SlimeGooGoo
Party Gooper
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who are these developers who 'want to shove their egos on your face to make them feel important and "auteur"'Indie is a meme anyway, a lot of those so called "indie" developers are backed by publishers such as Devolver, that help with marketing, playtesting, promotion, community building, porting the game to other platforms, etc.
But yes, a lot of developers want to shove their egos on your face to make them feel important and "auteur".
They don't care about the player's entertainment, all they care is about their own ego and self satisfaction.
How do you quadruple amputee a worm is the biggest mistery of that game right?11/10 - IGN Review for Indie Hit you missed this year, Tunneler: Schizophrenia
In this age of pandemic driven, violent, politically unjust corporate America (let's be honest, bad stuff only happens in the US, except for the unpaid migrant workers of Whereverstan forced to put their two year olds in an assembly line to make PS5s and even then none of our readers can find one, l-o-l) it's easy to forget our humanity. In a world of excitement over Horizon, God of War, Senua, etc, and the memetic legacy of Craig, it's easy for some cesspools of free thinkers to just get on with their gaming lives like regular people. But we at IGN (a company that employs a record low of white men) have finally found a title that we enjoy, far and away our GotY (unless Druckman stealth drops a director's cut to The Last of Us, Part II) TUNNELER: SCHIZOPHRENIA, a charming (and family friendly) story about a transgendered, black, lesbian quadruple amputee earth worm with schizophrenia. This game really let's the player experience the struggles of mental illness and the perceptions the ignorant cracker public has about it, lessons all wrapped up in colorful, eye popping hand drawn story sequences and gameplay involving the life of the worm: digging holes, shitting, not drowning during rain, and the search for equality, all while remembering to take your meds.
Yeah, fuck these kinds of games.
This is already the worst take I've read in 2022.Seems like an appropriate discussion for this time of year, as credibility hounds in media tell us about all the games they truly loved ("But more, like, appreciated?") this year that we, the plebs, have never heard of. I hate to paint with a broad brush, but you all know what I'm talking about.
Which brings me to the overall point: how many more indie, arthouse games about grief, loss, mental illness, and social isolation do we really need? I understand that indie devs are limited in budget and so have to make games that can try to achieve greatness some other way, but we need more Hades(es), and fewer side-scrolling, painterly, tender games featuring an art style and essentially no gameplay.
I used to be very charmed by these games, and now I find myself dismissing them out of hand, for the same reason movies have begun to bore me - how much more can they actually do that hasn't been done to death?
Agreed. I’ve already lived that era. It wasn’t better.I dont mind the metrovania stuff. Its the Pixels man. The Pixels everywhere.
The forgotten city is genuinely better than 12 minutes
I'm pretty sure this thread is complaining about how the medium is not broadening beyond platforming? People want more variety, but a lot of these developers seem to be very incapable of making games that aren't about depression and/or racism, and aren't willing to experiment beyond simple 2D platformers.The medium has broadened beyond platforming and shooting; some will love that and others won't. Kinda weird to get worked up about how others spend their free time though.
I got fed up of Resetera because of the constant validation pandering and the demand that the industry be narrowed to meet only their needs. Why do this here?
These games don't represent or speak for everyone, but not everyone has to be represented by everything - or is this what it looks like when traditionally well represented groups find themselves suddenly under represented? They say 'we're all tired of this, right?'
I actually looked it up on Google.11/10 - IGN Review for Indie Hit you missed this year, Tunneler: Schizophrenia
In this age of pandemic driven, violent, politically unjust corporate America (let's be honest, bad stuff only happens in the US, except for the unpaid migrant workers of Whereverstan forced to put their two year olds in an assembly line to make PS5s and even then none of our readers can find one, l-o-l) it's easy to forget our humanity. In a world of excitement over Horizon, God of War, Senua, etc, and the memetic legacy of Craig, it's easy for some cesspools of free thinkers to just get on with their gaming lives like regular people. But we at IGN (a company that employs a record low of white men) have finally found a title that we enjoy, far and away our GotY (unless Druckman stealth drops a director's cut to The Last of Us, Part II) TUNNELER: SCHIZOPHRENIA, a charming (and family friendly) story about a transgendered, black, lesbian quadruple amputee earth worm with schizophrenia. This game really let's the player experience the struggles of mental illness and the perceptions the ignorant cracker public has about it, lessons all wrapped up in colorful, eye popping hand drawn story sequences and gameplay involving the life of the worm: digging holes, shitting, not drowning during rain, and the search for equality, all while remembering to take your meds.
Yeah, fuck these kinds of games.
Here I found the perfect store for you: https://itch.io/I just wish the crap ones coukd be filtered out or just kept off the store completely. Too many trash games on all marketplaces.
It's just a pixelated platformer with dash. You can't say it play better than most modern AAA games. What would that even mean...Some games have their cake and eat it.
Celeste plays better and has more challenge than most modern AAA games and also talks about some of the things OP mentions without being too in-your-face about it.
So nah, I'm good, I'll just pick and choose.
Devs address these themes in a way that indicates how sheltered they are and how shallow their perspectives are.This is already the worst take I've read in 2022.
"stop making games that address certain (serious) themes in real life, we've had enough now"
what
It's just a pixelated platformer with dash. You can't say it play better than most modern AAA games. What would that even mean...
"the output is usually a dime-a-dozen 2D platformer about depression"The biggest waste is that these simple games have amazing art that could be used towards more ambitious indie games. All of these arthouse games are by people who are artists first and coders third or fourth. On its own, I applaud these artists for trying something that is as ambitious as making games, but unfortunately the output is usually a dime-a-dozen 2D platformer about depression. Good luck trying to find a decent and RELIABLE artist who is willing to work on a project that isn't their original idea all the while not charging exorbitant up-front costs for your indie game. The hardest part is recruiting good artists for an indie project who don't suffer from self-diagnosed mental diseases (AKA prolonged periods of severe procrastination) and are willing to compromise.
Totally agree, even that part about I was very charmed with that type of games and now I almost hate them. Games need some sort of gameplay apart from walking and picking notes. They are shitty games and they would be shitty movies or books.Seems like an appropriate discussion for this time of year, as credibility hounds in media tell us about all the games they truly loved ("But more, like, appreciated?") this year that we, the plebs, have never heard of. I hate to paint with a broad brush, but you all know what I'm talking about.
Which brings me to the overall point: how many more indie, arthouse games about grief, loss, mental illness, and social isolation do we really need? I understand that indie devs are limited in budget and so have to make games that can try to achieve greatness some other way, but we need more Hades(es), and fewer side-scrolling, painterly, tender games featuring an art style and essentially no gameplay.
I used to be very charmed by these games, and now I find myself dismissing them out of hand, for the same reason movies have begun to bore me - how much more can they actually do that hasn't been done to death?
It's just a pixelated platformer with dash. You can't say it play better than most modern AAA games. What would that even mean...
Here I found the perfect store for you: https://itch.io/
I said this as a lover of small indie games, but tons of highly celebrated indie games are pretentious crap devoid of any meaningful gameplay.I am playing artful escape because people raved about it. It is basically run right hold x. The game isn’t good, and I don’t know why people loved it.
I understand it's not a proper indie, and like I said my post was more about the codifying of the "indie" aesthetic, but it's still faaaar from a modern AAA game too.No its quite relevant because most real indies can't afford to hire big orchestras. They don't have the entire Sony PD support network helping them make the game. And they might have 1 or 2 people at most doing QA / marketing, not like 20.
As one of the devs who made Journey said - "it was not a small game." It took over 3 years and the budget more than doubled during development. Some of the same Sony people who worked on the audio & music for God of War 3, and The Order 1886, also worked on Journey.
That's not an indie game lol. Of course the game's style or aesthetic is similar to many actual indie games, but its not actually one itself.
Some games have their cake and eat it.
Celeste plays better and has more challenge than most modern AAA games and also talks about some of the things OP mentions without being too in-your-face about it.
So nah, I'm good, I'll just pick and choose.
That literally is just a platformer with a prominent dash mechanic. Great game, but that isn't "arthouse" any more than Mario is.
I don't think you understand what people are talking about here.
It was based on what I remember reading here at the time it was released, and on the fact that OP specifically mentioned indie games about mental illness and social isolation. People (not everyone, obviously) at the time got way too caught up in the fact that you played as a girl with anxiety and couldn't look past it to the great game that it was. It was an "SJW game" to some people, for some reason.
If OP is talking about actual arthouse games where the priority is on experimentation and artistry rather than actual game then I have no idea where the "300 a year" he claims there are exist. They're pretty few and far between in the grand scheme of things, I couldn't name you a single one I heard of or played in 2021.
how many more indie, arthouse games about grief, loss, mental illness, and social isolation do we really need?