Game intel
BEFORE I GO
Another week, another Metroidvania grabs headlines at Gamescom. But “Before I Go,” developed almost entirely by Jérôme Coppens, genuinely caught my attention-and not just because of another emotional trailer montage. In a genre absolutely stacked with nostalgia-driven tributes, it’s easy to feel jaded, but hearing that this game sold out demo slots during Steam Next Fest last year made me pay attention. A solo dev taking on a project this ambitious? That’s either the recipe for a standout indie darling, or a cautionary tale. Here’s where I think “Before I Go” lands, and why I’m rooting for Coppens’ dreamlike platformer.
The phrase “punishing Metroidvania” is practically a tag-line at this point, but Coppens seems poised to sidestep the usual genre clichés. The game’s premise—an allegorical journey towards death acceptance, seen through the perspective of an innocent child—immediately sets a more intimate tone than your average Super Metroid tribute. The promise of unconventional storytelling rooted in personal tragedy has me curious (and a little apprehensive), because let’s be honest: not every game gets the blend of emotion and challenge right. Too often, games slap on “melancholy” in the art direction and call it a day.
But Coppens talks about “Before I Go” as a tribute—not just to the games that forged his career (he explicitly calls out Guacamelee! and Axiom Verge alongside Super Metroid), but to a deep personal experience. This depth of motivation is either going to result in a project bursting with authenticity, or a game that overreaches. Either way, it sets up Before I Go as something more interesting than just another pixel art platformer.
Punishing platforming is standard fare, but Coppens highlights “meticulously crafted” challenges and “intuitive, responsive… diligently tuned controls”—and after two decades of genre evolution, that bar is high. If I’m not screaming “my death was my fault” after falling for the umpteenth time, the whole house of cards collapses. This is where playing the Next Fest demo would’ve been clutch; word from those who did says it felt tough but fair, and the movement had weight. Honestly, that’s the make-or-break for these games: no matter how beautiful the art, if those hitboxes aren’t right, forget it.
Then there’s the non-linear world, classic Metroidvania power-up progression, and “unforgiving parasitic abominations” to overcome. Again, nothing revolutionary on paper, but I respect that Coppen’s not pretending to invent the wheel—he’s trying to evoke the sense of discovery and mastery only games like Hollow Knight or Ori can deliver. If it lands, it could be special. If it doesn’t, it’ll be lost in a very crowded crowd.
Announcing console versions for PS5, Xbox Series, Xbox One, and Switch isn’t something most indies do lightly—especially a solo operation. Getting those ports ready, playtested, and polished is a beast. But with a developer background spanning 15 years (and not just “two months in Unity,” which is all-too-common), Coppens at least brings serious technical chops. The fact Before I Go’s console release is nearly a year away (2026) is a double-edged sword: it gives time for polish, but it also means there’s plenty of room for delays or scope creep—especially for a solo dev about to enter the beta crunch.
What intrigues me most is the chance to see how far authenticity and personal storytelling can go in a genre dominated by aesthetics and action. Indie darlings like Celeste or Ori made their mark because they nailed both challenge and meaning. If Coppens can thread that needle, we could have something honestly memorable on our hands. If not, it’ll still be a fascinating attempt—and frankly, games need more swings like this.
Before I Go is shaping up to be more than another Metroidvania homage—it’s a personal, emotional deep-dive from a seasoned solo dev, aiming for the consoles that inspired him. It’s ambitious, risky, and absolutely worth keeping on your radar for 2026—if you care about games that mean something, not just another nostalgia trip.
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