In the early nineties, a man named Jonathan Blow began studying computer science and creative writing at University of California, Berkeley fresh off his high school education. One of his most notable achievements during his tenure there was being president of the Computer Science Undergraduate Association for a semester. Despite this and somewhat ironically, he left the university mere months before he was slated to graduate in 1994.
He then started doing contract jobs, one of which was with Silicon Graphics to port the immensely popular Doom, the game responsible for fully codifying the first-person shooter genre, to a set-top device. Shortly thereafter in 1996, he along with Bernt Habermeier formed Bolt-Action Software, a game design company. Their first project was to be a tank combat game named Wulfram. In an inventive twist, the vehicle was capable of hovering. However, during this time, the medium was in the process of a paradigm shift. In September of 1996, Super Mario 64 was released in North America. Though earlier efforts such as the aforementioned Doom projected the illusion of 3D, Super Mario 64 provided the genuine article. This was the beginning of a revolution that would see 3D gaming fully embraced by the industry to the point where many quality console 2D titles fell by the wayside. This did not bode well for Mr. Blow and his team, and progress slowed to a crawl. These matters were exacerbated further in the wake of the dot-com bubble’s collapse in the early 2000s. With nothing to show for their four years of work, Bolt-Action Software opted to fold in 2000, leaving them $100,000 in debt.
Following this failure, Mr. Blow continued doing contract work for companies such as Ion Storm, and started writing for industry publications – one of them being Game Developer Magazine. He also worked on a project for IBM to create a technology demo similar to his scrapped Wulfram concept. It showcased the capabilities of the cell processor IBM was collaborating on that would become a key component of Sony’s PlayStation 3 console. Mr. Blow sought funds from Sony and Electronic Arts to turn his demo into a full game, but his proposition fell on deaf ears.
In December of 2004, Mr. Blow took a trip to Thailand when inspiration struck. Upon his return, he created a prototype in a week and sent it to his friends who told him they liked it. With newfound determination to bring this vision into reality, his passion project began in earnest the following April. By the end of the year, the gameplay had been polished to his liking. However, there was a problem: the graphic art consisted mostly of placeholders, lending an amateurish presentation. To resolve this issue, Mr. Blow began looking for graphic artists. He found this to be a daunting task, and has since emphasized the difficulty of “[finding] someone who is talented and willing to sit down and really understand and care about your game, even if you are willing to pay a lot of money”. Eventually, he two people were referred to him: Edmund McMillen and David Hellman, the former of whom would contribute character designs while the latter of was hired by Mr. Blow as the lead artist.
Over the next three years, Mr. Blow put $200,000 of his own money into his game’s development – a majority of it went towards Mr. Hellman’s artwork and living expenses. In 2008, the game was at last finished; all they needed now was an opportunity. Fortunately for them, one presented itself fairly quickly in the form of the Xbox Live Arcade. By this point in gaming history, all of the consoles – the Xbox 360, PlayStation 3, and the Wii – had their own download services while PC users had access to Steam, the quintessential digital distribution platform in many players’ eyes. The Xbox in particular started promoting games through its own service with its first annual Summer of Arcade event. Among its titles was Braid, the game Mr. Blow and his team lovingly crafted. On a day after not receiving any money, he was taken aback at the number of zeroes displayed in his bank account – his work had sold more than 55,000 copies in its first week alone. Suddenly, in a year that saw the debut of many big-name, AAA efforts such as Metal Gear Solid 4 and Grand Theft Auto IV, Braid managed to rise to the top in many circles. Long-time enthusiasts rejoiced, as there was another game they could highlight to demonstrate the medium’s artistic merits to a skeptical public. To this day, Braid is heralded as a hallmark of the independent gaming scene and one of its greatest success stories.