Developer Museum
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| DEVELOPER MUSEUM | |||
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| General | |||
| Layer & Part | MENU /// MUSEUM | ||
| 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. | |||
| Collectables | |||
 KITR
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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 “Museum” 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 an 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, a picnic basket, and a 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 modelers.
- 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 alternate fire, where it continually damages 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 continually fires 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 features the following developers and contributors; 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 accessed 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 rules of the game itself, see the FIDE handbook for the rules of Chess. For a simplified version, see Rules of Chess on Wikipedia. For other information, see Chess on Wikipedia.
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 she plays black, and is left without them if she plays white. To play the chess board, the player is given the 
Spawner Arm's Move variant 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 - Queens -
Gabriel - Kings -
V1
Performing actions such as enemy captures, promotions, or other moves are displayed with a style bonus. When the round is over due to a win condition, a win message along with a spray of celebratory confetti of the winning side's respective color is displayed over the chess board as either "WHITE WIN !" or "BLACK WIN !" is shown based on the winning side.
The following is a list of style bonuses obtainable from the mini-game:
| Name | Points | Description |
|---|---|---|
| + BONGCLOUD | 100 | Play the Bongcloud Attack. (1.e4 e5 2.Ke2) |
| + FOOLS MATE | 1 | End a game in two moves. |
| + WHITE WINS | 5000 | Win via checkmate as white. |
| + BLACK WINS | 5000 | Win via checkmate as black. |
| + ULTRAVICTORY | 5000 | Win against the chess engine. |
| + CASTLED | 50 | Castle a king. |
| + ROOK PROMOTION | 500 | Promote a pawn to a rook. |
| + KNIGHT PROMOTION | 500 | Promote a pawn to a knight. |
| + BISHOP PROMOTION | 500 | Promote a pawn to a bishop. |
| + QUEEN PROMOTION | 500 | Promote a pawn to a queen. |
| + PAWN CAPTURE | 100 | Capture an opponent's pawn. |
| + ROOK CAPTURE | 100 | Capture an opponent's rook. |
| + KNIGHT CAPTURE | 100 | Capture an opponent's knight. |
| + BISHOP CAPTURE | 100 | Capture an opponent's bishop. |
| + QUEEN CAPTURE | 100 | Capture an opponent's queen. |
| + EN PASSANT | 100 | Capture an opponent's pawn en passant. |
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
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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
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JERICHO_RUS - ILLUSTRATOR, CONCEPT AND TEXTURE ARTIST
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 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
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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
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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.
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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 Insurrectionist. She also handles the programming of all shaders and almost all graphical systems and optimizations.
Some of her biggest contributions include:
- Art, programming and level design for 7-S
- 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
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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.
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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!"
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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 and full-time in 2023 thanks to her experience and skills making mods for ULTRAKILL, to overhaul the style system to include staleness as well as other related quality of life features. She 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.
"you know what they say50 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.
"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!
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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.
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.
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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.
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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.
"Low Resolution. High Imagination. Praise the code."
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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.
"BACK TO THE CYBER GRIND"
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King Gizzard & The Lizard Wizard - Guest Band:
- Stu Mackenzie
- Ambrose Kenny-Smith
- Joey Walker
- Cook Graig
- Lucas Harwood
- Michael Canavagh
- Eric Moore
KING GIZZARD & THE LIZARD WIZARD - GUEST COMPOSER
STU MACKENZIE
AMBROSE KENNY-SMITH
JOEY WALKER
COOK CRAIG
LUCAS HARWOOD
MICHAEL CANAVAGH
ERIC MOORE (on "Robot Stop")
King Gizzard & The Lizard Wizard is at this point a band that needs nointroduction, having over the years become a legendary force in the underground rock scene. When their album PetroDragonic Apocalypse released in 2023, I felt it would be a perfect fit for ULTRAKILL's combat.
Me and Dave both love their music, so we had a hard time agreeing on which song to include. In the end we decided to just go for it and add all 3 of the songs we'd discussed, "Robot Stop" from the 2016 album Nonagon Infinity, "The Dripping Tap" from the 2022 album Omnium Gatherum and "Supercell" from the aforementioned 2023 album PetroDragonic Apocalypse.
Of course, by the time we actually managed to get the songs in, they had already released another 2 albums.
Since the band has 6 members (plus a 7th from around the time of Robot Stop), we elected to instead include a plushification of the lizard from the cover of PetroDragonic Apocalypse as a stand-in for the entire band.
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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.
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SALAD - ARTIST OF JAKITO
Having previously contributed to the game with his drawing of Jakito, Salad temporarily joined the team in early 2025 to help with the new UI art and programming, mainly focused on the Smile OS 2.0 system the terminal use, but also drew the text-mode pixel art logo and V1 for the main menu. He has also helped out by hanging out in voice chat daily during development sessions for motivation and bouncing ideas off of.
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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.
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.|
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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.
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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
The Fontstruction "fs Taho"ma 8px v2" (https://fontstruct.com/fontstructions/show/2502370) by "chriswall1200" is licensed under a Creative Commons Attribution Share Alike license (http://creativecommons.org/licenses/by-sa/3.0/)
"fs Tahoma 8px v2" was originally cloned (copied) from the FontStruction "fs Tahoma 8px" (https://fontstruct.com/fontstructions/show/735108) by "ETHproductions", which is licensed under a Creative Commons Attribution Share Alike license (http://creativecommons.org/licenses/by-sa/3.0/).
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
B.G.B and Splendid for beta testing and giving feedbackAdditional Music Credits:
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)
"Gymnopédies - la lére. lent et douloureux" in ULTRAKILL Development 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.
The Filth was originally colored orange to make it fit into the Prelude 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.
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. 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.
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 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.
One of the earlier iterations of the 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. 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.
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.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. Eventually, the surface-ricocheting idea did get revisited and improved on with the Sharpshooter variation, which uses heavy aim assist to make ricocheting easier, as well as giving the shots other useful attributes that the original didn't have.
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. 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.
The shotgun had some balancing issues when it was originally added since 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.
Some scrapped ideas and versions include a high damage slow recharge 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.
The Black Hole Cannon never got a visual design or mode, 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.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.
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.
Images
Developer Plushies
Hakita seated at his throne, with Dave Oshry's statue in the background.
V1 plushie, used as a placeholder.
A V1 plushie with CabalCrow's glasses.
All the plushies stationed at the theatre.
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
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.
Chess
Victoria's plushie representing the white team.
Victoria's plushie representing the black team.
The victory animation.
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 causes 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, spawns in throughout the museum and viciously hunts down the player. Leaving and re-entering the credits keeps the easter egg active. Killing all the Gianni Portraits or dying during the horde ends 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 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 returns 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 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 sets off a timer and spawns 50 glowing orange rings scattered through the main hall and outdoor entrance, with the goal of reaching 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 changes 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 displays 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 causes her to follow the player around and damage any enemies if nearby. Finding the easter egg allows 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 whispers 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 flattened hamster with gray fur, can be found within a bathroom stall at the restrooms. A second smaller Florp can be found inside a cup holder by Hakita's seat at the movie theater. Neither of the Florps can be picked up or
Whiplashed, and do 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 causes a clapping sound to play, along with the prompt "ARMBOY ! ! !" appearing below.
- The silhouette of a massive Salad plushie can be seen far in the distance from the Rooftop. Getting to it either requires cheats or clipping 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 grappled with the
Whiplash, but can be stood on.
- Destroying Salad's portrait using any weapon reveals 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 on 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 reveals a smaller museum inside the model.
- Activating the projector while the screen is down causes 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 reveals 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 near the second floor's top left corner near the restroom and Weapon Exhibits. This bonsai tree was modeled by VVizard originally intended for the museum, but moved here due to the difference of its art style with the rest of the game's assets.
- The red apples from the trees within the Garden can be picked and whiplashed.
Gallery
The beach ball.
The rocket race button.
The rocket race rings.
KITR's location.
The turtle pot bonsai.
Plushie V1 on the lawn chair.
Armboy!
Salad Island. Stray spawned in for scale.
