Tag: Indie

2023 Year-in-Review: Independent Game Studios of the Year

DomsPlaying

The next category in my prominent and distinguished 2023 Year-in-Review series is ready!

It’s a personal favorite, and an honor to share: Independent Game Studios of the Year.

First off, I don’t set an explicit definition of what’s indie and what isn’t. That’s an exercise in futility, and driven by semantics. I know an indie when I see it.

For instance, as awesome as Dave the Diver is, it won’t be among these ranks. The studios and projects celebrated here are (usually) not owned by a mega publisher, tend to be smaller in scope, team size, budget or all of the above plus feature an aesthetic or design that’s alternative to the traditional AAA space.

That’s my criteria and I’m sticking to it.

It’s exceptionally difficult to whittle this list. After all, there’s a metric ton of incredible indie teams that put out a myriad of games in a given year. Which means I do however many I want. It’s my site. Plus, rules are mostly arbitrary anyway.

For this year’s installment, I’ve shouted out 12 developers from 8 different countries that excelled within the indie space. One for each month, I suppose.

On to the winners, in alphabetical order!

Awaceb (Canada)

This studio of a dozen or so people based out of Montreal was started back in 2016 by Phil Crifo and Thierry Boura. This year, its wholesome and inspired open world adventure Tchia tells a great local story based on the founders’ home nation of New Caledonia, has moved over 1 million units and secured the Games for Impact award at December’s The Game Awards.

Black Salt Games (New Zealand)

This team made up of four Kiwi collaborators in Joel Mason, Nadia Thorne, Alex Ritchie and Michael Bastiaens kicked off making their debut title Dredge in 2020. It’s a twisted take on an open world water tale, merging cosmic horror with nifty fishing mechanics, standing out as one of 2023’s premier, and eternally spooky, experiences while cruising past the million copy sold milestone.

Enhance Games (United States)

Back in 2014, industry veteran Tetsuya Mizuguchi founded Enhance, a creative studio that melds various forms of reality gaming and sensory experiences to make titles like Rez Infinite and Tetris Effect. This year it launched Humanity, a dreamy flow-of-consciousness in which a spirit pup leads human souls to complete puzzles, expanding its already impressive and unique portfolio.

Geometric Interactive (Denmark)

Based out of Copenhagen, Geometric is a focused group led by Jeppe Carlsen and Jakob Schmid, both formerly of Playdead (Limbo and Inside) and it shows with their first effort Cocoon. Remember this world-bending environmental puzzler, which took home Best Debut Indie Game at The Game Awards among other accolades, as it will certainly show up again in my Game of the Year article.

Kinmoku (Germany)

Among my favorite things is shouting out single developer studios, and that’s the case here with Lucy Blundell aka Kinmoku who left AAA publishing in 2015 to pursue an indie career. After launching One Night Stand in 2016, they found an even bigger audience recently with Videoverse, a nostalgic, narrative homage to online communities of yesteryear distinguished by its striking visual style.

Mojiken Studio (Indonesia)

This prolific, tight-knit squad is based out of Surabaya and defines its work using a pixelated approach that’s comforting and aesthetically pleasing. 2023’s gem A Space for the Unbound is set in its native Indonesia and expands on its ethos, offering a heartfelt story about teenage love and spiritual growth layered on a supernatural backdrop.

Outerloop Games (United States)

Co-founder Chandana Ekanayake is the creative lead behind the fully distributed and minority led Outerloop Games, previously best known for 2019’s Falcon Age. The group’s fantastic 2023 title Thirsty Suitors is a highlight of inclusivity and culture, both dramatic and romantic, with its snappy animations, wonderful writing and a sublime coexistence of narrative and mechanics.

Rundisc (France)

This team located in Toulouse now has a couple releases under its belt, launching Varion in 2018 and the exceptional Chants of Sennaar back in September in what showcased their immense talent. It’s a miraculous entanglement of peoples and politics told through deciphering of language, showing there’s always a path towards mending fractured relationships even amidst all the challenges that inevitably present themselves.

Sabotage Studio (Canada)

Thierry Boulanger and Martin Brouard formally spawned Sabotage back in 2016 after painstakingly prototyping what would become 2018’s action platformer The Messenger. The team grew in size over time then went a different route with this year’s Sea of Stars, a magical turn-based title that keeps the tradition of retro RPGs alive while enhancing the formula with modern trappings, attracting 4 million players along the way.

Sad Owl Studios (Scotland)

This team’s first effort Viewfinder was initially started by Matt Stark back in 2019, after which his studio Robot Teddy was purchased by Thunderful then renamed Sad Owl Studios. The level-based first-person walker features perhaps the most innovative concept in gaming this year, whereby the player takes pictures that shape the environment in a mesmerizing display that truly has to be experienced to be believed.

Tour de Pizza (United States)

This is a fun one, considering its studio name and cartoonish creation are based on the most perfect food ever created by humans. A group of folks including online personas McPig and Sertif spent five years making what’s probably the goofiest entry here in Pizza Tower, a sharp, sometimes masochistic, high-paced platformer featuring main character Peppino Spaghetti that keeps speed-runners and pain lovers alike salivating similar to its namesake.

Visai Games (Canada)

The final entry also prominently features food, albeit in a much more familial and familiar setting, cooked up by the intimate team at Visai Games out of Toronto. Led by art director Sam Elkana and writer slash producer Shahrin Khan, the delightful Venba is about the ups and downs of an Indian family living in Canada and centers around meals, identity and maturing in a place that isn’t necessarily home, yet can be over enough time.

Sources: Studio Media Relations Websites, Gamatomic (Image Credit), Game Informer (Image Credit).

-Dom

2022 Year-in-Review: Independent Studios of the Year

DomsPlaying

It’s time for arguably my favorite article of the year!

As part of my year-end recap series, here I’ll be celebrating smaller teams and indie developers across the games industry. These folks, whether a tight-knit studio or one-person team, filled out an incredible annual calendar of indie experiences during 2022.

Their excellent games ranged from adventures to live action, from puzzle to speed-running and various types in between. Many will stick with me for years to come, and some will definitely occupy a space on my favorite titles of the year.

No reason to wait any longer. I know the suspense is palpable! In alphabetical order, here are the lucky 13 best indie studios of 2022.

Andrew Shouldice

The first entry is mostly a one-man developer in Andrew Shouldice. The Canadian’s story in development begins at Silverback Productions for a few years then shifts to full time work on the highly ambitious project in Tunic, a Zelda-inspired adventure game. The top-down title launched in March after many years of work from Shouldice and a small team of collaborators, an exquisite blend of colorful artwork, tricky combat, puzzle execution and an ingenious in-game manual that communicates mechanics via visual hints. It’s the culmination of many stressful sessions and years of hard work from Shouldice, thus easily earning a spot on this list.

Angel Matrix

Headlined by Ben Esposito, of Donut County fame, Angel Matrix is a collective of people across many disciplines that launched its first game Neon White this past year. The fast-paced, first-person speed runner is a sensory onslaught, blending expert platforming, slick shooting and a sick soundtrack from Machine Girl to result in something resembling nothing else I played in 2022. Throughout its release month of June, gamers everywhere fought for leader board positioning and chatted with heavenly assassins in a one-of-a-kind world built by Angel Matrix.

BlueTwelve Studio

Within the south of France, BlueTwelve Studio developed “the cat game” Stray, an indie darling and Best Debut Indie Game winner at The Game Awards. The PlayStation console exclusive is the premier kitty experience across all of gaming, a third-person adventure where the player unravels riddles within an underground city of robots. In typical feline fashion, there’s the ability to climb, claw, creep and snuggle up for a quick snooze, and all the while BlueTwelve tells a tight narrative via context clues and environmental puzzles. It’s hard to see meow the team can top Stray, one of 2022’s pawsitively delightful mysteries.

Geography of Robots

Mainly comprised of five members named Yuts, Aaron Gray, Jesse Jacobi, fmAura and Gewgawly I, the team at Geography of Robots launched one of 2022’s most unique stories in Norco back in March. It’s an exceptional, inventive point-and-click narrative that’s based around choice within a supernatural Southern setting, originating from a multimedia project all the way back in 2015. It’s biographical for Yuts, who grew up in the titular Norco, Louisiana, and the team’s years of development paid off as the title won Tribeca Film Festival’s inaugural gaming award back in 2021. Not to mention it’s the reason why the studio is on this list as well. And rightfully so.

Half Mermaid

Highly-decorated indie designer Sam Barlow (Her Story) is known for moving past the medium’s traditional setup, leveraging full motion video and experimenting with user interfaces. He organized Half Mermaid in 2017, and after Telling Lies in 2019, they started on what is undoubtedly a modern masterpiece in Immortality. This smashing showpiece of interactive storytelling blurs the line between media, existing somewhere among avant-garde films and point-and-click games, telling a multi-layered tale of an actress across three of her unreleased movies. Half Mermaid nails its mission of using a “spectrum of narrative genres” to tell its stunning stories, and continues to showcase what gaming can be when it’s at its most original.

INTERIOR/NIGHT

The London-based studio INTERIOR/NIGHT formed in 2017 as it’s managed by former Quantic Dream lead Caroline Marchal and features a diverse set of industry vets. Their goal is similar to the prior entry, mixing an episodic television approach with interactivity. During July, the team launched its debut title As Dusk Falls which is known for a stark, stop-motion art style and a myriad of difficult choices that push characters in different directions depending on the playthru. Its multiplayer mode is exceedingly novel, allowing up to 8 players to vote on outcomes and guide the overall movement. Reminiscent of projects from LucasArts and Telltale, INTERIOR-NIGHT’s first effort is among the best decision-driven stories of 2022.

Josh Wardle

For those online during the first couple months of 2022, the yellow and green boxes of Josh Wardle’s Wordle were inescapable. In the best way possible. The elegantly-simple digital sensation of a word game has an incredibly sweet story behind it. Wardle started it up as a fun way to pass the time with his partner Palak Shah, who also played a pivotal role in the game’s early development. Accessed solely on a web browser, Wordle’s “one puzzle a day” is the crutch of its genius, providing an avenue for folks to compete then come back to continue their streak. Its beautiful backstory culminated in The New York Times purchasing it for over a million bucks, solidifying Wordle in the pantheon of internet history forever.

Jump Over the Age

Here’s another solo developer that excelled in 2022. Gareth Damian Martin, who has done everything from designing games to critical writing and running a zine to lecturing on the academic circuit, is behind Jump Over the Age. They produced their second title in Citizen Sleeper in May, challenging thoughts around the coldness of capitalism, the weight of debt and challenge of community. It’s a creative, story-based achievement set on a spooky, desolate space colony that introduces randomness, as life itself often does, via dice rolls and light survival mechanics. Featuring excellent character art and promising prose, Gareth’s inquisitive, insightful indie should be a sleeper pick for plenty of year-end lists.

Massive Monster

Cult of the Lamb is the biggest release to date for Massive Monster, a small studio spanning Australia and the United Kingdom that started back in 2016 in the aftermath of the flash game era. The title is a true hybrid, combining bespoke concepts into a singular experience: Community simulator meets dungeon-crawler. Juicy dark humor and devilish decisions parallel the snappy, satisfying mechanics of diving into dungeons and smashing enemies in Massive Monster’s latest, which isn’t tied down by traditional genre convetions. Roguelike elements and time management intersperse in Cult of the Lamb, a standout gem of a game, forcing choices with weight as the player evolves into a benevolent leader or nefarious commander.

Nerial

Listing around a dozen people on its website, Nerial is the studio behind Card Shark, the single most underrated indie triumph of 2022. Based out of the United Kingdom, the team made Reigns titles prior to launching 2020’s Orwell’s Animal Farm. This past year brought about what I think is its magnum opus in Card Shark. Many more people should be talking about Nerial’s tour de force, with its high quality 18th century French artwork and nifty puzzles that center around cheating at parlor games to snatch winnings from pompous rich folks and historical figures alike. The best part is its tangible mechanics, capturing the feel of shuffling cards or peeking at an opponent’s hand. There’s also an underlying story that deals with deceit and cunning, a truly complete package of delectable deception.

Poncle

What started as a pet project for Luca “Poncle” Galante turned into one of the hottest, most highly-praised indie darlings of 2022 in Vampire Survivors. For good reason. Beginning the year in early access then pushing towards full release in October, Poncle’s project is severely addictive with its old school trappings, catchy music and singular premise: stay alive. The simplicity of control is reminiscent of an idle game, where players determine movement with a joystick while picking upgrades when leveling up. There’s much more to Vampire Survivors than it initially presents, unraveling progression as a player’s expertise grows. Poncle has found a perfect niche, a modern-day arcade accomplishment, which has a gameplay hook and “one more play” potential like none other in recent memory.

Splashteam Devs

As one of the year’s sneaky good indies, Tinykin is a delightful platform adventure with Pikmin-esque creature collecting, superb world feel and exemplary puzzle design. The team behind this amazing amalgamation is Splashteam, a close crew including former Ubisoft employees that worked on Rayman and Rabbids franchises. Launched in August, Tinykin is their second game after 2017’s Splasher and it’s an immaculate foray into 3D platforming, featuring cute animations, referential writing and flawless pacing. Additional stand outs are its setting and characters, led by astronaut Milo who meets various communities of tiny critters within a mysterious, massive house. The payoff is great as one of 2022’s top indies really scratches the eternal itch of exploration and collection.

Squanch Games

It’s incredibly difficult to be genuinely funny, especially in games because of the added challenge of player interactivity. Leave it to Justin Roiland (Rick & Morty) and the team at Squanch Games to accomplish this feat, often pushing the limit of absurdest humor and wacky characters in prior games like Trover Saves the Universe and Accounting+. Their most recent release High on Life is one of 2022’s best. It’s Squanch Games at its biggest, boldest and raunchiest. Writers and artists run wild with a ridiculous alien adventure that mostly lands, adapting solid metroidvania components and a colorful graphical palette into a twisted tale of interplanetary drug cartels and humanity’s last hope. It’s as much an interactive comedy as first-person shooter, pumping the player full of laughs as a late year Game of the Year contender.

It’s a longer list than usual because of just how many excellent indie projects released in 2022. Which indies stood out to you? What do you think of the list?

Thanks for making it this far in my celebration of the best indie studios over the past 12 months. Navigate back to my 2022 Year-in-Review megapost for more!

Sources: Media Sites, The Signal (Image Credit), The Times (Image Credit).

-Dom

2021 Year-in-Review: Independent Studios of the Year

DomsPlaying

This might be my favorite post all year. It’s time to specifically shout out the best indie studios of 2021 and their incredible games.

“Indie” has always been a nebulous term that’s difficult to define. Where do we draw the line? Team size? Budget? Scope? Association with a major publisher? To me, it’s elements of these things. Indie teams are usually smaller, self-published or shopping projects around for financing and games are kept at a more focused strategy. However, to me it’s mostly about the team’s spirit and approach when the lines become blurred. Shoot, it might not even be a team. These days, a single individual can make a multi-million seller indie epic.

There are also indies backed, or even purchased, by major game publishers. This post isn’t meant to litigate semantics about what is or isn’t part of this space. It’s a place to talk about which studios or individuals made the best “smaller” or independent projects this past year.

In terms of sheer number, it’s the largest list for this category ever. Nine entries deep! Let’s get on with the festivities, here are the top independent game studios of 2021 in alphabetical order.

Acid Nerve

Mark Foster and David Fenn make up Acid Nerve, a team based out of Manchester that created the awesome Death’s Door, one of the year’s most striking indie games. It’s a dark, isometric adventure game with tricky combat and creative bosses, where the player collects souls in a bureaucratic version of the afterlife. Previous projects include Titan Souls and Telepaint, but 2021 was Acid Nerve’s best yet.

Daniel Mullins Games

I promise this name will come up again during my Game of the Year list. Known previously for Pony Island and The Hex, Daniel Mullins recently created the incredible Inscryption, a deck-building card game I guarantee is like none other. Daniel is mostly a solo developer known for meta narrative and genre-bending, and this formula is perfected with Inscryption which is exquisitely executed, the type of experience that lingers long after it’s done.

Greg Lobanov

Another mostly solo creator is up next in Greg Lobanov for his excellent work on Chicory: A Colorful Tale, a game about self-doubt, artistic vision and ultimate perseverance. Greg, a Philadelphian in Canada formerly known as Dumb and Fat plus maker of Coin Crypt and Wandersong, worked with a small team to make one of 2021’s most layered games about anthropomorphic animals facing real life issues, sparked by a magical visual flare as the player can color its entire environment.

Ember Lab

Pixar-quality action-adventure Kena: Bridge of Spirits was incredibly the first game for Ember Lab, a team led by brothers Mike and Josh Grier who had a history in short film and commercial animation. The team leveraged this prowess to make a gorgeous game about Kena, guide to spirits and friend to cute creatures, which won both best indie and top independent debut at this year’s The Game Awards.

Four Quarters

A team originally based out of Russia and now spread around the globe remotely, the four-person Four Quarters launched the ingenious, enigmatic Loop Hero this past year. This semi-idle game with tower defense, crafting and role-playing elements captured the stage in first quarter 2021, selling over a million units and cementing Four Quarters, previously makers of Please, Don’t Touch Anything, as celebrated indie creatives.

Hidden Fields

Haunting visuals and tense interactions define Mundaun, a psychological horror game and first full-length project from one-man Swiss studio Hidden Fields. Michel Ziegler illustrated and programmed the hand-stenciled game set in the Alps where a man travels back to its hometown to find out more about his grandfather’s passing, and it’s one of 2021’s most dramatic, bizarre and unique indie releases.

Housemarque

Technically no longer independent since its purchase by Sony in June, Housemarque released time-bending action game Returnal in April which has since garnered critical praise and commercial success. As noted in my review, Returnal was the most ambitious and impactful title from the outfit previously focused on fast-paced arcade gems like Resogun and Nex Machina, blending bullet hell elements with run-based elements in splendid harmony.

Iron Gate Studio

Headquartered in Sweden, Iron Gate Studio broke out in 2021 after launching gathering, crafting and building game Valheim which snagged the zeitgeist in February with its Norse world and fantastical setting. At one point, the procedurally-generated title was selling a million units every other week, culminating in upwards of 8 million as of August and spawning many a tale of emergent, co-op interactions and challenging enemy battles.

Modern Storyteller

The final winner is Modern Storyteller, brainchild of lawyer-turned-developer Nick Pearce and creator of the masterpiece that is The Forgotten City. As I alluded in my review back around launch in July, the first-person time loop game set in an underground Roman city began as a Skyrim mod and blossomed into a daring narrative showcase that offers player choice, political intrigue and major morality conundrums. Pearce and team define and even transcend “walking simulator” genre boundaries with The Forgotten City, a staggering storytelling feat that lands them within this group of best indie studios around.

Shout out to all the developers on this most prestigious list and every indie developer working hard during 2021, a most challenging of years that resulted in some of my favorite projects to date. Bounce over to my megapost for all other Year-in-Review categories, including the impending Game of the Year awards.

Sources: Comic Book Resources (Image Credit), Company Websites & Twitter. YoYo Games (Image Credit).

-Dom

2020 Year-in-Review: Independent Studios of the Year

DomsPlaying

This is one of my favorite articles to write in recent years, showcasing the very best of independent gaming and the people behind the projects.

When covering games and tech, there tends to be a focus on the bigger players. Especially here when I analyze the business side. Yet the industry is so much more these days, with many of the most amazing experiences coming from smaller teams that aren’t owned by major publishers. Some of them even self-publish, a risky and admirable venture in today’s landscape.

This is their much-deserved moment, on the most prestigious list of all if I may. Congrats to everyone, on the list and otherwise, who worked hard to produce and publish their indie titles amidst everything the year tried to stop it. You are among the best, most talented creators and it’s a honor to play your games.

Here goes, in descending order until we arrive at Studio of the Year!

Kinetic Games

Out of all the teams on this most distinguished of lists, Kinetic Games is unique. It’s really just one person: Daniel aka Dknighter. From what I gather, he’s a 24-year old solo dev from the United Kingdom. I don’t even know if there’s a logo or branding. He released his first game into Early Access on Steam this year. That would be Phasmophobia, a four-player co-op ghost hunting jaunt into the dark corners of horror locales such as a creepy houses, deserted hospitals and abandoned prisons. Think the show Ghost Hunters, except way more immersive. And scary.

There’s a lot of super innovative ideas in Phasmophobia. It’s less about jump scares and more the overall aesthetic and environment that’s spooky. It uses a sanity meter, where the wrong choices can result in zero sanity where spirits become aggressive. Its ghosts are procedural, meaning they don’t have a set shape, form or characteristics. Each run is unique. There’s detective work involved, where even talking to your fellow hunters on the microphone or interacting with the environment can trigger a reaction from apparitions. There’s a more “hands off” role for people who aren’t keen on going hunting yet still want to assist their friends. Plus, it supports virtual reality. Why anyone would want to play a horror game in VR is beyond me, but it’s possible. It’s nowhere near the typical horror game, combining a ton of clever systems, which is the reason for its rise to popularity in 2020.

Asobo Studio

I didn’t think it was possible for France’s Asobo Studio to repeat on this annual list of the best indie teams. Then they made Microsoft Flight Simulator. In a stark contrast to their 2019 original game A Plague Tale: Innocence, the classic flight sim is a return for the franchise that had its start way back in 1982. I mean, that predates Windows OS itself. It used to be a pillar of the PC gaming community for decades and hadn’t seen a new release since 2006!

The technology, design acumen and scope of the latest Microsoft Flight Simulator is astounding. It’s a gorgeous 4K resolution. It leverages Microsoft’s Azure to render 3D representations. Pulls in from Bing Maps to create in-game assets, which means it reacts to the world and how different locales change. 37 thousand airports. A couple million cities. At least 20 different aircraft. Realistic piloting mechanics. Asobo even recently introduced a virtual reality mode. Attracting over a million players within weeks of release in August, it’s the fastest-selling game in the series and ended up as a safe way to get one’s travel fix during the pandemic.

Thunder Lotus Games

Based in Montreal, Thunder Lotus made one of the most emotional indies I played all year in Spiritfarer, a management simulator about spending time with loved ones, facing death and moving into the afterlife. As the player takes the role as the new ferry-master to the great beyond, the game blends painterly artwork, traditional simulation mechanics like building up a boat, harvesting, growing, feeding and crafting with a narrative about spirits one must shepherd towards their ultimate passing. Every interaction feels meaningful, and each map location ties into a story of one of the animal spirits met along the way.

Past projects from the team of around two dozen employees include Sundered and Jotun, yet Spiritfarer is their true breakout. Mainly because of its subject matter and intense sense of togetherness in a year where that was near impossible in real life. Something as simple as a hug between two characters felt like a momentous occasion, and I haven’t encountered a mix of bittersweet joy and sadness as much as the final moments alongside a character meeting their maker. It’s exceptional.

Young Horses Games

Bunger Bunger Bunger Bunger. What the heck am I talking about, you say? Bugsnax, of course! A hilarious collectathon puzzler about part-bug part-snack creatures. Made by Young Horses, a team of less than a dozen folks based out of Chicago, it was the most eye-catching and innovative of all PlayStation 5 launch titles. Led by CEO Phil Tibitoski, the studio previously known for Octodad: Dadliest Catch has now solidified itself as the maker of humorous, puzzle-based games with a ton of heart.

Funny thing is, Bugsnax may look cartoonish and light, which it is at times, yet there’s an underlying unease and tension as the player learns more about the inhabitants of Snaktooth Island both character and snack. What stuck with me as much as the clever creature designs, such as the aforementioned burger-beetle named Bunger, was the realistic depiction of relationships between islanders in the community. These folks have histories and dramas, current or lost loves, and it culminates in one of the most unexpected finales of the year. I imagine we’ll be talkin’ Bugsnax as an indie darling throughout this entire console generation.

Moon Studios

Fully remote indie developer Moon Studios followed up its 2015 instant indie classic Ori and the Blind Forest with yet another amazing game last year, the sequel Ori and the Will of the Wisps. It’s not often that the follow-up to a great project can both continue its story and mechanics well then improve on them in almost every single way. That’s what Moon did with 2D action metroidvania Will of the Wisps, as I wrote extensively in my review, one of the top games of 2020.

Its backdrop is a similar dreamlike aesthetic of the Forest, the art team really outdid themselves again, with the similar main character Ori and even higher stakes this time. Platforming is as smooth and pinpoint as ever, while combat is overhauled for the better with a variety of new abilities plus a slotting system of different traits to tailor one’s playstyle. There’s a new quest approach, opening up the map to possibilities and side content. Minus a somewhat tropey main villain, Will of the Wisps defines what a sequel should be and made for a most memorable of adventures.

Mediatonic

Flash back to August 2020. Couldn’t go a day without everyone talking about the latest phenomenon of the battle royale genre, this little old game with a clever twist. Fall Guys: Ultimate Knockout immediately dominated headlines for the entire month when it launched on PlayStation 4, via PlayStation Plus, and Windows PC. The competitive, physics-based platformer royale from Mediatonic, a London-based team with a history of making flash games and Murder by Numbers, found its groove with Fall Guys, hitting the 10 million units sold mark on Steam alone within a couple months.

While it didn’t necessarily have the longest of legs, mainly due to the next entry on this list, its moment was massive. Gameplay is simple, random and somehow elegant at the same time, effectively a fierce party game with its variety of stages and game modes. It provides a sense of progression via a free battle pass and its round-based approach. Plus there’s nothing quite like grabbing that crown to become the winner. Mediatonic proved there’s room for new ideas, and hilarious hijinks, in an over-saturated genre.

InnerSloth

Three Developers! One Communications Director! That’s the team behind Among Us, only one of the biggest multiplayer movements out right now. And it’s not even a 2020 game, technically. Forest Willard, Marcus Bromander (totally dope name), Amy Liu and Victoria Tran are responsible for one of gaming’s wildest stories in 2020, the resurgence of a 2D co-op/competitive spy game from 2018 about shipmates trying to get stuff done while some members are undercover imposters intent on wiping out the crew. (Like, you know your game is big when politicians are playing it online!)

Its gameplay is straightforward enough, centered around movement and completing tasks via puzzles. Genius arises in the interaction between people, making decisions on how to deceive or reveal the truth, convincing others that you aren’t the killer when you really are, that makes it special most notably in the streaming community. InnerSloth’s creation won best multiplayer game at The Game Awards recently, beating out the likes of Animal Crossing and Call of Duty, plus the much-deserved recognition here for the team’s brilliant idea and sound execution. These folks aren’t sus at all.

Supergiant Games

And finally, the indie Studio of the Year is none other than Supergiant Games. It’s impossible to talk the year in gaming without mentioning Hades. Honestly, a game about continually trying to escape Hell defines 2020. It’s simply one of the best roguelike, dungeon crawlers ever made. Want to know how I’m so sure? Because I love it, and I’m notorious for being sour on these genres.

Part of what makes Hades special is its journey. How it began in Early Access, transformed with feedback from the community and launched in peak form in September. Players take the role of Hades’ son Zagreus in his attempts to fight out of the underworld in order to learn more about his family legacy. Its action combat is exquisite. Weapon variety is great. All the mythical gods and personalities are here, many offering assistance in the form of boons that change how each run plays out. Then there’s the most important part, and that’s the persistent story progression. It’s self-referential, acknowledging Zagreus’ continued struggles when characters talk and react to the player’s actions. I’ll gush more about it during my Game of the Year article, suffice to say it’s a must-see of 2020.

Lastly, a special shout out to Supergiant for its company culture. Based on interviews, there isn’t a lot of turnover on the team. Many of the same people have been there throughout its release of critical standouts Bastion (way back in 2011), Transistor and Pyre. There’s zero crunch. Instead of mandatory overtime, there’s mandated vacations. Everyone checks out of work communication for the weekend on Friday afternoon. This is the type of studio environment I want to reward in this setting, not to mention how the result is an incredible game like Hades. It’s a model for studios everywhere, no matter the size.

There’s another list of awards complete. Thanks again for taking the time to stop by as I shout out the best of the indie space in 2020. Plenty more back at the Year-in-Review megathread, including the upcoming, historic Game of the Year awards. Until then!

Sources: AIAS Game Maker’s Notebook Podcast, Company Websites, Press Kits & Twitter, Xbox Wire.

-Dom

2019 Year-in-Review: Independent Studios of the Year

DomsPlaying

It’s the last day of the year! Though no slowing down just yet. My year-end posts roll on with an extremely special one to me. During 2019, I’ve branched out more into critical reviews. With that I’ve written more about independent games, which are seriously the lifeblood of creativity in the games industry. As the barriers to entry of publishing on major platforms is more a reality than ever, these types of teams can earn the type of exposure they deserve.

I admit that “indie” is such a nebulous term, so let’s not get caught up in nailing down a definition. Rather, I plan to highlight those studios that either are smaller in scope, aren’t owned by major publishers and/or produce games on a lighter budget. These certainly vary in size, though each of them operates on their own and that’s what counts.

Here’s my list of seven awesome indie teams of 2019.

Asobo Studio (France)

I wrote about it in my review, A Plague Tale: Innocence is one of the most powerful games I played this year. And I was admittedly skeptical of it when I saw streams during E3. It’s the breakout game by French team Asobo Studio, previously known for working on adaptations of Pixar games and supporting the likes of ReCore and The Crew 2, it’s a masterpiece of storytelling. Plus, its enemy design and artificial intelligence technology is extra impressive as the player navigates a pair of siblings through middle century, plague-ridden France. A likely candidate to occupy a very high spot on my Game of the Year list, and I’m not the only one.

Bungie (United States)

You know I couldn’t finish these annual awards without mentioning the Destiny franchise. Maker of my favorite online looter shooter Bungie is now technically independent after its split from Activision Blizzard in January. Since then, the team released the Shadowkeep expansion for Destiny 2, offered a free version of the game, moved to a more seasonal event-driven model, instituted cross-save functionality for players to take characters anywhere plus became the flagship launch title on Google Stadia. Granted, the Washington-based studio is larger than most indie teams. Yet as a self-publisher it now faces many of the same challenges. And has succeeded in facing them thus far, to the point where I’m as excited as ever for its future.

Gabe Cuzzillo (United States)

A one-man team is still a team. Gabe Cuzzillo created one of the most unique, striking games of 2019 in the frenetic, stylistic Ape Out. Cuzzillo is a graduate of NYU Game Center and made his second game here in conjunction with fellow student Bennett Foddy and associate professor Matt Boch. Ape Out is top-down beat-em-up where the minimalist jazz soundtrack reacts to the player controlling an ape trying to, well, get the heck out of places. It was a finalist for the Independent Games Festival back in 2016 then published by Devolver Digital in February, one of those unforgettable indie games defined by its brash style and killer soundtrack.

House House (Australia)

Speaking of memorable indie gaming experiences, 2019 might as well be the Year of the Goose. Back in 2017 when House House announced that we’d play as a goose on the loose in its second game, I was captivated immediately. Right after the Australian team released on Switch and PC in September, Untitled Goose Game and its antagonizing protagonist became an instant meme. The game itself is really a puzzle game where the player, as the annoying goose, moves along by playing tricks on residents of the English countryside. One million copies, award nominations galore and plenty of funny GIFs later, House House is undoubtedly one of the year’s finest honking studios.

Kojima Productions (Japan)

Celebrity game designer Hideo Kojima split from Konami in 2015 to found his own studio, and 2019 showcased the fruits of this labor with the release of Death Stranding. Last month I wrote extensively on my thoughts on Kojima Productions’ debut game, featuring a star-studded cast with incredible tech and cutscenes despite wavering in its gameplay elements and cumbersome systems. However, there’s no denying its importance. It’s Sony’s biggest PlayStation 4 exclusive in 2019, receiving numerous industry awards. As divisive as Death Stranding turned out, Kojima’s team of around 80 fits a unique space within the industry in that it’s aligned with a platform holder yet operates autonomously. Creating whatever it wants to make. I respect that, regardless of my personal opinion on the final product.

Mobius Digital Games (United States)

The more I reflect on Outer Wilds, and distance myself from it, the greater I appreciate its significance despite frustrations I describe in my review. The first-person exploration game is truly a special indie title, with its own solar system and stories to discover. It’s open-ended, allowing the player to figure out what’s going on rather than presenting it explicitly. It sparks wonder by suggesting questions on intelligent life, the universe and mortality. Considering how much I like it the more I think about it over time, the tight-knit, California-based team created one of the most remarkable titles of the console generation, let alone the year. They are an absolute lock for this list.

ZA/UM Studio (Estonia/London)

It’s the last entry on my list of the top indie studios of 2019, and honestly a late addition. ZA/UM are the creators behind Disco Elysium, a bold detective RPG with political themes and internal monologues that cleaned house across multiple categories at The Game Awards this month. The studio’s story is incredible, a team of around 30 people that moved from war-torn Estonia to London during development. These efforts paid off. This traditional role-playing game featuring an alcoholic cop trying to solve a murder within a city of varying political ideologies is one of the most prominent examples of what an indie project should be. And sits among the most memorable of 2019. Compelling. Weird. Unafraid. The type of game that not only occupies a genre, but transcends it.

There we have it. Shout out to all the amazing developers that made the list! Your hard work and dedication to your craft is greatly appreciated.

One more post to go for 2019 year-end accolades: My Top 10 Games of the Year. Stay tuned. It should be a fun one!

Sources: Studio websites and press photos, GamesIndustry.Biz, New York University, The Game Awards.

-Dom

Review: It’s Worth Taking a Plunge into the Pinball-Themed Creature in the Well

DomsPlaying1 Comment

Amidst the pantheon of pinball-inspired video games like Sonic Spinball, Devil’s Crush and more recently Yoku’s Island Express, Creature in the Well cements its position right from launch then makes a definitive case to be considered among the very best. Boasting beautiful art and snappy mechanics plus a mysterious plot line, Flight School’s creative indie blends mechanics in the most unique of ways. It’s a seamless mix of traditional pinball elements, dungeon-crawling and sword combat that rewards the player constantly. Even with minor quality-of-life omissions, late game pacing hiccups and tricky boss encounters, I can’t recommend it enough.

Noticeable right after, hm.. launching the game is its eye-catching artwork. Almost paper-mâché in its aesthetic. A wide-ranging color palette featuring bright oranges and subtle blues creates a world in which a massive sandstorm has forced survivors to retreat within a camp called Mirage, guarded by the ever-present, titular “Creature.” Its minimalist approach is ideal in this setting, in that it acts to enhance the game’s focus on mechanics rather than causing any distraction.

General premise is the player hacks and slashes through the world as the last “BOT-C” robot engineer, trying to power up a massive weather device built into a mountain that can allegedly dissipate the storm. “How?,” one might ask. Well. By plunging into abandoned areas of the mountain to smack balls of light at objects to create energy, naturally! Individual goals come down to powering up a number of areas within the apparatus, each with a distinct color arrangement and theme like Power Reserves or the Archives. The ultimate end being to overcome the Creature then switch on the machine.

Characters such as a friendly amphibian Roger T. Frog, a descendant of one of the original weather device project leads, plus half alligator, part alien Danielle are the sole non-playable characters (NPCs) present in this world. The Creature lurks literally down in a well on the outskirts of Mirage, taunting throughout the journey. Villagers hint they are hiding in their homes while you approach. A clever way to instill mystery, even if I’d prefer it be more interactive. It’s low key a funny game, between intimate dialogue sequences with Roger and Danielle in addition to documents or world items found at the end of each section.

Boasting beautiful art and snappy mechanics plus a mysterious plot line, Flight School’s creative indie blends mechanics in the most unique of ways. It’s a seamless mix of traditional pinball elements, dungeon-crawling and sword combat that rewards the player constantly.

It’s remarkable to remember that Creature in the Well is the work of mainly two developers from Flight School’s studio, Adam Volker and Bohdon Sayre, with bits of support from additional teammates. There’s more content and lore than I anticipated. Throughout my upwards of eight hours with the game it becomes increasingly clear that every section is hand-crafted with obvious reverence for the game’s inspirations.

Presentation is via an isometric view, though its camera is much more dynamic than traditional games using this perspective. Shifting in angle while following the protagonist winding through corridors. Moving vertically while confronting the Creature in a boss fight. I’m openly not a huge fan of games using this type of vantage. It’s essential here to maximize the viewing angle and effectively simulate a virtual playfield, so I applaud the design choice over a more third-person action or static top-down like say The Legend of Zelda.

Each room is a self-contained puzzle, the source of the game’s real joy. Progression is achieved by absorbing energy through slashing orbs with one’s weapon to bounce them off bumpers, slingshots and related pinball accoutrements. BOT-C then opens doors with said energy, proceeding on to the next. Gameplay is furious and fluid, with obstacles to dodge and barriers to consider. In its most obvious tribute to its pinball roots, the best sequences require a level of precise shot-making that’s instantly gratifying. Volker and Sayre succeed in layering mechanics even late into the expedition, like exploding energy pillars or switches that cause pathways to emerge. It’s familiar enough without being predictable.

Game feel is top-notch, and it has to be here in order for it to work, with responsive controls and quick movement capabilities. Hit feedback is punchy, causing weapons to feel powerful when smacking around orbs. It’s worth saying Creature in the Well is far from an easy game, though I’d argue it’s accessible to all gamers. Certain rooms where enemies, hostile orbs and obstructions surround the player are tough. The nice part is other places offer no resistance whatsoever, they exist purely to build up energy while enjoying bright lights and flashy sounds. Like being able to control the flippers when a machine is stuck in attract mode.

Now, this might all end up feeling stale or overstaying its welcome if it wasn’t for nearly two dozen items and upgrades available. These are found strewn throughout both Mirage and the mountain, in secret areas. Which always provide a sense of accomplishment. While a few are cosmetic, the two main categories that drastically impact play are Strike Tools, which facilitate ball striking, and Charge Tools that impact how BOT-C takes hold of orbs then aims accordingly. Reminiscent of catching that coveted silver ball at the base of one’s flipper, in hopes to gain better aim.

I’ll admit when I first picked up a baseball bat or frying pan, I wasn’t quite sure how these would help. Or if they were only there to be visual and auditory pleasures. It then builds momentum by offering tools relevant to each section, like a magnetic fork or electrifying wand. Which are hugely important the more puzzle elements are thrown at the player. A personal favorite is the Fan Blade, which slows time to a crawl and opens potential for pinpoint precision. Later on, finding a weapon with a laser sight is, pun intended, a literal game-changer.

There are also cores around the world that allow Danielle to upgrade BOT-C’s health back at camp. This is essential for later stages, I highly recommend seeking these hidden areas. Oh, I almost forgot, your character wears a cape! So it’s only natural to have some fancy patterns available to find. My first standout was a regal shade of purple, then I finished the game with a scarlet ensemble. Fellow Hunters in Destiny or Castlevania enthusiasts will know just how cool it feels to dash around adorned with a beautiful, flowing cloak.

This all proves the duo of developers has crafted a title which embodies the “one more try” attraction of great pinball machines and dungeon crawlers alike. I’d even love the addition of challenge modes or high score trials. The mechanics are so tight that I’d welcome these if the team offers them in the future, albeit likely not realistic since they might be moving onto other things (bring that on, too!).

Gameplay is furious and fluid, with obstacles to dodge and barriers to consider. In its most obvious tribute to its pinball roots, the best sequences require a level of precise shot-making that’s instantly gratifying. Volker and Sayre succeed in layering mechanics even late into the expedition, like exploding energy pillars or switches that cause pathways to emerge. It’s familiar enough without being predictable.

While the loop of cutting through puzzles then returning to Danielle for upgrades is addictive, I do wish the town was more dynamic. Allowing me to hear stories from survivors or showing more reaction to my efforts. It feels drab once exploring it the first time. There’s one notable change that happens towards the third act, which highlights how much of a missed opportunity this is. I didn’t experience an urge to be in the hub world for any longer than I had to be.

Before ending this round, we’ve got to talk boss fights and difficulty. The antagonizing Creature chucks barbs at BOT-C throughout the game. Like an annoying skeleton with glowing eyes. It brags about how it’s controlling the town. Stalks from the shadows. Though curiously, it never actually destroys you. Instead it thrives on failure, plucking you from a dungeon and resetting your progress, which makes it all the sweeter when given the opportunity to stop it.

Most Creature fights are well-designed, challenging yet manageable. The type of balance that’s necessary in this context. Unfortunately, this isn’t always the case. Two later bosses in particular are severely frustrating, totally killing both my character and the steady momentum the game had up until then. Because of later game pacing interruptions, Creature in the Well suffers a similar fate as many games in that its conclusion requires multiple attempts. Each one more exasperating than the last. Problem is, it’s less a culmination of skills and more the game throwing all of its myriad of tactics at once, leaning on that for difficulty rather than more advanced mechanics.

It was moving at such a consistent clip that I was struck by how devastating it felt. Somehow the very last gauntlet is much better, though breaking through the two Creature fights that almost stymied my motivation was an endeavor. While I felt like quitting, the gameplay was still so spirited that I’m glad I stuck through it. Fair warning is all.

Turning to quality of life features and other options, these are somewhat limited which is unsurprising. There’s no brightness setting, minimal visual flexibility. No colorblind mode. Due to its higher difficulty late game, any sort of assist mode would be welcome to increase accessibility. A mini-map displays in the bottom right corner with no quick way to expand it. As I noticed multiple unused buttons, ideally one of them could bring up the map rather than having to tab through the start menu.

Nintendo Switch performance is solid running on Unreal Engine, no complaints in docked mode. It’s especially great to move and fight with a Pro Controller. Handheld mode is fine though not preferred, unless you’re looking for artificial challenge. Joystick and button positioning means it’s trickier to be precise with shots and evasion. And oddly it’s noticeably dark when using Switch’s auto-brightness setting. As noted before, there’s limited in-game visual settings. Pushing the system-level brightness up remedies this, colors popping even on the smaller screen though this will of course impact battery life.

Minor complaints on a couple boss encounters and quality-of-life items aside, Volker and Sayre have created something special with this project. A unique take within a hybrid sub-genre. It’s especially telling that I’m praising it this much, considering that isometric hack-and-slash games are not my choice style.

Similar to a classic pinball table or timeless arcade cabinet, Creature in the Well is the type of game that’s both addictive in short bursts plus fulfilling over marathon sessions. The concept is straightforward enough: grab a sword, launch a ball toward the objects in order to clear the room. Which means mastery is the true goal. While a difficulty jump in the final areas are startling compared to everything prior, a rousing finale catapults it into the upper echelon of indie games in general released this year.

Amidst the chaos in a new room or boss fight, there’s that moment of zen within a game’s mechanics that we’re all chasing. Not unlike being razor-focused on an arcade game or entering the zone while flipping on a pinball table. Where onlookers stare, dazzled by the bright lights and nostalgic accents. This is the feeling that Creature in the Well evokes at its best. Which is great, because it’s at its best almost the entire time.

Title: Creature in the Well

Release Date: September 6, 2019

Developer: Flight School

Publisher: Flight School

Platforms: Xbox One (Xbox Game Pass), Nintendo Switch, PC (Windows 10 & Steam)

Recommendation: For anyone that even remotely likes pinball or dungeon crawlers, Creature in the Well is a must-play indie game this year. Honestly, even if these genres don’t often interest you, I still bet you’ll end up thinking it’s well worth the price of admission. I certainly did!

Sources: Popagenda, Flight School, Nintendo, Screenshots from Nintendo Switch.

Disclaimer: Review code provided on behalf of Flight School.

-Dom

Which Indie Video Game Has More Sales Potential: Mighty No. 9 or No Man’s Sky?

DomsPlaying2 Comments

Mighty No 9 Box Art

No Man's Sky Box Art

 

There are a variety of factors that drive how well a product sells: cost, marketing, timing of release, inventories and consumer sentiment among them. When it comes to video games, publishers often target the demand side of the equation by either appealing to gamer nostalgia or innovating on a familiar concept in order to draw attention to their title within the vast landscape of games released today.

 

The creators of two upcoming indie games are using these tactics: Mighty No. 9, developed by Comcept/Inti Creates with publishing by Deep Silver; and No Man’s Sky, which is made and published by Hello Games. The former is a nostalgia play, with its Mega Man-influenced action-platforming gameplay, while the latter is a monumental effort in the space exploration/survival and flight simulation category, boasting an infinite universe for players to explore. Mighty No. 9 is releasing on a variety of platforms, while No Man’s Sky is a Sony PlayStation 4 “timed” console exclusive that will also be available on PC.

 

Deep Silver Logo

 

Both games have had an interesting history to date, which will certainly impact sales potential. Mighty No. 9 is the brainchild of former Mega Man producer Keiji Inafune, and was announced way back in 2013 with a Kickstarter crowd-funding campaign that has since raised around $4 million on the strength of 67K backers. However, the game has been delayed multiple times, annoying backers and potential consumers, and has been ridiculed for generic gameplay reveals and an especially corny marketing trailer (see below). Review consensus also seems to be negative overall from early impressions.

 

 

Hello Games Logo

 

No Man’s Sky was revealed at E3 2014 to broad fanfare, though skeptics point out the game’s colossal ambition could ironically also be its downfall plus Hello Games has been quite secretive on what it exactly is that you do in the game other than explore its vast universe. The game has developed a fervent online following, and was originally scheduled for a release this month but has since been pushed back to August. Upon news of this delay, creator Sean Murray received death threats from crazed individuals. As much as this is pure insanity, it also displays the thirst for a game that perfects the space exploration genre.

 

Sean Murray Twitter

 

So, what kind of sales potential do indie campaigns like this have? Mighty No. 9 has a very attractive price of $30, though the negativity swirling around its Kickstarter campaign and several delays indicates to me that the hype level is dwindling at the worst possible time with its release this week. Though the Mega Man series that inspired the game has sold approximately 31 million units to date, the highest-selling title in the series is Mega Man 2 at around 1.51 million copies.

 

I can’t see Mighty No. 9 being anywhere near as successful, even considering the 67K or so backers. I can see around 450-500K copies worldwide lifetime at the most.

 

No Man's Sky Image

 

 

Now, No Man’s Sky is a bit of a different story. It has established a following that is already starved for both information and a great game in the genre itself, so I believe it can withstand its recent delay. And even though it is only releasing on PS4 and PC, and it’s a full-priced $60 game, I still see lots of upside with the current install base of PS4 being around 40 million and the game itself appealing to a PC audience. Another promising point is that we’ve seen solid sales for space titles recently, as names like Kerbal Space Program by Squad and Elite: Dangerous by Frontier Developments (FDEV) have sold over 1 million and 500K units, respectively. Even an older title like EVE Online by CCP Games is still estimated to have around 340K active players.

 

With the hype surrounding No Man’s Sky, success of (somewhat) comparables and its release timing before the pre-holiday rush, I estimate it could sell upwards of 1.5-1.75 million around the world with most of those coming this year.

 

Do you agree that Mighty No. 9 will sell less than No Man’s Sky? Or do you think the uncertainty around delays of both titles will mean that neither will sell particularly well?

 

Note that Mighty No. 9 releases on Tuesday 6/21, while No Man’s Sky is currently slated to come out on Tuesday, 8/9.

 

Sources: Deep Silver, Hello Games, No-Mans-Sky.com, Capcom, Frontier Developments, Kickstarter, YouTube.

 

-Dom