Twelve Tips for Indie Game Developers: The Outsiders Perspective

            Alright.  Let's be honest, I am not a game developer, I am not a PR guy, I am not an analyst.  What I am is a gamer.  And as a gamer, I wanted to just give a few ideas to the community as a whole, the indie gaming community, that, from a gamer's perspective, will actually help you.  Because, corporations may need advice, but they won't take it.  Indie devs tend to just be a group of a few people and they can and sometimes will use advice, so...here it is.

Considering the shit AAA devs are doing...yeah, I love Indie

            I've been seeing a lot of...shall we say, shady behavior on the indie scene, lately.  For every War Z or Guise of the Wolf, we get tons of decent games like Shovel Knight or Cubesis, certainly, but the fact that people think they can screw with their customers, on the indie level no less, is kinda disconcerting.  This doesn't just go for people trying to mess with critiques or lie to others, this goes for blow ups like with Phil Fish or even levels of mediocrity, like the dozens of RPG maker games that are starting to appear on steam.  So, let's start with some easy tips.

1) A New Developer Starts with nothing.

            As a new developer, you start with zero.  Zero faith, zero goodwill, but also zero bad will and zero vitriol.  You can build your image from the ground up.  So, play to the audience you want and respect that audience.  You can make a name that is meant to show your ambitions or what have you, like Wayforward or you can just have it sound cool, like Super Giant Games.  But, you start on an even keel, so use that to your advantage.  Use it as a jumping off point to show your audience, you respect them and you care.  They WILL start to judge you from the first screen shot you post, but when all you have is a name and a title, you start with nothing, so use that to your advantage.

All developers are born with neither good will nor bad will.  Use that to your advantage.

2) The Value of Goodwill.

            Indie developers can live and die on goodwill.  See, many indie developers work their jobs part time while doing other jobs or can survive on other means while waiting to hit it big.  However, if they do hit it big, this means they can work full time.  Indie devs are no different from big companies in this regard, as if their name has weight it can mean the difference between a boycott and massive sales.  Even if it just means you get a few hundred extra sales, since you try and deliver games cheaply and without much overhead, like a publisher or retailers cut, it can still help.

If you give to gamers, gamers will give to you, devs.

3) Be courteous, but don't be phony. 

            Your customers need to trust you and be willing to return your own goodwill, spreading word of mouth, doing reviews, talking to friends, what have you.  So, how can you build goodwill?  Well, a good way to start is to think about how you as a customer want to be treated.  Everyone hates that sir or ma'am crap we get when talking to corporate pawns like the cable company or healthcare and we hate automated systems even more.  We want to be spoken with as equals, by real people.  We want to be spoken to as people who are helping with the gaming experience, not lavished with false praise and titles.  If we make a suggestion, be glad for it.  Even if you can't use it, remember that someone cared enough that they wanted the game to be better so they could play it more. 

We all hate automated machines telling us our time is valuable to them.  Treat us courteously, but not like robots.

4) Be a nice person. 

            In spite of all vitriol, nothing builds goodwill like a developer who will act in a mature way when being insulted or demeaned.  This.  Is.  HARD.  Phil Fish may not be a guy I like, but he was insulted on a daily basis and demeaned the point he quit the game industry after many, MANY choice words.  It's probably good he did because after those words...he lost a LOT of good will from fans.  Thing is, Zeboyd put it best.  It's just good for all of us if we try and be nice guys.  Not fake nice, but if someone disagrees with you, let them, don't explode.  If they're being an asshole to you, ignore them.  If they're being an asshole to your community, feel free to ban them, since you have your community to think of.  But in general, just be a nice guy that people feel they can talk to. 

Gamers can be a vitriolic bunch but indie devs rely on them so...you kinda have to be the bigger man here.  Act maturely, even if we don't.

5) Man up to your mistakes. 

            All developers have made mistakes, wasted money, or generally had delays that prevent them from keeping promises in a timely manner.  Lying or making excuses to your fans and customers is not the way out.  Be upfront with them and share the experience.  If you're having problems, let them know but assure them of your commitment.  If you can't deliver, all there is to do is apologize, take the heat, and try to make it right how you can.  While you might lose some goodwill for doing the right thing, people remember those who are honest with them and respectful.  They respect those who don't cut and run and will try and do the right thing.  That, in turn, will get you more good will. 

People might never let you forget a mistake, but if you own up to them, don't make excuses, and say you'll do better, they're more likely to forgive and respect you.

6) Share with and go the extra mile for your community. 

            Everyone loves seeing games progress, either in development or in updates and bug fixes.  Share with them how things are going, maybe if you added something new, secrets maybe, but keep them involved, because that shows you care.

These are basic tips relating to good will.  In general, just think how you as a gamer or a customer want to be treated by others and...do that.

Community is a powerful tool in the game industry.  Treat them right.

7) Do not lie to your customers

            This is to cover all bases.  We talked about manning up to mistakes or problems, but don't sugar coat things.  If your game is a piece of ass, at least let them know going in that it's a piece of ass and that you are trying to learn to either fix it or do better the next time.  Don't bill it as a Call of Duty killer and then it turns out to be a generic shooter with copy paste graphics from the Unreal Engine with no trace of originality.  Don't use misleading clips or CGI or in general try and deceive them, because you will be found out and your attempts to hide it WILL be catalogued.  In the age of screen capture and mass media, nothing can just be covered up anymore.  You cannot cover up a lie in the games industry, so it's better to simply not lie.  Your rep and your goodwill will thank you.

If you lie, your customers will find out...and they will be PISSED.

8) Do not censor

            I know it may hurt to see something you worked hard on or which isn't finished take a verbal pounding from players who are basically ripping it apart for fun, but like I said before, if you try and cover that up and lie, it WILL be found out.  Garry's incident and Guise of the Wolf are the most notorious cases of censorship gone bad when Total Biscuit had his first impression videos taken down by people abusing the Youtube Copyright system.  He tore them apart in a mature manner, showing their wrongs in detail, catalogued, and eventually they had to relent.  Jim Sterling also covered those who took down steam reviews that were unflattering.  All incidents left a trail and the stories were picked up by Kotaku and other news outlets and the developers were treated as the scummy, money grubbing asses they were.  Don't censor.  It never ends well.  Take the vitriol on the cheek, turn the other cheek, and let it be forgotten, making way for fans who WILL appreciate your game.  Everyone hates a villain and if you act villainously, like trying to abuse the system to censor bad press, you will be slain by some righteous heroes of the net.

Best way to lose goodwill and become a gaming development pariah?  Try and censor your customers because they don't like your product.  Own up to your mistakes or you are going to burn.  The internet does not forget.

9) Don't belittle and don't fear comparison

            Not everything has to be original, but don't be afraid to have something compared to your game and don't belittle others who might be compared to it.  Many people hated the calling of Terraria a "2-d Minecraft."  Sure, they are different, but that kind of comparison...is not bad.  Minecraft is a big hit and a game like it?  That's not saying a bad thing, you could be compared to worse.  And Terraria never set off to compete with Minecraft, they didn't claim they were better.  They were just different.  They didn't speak ill of them.  This is good.  I remember playing The Last Dream for Steam and didn't much care for it because it took too much of the original Final Fantasy and not enough of the sequels, with a bland class based system and not enough interesting story or music.  However, think about that sentence I just said.  Took too much from the original Final Fantasy.  Final Fantasy purists, who enjoyed the original NES games will eat a game like that up.  Don't fear comparison.  It's just someone else's way of pitching your game to a friend in a nutshell.  Don't belittle because whether or not someone who is making a game similar to yours is better, the fact that you treat them with the same respect you treat your customers, that is to say a lot, will earn you a fair bit of goodwill and possibly partners in the future.  Who knows?  They may want to work for the masters for their sequel.

Comparison isn't necessarily a bad thing.  Don't fear it, because it's just part of how people associate your game.

10) Don't nickel and dime your customers

            I see this happen a fair bit.  I'm not of the mind that all micro transactions are bad.  Some DLC definitely deserves the money, like Dark Souls 2's Sunken Crown DLC.  It clearly took extra time to make and was not part of the original product.  However, a game like Warlock 2, which looks like it should have been an expansion pack sold as a full retail release?  It makes customers raise an eyebrow and hurts your brand.  We don't like to feel like content is withheld from us.  Held hostage from us.  If you want to offer certain extras you can't get elsewhere, like behind the scenes footage or art books, maybe, but if you are withholding characters, music, whole levels even, BEFORE the game has even launched?  You are going to anger a lot of people.  Some DLC, we are okay with, but when it's been cut out of the finished product to make more money?  Many of us will skip the finished product entirely, since it's being sold to us piecemeal.

When your customers realize you hacked out in game items to sell a more expensive edition, they may just say to hell with your game.  It shows a lack of disrespect.

11) Spread the word, but don't bribe

            Disclosure has become a hot topic lately with youtubers.  It's the idea that a game developer is offering special goodies or money or deals to reviewers for a favorable look at their game.  This is a bad idea.  Why?  Because if you don't have enough faith in your game for it to stand on its own, you probably shouldn't be selling it.  Don't bribe reviewers, don't even try to sweeten a deal.  Just advertise that you have something cool to show people.  Spread the word through the medias and the fans, but don't try and buy publicity.  Market, but don't try and get "special attention."

Full disclosure, not non disclosure.  Don't bribe, don't lie, don't keep things from your customers.

12) Don't panic

            Even good games can receive bad reviews.  Why?  Because the game wasn't what that particular player wanted to experience, even if the videos and screenshots seemed like it might be.  And that's okay.  Sometimes, wires cross.  But if you are proud enough of your game that you would play and enjoy it, then others will too.  Don't panic if you get a bad review or if something happens to derail spreading the word or getting it to your customers.  In the end, most players will remember how you act and resolve issues as well as how they like the game.  I may not like FTL, but I give mad props to the developers for improving it and offering the updates for free.  I might buy another game from them, if it were released.  Whatever happens, just go with the flow and do your best to deliver your product to your customer.  If they like it, they like it, if they don't, they don't, but someone will like it.  Have faith in that.

This isn't my kind of game, but it is for someone.  Just cause I don't like it doesn't mean others won't.  Don't panic.  Keep calm and carry on.

            It's a little sad that the indie scene has been sullied by some developers who try and lie or abuse the system to their own benefit, but for every Guise of the Wolf or Garry's Incident, we get a dozen Shovel Knights, Valdis Story, Sang-Froid, Tiny Barbarian DX, etc.  It's easy to misstep as an indie developer, sure, but from a gamer's standpoint, these points above are what matter to us of the developers we trust.  Something to keep in mind for the aspiring game developers.  And something for games to keep in mind when picking a title on name value alone.

In the end, being a good developer and being a decent human being aren't mutually exclusive.  That is the best bit of advice I can offer.

Creator Spotlight: StarQuail

            Welp, it's that time again.  After a fair bit of delays due to work, and the release of my review of their signature game, it's time that we give StarQuail Games a look see.  LET'S GET TINY!!!

The face of polish and comedy...after all, who could take a quail seriously?

            First, a little history.  My first encounter with StarQuail was during my initial Kickstarter binge.  I was hooked on the idea of a game that didn't exist being funded entirely by the fans and this was one of the first ones I gave a look to.  While still sketchy on the idea of Kickstarter, I had a little extra cash lying around and Tiny Barbarian DX, the title being advertised by StarQuail, was interesting.  The music was good and it had an aesthetic that matched Robert E. Howard's Conan the Barbarian stories, which I had always had an interest in, but never got around to.  What really sold me on funding Tiny Barbarian DX, however, was the original Tiny Barbarian.

This is the image I was greeted with when I found Tiny Barbarian DX on Kickstarter

            Michael Stearns, the patron of the Tiny Barbarian DX Kickstarter, was its artist, alongside lead programmer Daniel Roth and both basically formed StarQuail because they liked making games, many of which were free, as is common amongst indie developers like Amon26 or Endless Fluff.  Among these, was the original Tiny Barbarian, a take off on the classic story of "The Frost Giant's Daughter."  Stearns advertised this game in the Kickstarter for Tiny Barbarian DX, encouraging people to give it a look and see if the art and gameplay was something they enjoyed.  So, I did.  It was a bit clunky at times, but the music, the visuals, and the overall arcade feel of the game really sold me on Tiny Barbarian DX and after its release, the studio sort of emerged on the map, for me and many other gamers.

Nothing sells you on a game like throwing down with a few ice giants.

            However, like I said, Stearns and Roth had been making games for years before Tiny Barbarian DX released.  StarQuail itself was formed in 2006 and between then and the 2012 Kickstarter, they created many games.  The first was the vertical scrolling game Sky Puppy for the PC, a free ware game which had a flying puppy avoiding dangers to look for treats.  Following this was Crystal Skies, playable on both PC and Xbox 360 which is a mix of puzzle platformer and arcade score attack.  It features the soul of a dead fish bouncing around a maze of colored spheres, trying to get coins, much like the bonus stages in the original Sonic the hedgehog.  These games were somewhat amateuristic in design and show the evolution of StarQuail as they experimented with genres and design theory to try and improve their skillset.  And improve they did, as their next release, Astroman on the Xbox 360, featured an adventure focused on a space explorer platforming around alien worlds, with multiple worlds accessible from his space ship.  It was very much the template that StarQuail would embrace, featuring only minor innovations to set it aside from other platformers, but with a unique art style and sound track with the kind of polish necessary to avoid frustration and win over tentative gamers.

Starquail has a fondness for timed score attack games, apparently, like Sky Puppy here.

            Following Astroman was Tiny Barbarian and Tiny Barbarian DX.  These games are great and offer a kid friendly way into the world of swords and sorcery.  They offer tribute to Robert E. Howard's work, however are far less visceral and more fun and funny.  At present, StarQuail seems to be devoting most of its time towards Tiny Barbarian DX, as the game was released with only one of four episodes.  However, a second episode was released early in 2014 and it seems as if the developers are fully committed to finishing this project, as it is a work of passion.

While not groundbreaking, Astroman was fun, polished, and interesting.  That's worth a lot in the age of bugs, broken promises, and outright lies from developers.

            Now, what makes Tiny Barbarian DX stand out?  Honestly, it's the games immersive storytelling, unique art style, and polish.  Tiny Barbarian DX is a pixel art style of game that are rather common these days and the platforming is nothing new or spectacular, however I like to think that it stands out because it knows what it wants to be.  It wants to be an arcadey, pulp-esque story that can be finished in a single sitting, but which is great for speed running and score attack challenges. 

It pays to love your work, eh, Tiny?

            Some might ask how a pixel art arcade title could be immersive in its storytelling, but I say, you have to see it to believe it.  Tiny Barbarian DX eschews long bits of dialogue or exposition in favor of showing rather than telling.  The story never stops so that you need to read or catch up, it's all done through pantomime and body language.  And honestly, it works really well, from Tiny moving on the player's command to eat a vulture to regain his strength, to him flexing in front of ladies, to him riding out of a collapsing palace.  The context is always clear.  While the story isn't deep, it lets the game show you rather than weighing you down with dialogue or exposition.  On top of that, Tiny Barbarian DX features locales that are seldom seen in games, as they look like they were ripped straight out of Robert E. Howard's Hyborian age.  Wasteland palaces decorated with snake motifs and dank jungles fill the land with many secrets to discover, but they all feel distinctly unique.  Alongside the locales, the art style feels like a 1980s arcade title.  It has animations that are too smooth and colors too bright and vivid for the NES or the Atari, but too primitive for a 16-bit console, fitting it right into the unusual world of arcade graphics.  It's refreshing, considering the glut of RPGmaker or NES-style copy cat games that have been arriving on the market.  What may make Tiny Barbarian DX stand out the most, however, is the polish.  Unlike many early NES games, Tiny Barbarian DX feels very well play tested and the controls work exceedingly well, with a number of additions that allow the game to be enjoyable in spite of its difficulty.  While there are a few moments that may be unfair, the game is, by and large, very approachable, as some individual sections are hard, but there is no lives system so the only penalty for death is a lowered score and more time on the clock, showing how you need to improve.

A world of monsters and demons, but yet still approachable, colorful, and polished.  A rare breed.

            Jeff Ball, a friend of Stearns and Roth, composed the music for Tiny Barbarian and it is beyond glorious, further emphasizing the arcade feel of the title while keeping the audience pumped for what's coming.  It's pure chiptune glory and it works surprisingly well.

            Speaking purely as a gamer, I can understand why some might pass on Tiny Barbarian DX, as it is a little expensive.  I'm biased too, because I helped fund it.  At $10 on steam, a score attack game that can be beaten in an hour, even with the promise of more content down the line, is a hard sell.  But I look at it like this.  Robert E. Howard's pulp stories about Conan were short, bite sized bits of fiction that gave us a quick diversion from the annoyances of life and allowed us to enter a flight of fantasy, full of dark sorcerers, monstrous beasts, and one, lone barbarian hero.  Pulp stories take their name from the low quality paper they were printed on because they were considered quick entertainment in an era before gaming or even mainstream television were so domineering.  And to me, Tiny Barbarian DX is like the pulp stories of the modern game industry.  It's short, but it's enjoyable, offers a nice diversion, and promises to build on what has already been established for fans and newcomers alike.  If anything, I have to admire Stearns and Roth for making the game at all, because it IS a hard sell.  But they made the title they wanted and I can't help but enjoy the amount of personality and goodwill they've put into Tiny Barbarian DX.  They even took the time to make a digital manual complete with expository comic, like those made in the NES or SNES days, and put it up for free online, alongside links to the free download of the Original Tiny Barbarian for people to try and see if they like it before laying down money.  To me, it speaks of the kind of developers who aren't in it to get rich or even to get noticed, though that is nice, but who are just doing what they love as a passion project.

This kind of dedication to a game they love is what I love about Indie developers, especially StarQuail.

            I think we should support StarQuail games.  They're incredibly talented for how small the studio is and if Tiny Barbarian DX is what can be produced on a meager $12,000 Kickstarter, I'd love to see what they come up with next, perhaps on a bigger budget.  They are a studio to look out for and I recommend them.  For those looking for StarQuail's home page, complete with links to all their games, including the free ones, click here.  For the Tiny Barbarian Soundtrack, created by Jeff Ball, check here.  For the now expired Kickstarter, check here.

Looking forward to Episode 3, guys :)

            I found this studio through Tiny Barbarian and I believe it is their best property, but I'm anxious to see what they can come up with next.  Mr. Stearns.  Mr. Roth.  Mr. Ball.  I hope you three become the next Robert E. Howard.  I'm anxious to return to Cimmera.