harder if you go for the strawberries, and cassette tapes, and B-Side levels, and
so on, the developers are actually extremely generous to the player, with an untold number
of hacks and special cases in the code that make the game way less punishing. The most famous, perhaps, is the way you can
jump a few frames after leaving a platform – and still spring into the air. This is called Coyote time, named after the
bits in Loony Toon cartoons where characters run off platforms and keep sprinting in mid-air. But there are loads of others hidden in the
code. Dashing into a corner won’t bonk you into
oblivion, but you’ll merely sail around the edge of the platform. Spikes have a small hit box, so you won’t
die if you touch the very tip. These traffic light blocks will still grant
you momentum, even if you’re a little late on the button press. If you do a climb jump but quickly push away
from the wall, the game switches to a wall jump and refunds the stamina. And if you jump just before touching the ground,
the game will remember that and execute the command when you land. NOEL: Because it feels bad if you press
jump the frame before you touch the ground and just touch the ground and there’s nothing. You want it to feel like “no, I pressed the
jump button, I was right there…”. It feels like the game messed up, like the game missed your
input or something – it got eaten. And you don’t want that, you want to feel like you’re
in control of your character and it’s doing what you want it to do. And when you do mess
up it’s more on the player figuring out like “how do I solve this problem and execute
it better” and not “I was one frame off and the game’s has killed me”. MATT: It’s like working on the player’s
intent rather than making it a precise simulation of pressing buttons at the correct time. NOEL: And the cool thing too about that is for actually really pro players, people who get really really good at it, it does come down
to those frames. Even if you say “you get three frames off of a ledge, and you can still jump”
– for a normal player that just makes the game feel better. But then for pro players who actually are trying to get
through each level super fast, or trying to execute something perfectly, then they get
down to the frames, like “no, I have three extra frames so I can use those to get across a
gap I’m not supposed to get across” MATT: They abuse it NOEL: Yeah. So you still get that frame perfect
play that’s possible but then for casual players it just feels better. It’s a good point, and boy have players
found ways to get the most out of the game’s movement code. I asked TGH, the world’s top-ranking Celeste
speedrunner, to explain some of the advanced techniques he uses to turn the game’s toughest
stages into graceful, effortless dances. First, there’s the dash-cancel, where a
forward dash can be cancelled at the last second and turned into a massive jump that
flings you through the air with all the momentum of the dash. Do this while crouching and you’ll get the
hyperdash, which is a lower but faster jump. You can extend these two moves by separating
the dash and jump inputs slightly more, so Madeline regains her dash in mid-air. And “for even more speed”, says TGH, “after
extending a hyperdash you can dash diagonally down-forward to chain momentum, and in some
cases you can gain ludicrous speed”. This is known as an ultradash. You can also dash cancel upward along a wall
for boosted height and vertical speed. Which is called an up-hyper or wallbounce. There are other techniques too, and TGH says
“it’s amazing just how fluidly all these techniques come together and work so well
with the level design.” That’s likely because almost of them are
actually intended by the developers and some are even taught to you in the game. Not that I can actually perform them, mind
you. It was important to Matt and Noel that Madeline’s
movement felt great, even if you don’t have tricky, well-designed levels to explore. After all, this was one of the key suggestions
they had when I asked for the tips they might give to someone making their own platformer
character. NOEL: Just make sure that the moment to moment
feels good so that when someone’s just sitting there with a controller, the room could
be empty but they can move their character around, make that feel good MATT: With no goals or anything, just make
sure it’s fun to be that character. I remember playing Mario Sunshine and just
running around Delfino Plaza for hours beause it was just fun. NOEL: You can flip off stuff and all these things.
Just the player itself can do all these cool interactive things that just feel fun. But making levels – and adding in new mechanics
like pinball bumpers, trampoline clouds, moving blocks, pelting wind, and kamikaze hotel owners
– can actually force you to go back to the movement code, and change how things work. MATT: We decided early on what we wanted Madeline
to be able to do, but the details of the numbers defintiely changed, and then the levels also
changed, in tandem with that. So you basically get the player character
to where it feels alright, you know it’s not perfect, you know you have to do testing
and stuff, but you need levels to test too. So you make a bunch of levels and then you test,
and you find out “oh the player character has to change”, and then you have to change 20
levels. You have to let different parts change
other parts of the game, and let it slowly reveal what it wants to be. NOEL: And you have to be willing to throw away stuff sometimes too. Like “this is a cool idea and a cool direction but it wasn’t
working”. It’s progressing what the game is because
you’re learning about what the game actually is and figuring things out so even though
you’re throwing work away, it’s a learning experience that ultimately
makes the game better. MATT: Yeah, it’s still work that goes towards
completing the game, even if it doesn’t manifest as content. It becomes part of your knowledge that you
use to make the rest of the content. Now, Celeste shows a great way to do very
tight and responsive controls – but that’s just one way to do a platformer. Tweak those curves and you can get very different
results, like the realistic animation of Playdead’s Inside, or the intense air-control of N+. Or Sonic games, which are all about building
and maintaining momentum, so it’s suitable that Sonic has a ridiculously long acceleration
curve – and, likewise, struggles to come to a complete stop. Still, I think Madeline’s a really good
place to start when thinking about platformer character design. Matt and Noel’s work shows the importance
of getting the curves right when building basic movement. Adding mechanics that introduce very different
ways to navigate the space. Using feedback to emphasise movement. Being forgiving about pixel precision. Increasing the skill ceiling with advanced
movement. And not being afraid to test, tweak, and toss
away work throughout the lengthy process of getting this stuff right. Thanks so much for watching. There’s a post on my Patreon now where I talk
more about the run and jump graphs in this episode, and those who back the show at $5
or more can watch the full interview with Matt and Noel right now. MARK: Did you come up with the term
Coyote Time, Matt? Was that your invention? MATT: No, that was a player, I think. Wasn’t it? NOEL: I don’t know, actually MATT: I think it was in the PICO-8 one, a
player called it Coyote Time and we were like that’s a good name. NOEL: I’ve heard it used for other platformers
too. MATT: Okay. I think it comes from players.
I don’t think developers made that term up. Which is cool, I think developers should take it. NOEL: Yeah, it’s a good word. Sounds like we need to do some detective work. Please remember that the GMTK Game Jam begins
this Friday, so keep an eye on itch.io and this YouTube channel for more info. And don’t forget to subscribe and hit the
bell button if you want new game design content to keep appearing in your sub box. See ya later.

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  1. Exhaustively researched, professionally edited videos like this, appearing in your sub box every other week, is something that’s only possible thanks to the generosity of my Patreon backers.

    Consider supporting the show at https://www.patreon.com/GameMakersToolkit

    In return, supporters get early access to new episodes, behind the scenes content, editing tutorials, video recommendations, full interview videos, written articles, Discord access, and more!

  2. It’s a testament to this video that eight minutes in I wanted to stop watching and just go play Celeste again

  3. Can I ask you look into the mechanics of a fan made game? If you know the anime Attack on Titan, there is a fan game called "attack on Titan tribute game" (aottg), and it does some interesting stuff with the concept

  4. I read the code the moment it got released, not a fan of how they wrote their MONOLITHIC player class. It's the best example of how not to be a programmer. The Player class does everything, breaks the single responsibility principle, and while I know some parts of it were well written, honestly I'd quit my job if I had to read through 5,000 lines of code everyday. If they could just PLEASE decompartmentalize the Player class into sub classes, where rendering, animation, locomotion, states, and a bunch of logic should be managed separately. It would be down to a sane hundred lines of code, easily read and debugged, and will be much saner to work with.

  5. You NEED to talk about Corncob 3D! I have been playing Corncob 3D for the last month and I need to hear someone explain to me why I love this game so much. You truly have to play it to understand why it's so good. It's impossible to explain the game, you need to experience.

  6. Don't get this wrong, Celeste is a very good game, but the controls and movement are actually what made me stop playing. I enjoy Super Meat Boy a lot more because the controls and movement.

  7. Dead Cells used similar tricks and bits to help the player out, like jumping off of air and rotating player 'for free' when they attack while facing the wrong direction. I'm sure there's enough of these to talk about in a video 😉

  8. Superb video, nice to see all these details, you succeed to make me want to play it again and go further in the game (I only finished it).

    As for Mario feeling a bit like he's running on ice in Super Mario Bros 3, I would say it's on purpose and part of the experience. I'm not a fond of SMB 3, so I prefer to talk about the first Super Mario Bros, which share the same mechanic, known as inertia.
    Why is inertia so important to me in those games? Because the level design is completely based on this. At the beginning, when you don't know the game, you move slowly, jumping after each obstacle one at the time, and finally you arrive to the end of the level.
    But boy, you enter a whole new world when you profit of that inertia, and you want to keep it as high as possible. It's not even for speedrun matter, even as a "normal" player you can do that, what feels so good in the original Super Mario Bros games, is that you can control a bit of that inertia anywhere, in air, on the ground, and you can achieve beautiful things with it.
    Finally, I think that what is making that inertia special is, it's a long, lentghy intertia, I don't exactly know how to put it, but it's not a very short and just a bit annoying factor, you have many nuances with it that I rarely reencountered on other platformers.

    The running way of Mario is graded with many different levels of speed, when you start to master it, you can almost do an entire level without even stopping one time, jumping over multiple obstacles at a time with ease, you can just let Mario keep it's inertia at certain moments, and so just don't touch any direction for special tricks or parts of a level, and it feels really great, even to this day.
     
    Oh, by the way, before someone interrupt me, no it's not nostalgia, I didn't had Super Mario Bros NES in my childhood, I'm a young player, Gamecube and Wii are my generation of nintendo consoles. But it's just that I replayed a bit of Super Mario Bros recently, and I was shocked and surprised how it was certainly the only NES game left that I could really enjoy and that still feel fresh and fluid in it's control. :3

  9. Played it now, but i dont like the movement..it feels a bit clumsy compared to ori and the blins forest.

  10. Könnt ihr Pimmelköpfe mal aufhören Titel von englischen Videos einzudeutschen, wer immer es auch ist?
    Einfach nur unnötig cringy.

  11. the music you are playing the background of this video i could just listen to forever, it's the thing that hooked me. The sound design in general really adds to the game. That and the single screen nature of most of the levels gave it that just one more go feeling that's essential.

  12. I love nearly all your videos but this one is very important to me. I thought the feel of Celeste was perfect from the moment I saw the trailer and I eat up anything that talks about why it feels so nice. Thank you!

  13. Are you planning on making an episode (or more) about VR games. I really would be interested in that topic, because VR games are so new and VR is very unique at several aspects

  14. You know a video was good when you start watching and you don't even realize the time spent on it due to being completely ingrossed in the subject, so… Keep up the level of quality, Mark, you're one of my favorites for a myriad of very deserved respect and knowledge, and time and time again you've been shown to be willing to grow and go the extra mile to lay out your points, it's a commendable feat and I thank you for all the hard work being put in the content. So, again, thanks, yours is one of my favorite channels overall and I wouldn't have it any other way.

  15. Is that in the background of the developers a Smash Bros. poster?
    I'm pretty sure I'm seeing a Koopa Clown Car and Ness…

  16. I stopped speedrunning celeste a while back because of a wall where I couldn’t beat my pb in chapter 3, but this video makes me want to try again 😀

  17. Excellent video, I really enjoyed it! An extensive and well researched look at how to create the excellent feeling that controlling Madeline brings in Celeste. Great work Mark!

  18. There was not a single death I had in this game were I thought it was the game's fault. Every time I felt it was my mistake.

  19. How hard games treat you when you die:

    Dark souls: You Died, You failed miserably, don't play this game again noob

    Hotline miami: Don't be afraid of dying, just press the 'R' key to respawn immediately.

    Celeste: be proud of your death count, the more you die the more you get better, and you don't need to press anything to respawn, you will respawn immediately with a cool screen transition too 🙂

  20. Great to see a really substantive episode on this channel. The interview bits are a great addition. Also, this makes me want to replay Celeste.

  21. Mark, this video left me speechless. You're improving a lot with each new video, and honestly, I can't express how much I enjoyed this one. I'm so glad I've subscribed to your channel long ago. Please, keep up this amazing work and we will surely stay with you. Much love.

  22. I'm trying to make a good but hard gameplay for a platformer, and this helps a lot ! Even if I don't aim for Celeste gameplay feeling, it gives me ideas to make my controls smoother and a bit less punishing too. I want to make it hard, not shitty :p

  23. Funny. When we were making Insection (platformer game) we came on our own to all of these little "hacks" in character movement as well. All pretty much based on observing other people playing our game

  24. Great video!
    "Cyote time", can also be called "Jump Forgiveness". The minor problem with that name is that it is sometimes bundled up with other features attached to jumping. For example (as also refered to in the video around the 10min mark) "you'll sail around the edge of the plattform"; can be called "Jump Pulled". (you are pulled up on the platform instead of getting stuck on the corner and then falling down). Then there is the "Jump Pushed", kind of like 'pulled' but it occures when you jump up and bump your head in a corner, then the game can be forgiving and push you the extra pixles to the side to complete the full jump height.

  25. I really enjoyed your video. It feels like sort of an art critique. Many fine pieces of art, when analyzed, are just magnificent. And yet they were created with pure intuition. I feel like it definitely helps to zoom in on the details, in terms of understanding it.
    But after seeing the way Matt and his team respondedI continue to believe that in order to create it you just have to use your intuition and just make it feel right.
    I think when creating something then overthinking it can sometimes get in the process. That is not to detract from the value of the analysis, but simply to state that sometimes the best way to get something right – is just to really feel it with your senses. 🙂

  26. You're videos are a fine treasure! Amazing editing, spot on explanation, and you even interviewed key people that made the game. Keep up the amazing work!

  27. Mh… I played Madeline right after hollow knight and i have to be honest, i preferred hollow Knight's movement under every aspect; *HOWEVER*, that was a personal preference, neither is worse or better and i'm sure others prefer Celeste as shown by this very video, yet hollow knight in my personal opinion, has just as good controls, though slightly faster in some cases(which is why prefer it along with the snappier wall jump and the pogo jump mechanic)

  28. I wish we didn't think of discarded content as being "thrown away" because it can still be incredibly valuable. You can't have the new thing without the lessons you learned from the old thing and you can always come back to the old thing and steal parts of it later.

    A lot of your most important creations are going to be things that don't make it to a final work and that's fine. It's their function.

  29. Riding on a Celeste high after initially playing the game and falling in love with it. I love understanding why the game feels SO GOOD to play.

  30. Excellent video. It's worth calling out the dynamic hair too. This allows the quick fire movement to feel fluid, yet not lose any of its inherent snappiness. The fact that the hair looks like pixel art still, evening though its clearly procedural is a lovely touch.

  31. There is a video on the youtube channel "Mix & Jam" that explain how to recreate a celeste mouvement character, and it's free to download and test it ! It's a amazing youtube Channel for games development !

  32. I suspect "Coyote Time" may have actually originated as a side-effect of simple collision-detection systems. Lots of old platformers let you stand with just a few pixels of your heels on the ledge. That would fit with using simple boxes for collision-detection and logic of "If player box not in contact with ground, then make them fall".

  33. Shrinking hit boxes on hazards then adding more of them is always a great way to make players feel more badass and make action look tighter.

  34. This video was incredibly well done. Content, form, everything. Thanks for that, I'm glad I can still find this videos of this level of quality on Youtube.

  35. I always thought this game's movement was partially inspired by Melee's movement (particularly, wavedashing, wavelanding, and ledge canceling.) It's been greatly expanded on, of course, but the essence of what makes that movement fun is there. You can schmoove.

  36. As an (VERY) amateur game developer (if you can even call me that) I am happy to see I have created similar player-friendly mechanics, such as the movement, hit-boxes and I actually did the exact same thing with the spike traps and their hitboxes. Glad to see the more experienced does the same. For example (Thanks to Shaun Spalding) I added a brief moment where the player can jump if you step off an edge, as it makes the game 'feel' more fair to the player.

    I always use these types of games (Celeste/Indie games) as a huge inspiration, because it is really an effort to fully complete a game and release it. Hats off to that. EDIT: Oh! Also, amazing video as always!

  37. The empty room thing is spot on. Celeste is an entertaining game, and a total masterpiece.

    However. The wind levels are very annoying. I thing that is Celeste's only flaw.

  38. Oh No! The only abilities my platformer character has, are:
    – Jumping off the ground
    – Moving left & right (On the ground to walk, and in the air to control where the character lands)

    How do I come up with more original moves?

  39. I find it interesting you didn't refer to dustforce In this video, a platformer with movement that feels freeflowing and expressive while also being simple to get into.

  40. I want to be a patreon supporter as soon as I turn 18 and get my own bank account 🙂 I have one right now, but I can’t access it and I don’t have an income. Hopefully I’ll be a supporter in 2 years💜 your videos feel so professional I’m so surprised they’re free for everyone to watch. Your videos make me discover new games and I’ve enjoyed every single one you’ve talked about so far. You deserve so many subscribers and I hope you’ll see my name on the patreon list one day 😉

  41. And this is why many, many small games can whoop TRIPLE A's ass. I can't read Triple A anymore without saying like Jim Sterling does

  42. How is implemented the jump before hitting the ground?
    There is a memory of past inputs or is something with the colision?

  43. Man I love the little snippets of Celeste OST this is one of my all-time favorite games, and I rarely play 2d platformers

  44. Make a video about how to make guns feel good to use like in Call of Duty Black ops 4. The guns in that game feel way better than in other games, they feel versatile and heavy and just fun to use but I don't know why

  45. floaty jump in super metroid is pretty good tho :p joking

    Its amazing how they got player safe guards so right with removing pixel perfect. A thing not really noticable but so important

  46. I wish to 3D platform of this. I don't like 2D. But I like Celeste and I must have it. Lol.

    Cool and good. Extremely Duper juber real Awesome!!!

    Don't buy/claim this game on Epic! Even it will promo for free!
    It's bad. Epic anti-consumer.
    Buy it on itch instead! Buy on itch, it's yours.

  47. Subbed. Never had someone explain mechanics, and why those mechanics translate to enjoyable gameplay in such an engaging way – kudos!

  48. There’s also a thing about Celeste’s visual design I love. Which are the dynamic code based graphics. Madeline’s hair isn’t a human drawn sprite, neither are the flags or water physics. Which make Celeste feel very grounded when you compare it to most indie pixel art game which are only sprite based.

  49. Fantastic video! Really detailed and excellent analysis on the examples that you've chosen.
    This one is going in my favorites for another review in the future, if & when I actually work on a platformer of my own. Thank you!!

  50. Coyote time is the time between visually being off a ledge and actually starting to fall. The first i heard it was when gamers were discussing how the original three crash games became gradually less forgiving in he actual jumps but made larger platforms to compensate

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