“I kept believing in it for three years.
I had no money, I just believed in it. I dreamed about it, this place called LIMBO. That was
the beginning of it.” The story of how 2D puzzle platformer LIMBO
was made begins with a young Arnt Jensen. Born in Denmark, Arnt spent most of his early
years playing on his parent’s small farm and exploring the neighboring woods. He often
lingered by the stream in the forest, placing unusual bugs and leaves into the water, following
them as they drifted away. Even as a child, he held a peculiar fascination for small animals
and parasites, though he also despised them. The quiet wooded area gave him a unique sense
of both freedom and fear, as well as a deep connection with life, but also death. “People
like The Brothers Grimm, Astrid Lindgren and Tove Jansson were responsible for a lot of
my childhood memories. They dared to write about death in a much heavier way than people
do today.” After graduating from university with a design
degree, Arnt won a competition held by Danish developer IO Interactive, best known for the
Hitman series. Consequently, he joined the company. For a time, he enjoyed his role as
a concept artist: he earned a good salary, and his colleagues valued both him and his
work. However, as the job became more and more corporate, Arnt found it increasingly
challenging to get his ideas approved. Dissatisfaction started to set in. As a result, he began channeling
most of his genuine creativity into personal projects during his own time. In 2004, feeling
particularly inspired, he picked up his pencil and began sketching. This drawing represents
the starting point of LIMBO’s development. Arnt describes the image as a "secret place"
that you might want to explore. Just from that first sketch alone, he knew
it could only evolve into a game. Other mediums didn’t even cross his mind. Ideally, he
wanted it to be something more simple, something he could develop all by himself. Being a reserved
and introspective person, Arnt was inclined to work solo initially. In the early stages
of development, he contemplated creating a point-and-click adventure title. However,
as he produced more concept art, the "secret place" began to take on a more sinister tone.
Inspired by the Latin word "limbus", meaning edge or boundary, Arnt chose the title LIMBO
for the game, referencing the edge of Hell, which is the game's setting. He also learned to program using Microsoft
Visual Basic and managed to animate a sprite, in addition to visualizing a few other elements.
However, he soon realized that bringing his vision to life would be a long endeavor, especially
if he continued development on his own. By 2006, Arnt decided to seek help in building
the game. To attract potential collaborators, he created a cinematic concept trailer primarily
intended to draw in freelance programmers. Unexpectedly, the trailer quickly went viral. LIMBO, with its monochrome graphics and mysterious
setting, offered something unique—something people hadn't experienced before. Soon, Arnt’s
inbox was flooded with partnership proposals, including offers from interested publishers.
“I got very scared by all these people contacting me. I had mail from publishers all round the
world. It was a one-man project at the time, and it felt like they wanted to control it
and be part of it. I was so scared that people would take it away from me and make it more
commercialized.” Before we move on, I’d like to talk about
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video. One of the partnership requests in Arnt’s
inbox was sent by Dino Patti. As fate would have it, Dino was in a similar state of mind
as Arnt at the time. He had worked as a programmer for an advertising company before transitioning
to a role in the gaming industry. However, reality did not meet his expectations. Issues
like poor management, economic constraints, challenges in finding the right talent, and
difficulties in getting ideas approved rapidly diminished his initial enthusiasm. And that's
not even mentioning the intense crunch periods Dino faced. He eventually accepted that he
might never get to work on his dream game and resigned from his game development job
in 2006. But then, he came across LIMBO’s concept trailer, reigniting his passion and
determination to pursue his dream job again. He sent an email to Arnt, proposing they meet
to discuss the project. During their first conversation at Arnt’s apartment in Copenhagen,
it became immediately apparent how different they were—yet also how complementary their
skills and personalities could be. Dino describes Arnt as someone who thinks more than most,
while he himself has an easier time just getting stuff done. In other words, while Arnt is
able to make better and more creative decisions, Dino tends to be more productive. Moreover,
Dino's confidence and natural charm were precisely what the project needed to elevate it to the
next stage. Their initial plan was to have just the two
of them complete and release LIMBO as a free PC title. However, after several months of
work, they recognized that, despite their combined efforts, completing the game would
be almost impossible as its scope and vision kept expanding. So instead of Dino handling
all the programming and Arnt taking care of every design aspect, they started hiring additional
staff. They brought in more coders, increased middle management, and hired designers, allowing
the pair to be at the center of everything. Naturally, hiring more people required additional
funds—far more than they could personally afford. Fortunately, Arnt and Dino succeeded
in obtaining grants from the Danish government to support LIMBO’s development. Remarkably,
this was the very first time Denmark had approved grants for the development of a video game.
These grants, combined with Dino’s and Arnt’s own money, were enough to expand their team
and accelerate development. With Dino's innate business instincts propelling them forward,
things were moving ahead fast. By the end of 2006, PLAYDEAD was officially established,
and on January 1st 2007, the developers settled into their first office—a modest 11-square-meter
space that, according to Dino, smelled pretty rotten. The rising development costs meant that LIMBO
could no longer be a free PC title; it needed to transition to a commercial release and
be made available across multiple platforms. Now, with a redefined vision and a new office
space, the team was all set to further develop the gameplay and iron out technical details.
One significant decision was choosing a game engine. Arnt had been on the hunt for the
perfect engine for some time. Together, he and Dino tested every available engine, but
none met their criteria. The engine for LIMBO had to be both empowering for its creative
team and allow for rapid iteration. Luckily for PLAYDEAD, Jeppe Carlsen applied
for a programming position at the studio. With a background in computer science and
a profound passion for video games, Jeppe had previously worked as a game programmer
at a small company. Upon joining PLAYDEAD, he dove straight into building LIMBO’s engine
from scratch using Visual Studio. It wasn't long before Arnt and Dino recognized Jeppe’s
creative talent, which led to his promotion as the primary Gameplay Designer. In this
role, Jeppe was tasked with honing the game's core design principles and crafting its distinct
challenges and puzzles. From early on, Arnt had a clear vision of
the player's journey. He had mentally storyboarded the game's pivotal moments: starting in a
forest, transitioning to a factory, navigating rotating gears, the spider encounters, and
even the unique glowing brain worm concept that makes up one of the game’s core puzzle
sections. However, bringing these ideas to fruition required more than just imagination;
Arnt and Jeppe had to work together to transform these visions into tangible gameplay experiences. It wasn't enough for PLAYDEAD to rely solely
on traps and jumps; they wanted each puzzle to be based on a unique concept. Therefore,
if two puzzles appeared very different from first glance, but shared the same underlying
solution strategy, the developers would pick the better one and scrap the other. This way
of working led to 70% of the game's content being stripped out, vastly reducing its overall
runtime. “It was really important to keep it fresh throughout the game. I always said
it has to be unpredictable. You must never know what happens in the next twenty seconds.
It’s more important to have the impact and people playing it through to the end instead
of just a lot of content.” Most of the puzzles were developed in an isolated
environment, devoid of any narrative context or polished graphics. In fact, for a long
time, the protagonist was merely a blocky figure within an abstract space, allowing
the developers to quickly iterate and test ideas. The devs were aware that they couldn't
rely solely on graphics and sound to make the game compelling; the gameplay had to be
robust and engaging from the outset. Everything else would simply enhance the experience later
on. When Arnt and Dino saw how engaged playtesters were during the spider chase sequence – even
when it was just a blocky character pursued by a red rectangle – they were confident
they were on the right path. Fun fact: the spider's inclusion was born from Arnt's own
arachnophobia. LIMBO underwent numerous iterations because
Arnt was adamant about taking the time to experiment with various concepts, such as
multiplayer, co-op, and other prevalent video game elements. He believed that only through
hands-on experimentation could they accurately determine which ideas were not a good fit
for LIMBO. Ultimately, the team decided on a linear single-player puzzle platformer. One of the most challenging aspects during
development was communicating to players that their current approach to a puzzle was incorrect
without causing frustration. To mitigate frustration, the team minimized the use of physics-based
puzzles. As Jeppe explained in an interview with IGN, incorporating physics is challenging
because interacting with realistically behaving objects will always produce different results.
Consequently, a player might need a hundred attempts to achieve the precise outcome required
to solve a puzzle. While numerous physics-based objects are found in the game, they typically
don't play an important part during puzzles. Maintaining simplicity in both the puzzles
and the overall game was a foundational design philosophy. When Jeppe begins crafting a new
puzzle, he initially views the player as his worst enemy. This perspective helps him develop
the most insidious puzzles possible. However, he then switches his viewpoint, seeing the
player as an ally, guiding them by providing the right clues. The idea is to conceive the
most intricate puzzle possible and then scale back. This approach led to a lot of early
puzzles that were far too complex which then had to be stripped down to their core elements.
It’s why every final puzzle usually only utilizes one or two different mechanics, ensuring
that all of them remain both simple and profound. After all, once a player thinks of the right
solution, it should be fairly easy to execute. Arnt especially harbors a deep frustration
for games that appear complex on the surface, boasting lots of mechanics and elements. Yet,
upon closer examination, they prove to be remarkably shallow. This sentiment is the
primary reason he put his foot down about not incorporating any type of inventory system.
“We talked about it in the beginning, and I insisted on having very few elements and
no inventory. Dino was like, ‘What? It's an adventure game. There should be an inventory.
We can't do deep gameplay without this inventory!’” Another way the studio alleviated player frustration
was through extensive playtesting. Their preferred method of conducting playtests is known as
"tissue testing”. This involves bringing in someone who’s never seen or heard about
the game and observing them as they play. It's crucial to provide minimal guidance during
the session, allowing them to figure everything out for themselves. Typically, once the session
concludes, these participants don't return to play the game, as they can only experience
it for the first time once. This method enabled the team to design puzzles where failure and
success are obvious once a player sees it. In total, PLAYDEAD had about 150 tissue testers
play the game. Tissue testers helped PLAYDEAD realize that
if players repeatedly failed while attempting the correct solution, they would eventually
abandon that approach and try something else. Once that happens, it becomes exceedingly
difficult to redirect them to the correct solution. Therefore, Jeppe ensured that incorrect
solutions were clearly recognized as such. He also designed puzzles in specific ways
to prevent players from coming close to solving them through incorrect methods; otherwise,
players could get very attached to keep trying that approach. Considering LIMBO lacks any
hint system and in-game menus, it was a big challenge for PLAYDEAD to construct the perfect
puzzle over and over again. Failing to solve a puzzle, or simply not knowing
what’s about to come next, will often result in death. As Jeppe puts it, the gameplay is
all about "learning-by-dying". Recognizing that puzzles lack replay value, Jeppe deliberately
crafted levels to mislead players, making dying nearly inevitable. The hope was that
players would learn from their mistakes, adjust their strategy, and enjoy overcoming the many
puzzles. After all, there's no penalty for dying. While the team explored ways to make
death more entertaining—given its prominence in the gameplay—early versions saw the boy
explode when killed. However, this made it difficult for players to connect and identify
with the boy. Consequently, it became very important to Arnt to make the boy feel lifelike
and grounded in reality by having his physics accurately respond to his surroundings. This
in turn gave rise to the very gruesome, but entertaining death scenes in the final game. All of the boy’s behaviors and procedural
animations were crafted by programmer Thomas Krog, who dedicated three years to perfecting
the way the character looks, plays, and reacts to the environment. Even though a significant
portion of time and budget was allocated to creating realistic physics and lifelike animations,
PLAYDEAD wasn't striving for realism or high polygon counts. Instead, Dino and Arnt prioritized
allocating the most resources to the game's essential elements. In LIMBO's case, the focus
was squarely on gameplay and making it feel like a complete package. Fans may have noticed that the first half
of the game features more scripted moments and storytelling, while the latter half has
a bigger focus on puzzle-solving, with fewer distractions. This was not a coincidence.
Arnt, who was heavily involved in the early stages of development, was very vocal about
evoking emotions and telling smaller stories. However, as gameplay designer Jeppe began
crafting more of the hardcore puzzles, that vision of telling small stories started to
shift somewhat. When asked about it during an interview with IGN, Arnt said it’s a
big wound and wishes he would have kept more oversight during the entire development process. What Arnt started doing instead during the
midpoint of development, was integrating each isolated puzzle into the game and making sure
they felt like an organic part of each area. In other words, craft one cohesive experience.
The team aimed to prevent players from feeling they were merely transitioning from one puzzle
to the next, even if, at times, that's precisely what’s happening. Throughout this process,
PLAYDEAD embraced a minimalist and ambiguous approach, which Arnt calls "quiet immersion".
“I really enjoy getting rid of everything to see what works. It should be working when
it’s very naked and there’s nothing – no music or anything. I really enjoy the moment
where you can be sucked into this world with just a small sound or a hidden detail in the
corner.” It’s for the same reason why the team stuck to the black and white aesthetic
and why the game features a more subtle soundtrack. Martin Stig Andersen, a classically trained
musician who had no prior experience in game development, joined PLAYDEAD as a full-time
audio designer. He came on board midway through LIMBO's development after the initial composer
struggled to capture the desired sound. A graduate of The Royal Academy of Music in
Aarhus, Denmark, Martin specializes in electroacoustic music. This abstract form of music is usually
created to be played through speakers rather than be performed by a live orchestra. It
normally exists solely as fixed media audio recordings that can’t be traced back to
an actual sound source. The studio believed Martin’s unique expertise would align perfectly
with LIMBO’s other-worldy ambience. Martin tried to find ways to always make the
sound come from the environment itself and whenever possible, sow those sound fragments
together so something musical would come into existence. Mirroring the game's visuals, the
music was crafted to be ambiguous, aiming for each player to derive their own interpretation.
To achieve this, Martin incorporated various sound textures and experimented with assigning
subtle noises to the other characters in the game. However, he deliberately stayed away
from adding screams or voices. For example, the spider chase originally featured more
music and sounds, but the scene became significantly more dramatic when Martin stripped it of all
but the most muted sounds, creating what he describes as a "muffled sound world”. In certain areas, Martin made things less
subtle and added actual background music, but always with a unique touch. For instance,
just before the Hotel sign section, where electricity is a crucial element, ambient
music starts playing. Interestingly, Martin has mentioned that this is intended to mimic
electricity distortion and the harmonics stemming from it. He enjoys sneaking in these types
of sounds subtly, ensuring players don't think, "Oh, there's music now." Everything melds
seamlessly with the environment and gameplay. All of that said, many players may not even
notice the game’s music, but that was kind of the whole point according to Martin. The
developers wanted to craft an ambiguous atmosphere and not tell players how to feel or when to
be scared. If you do tell the player how to feel, it could have the opposite effect. By
refraining from constantly holding the player’s hand, PLAYDEAD aspired to offer a more unpredictable
and genuinely terrifying experience. By 2009, the team relocated to a new office
in the heart of Copenhagen, allowing Arnt and Dino to better accommodate their expanding
team, which had grown to eight core members. Although PLAYDEAD secured a few investors
by offering them shares in the studio—a decision that caused problems later on—Arnt
and Dino had invested nearly all of their own money and time into the project. It was
a big risk on their part. LIMBO almost had to become a commercial success at this point.
To maximize its exposure, the studio began looking for a publisher. Throughout this search,
their top priority was ensuring that PLAYDEAD retained the IP rights and maintained full
creative control. Arnt and Dino agreed to never compromise the product for money. They
knew that the value of a small company like theirs lies in its creative people and what
they produce. That, above all, needed to be protected. On top of that, they believed that
larger budgets could stifle innovation since you need to please a lot of people. One of the parties interested in LIMBO was
Sony, which even wanted to make the game a PlayStation exclusive. At a conference in
2012, Pete Smith, a former Sony Computer Entertainment executive producer, said the following: “I
maybe shouldn't say this, but we had issues when we were trying to sign LIMBO because
of the IP. There are obvious benefits to keeping it, but also to giving it up, you're way more
likely to get the deal. Remember, 100 percent of nothing is nothing. A publisher is much
more likely to commit to marketing and merchandising if they own the IP. Sometimes all we want
is protection so developers don't make a game, finish it, then go to one of our rivals. We
look at IP on a case-by-case basis. With a bit of common sense, you can find common ground.” Though the deal with Sony might have been
tempting, Dino and Arnt were not prepared to give up their IP. Ultimately, it was Microsoft,
Sony's direct gaming rival, that made PLAYDEAD an offer they couldn’t refuse. Microsoft
would put the game front and center on their Xbox Live Arcade service for millions to see
and play, cover all previous and future development expenses, and provide support in every possible
way until the game's launch. Furthermore, PLAYDEAD would retain the rights to LIMBO
and maintain complete creative control. The single stipulation was that LIMBO would have
to be an Xbox 360 exclusive. While Arnt and Dino initially wanted LIMBO to be a multiplatform
title, they accepted Microsoft's proposal. However, having full creative control didn't
prevent Microsoft and other investors from offering their suggestions. For example, the
funniest suggestion Arnt can remember is when Microsoft expressed concern over the boy's
death in the game. An investor suggested making the boy appear older by giving him a mustache.
“We had most of the investor clichés you can think of. They had huge inferiority complexes,
and they tried to control the company with no usable knowledge or respect for us. When it came to marketing the game, the two
founders felt that the more LIMBO seemed to evolve into something significant, the less
inclined they were to heavily promote it. So, Dino and Arnt limited their marketing
efforts to some PR and talked with journalists. Beyond that, there were no large-scale marketing
campaigns, billboards, or TV advertisements. They did release a trailer shortly before
the game's launch, but that was the extent of it. Naturally, their investors struggled
to understand the decision to refrain from advertising LIMBO more prominently and thought
Dino and Arnt were crazy. As Dino put it, most investors have no trust with what consumers
want, but they know advertising is expensive and expensive things work. During the peak of development, PLAYDEAD had
a team of 16 people and near the end, they scaled back down to its eight core developers.
As previously mentioned, the studio took their time with the game as new ideas kept forming.
According to Arnt, it seemed almost never-ending. Even two months before release, they were
introducing new content and making significant changes to certain sections because they came
up with better ideas. At the same time though, they were running out of money, Microsoft
was pushing them to release it and the developers were starting to get too stressed out. It
reached a point where it felt necessary to make crucial decisions, finalize the game,
and set aside any remaining ideas. What began as a solo effort from 2004 until
2006 that saw Arnt tinkering away on his own trying his best to bring his vision to life,
turned into a collective endeavor that managed to finish Limbo through sheer dedication and
teamwork. Finally, the game was set to be released on July 21st, 2010, for Xbox 360.
However, months before this, the Entertainment Software Rating Board had listings that indicated
a PS3 and Steam version of LIMBO were on their way. PLAYDEAD quickly clarified that this
was a mistake however and that the game would remain “an exclusive for life” on Xbox
360. Upon release, LIMBO received widespread acclaim from both gamers and critics alike,
with many deeming it a masterpiece or instant classic. Daemon Hatfield from IGN commented
in his review, 'very few games are as original, atmospheric, and consistently brilliant as
LIMBO". Not everyone agreed that LIMBO was a great
game though. When the developers came across the first negative review, published by the
Boston Phoenix, they couldn’t help smiling. “There must have been some kind of mix-up
with what I downloaded. The LIMBO that I played was the worst sort of art-for-art’s-sake
garbage. It valued form over substance, mistook vagueness for meaning and confused capriciousness
with cleverness. This game is a charade.” Dino said he and the team enjoyed reading
it in the office and recognized that the critic somehow hated all the things that they intended
the game to be about. By all accounts, LIMBO was a massive commercial
success. In less than a month, over 300,000 copies were sold, and by August 2010, its
lifetime player count approached that of Braid, which had been released two years earlier.
Given that LIMBO was a single-player experience with little to no replay value and no DLC
in the works, analysts predicted a significant drop in sales. However, they were proven wrong
when LIMBO sold 527,000 copies in 2010, making it the third-highest selling Xbox Live Arcade
title that year. Phil Spencer, the Vice-President of Microsoft Game Studios at the time, noted
that LIMBO caused a shift in the gaming industry. He mentioned that there was a time when Live
Arcade focused on well-known IP. However, thanks to indie games like Braid and LIMBO,
it’s becoming more diverse. He also expressed his admiration for LIMBO, even considering
it his game of the year. When award season came around that year, LIMBO
stood out amidst the big triple-A titles. It garnered dozens of nominations, including
for Game of The Year awards. It even competed for “Best Game” at the BAFTA awards alongside
heavyweights like Mass Effect 2, Super Mario Galaxy 2, and Assassin's Creed: Brotherhood.
At that time, it was rare for indie games to receive Game of The Year nominations. However,
LIMBO demonstrated to the industry that even a small independent team could produce a game
worthy of such acclaim. Although it didn't win the Best Game BAFTA award, it did secure
numerous others, including Best Indie Game, Adventure Game of The Year, and Best Visual
Art, to name a few. When award season was over, LIMBO managed to take home over a 100
awards. LIMBO's success persisted into 2011, partially
thanks to something that PLAYDEAD said would never happen. A PS3 and Steam port were revealed
in June 2011 and PLAYDEAD announced they were developing them in-house. As it turned out,
the Xbox exclusivity deal lasted only a year. By the end of 2011, LIMBO had sold over 1
million copies across Xbox, PlayStation, and Steam. Although no external parties ever owned
the LIMBO IP, the fact that entities with a stake in the company could potentially influence
future decisions was a concern for Arnt and Dino. Fortunately, thanks to LIMBO’s overwhelming
financial success, the two studio founders managed to buy back their shares from all
of their "bad" investors, regaining full control over PLAYDEAD. Since then, LIMBO has been
launched on nearly every conceivable platform and has sold over 8 million copies. PLAYDEAD went on to develop and release the
critically acclaimed game "INSIDE" in June 2016. However, only a few weeks later, Dino
announced his departure from the company to seek out new challenges. By January 2017,
there were reports suggesting the split was not amicable. A Danish newspaper claimed that
disagreements over IP ownership and release date schedules were the cause. Dino later
clarified to gamesindustry.biz that such reports were based on mere speculation. While he wanted
to keep the details about the rift private, he did say that a conflict between the two
led to Arnt submitting a resignation letter. Subsequently, Dino removed his longtime friend
from the studio’s CVR register—a record of a company's personal and financial information.
Once someone is removed from this register, they are effectively cut off from the company. Arnt was taken by surprise and deployed his
legal team, clarifying that his intention was only to step down as Creative Director,
not to leave the company entirely. He still wanted to remain in an executive role. Dino,
however, contended that the letter didn't clearly convey this, leading him to believe
that Arnt genuinely wanted to exit the company. Unable to reach a mutual agreement, the Danish
Business Authority intervened. The outcome was that Dino was forced to resign from the
company and to sell his 49 percent stake in PLAYDEAD for a total of $7.2 million. Meanwhile,
Arnt was able to remain at the company. Despite everything, Dino expressed his sadness over
leaving the indie studio. He told Kotaku that Arnt had been not just a valued business partner
but also a close friend for many years. He still considers Arnt as one of the best game
directors in the world. Later in 2017, Dino co-founded his own studio
named Jumpship, which went on to develop and release "Somerville" in November 2022. PLAYDEAD's
lead gameplay designer, Jeppe, also departed the company to establish Geometric Interactive.
This new studio released the video game "Cocoon" in September 2023. Notably, when Jeppe exited
PLAYDEAD, several other programmers from the studio joined him. As of this video’s release,
PLAYDEAD is diligently working on their next game. All we know so far is that the game
will be a 3rd-person science fiction adventure set in a remote corner of the universe. Additionally,
based on open applications regarding the project, it’ll be PLAYDEAD’s first open-world game.
According to the official website, the team now counts over 70 developers. Whether that
means the game will be bigger in scope and length remains to be seen. Given the departure
of several key figures, it’ll be interesting to see how the studio’s third game fares
and whether the studio’s unique atmosphere and essence remains intact. Before I end the video, I quickly want to
announce I launched a website for the channel. I partnered with .fun to establish my website
at thatguyglen.fun. From now on, the references for each video will be available over there
instead of the YouTube video description box. Game developers will also be able to apply
for a partnership request so we can work out a way to spread the word about your upcoming
indie game. It’s all still in the early stages so expect some changes to the website
in the future. Also, if you’d like to get 90% off your own .fun domain for a whole year,
you can use my promo code TheGuyGlen at get.fun. Alright, cheers everyone!
