Developer Museum
| DEVELOPER MUSEUM | |||
|---|---|---|---|
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| General | |||
| Layer & Part | MENU /// CREDITS | ||
| Music | Closing Time フィンランドの夢 The World, and So Much More Beyond the Veil of Night | ||
| Tip of the Day | |||
You can pick up the cut
weapons on the second floor. | |||
[[Category:]]
The Developer Museum, also known as the Hall of Shame or Hall of Ultradevelopment, serves as a way to credit those who have worked on or have contributed to ULTRAKILL and its development: featuring developer entries, cut content, Weapon and Enemy development pages, along with hidden secrets and easter eggs. It can be accessed by selecting the 'Credits' button in the main menu.
Start
As the Developer Museum is treated like a normal level due to it being entirely interactive, players enter the Developer Museum by leaving the level entrance after ascending down a elevator shaft as usual. A terminal is also present.
Locations
Courtyard
The first area the player enters; the courtyard is located before the museum's entrance, centered is a large ornate water fountain circled by a row of palm trees, various flowers, and hedges. A large set of stairs lead up to the museum itself, titled "HALL OF SHAME: THE ULTRAKILL DEVELOPERS"
Entrance
The entrance to the museum is a tall, circular chamber connecting to the Nerd Room and Art Room, continuing forward leads into the rest of the interior. In the middle lies a circular indoor garden with a small canal wrapped around it, where a plushie of Hakita, the creator and lead developer of ULTRAKILL, sits atop a pedestal. Surrounding it are numerous bamboo plants, a variety of flowers, a bonsai tree, picnic basket, and record player. A bookrest attached to the pedestal holds a book serving as an introduction to the museum and its contents, alongside Hakita's developer entry.
Developer Halls
Separated into four different quadrants, the Developer Halls serve to credit those who had worked on or contributed to the game. Each hall is located at a corner of the museum and covers a different sector of development.
- Nerd Room: Located to the right of the entrance, reserved for the programmers and quality assurance.
- Art Room: Located to the left of the entrance, reserved for the artists and modellers.
- Talk Room: Located to the far right of the museum, reserved for the voice actors.
- Rest Room: Located to the far left of the museum, reserved for guest composers, other fields of development, and additional contributions to the game.
Each contributor is represented by a portrait and a plushie in their likeness, with the exception of Ben Moir, FlyingDog and Toni Stigell, who have a V1 plushie as a placeholder instead. Toni Stigell is also the only contributor whose portrait is blank.
Big Dave Statue
Located between the Rest Room and the Talk Room Developer Halls lies the plaque for Dave Oshry, the CEO of ULTRAKILL's publisher: New Blood Interactive. The plaque is commemorated with a large stone statue of himself, wearing a t-shirt with the New Blood logo and holding his dog Saul[1] over his shoulders.
Enemy and Weapon Exhibits
Located on the second floor, the Enemy and Weapon Exhibits serve to showcase the development of the redesigned Enemies and Weapons within Ultrakill. Each exhibit features a book detailing information of the development for each subject and item, along with a showcase of their beta and updated models.
The Enemy Exhibit, located above the Talk Room to the far right of the museum, houses the entries for the 
Filth, 
Stray, 
Schism, 
Malicious Face, and 
Swordsmachine. The Weapons Exhibit, located above the Rest Room to the far left of the museum, houses the entries for the 
Revolver, 
Shotgun, and 
Nailgun.
The Weapons Exhibit also houses two exhibits for a set of cut weapons which were scrapped in development, those being the Black Hole Cannon and Beamcutter. These cut weapons can be picked up to use, showing up as a question mark in the weapon selection.
The Black Hole Cannon fires a small Black Hole which slowly travels through the air until it is activated with the alt fire, where it will continually damage enemies until it disappears. The Beamcutter fires a small concentrated beam of energy, which can be strengthened by constantly moving. The Beamcutter also fires a small stationary drone that will continually fire a beam of its own, which can damage the player if it comes into contact.
Garden
Located by the western side of the museum's second floor lies a small garden for the player to visit. The garden houses a small set of flowers and trees, with the centerpiece being a stone tree bearing the apple-like energy orbs that the 
Cerberus wields. Connecting to the room lies a balcony to the outside, with it situating a large empty plane spotted with a checkered floor and giant Malicious Faces. 4 large pillars can also be seen in the distance.
Theater
Located to the eastern side of the museum's second floor lies the movie theater, which can be recognized by a large poster hung up at the entrance and staircase branching off to the Rooftop. Titled "ULTRAKILL: A Development History", the poster featurs the following developers and contributers; Hakita, PITR, Victoria Holland, Francis Xie, BigRockBMP, Jericho_Rus, Samuel James Bryan, Maximillian Ovesson, Gianni Matragrano, and Salad.
Inside the theater situated at the front end row sits each of the developer plushies that the player can find in the Developer Halls, minus any placeholder V1 plushies. A spot is left reserved next to Hakita and PITR, presumably for the player to sit in. At the back end of the theater lies a small booth holding a film projector, along with two Blue Pedestals and a Skull Key. The player can interact with the projector to activate it, causing the lights to dim within the theater and a movie to play upon the screen. The projector can also be turned off and reactivated to reset the movie. The Blue Skull Key found on the right pedestal can be moved and placed on the left to retract the screen, revealing an aquarium behind it.
The movie itself is a highlight reel of various clips and moments of the game's development history up to the Developer Museum's addition, progressing through the lifespan and early builds of the game as the video goes on. These clips are sourced from the development log videos found on Hakita's Youtube Channel, with the highlight reel originally being uploaded for ULTRAKILL's 5th Year Anniversary.
The original upload can be found here: 5 YEARS of ULTRAKILL
Rooftop
Connected to the same entrance as the movie theater lies a set of stairs to the left and right of the eastern second floor's movie theater. Heading up the stairs leads to an outdoor portion of the museum. The outside venue features a waterfall stream, flowers and palm trees, an aquarium that the waterfall flows into, and a giant stone chess setpiece within the center.
A lower balcony can be accesed via the stairwell leading to the rooftop, leading to an outside view of the aquarium. Within it sits a miniature version of the Developer Museum, surrounded by coral and fish found in the level 5-S: I Only Say Morning.
Chess Board
For information and rules of the game itself, see the Wikipedia page for Chess.
The chess board found at the rooftop can be played by activating a panel on a nearby bridge. The player can start a new round and choose each side of the board to be either player controlled or bot controlled, with bot sides being represented with Victoria's developer plush. The plush is given CabalCrow's glasses if it plays black, and is left without them if it plays white. To play the chess board, the player is given the Mover Spawner Arm to move the pieces, with their available moves marked with a blue square on the board. A prompt appears on how to move the chess pieces when first starting a new round:
Each chess piece is represented with an enemy, with the list being:
- Pawns - Filth
- Rooks -
Streetcleaner - Knights - Swordsmachine
- Bishops -
Sentry - King -
V1 - Queen -
Gabriel
Performing actions such as enemy captures, promotions or other moves will be displayed with a style bonus. When the round is over due to a win condition, a win message along with a spray of celebratory particles will be displayed over the chess board as either "WHITE WIN !" or "BLACK WIN !" depending on the winning side.
[wip]
Developer Entries
Hakita
Hakita - Creator of Ultrakill:
HAKITA - CREATOR OF ULTRAKILL
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%.
My contributions include:
- 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
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!"
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Art Room
FRANCIS XIE - 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:
- 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
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!"
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JERICHO_RUS - ILLUSTRATOR, CONCEPT AND TEXTURE ARTIST
Jericho joined the team in 2019, shortly before the orignal Prelude
demo's release. He's responsible for many of the game's character designs
and most of it's[sic] weapon designs, as well as all the level textures for
layer's 2-4 and some textures for the Wrath layer.
Some of his biggest contributions include:
- 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 the intermissions and 2-S
we create. I've met many wonderful people though ULTRAKILL's development
and hope to continue doing so. Shoutout to SXBIG and Luvoid!"
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BIGROCKBMP - 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:
- 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 the bosses in the Prime Sanctums
- The painting of the rocket launcher wielding Ferryman in 5-3: SHIP OF FOOLS
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."
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MAXIMILIAN OVESSON - 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.
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."
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VICTORIA HOLLAND - 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 Insurrectionst. She also handles the
programming of all shaders and almost all graphical systems and
optimizations.
Some of her biggest contributions include:
- 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 shaders
- Programming for most graphical systems and optimizations
be. You're not alone, so live your authentic self, and always enjoy the
journey."
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TONI STIGELL - 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:
- The original models for the husks, Swordsmachine and Feedbacker arm
- The design for the original version of the Filth
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FLYINGDOG - 3D ARTIST
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.
Some of his biggest contributions include:
- The designs and original models for the revolver, shotgun and Malicious Face
- The original model and texture for the nailgun
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SAMUEL JAMES BRYAN - 3D ARTIST
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.
"No idea, ask Hakita."
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Nerd Room
Quality Assurance Team:
- Cameron Martin - Quality Assurance Lead
- Dalia Figueroa - Quality Assurance
- Tucker Wilkin - Senior Quality Assurance
- Scott Gurney - Technical Quality Assurance
CAMERON MARTIN - QUALITY ASSURANCE LEAD
DALIA FIGUEROA - QUALITY ASSURANCE, PROMO FOOTAGE & SCREENSHOTS
TUCKER WILKIN - SENIOR QUALITY ASSURANCE
SCOTT GURNEY - 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.
'"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'"
"Be it games, music, movies or the company of others, be sure to enjoy
the good times 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 it's[sic] fullest and give everyone respect and love. A
smile on someone's face is worth its weight in gold!"
"Of all the scars on my psyche, this one will always remain a favored
one. from the 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!"
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!"
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PITR - 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 from him.
Some of his biggest contributions include:
- 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
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HECKTECK - ADDITIONAL PROGRAMMING
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. They also created the jukebox system for the Cyber Grind, the
new multi-bind system and other quality of life features.
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EMANUIL "CABALCROW" CHIZHOV - 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 the 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.
50 bucks is 50 bucks"
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LUCAS VARNEY - ADDITIONAL PROGRAMMER
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 mostly been optimization related, helping make the game
run better as well as creating development tools that allow for easier
per-level optimization.
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 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."
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BEN MOIR - ADDITIONAL PROGRAMMING
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.
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 controller support and the auto aim assist.
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Talk Room
STEPHAN WEYTE - VOICE OF MINOS PRIME
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.
character to Minos that I really can't imagine him any other way.
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LENVAL BROWN - 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.
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GIANNI MATRAGRANO - 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.
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MANDALORE HERRINGTON - VOICE OF MYSTERIOUS DRUID KNIGHT
JOY YOUNG - VOICE OF OWL
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.
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.
Also, Mandalore played the aztec death whistle on the 7-1 track "Bull of Hell".
"Visit me in the tombs with piped in music. How classy. Thanks for
playing!"
Rest Room
MEGANEKO - GUEST COMPOSER
I met Meganeko in early 2020 after BigRock, who was a fan of his, noticed
that 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.
That soundtest eventually, though 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.
that back in the game was a bit surreal.
Big thanks to Hakita and BigRock for reaching out!"
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(Thrown) The intro to Meganeko's 'Milkshake' |
KEYGEN CHURCH - GUEST COMPOSER
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".
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.
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HEALTH - Guest Composer:
- Benjamin Miller - Drums
- Jacob Duzsik - Vocals, Guitar
- John Famiglietti - Bass, Software
HEALTH - GUEST COMPOSER
BENJAMIN MILLER - DRUMS
JACOB DUZSIK - VOCALS, GUITAR
JOHN FAMIGLIETTI - BASS, SOFTWARE
In early 2023 we collaborated with the band HEALTH to premiere their song
"HATEFUL" in the Cyber Grind. I've been a fan of HEALTH ever since I heard
their music in Max Payne 3 and their heavy, blood-pumping electronic beats
are a perfect fit for ULTRAKILL's mayhem, so I'm very happy that their
music became a part of the game.
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QUETZAL TIRADO - GUEST MUSICIAN
I met Quetzal through a mutual friend in early 2021, when I asked her if
she could record a saxophone solo for the P-1 song "CHAOS". The solo
didn't really end up working out, but parts of her recordings were still
included and scattered about the track for added noise and texture.
Later, she recorded improvised saxophone solos for the 5-1 song "Deep
Blue", which I edited into what you hear for the final version. She also
recorded the bass clarinet drone which turned into the Sisyphean
Insurrectionist's horn sound effect.
count as a successful artist, right? also many thanks to the gay people,
find me on that one level where the water fucks up the music, baby"
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SALAD - ARTIST OF JAKITO
Salad drew Jakito.
Some of their biggest contributions include:
- Jakito
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JACOB H.H.R - WRITER (PROSE & DIALOGUE)
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 prose for the
intermission cutscenes. In Act 1, I came up with the 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.
iconic in the ULTRAKILL community are thanks to his skills with the
English language.
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VVIZARD - 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're wondering why it's the best looking level in the game, he's
the reason.
"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 that 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.
But if Oyff ever sees this, a good youtube video (The ULTRAKILL Rip and
Tear) can really change your life."
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ADDITIONAL CREDITS
Finn [Frej] - Creator of the "Fuckin Finland" animation
COMMUNITY CYBER GRIND PATTERNS by
NO LOAFING
Dood
Splendid Ledraps
Jandy
Stuon
Dryzalar
Wakan
Slimer
William
Bobot
Spruce
Jacob
SPECIAL THANKS to
David Szymanski, Leon Zawada and Simon Rance for allowing us to use
assets from their games for easter eggs
Magnega for telling me my previous game, Untraceable, was unfun, causing
an existensial crisis tha resulted in me dropping that project and
making ULTRAKILL instead
Mikko Tamper and Robert Raulus for their continued support as well as
beta testing and giving feedback
ADDITIONAL MUSIC CREDITS:
"Take Care", the shop theme: Sampled from "Were You Foolin'" by the Russ
Morgan Orchestra (Public domain)
"Cerberus" in 0-5: CERBERUS: Classical music sampled from "Mars, the
Bringer of War" from Gustav Holst's Planets Suite (Public domain)
"Clair de Lune" in 1-4: CLAIR DE LUNE: Written by Claude Debussy,
performance by Laurens Goedhart (CC 3.0 license)
"BWV 639 'I call to you Lord Jesus Christ'" in 3-2: IN THE FLESH:
Written by Johann Sebastian Bach (Public domain)
"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 Lambdis Vassiliadis (Public domain)
First feeding ambiance in 7-3: NO SOUND, NO MEMORY: Sampled from "Take
a Look at Molly", written by Hazel M. Lockwood and Lee W. Lockwood,
peformance by John McCormack (Public domain)
History video: Written by Erik Satie, Performance by Robin Alciatore
(Public domain)
Enemy Entries
Filth:FILTH
LEFT: 2018 Original by Toni Stigell and FlyingDog
RIGHT: 2020 Remake by Jericho, BigRock and 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.
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.
The new design is inspired by the debut album by Swans, which is also
where the enemy got it's[sic] 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.
chapter, but it actually became in 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.
Stray:STRAY
LEFT: 2018 Original by Toni Stigell, FlyingDog and Hakita
RIGHT: 2020 Remake by Jericho and 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.
that general idea but executes it in a much less cartoony way.
Schism:SCHISM
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.
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 versions 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!
Swordsmachine: SWORDSMACHINE
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 into 3D.
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.
Malicious Face:MALICIOUS FACE
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, it's[sup][/sic][sup] design was supposed to be quite
different originally, as I wanted a more start 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, but never
committing to them was, very understandably, frustrating to FlyingDog.
manages to keep the iconic look while improving the visual quality while
actually decreasing its resolution.
Weapon Entries
Revolver: REVOLVER
LEFT: 2018 Original by FlyingDog
Right: 2022 Remake by 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.
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.
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 reinterprested into
the much more fun and freeform dual wield powerup.
Shotgun: SHOTGUN
LEFT: 2019 Original by FlyingDog
RIGHT: 2022 Remake by 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.
all the 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.
Nailgun: NAILGUN
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 it's[sic] 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 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.
harpoon and a version that allowed for firing both barrels
simultaneously, increasing the 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.
BLACK HOLE CANNON
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 be 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 it's[sic] 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.
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.
BEAMCUTTER
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 it's[sic] 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.
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.
Images
Developer Plushies
Hakita seated at his throne, with Dave Oshry's statue in the background.
V1 plushie, used as an placeholder.
Fashionable V1 plushie.
The council has decided your fate.
Developer Portraits
Art room, left wall
Art room, center wall
Art room, right wall
Nerd room, left wall
Nerd room, center wall
Nerd room, right wall
Talk room, left wall
Talk room, center wall
Talk room, right wall
Rest room, left wall
Rest room, center wall
(Salad, post-demise)
Rest room, right wall (Salad, pre-demise)
Exhibits
The exhibit for the
Filth.
The exhibit for the
Stray.
The exhibit for the
Schism.
The exhibit for the
Malicious Face.
The exhibit for the
Swordsmachine.
The exhibit for the
Revolver.
The exhibit for the
Shotgun.
The exhibit for the
Nailgun.
The exhibit for the
Black Hole Cannon.
The exhibit for the
Beamcutter.
Secrets
Gianni Horde
Throughout the museum the player can find various trash bins, which are located within most rooms at the museum. Disposing of a pluhsie by throwing it into the trash bin will cause a comedic explosion to occur. Once the player destroys their 29th plushie, all lights dissipate and a thick fog fills the surroundings, followed by a low droning noise which replaces the previously playing music. A large horde of 60 Radiant Filth, reskinned as flat images of Gianni Matragrano's portrait, will spawn in throughout the museum and viciously hunt down the player. Leaving and re-entering the credits will keep the easter egg active. Killing all the Gianni Portraits or dying during the horde will end the encounter.
Various other changes also occur through the museum during the easter egg, with all developer plushies (aside from Hakita's plushie and the ones seated at the theater) being replaced with a V1 plushie, all portraits disappearing, and Gianni Matragano's plaque to replace all other plaques. The portraits and stands for PITR, Victoria, and the Additional Credits will disappear along with HEALTH and Quetzal Tirado's stands. However, the latter two are likely caused by the easter egg not being updated with the newer contributors yet.
Once the Gianni Horde ends, the museum will return to its previous state; all V1 plushies which took the place of the developer plushies disappear, unless they were removed from the stands during the horde.
Seasonal Events will affect the Gianni Horde and give the enemies their costumes for the respective event.
The requirement to activate the easter egg can be met by disposing of Florps spawned in through the Spawner Arm, along with the duplicated glasses from CabalCrow's stand.
Rocket Race
Located behind Dave Oshry's plaque by the Big Dave Statue lies a hidden button to activate the Rocket Race. Pressing start will set off a timer and spawn in 50 glowing rings scattered through the main hall and outdoor entrance, with the goal to reach them as quickly as possible. During the activation of the Rocket Race, the player is allowed to fly indefinitely through the air while riding a rocket, similar to when the player is underwater or when No Weapon Cooldown is active with cheats.
When the rocket race is active, the music will change to The song that plays in the level colloquially known as 4-S, specifically the portion of the song used for the Boulder Chase segment in 4-S: Clash of the Brandicoot.
The player is recommended to use the intended method of Rocket Riding to complete the race, as the limitless mobility and easy readjustment with the 
Freezeframe Rocket Launcher is useful for making quick turns or to readjust position. The player can however cross through the rings normally without the need for riding a rocket.
Completing the race will display the player's final time during the attempt, re-activating the button again allows the player to retry the race.
KITR
Located under the western staircase that leads to where the Garden lies 
KITR, a low poly cat representative of the lead programmer PITR's cat of the same name. Approaching KITR will cause her to follow the player around and damage any enemies if nearby. Finding the easter egg will allow the player to spawn in KITR with the usage of the Spawner Arm by activating cheats or when inside the Sandbox.
Minor Easter Eggs
- CabalCrow's developer "plushie"; a pair of glasses, can be picked up and endlessly duplicated from its stand and placed on other plushies to let them wear glasses, even if the plushie has glasses of their own.
- After holding Mandalore Herrington's plushie for over a few minutes, he will whisper a supposed hint to finding a "Size 2 fish", a red herring/joke found within 5-S: I Only Say Morning :
- Agnes Gorge Trail is in reference to a real location in the United States within the state of Washington. The message itself may be referring to a secret room found in 7-S: Hell Bath No Fury, where a tunnel to "Agnes Gorge Trail" can be found behind a waterfall. The room at the end also features a waterfall that is flowing upwards, likely the water-up in question.
- Florp, a morbidly obese hamster, can be found within a bathroom stall at the restrooms. A second smaller Florp can be found inside a cup holder at Hakita's seat within the movie theater. Neither of the Florps can be picked up or
Whiplashed, and will not unlock the Florp which can be spawned in using the spawner arm.
- Armboy, an easter egg originally found within 6-1: Cry for the Weeper, can be found outside by the Rooftop by heading behind a tower nearby the right wall, where it can be found on the top ledge. Approaching it will cause a clapping sound to play, along with the prompt "ARMBOY ! ! !" appearing below.
- The sillouette of a massive Salad plushie can be seen far in the distance from the Rooftop. Getting to it either requires cheats or to clip out of bounds from the museum while utilizing the infinite Rocket Riding from the Rocket Race to reach the plushie. It cannot be grabbed or whiplashed, but can be stood on.
- Destroying Salad's portrait using any weapon will reveal the drawing of a dead deer resembling Salad, attached to the body is a foil balloon with "Get Well Soon!" written on it.
- A beach ball can be found at the top of the tower surrounding the entrance. It has collision but cannot be whiplashed or grabbed, however, it can be moved by knockback from explosives.
- A V1 plushie sitting on a white lawn chair can be found at the rooftop by a small ledge above the waterfall as a reference to a Devil May Cry mod. Similar to the beach ball, the plastic chair has collision but cannot be whiplashed or grabbed.
- Clipping into the miniature museum found within the aquarium will reveal a smaller museum inside the model.
- Activating the projector while the screen is down will cause the movie to be played over the aquarium.
- Under the West and East staircases, two staff-only rooms can be found in total, noclipping inside using cheats will reveal a room in an unfinished state that partially de-loads when looking around. Originally intended to be locker rooms, the west staff room is furnished with a static bench, towel, and water bottle. Both rooms have collision and can be stood in.
- A bonsai tree planted in a turtle-shaped pot can be found out of bounds, it can be located by using cheats to noclip through museum walls nearby the second floor's top left corner nearby the restroom and Weapon Exhibits.
- The red apples from the trees within the Garden can be picked and whiplashed.
