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Tetris Reversed is unearthed after being forgotten for a decade | The DeanBeat
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Many game fans have enjoyed the Tetris movie, which chronicled the creation and licensing of Tetris, the addictive game that Alexey Pajitnov created behind the Iron Curtain. His friend Henk Rogers went through a great deal of trouble to license the game in Russia and even get Pajitnov out of the Soviet Union decades ago.
But there’s one more chapter to the tale unfolding.
Today, Pajitnov and others who unearthed a forgotten game in the Tetris canon talked at the Game Developers Conference about Tetris Reversed, a prototype for a game that was considered lost.
But little did Pajitnov know that an engineer in charge of the game, Vedran Klanac, had kept a copy of it. Through the help of intermediaries, he showed it to Pajitnov and the two shared their memories of what happened to the lost game.
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Pajitnov, originally from Moscow, became famous as a computer engineer and inventor of the legendary computer game Tetris, which he created in the 1980s while working for the Soviet Academy of Sciences. Rogers got the rights to the game and eventually got Pajitnov out of the country. They retold some of this story at our GamesBeat Next 2023 event last October. (Be sure to sign up for GamesBeat Summit 2024 on May 20-21; you can use a 25% discount code: gbs24dean25.
Pajitnov has lived in the U.S. since 1991, where he has been involved in the development of games such as Pandora’s Box and worked with companies such as Microsoft and WildSnake Software. In addition to his iconic Tetris game, he is behind titles such as Hatris, El-Fish, and Hexic among many others that have deepened and expanded game design. He was awarded First Penguin Award at Game Developers Choice Awards in 2007 for his breakthrough in the world of games. And his story was the subject of the Tetris movie.
Klanac is the CEO of Ocean Media, and he is originally from Zagreb, Croatia. He was an aerospace engineer who started his career in the games industry with Croteam where he built the physics engine for Serious Sam 2.
Since 2006, he has been running Ocean Media, a game publishing company with a focus on consoles. During the last 20 years, he was involved in production as a programmer and executive producer in more than 200 projects. And it turns out he was the programmer who created the Tetris Reversed code based on instructions from Pajitnov, who had passed them on through a middleman.
More than a decade ago
In 2011, programmer Vedran Klanac went to the NLGD Festival of Games in Utrecht, The Netherlands. He listened to a talk on a charitable effort from Martin de Ronde, a cofounder of game studio Guerrilla Games. Klanac said in an interview with GamesBeat that he listened to De Ronde’s talk and offered to help. De Ronde came back months later saying he had an agreement with Pajitnov about creating a new prototype for a Tetris game.
De Ronde asked if Klanac if he wanted to make Tetris Reversed by Pajitnov.
“Are you kidding me?” Klanac reacted.
They started the project. De Ronde served the go-between on the project, mediating between designer Pajitnov and engineer Klanac. De Ronde wanted to create a title for OneBigGame and donate most of the proceeds to charity. It was a side project that was separate from Guerrilla Games, and he wanted the games to come from famous game developers like Pajitnov.
“We discussed this recently but I never knew who Vedran was during the project,” Pajitnov said during the panel. “Most of the players all concentrate just on the profile in the game. All that matters is the profile of the garbabe in the playfield. The placement of the specific pieces in Tetris. If you remember similar board game, the player tries to use all of the space. I thought maybe this could be done, to attempt to use all of the playfield. I found a way to do it by reversing the game. Instead of putting the pieces in the playfield, I used them to eat the items in the game. That was the main concept of the game.”
De Ronde would receive instructions from Pajitnov about the design of the game, and then pass them on to Klanac, who would turn around and code the game. Then he would pass a note back through Pajitnov about what had been completed. It took a month to do the first prototype.
“I had some questions about how it should work. And then we started the iterations which the communication group” undertook, Pajitnov said.
They did most of the work from March 2012 to November 2012. Klanac did the work in his own game engine, on his own time. And, fortunately, he had a good archiving system.
Notes would be passed back and forth, and Pajitnov never actually met Klanac. And it was just a side hustle for Klanac. Pajitnov said he remembers the prototype and he played it lot.
“Martin was in the middle. And this is one of the reasons why Alexei actually never communicated with Klanac,” he said.
“Then we started doing iterations on how to create the first version,” Klanac said.
As the fall approached, Klanac said everyone was busy. de Ronde was in the process of selling his studio, Guerrilla Games, to Sony. Then the project slowed down and de Ronde said it was dead in the water. Communication became more sporadic.
Three years later, Klanac emailed De Ronde about what was the status of the program.
“Is this dead in the water?” Klanac asked.
De Ronde had no answer but thought it was likely canceled. Then the game sat fallow. Klanac tried one more time to get clarity a year later. But de Ronde never responded to that message.
A playable prototype
So Klanac stopped working on the project and moved on. But he knew the prototype was complete and it could be played.
And so it was lost.
Tetris Reverse unearthed
Vlad Micu, a business development professional, unearthed this story and united Pajitnov and Klanac for the first time. Micu had met Klanac in Taipei in 2017. They had been friends for a while and saw each other annually at the Reboot Develop Blue conference in Dubrovnik. They had dinner there in April 2023 along with Kate Edwards, CEO of Geogrify, and I was there too. They were talking about the Tetris movie.
Then Klanac mentioned that he still had the prototype of a game called Tetris Reversed in his personal archives. He shared the backstory with Micu, who was stunned that there was a lost prototype of a Tetris game that was never published. And he was also surprised that Klanac and Pajitnov had never met in person.
“Vedran, out of nowhere, drops this massive bomb on us,” Micu said.
Micu was working on a game conference in Prague and managed to get Pajitnov to come out and give a talk.
“I actually ended up sitting down with Alexei and bringing all of this up to him,” he said.
Micu told Klanac he should consider doing a talk about it at the GDC, and they agreed it would be a good story as a kind of post-mortem for a game that had just a prototype. Through Edwards, Micu got in touch with Pajitnov in person and he had gotten the GDC staff’s attention with regards to the story about the lost game. The Tetris company had no objection to the session.
The GDC approved the session out of the interest of the preservation of games. And the story was retold today in a panel at the Game Developers Conference. For the first time in public, they showed the video of the prototype in action.
Pajitnov went over the design decisions, the iterations and the development process. It’s not clear yet if the game will ever be officially published.
“When you see the gameplay video, and when you look at the design elements. This is Tetris for like 300 IQ people,” Pajitnov said.
How the game works
Concept
This game idea started from the original game of Tetris. Klanac analyzed the game and noticed that the profile of the playfield content is the main point of care of the player. Somehow the main strategy of a regular player in Tetris is to build and maintain the appropriate profile of the “garbage” –without bumps and with deep narrow holes of certain configurations.
If you played Pentomino or any other board variations, you’ll notice that the playing happens all over the playfield – you try to find appropriate spot for the piece everywhere on the playing field. So Klanac tried to understand how to make all the space available.
Game dynamics
Generally, it is borrowed from the original game – the tetramino piece falls down, the player controls its position (to left or to right), state (rotate 90 degrees, maybe replace it, if the “hold”-option is on), and movement (acceleration – “soft drop”, maybe even some “move-up” or pause options, if the game is too hard to play).
But the main new feature is to make the entire playfield accessible, Klanac said. That was the main point of the new game design. He took the next piece and made it fall down on the front of the playfield full of garbage. At a certain position, Klanac wanted the piece to be embedded into the playfield – with certain UI action. The piece would be placed (or attempted to be placed) – so, its “life cycle” is to be over and the next piece is to be generated. That’s why UI action must be something like a “hard drop” from the original game, Klanac said.
This way the main game dynamics is pretty much set up.
Rules
Most of the rules are about the “embedment” action. If all the cells under the piece are full (grey-colored) – then the placement takes place and these cells are cleared. Otherwise, the move fails. In the real prototype, Klanac believed, four background cells remained untouched, the piece disappeared and then the entire playfield got “reversed”: all the no-empty cells turned empty and empty cells – no-empty. Now, Klanac changed this rule a bit, but historically that is what has been implemented.
Later this “Reverse” procedure was implemented in a prototype as a separate action that the player can perform with a certain button anytime during the move. The reason for that was to let the player keep playing if he “ate” almost all the garbage and there is no area for the piece placement. The number of these “Reverse” actions was assigned limited – 15 or 20. After they are exhausted, the “Game over” happens.
The extra rule was about the collapse of the empty lines. There was no need for this feature, but the great emotional effect made Klanac really want it in a new version. The collapse rule is very simple – if the line of garbage is cleared, then it collapses as in the original game. The only question is about the liberated space on top of the playing field. He decided to make it completely unplayable afterward. No placement is allowed there and no reversing of the cells. So, the collapse of the line literally shrinks the playing field, showing real progress in the gameplay and making a game harder and harder. Klanac thinks it was a very good decision.
Klanac said it is called Tetris Reverse because it introduces a reversing mechanic where there are two conditions. You can reverse the board, which literally means inverse, or reversing light and dark cells.
That is, the board flips so that the area where a block can flow down in the open-air space becomes an obstacle, and the former obstacles become open spaces on the board.
On the right side of the screen, you see the number of reverses that you’re still left with and how many times you can still reverse. If a piece falls from the top all the way down to the bottom and you don’t place that block, then it will automatically reverse the game.
The idea is to survive as long as you can.
Pajitnov remembered working with de Ronde, asking him to re-create the prototype that Pajitnov had created. Klanac, through de Ronde, promised to work on two versions of the prototype. Then the project just stopped going forward.
“I had almost completely forgotten about its existence,” Pajitnov said.
Now he wonders if the game can be published as it is today.
“Basically, it’s another version of Tetris,” said Pajitnov.
Pajitnov said he was glad the prototype will be preserved for history. As for the current nostalgia around Tetris, he said it’s nice that Tetris is still alive.
“I’m sure there is going to be enormous interest as there is a new prototype that people don’t know anything about,” Pajitnov said.
Akara EttehEarly on a Saturday morning in April, Akara Etteh was checking his phone as he came out of Holborn tube station, in central London.
A moment later, it was in the hand of a thief on the back of an electric bike – Akara gave chase, but they got away.
He is just one victim of an estimated 78,000 “snatch thefts” in England and Wales in the year to March, a big increase on the previous 12 months.
The prosecution rate for this offence is very low – the police say they are targeting the criminals responsible but cannot “arrest their way out of the problem”. They also say manufacturers and tech firms have a bigger role to play.
Victims of the crime have been telling the BBC of the impact it has had on them – ranging from losing irreplaceable photos to having tens of thousands of pounds stolen.
And for Akara, like many other people who have their phone taken, there was another frustration: he was able to track where his device went, but was powerless to get it back.
Phone pings around London
He put his iPhone 13 into lost mode when he got home an hour or so later – meaning the thieves couldn’t access its contents – and turned on the Find My iPhone feature using his laptop.
This allowed Akara to track his phone’s rough location and almost immediately he received a notification to say it was in Islington. Eight days later, the phone was pinging in different locations around north London again.
In a move says he “wouldn’t recommend” with hindsight, he went to two of the locations his phone had been in to “look around”.
“It was pretty risky,” he said. “I was fuelled by adrenaline and anger.”
He didn’t speak to anyone, but he felt he was being watched and went home.
“I am really angry,” he said. “The phone is expensive. We work hard to earn that money, to be able to buy the handset, and someone else says ‘screw that’.”
Then, in May, just over a month after the theft, Akara checked Find My iPhone again – his prized possession was now on the other side of the world – in Shenzhen, China.
Akara gave up.
It is not uncommon for stolen phones to end up in Shenzhen – where if devices can’t be unlocked and used again, they are disassembled for parts.
The city is home to 17.6 million people and is a big tech hub, sometimes referred to as China’s Silicon Valley.
Police could not help
In the moments after Akara’s phone was stolen, he saw police officers on the street and he told them what had happened. Officers, he said, were aware of thieves doing a “loop of the area” to steal phones, and he was encouraged to report the offence online, which he did.
A few days later, he was told by the Metropolitan Police via email the case was closed as “it is unlikely that we will be able to identify those responsible”.
Akara subsequently submitted the pictures and information he had gathered from the locations where his stolen phone had been. The police acknowledged receipt but took no further action.
The Metropolitan Police had no comment to make on Akara’s specific case, but said it was “targeting resources to hotspot areas, such as Westminster, Lambeth and Newham, with increased patrols and plain clothes officers which deter criminals and make officers more visibly available to members of the community”.
Lost photos of mum
Many other people have contacted the BBC with their experiences of having their phones taken. One, James O’Sullivan, 44, from Surrey, says he lost more than £25,000 when thieves used his stolen device’s Apple Pay service.
Meanwhile, Katie Ashworth, from Newcastle, explained her phone was snatched in a park along with her watch, and a debit card in the phone case.
“The saddest thing was that the phone contained the last photos I had of my mum on a walk before she got too unwell to really do anything – I would do anything to get those photos back,” the 36-year-old says.
Again, she says, there was a lack of action from the police.
“The police never even followed it up with me, despite my bank transactions showing exactly where the thieves went,” she said.
“The police just told me to check Facebook Marketplace and local second-hand shops like Cex.”
‘Battle against the clock’ for police
So why are the police seemingly unable to combat this offence – or recover stolen devices?
PC Mat Evans, who has led a team working on this kind of crime for over a decade within West Midlands Police, admitted that only “quite a low number” of phones that are stolen actually get recovered.
He says the problem is the speed with which criminals move.
“Phones will be offloaded to known fences within a couple of hours,” he said.
“It’s always a battle against the clock immediately following any of these crimes, but people should always report these things to the police, because if we don’t know that these crimes are taking place, we can’t investigate them.”
And sometimes just one arrest can make a difference.
“When we do catch these criminals, either in the act or after the fact, our crime rates tank,” he said.
“Quite often that individual has been responsible for a huge swathe of crime.”
But the problem is not just about policing.
In a statement, Commander Richard Smith from the National Police Chiefs’ Council, which brings together senior officers to help develop policing strategy, said it would “continue to target” the most prolific criminals.
“We know that we cannot arrest our way out of this problem,” he said.
“Manufacturers and the tech industry have an important role in reducing opportunities for criminals to benefit from the resale of stolen handsets.”
Tracking and disabling
PC Mat EvansStolen phones can already be tracked and have their data erased through services such as “Find My iPhone” and “Find My Device”, from Android.
But policing minister Dame Diana Johnson said this week the government wanted manufacturers to ensure that any stolen phone could be permanently disabled to prevent it being sold second-hand.
Police chiefs will also be tasked with gathering more intelligence on who is stealing phones and where stolen devices end up.
A growing demand for second-hand phones, both in the UK and abroad, is believed to be a major driver behind the recent rise in thefts, the government said.
The Home Office is to host a summit at which tech companies and phone manufacturers will be asked to consider innovations that could help stop phones being traded illegally.
PC Evans said there was “no magic bullet”, but he said there was one thing manufacturers could do which would be “enormously helpful” to the police – more accurate tracking.
“At this moment in time, phone tracking is okay,” he said.
“But it’s not that scene in Total Recall yet, where you’re able to run around with a tracking device in your hand, sprinting down the road after a little bleeping dot.
“I appreciate it’s a big ask from the phone companies to make that a thing, but that would be enormously helpful from a policing perspective.”
Apple and Android did not provide the BBC with a statement, but Samsung said it was “working closely with key stakeholders and authorities on the issue of mobile phone theft and related crimes”.
Additional reporting by Tom Singleton
Google uses anti-competitive practices to dominate the market for online advertising technology, a UK watchdog has provisionally found.
The potentially unlawful behaviour could be harming thousands of UK publishers and advertisers, an investigation by the Competition and Markets Authority (CMA) has warned.
It accuses Google of preventing rivals from “competing on a level playing field” with its own tech for the billions of pounds spent by UK businesses on online advertising.
Google said the watchdog’s findings were “flawed” and said it would respond.
According to the CMA, the vast majority of businesses use Google’s services when placing digital ads on websites.
Google maintains it has a strong business incentive to help UK firms thrive, and argues that advertisers choose to use Google because its products work well and help their businesses grow.
The watchdog will now consider representations from Google before deciding what action to take.
If Google is found to have broken competition law, the watchdog could impose a financial penalty of up to 10% of annual worldwide group turnover and issue legally binding directions to the firm.
“We’ve provisionally found that Google is using its market power to hinder competition when it comes to the ads people see on websites,” Juliette Enser, the CMA’s interim executive director of enforcement, said in a statement.
She pointed out that many businesses were able to keep their digital content free by using revenue from digital adverts, which reach millions of people across the UK.
“That’s why it’s so important that publishers and advertisers – who enable this free content – can benefit from effective competition and get a fair deal when buying or selling digital advertising space,” she wrote.
But Google’s vice president of global ads, Dan Taylor argued the search giant’s advertising technology helped websites and apps fund their content, and effectively reach new customers.
“The core of this case rests on flawed interpretations of the ad tech sector. We disagree with the CMA’s view and we will respond accordingly,” he wrote.
Google’s activities in ad tech are also subject to continuing probes by the US Department of Justice and the European Commission.
Competition economist Dr Cristina Caffarra, told the BBC that while the CMA’s statement of objections certainly presented “another headache” for Google, the regulator was merely “joining the club” of those who have already taken action.
“The UK is by no means some sort of pathfinder here,” she said.
The Department of Justice, state of Texas – which along with nine other states sued Google over alleged abuse of its ad tech dominance in 2020 – and the EU are all far ahead, Dr Caffarra added.
In 2023, EU competition regulators told Google it might need to sell part of its ad-tech business to address their concerns.
But the tech-giant has argued this would be a “disproportionate” step.
Separately, Google is seeking to appeal a UK court decision in June to allow a £13.6bn collective-action lawsuit against it to proceed.
The case alleges the search giant behaved in an anti-competitive way which caused online publishers in the UK to lose money.
Google has vowed to oppose the claim “vigorously and on the facts”.
Additional reporting by Liv McMahon
SonyIt’s just a few hours before reviews of one of the year’s biggest PlayStation 5 releases arrive, and its director is talking about food.
Buffets, to be precise.
You might get a lot for your money, but how do you feel afterwards?
“Bloated, you’ve eaten too much and you just want to go and sleep,” says Nicolas Doucet, head of Sony-owned studio Team Asobi.
Gamers are fond of food metaphors. Developers don’t just make games, they “cook”. If you’re spoilt for choice with high quality new releases, you’re “eatin’ good”.
But Nicolas is referring to the sense that blockbuster publishers have tended to have an all-you-can-eat approach when it comes to making games.
For a while now, the industry’s biggest players have been focused on producing open-world titles offering dozens of hours of gameplay, or on attempts to muscle into the lucrative online market.
Both genres have produced some huge hits, but Nicolas wonders if there is an appetite for something more like “that two-course meal that is going to be just the right amount”.
Astro Bot could be just the recipe Sony has been looking for.
Earlier this week the Japanese company announced it was pulling Concord – one of its other recent big games – from sale after a tepid response from critics and players.
The online shooter is the latest high-profile bid to corner the so-called “live service” market dominated by the likes of Fortnite and Apex Legends that’s failed to attract a large audience.
But in a quiet year for first-party PlayStation releases, Astro Bot has received some of the highest review scores of 2024 and some critics say it’s one of Sony’s best in ages.
At its heart it’s an old-school 3D platformer that’s crammed full of references to PlayStation’s 30-year history.
The game’s main objective is to rescue 300 Astro Bots hidden around various themed levels, with about half of those decked out in cosplay to resemble characters from the console’s past.
But as much as it’s a nostalgic reminder of Sony’s great successes, could it also be a lesson for the company’s future?
Team AsobiIf you’re one of the world’s 60 million PlayStation 5 owners, you’re almost certainly familiar with Astro Bot.
The cute mascot character appeared in 2020’s Astro’s Playroom, a short, three-hour adventure pre-installed on every machine.
It was designed to act as a tech demo for the hardware and its advanced controller, but people loved it.
“And it did highlight perhaps the fact that people are craving for these kind of games,” says Nicolas.
Releasing a 3D platformer in 2024 is, on paper, a daunting prospect. Nicolas admits the genre – a staple of the PlayStation 2 era – isn’t very common these days.
And, he says: “The ones that do exist are very, very high quality from people who’ve been making them for years and years.”
It’s also a genre Sony has moved away from recently, and its biggest releases have been more adult, cinematic titles such as God of War and The Last of Us.
Nicolas thinks this is a sign of audiences, and the developers making games for them, maturing.
But he admits that left a gap which Team Asobi – a relatively young studio – was eager to fill.
“I think there needs to be more games that are there just to relax, have a little bit of fun, that are not dramatic, that are not necessarily heavily story driven, where you can just mess around with a game and it’s fun,” says Nicolas.
“But, of course, it needs to be executed well.”
Astro Bot’s been widely praised for its polish, attention to detail and the way it plays, drawing comparisons with Mario – for many, the undisputed king of 3D platformers.
Nicolas considers descriptions of Astro Bot as “old school” a compliment and that going “back to basics” helped with the game’s development.
As concerns grow over spiralling budgets, Astro Bot was made in three-and-a-half years by a team of about 65 people – a relatively short time and small staff by modern standards.
Nicolas says the game’s bite-sized nature – it’s divided across 50 short, playable stages – helped to simplify development and made it easier to “swap things around”.
“Whereas when you’re tied to something that is one storyline, one timeline that is set, it’s very difficult,” he says.
“You have less flexibility.”
Team AsobiSony will now be hoping that Astro Bot’s glowing reception translates into big sales, but comparisons with Concord’s swift fall have already begun.
It’s also shone a light on characters Sony could revive, and prompted some people to question whether the company will shift its recent focus on the live-service market.
Under previous PlayStation boss Jim Ryan, the company announced plans to launch 12 online-focused games. It’s since scaled that back to six.
As for single-player titles, some of Sony’s biggest in-house studios haven’t yet revealed PS5 projects.
Hermen Hulst, one of two new CEOs in charge of Sony’s gaming division, told the BBC in a statement it was “very important we offer a wide variety of titles to our community” and that “Astro Bot fills an important part of our portfolio”.
He praised Team Asobi for creating “something special that is light-hearted and delightful” with “incredibly fun gameplay”.
Astro Bot is also “a great opportunity for families to game together”, he said.
Nicolas opts not to comment on the Concord situation or bigger, strategic moves, but he does agree with his boss that Astro Bot has given PS5 a game that can “bridge generations”.
Many reviewers have remarked on how cameos from the past have reminded them of growing up with Crash Bandicoot, Jak and Daxter or the cast of Ape Escape – characters that set them on the path to becoming gamers.
Nicolas says he often gets messages from parents who’ve played Astro’s Playroom with their children talking about their experiences, and he hopes that the new game will create more shared moments.
“I’m really happy that, besides the game itself, there’s a greater good, if you like, that we’re able to tell stories like that,” he says.
“And I really hope that we can brighten some people’s homes thanks to that experience.”
Additional reporting by Tom Gerken.
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