You’ve got to make do with what you’ve got! The speed boost afforded by the lollipop, however, let the player push through them, allowing for what are near-as-damnit timed entrances.
You could use wind to create, essentially, one-way corridors. Elements could be combined to create new, unintended types of obstacle – for example, there was a lollipop power-up that makes Eggbert run faster and jump higher. There was a bug that made items and objects act like moving platforms, allow certain inanimate objects to become, well, animate.
It was through this experimentation that we discovered other exploits which enhanced our ability to design levels. This was like solving the Rosetta Stone, as I’m sure you can understand. Using this, you could create walls, assign them the properties of a moving platform then – crucially – not make them move, resulting in a wall imperceptible from any other, yet able to be passed through. Any surface assigned to this role would no longer be a solid object, but was instead traversable from below and, indeed, both sides. This presented a problem until we noticed that there was an interesting wrinkle with the game’s moving platforms. Anyone even slightly familiar with Speedy Eggbert could identify them instantly. We found, though, that these passages were too obvious to the naked eye. For example, the base editor came with that 2D platformer staple “secret walls”, the fake wall that you can simply walk through to find secrets. The package included a rather lengthy single-player game, but what did we care? What could we possibly have cared when the holy grail was finally upon us? Almost anything we could imagine was finally possible to make and play, and where it wasn’t we’d just find a way to represent it, or discover some exploit to make it possible. Things got even better when it turned out the game didn’t even need the disc after installing it was duly whipped around my friends’ computers and we were soon hard at work on many of our own levels. In fact, this thing was so easy to use that it could be comfortably picked up within minutes of seeing it – my immediate peers were testament to that.
Imagine my sheer joy, then, when it turned out to be an unbelievably self-explanatory, WYSIWYG editor with nothing to catch me out.
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Now, this was a boast to be regarded with suspicion – just because the tools were present didn’t mean I’d have the wherewithal to use them – but this was a two-dimensional platform game, my stock-in-trade I’d been designing them for long enough on paper, how hard could it be? After a morning extolling the virtues of Speedy Eggbert to my mother, I was privileged enough to be “bought it”, and after an excruciating morning of voluntary work I was able to slam that disc into the family PC and find out for myself just where I stood when it came to this level creation business. I was, though, aware of its big, shiny box on the shelves of Game, with its gorgeously embossed Eggbert and a reverse emblazoned with screenshots and features, including the most enticing few words I’d ever seen – “MAKE YOUR OWN LEVELS!” Sectors? Vectors? Call me a particularly stupid child, but I just wanted to draw two long lines on a piece of paper.Įnter Speedy Eggbert, a budget-priced platform game that scored “the world’s first generous 4% review” in PC Gamer magazine. I’d tried before, with Doom, but the editor was incomprehensible.
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You could call me a budding game designer, only I had no knowledge of how to transfer my genius creations into digital form. That’s what I’d do, basically all the time, basically every day.
That’s a level that’s a side-scrolling environment. Take a sheet of plain paper, turn it horizontal, draw two long lines across it, dividing it into three strips. Also, before them, every other platform game I ever got my hands on.
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