Fez

I had to wait a couple of years longer than most people to experience Fez. I did play it on Xbox Live Arcade back in 2012, and it became one of the first titles I attempted to review at Indie Gamer Chick that gave me a seizure. Which, to be clear, is not the fault of Phil Fish or publisher Polytron. It’s my fault. I took the risk of playing it, and with my condition, gaming is always a risk. I wasn’t sure I would ever get to play it, but by the glory of God, it’s finally on PlayStation Vita. Vita is a great platform for me, because if a game relies heavily on my personal epilepsy triggers, I can significantly dull my risk by dialing back the brightness of the screen. The back-lighting can’t be turned completely off, but it’s far and away my best, safest option to play a lot of games. Please note: this works for me. If you have photosensitive epilepsy, consult your doctor before trying to play any video game.

Has any indie game ever come with the crushing hype of Fez? Indies ideally shouldn’t have this much hype attached to them. It’s asking for a letdown. When it finally released on XBLA two years ago, the critics loved it, but I saw a bit of a mixed-reaction on social media. I’m sure some of that has to do with hostility towards creator Phil Fish. But I think most of that is the game was possibly over-hyped, at least from their perspective. It was featured in magazines, major websites, and a feature-length documentary. This is an independent video game we’re talking about here, not a first-round draft pick or a Rhodes Scholar. Getting excited about it is one thing, but some people were expecting some kind of life-changing experience out of it, and screamed “OVERRATED!” when it didn’t happen. Well, yeah. With those kind of expectations, of course you were. Fez didn’t change my life or make me see the world any differently. But I didn’t expect it to. I was hoping for decent indie platform-puzzle and nothing more.

It's a game, people. Not a pilgrimage.

It’s a game, people. Not a pilgrimage.

Well, I didn’t get a decent indie platform-puzzler.

I got the best indie platform-puzzler.

I’m two years behind the party, so I’m sure everyone knows the idea, but here’s a quick recap: you’re a baby Stay-Puff Marshmallow who lives in a world that’s 2D. A magical something happens, the game reboots, and when it’s back, you can rotate the world 90° at a time for a full 360° perspective, which alters the way you travel the land. You thus embark on a quest to find cubes. The rotation gimmick is one of the most inspired gameplay mechanics in a 2D game I’ve seen. Yea, it’s been done before. Super Paper Mario used a similar mechanic. But, where Super Paper Mario bored me to tears (the whole game felt really lazy and phoned in), Fez uses the gimmick almost flawlessly. That alone kept me interested from start to finish.

Truthfully, there really isn’t anything in Fez that hasn’t been done before. Fez almost plays out like one of those “Now That’s What I Call Music” CDs. They could call it “Now That’s What I Call Indies!” Name any major indie gaming trope and it’s here. Retro graphics? Check. Self-aware 4th-wall-breaking jokes? Check. Minimalist story? Check. Call-backs to classic games or platforms? Check. Lots of games do this and it often comes across like trying too hard (see Guacamelee), but Fez has just the right balance of it all. I’ll admit, the story didn’t work for me. The minimalistic quirk stuff is over-saturated these days and I’m over it. For me, I can get a good story from any number of mediums. I play games for the gameplay. And Fez’s gameplay is something special.

I have to admit, even with the duller back-lighting and extra precautions, I had to hand off Fez a couple times.

I have to admit, even with the duller back-lighting and extra precautions, I had to hand off Fez a couple times.

You can tell Fez was crafted with care by people with a genuine love of gaming. There’s almost nothing to complain about with the controls. They’re sharp and accurate. Jumping is spot-on. I honestly can’t think of a single knock on the controls. Or the graphics. Or the sound effects. Or the music. The puzzle design is not only clever, but I really dug the extra-circular stuff that you practically have to solve with pen and paper. I know this review is getting boring, but it’s hard to be snarky with a game I enjoyed this much.

My one and only gripe is sort of significant: it’s easy to get lost, and not know what to do next. The game doesn’t point you in the right direction, which I’m sure a lot of the old-school readers I have will enjoy (I swear, the next time I hear “back in MY day games didn’t hold our hands” I’m personally going to donate money to Trump for President, which will no doubt result in the collapse of society as we know it. TRY ME MOTHER FUCKERS!). But there was a lot of time I spent wandering aimlessly trying to figure out what exactly I missed to move the game forward. There is a useful map system that tells you when you’ve cleared every possible part of a stage, but I almost wish there was something more, for those who don’t wish to spend hours just plain stuck.

Perhaps a small non-complaint complaint is that Fez takes the "you're in a glitchy game world" concept too far a few times. The game starts with a sequence that mimics an old-timey PC reboot sequence, then does it again during the finale. It was cute the first time. The second time felt like a person saying "GET IT?" after you've already laughed, indicating that you indeed "got it."

Perhaps a small non-complaint complaint is that Fez takes the “you’re in a glitchy game world” concept too far a few times. The game starts with a bit that mimics an old-timey PC reboot sequence, then does it again during the finale. It was cute the first time. The second time felt like a person saying “GET IT?” after you’ve already laughed, indicating that you indeed “got it.”

That is literally my only complaint. Fez is a love letter to gamers. It practically dares you to not fall in love with it. I know not everyone does, but it charmed the socks off me. Again, I’m convinced that a lot of the dislike and disappointment stems from it being created by an asshole. Yea, welcome to the world of consumer entertainment. Entertainment is made by unlikable people of all stripes. Racists and anti-Semites. Homophobes and misogynists. Hawks and cowards. Far-left extremists and far-right wingnuts. Phil Fish seems like little more than your garden-variety fart-sniffer. So why is he such a pariah? I’ll tell you why: because it’s annoying that someone who is such a douchebag could also be so talented and create such an amazing work of art as Fez. Get over it, people. Embrace the douchery.

FezFez was developed by Polytron Corporation

$12.99 noted that Fish’s Twitter picture is Andy Kaufman, who was noted for his douchery, so are we sure this whole thing isn’t performance art in the making of this review?

Fez is easily Chick-Approved and ranked on the Indie Gamer Chick Leaderboard.

 

 

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The Indie Ego

The Wrong Image

Since starting Indie Gamer Chick on July 1, 2011, I’ve met literally thousands of people involved in indie game development. Typically, they are the coolest men and women on the planet. The type of people I would want to be friends with. Humble and grateful, eager to please and excited by the prospect of improvement. They strive to be better. They relish the thought of being the underdog. They wow me with their intelligence and awe me with their creativity. They inspire me to be better at what I do. And I’m not talking about two or three standouts. I’m talking the overwhelming majority of the community.

So, why does a perception that indies are aloof, pompous, self-indulgent, out-of-touch, thin-skinned, egotistical fart-sniffers exist?

Well, because a small handful of indie game developers are aloof, pompous, self-indulgent, out-of-touch, thin-skinned, egotistical fart sniffers. From my experience, they’re not at all representative of your typical indie dev. They represent a stereotype that I find damaging to the community I love, so I figure I should try to eliminate this mindset.

The first developer who contacted me was the developer of this, A Hard Game Without Zombies. My review was not a positive one. Developer MasterGroke took it with grace and humility. It was a sign of things to come. After 500 reviews, only five developers ever showed a lack of grace in handling it. Read the types of reviews I write and then ask yourself if the indie perception is accurate.

The first developer who contacted me was the creator of this, A Hard Game Without Zombies. My review was not a positive one. Developer MasterGroke took it with grace and humility. It was a sign of things to come. After 500 reviews, only five developers ever showed a lack of grace in handling it. Read the types of reviews I write and then ask yourself if the indie perception is accurate.

You Don’t Get Me

Any creative medium will attract personalities that have no concept of humility. It’s the nature of artistic expression. You see it in movies, television, stage, music, and modern art. Indies have been around since the dawn of games, but it’s only recently that mainstream attention and ease of distribution have become prevalent. So now, you see a lot more people with that artsy, pretentious, “nobody gets me” personality. Thanks to Indie Game: The Movie, many people believe the scene is dominated by this type of character.  It’s not. Most indie game developers are humble and friendly. I wish more people watching that had come away saying “man, those Super Meat Boy guys were awesome!” instead of focusing on the developers who were, for a lack of a better term, unlikable.

The indie scene has grown a few prominent stars. Some of them are, by most accounts, really cool guys. I’ve heard a lot of people tell me Minecraft creator Notch is a good dude. I’m pretty good friends with Thomas Was Alone developer Mike Bithell. He’s one of the nicest guys I know. As for Notch, while he might have eccentricities, he certainly doesn’t carry himself like he’s better than anyone or that people don’t fundamentally “get him” or his artistic vision.

There was some scuttlebutt over Braid when it was released. It was a hugely critically acclaimed game. It was probably my favorite indie that I had played before I was Indie Gamer Chick. But developer Jonathan Blow wasn’t happy with the feedback, because he felt reviewers and critics didn’t get what he was aiming for, either reading too much into it or not enough. Jonathan Blow does a lot of great things for indie developers and is a wonderful advocate for the community. Unfortunately, the way he handled the reception of Braid made him come across as incredibly pretentious. Because of his visibility, that’s done a lot of damage to the image of indie game developers.

People are going to have different interpretations of your work, reading into it all kinds of things you never imagined while you were developing it. Lord of the Rings creator J. R. R. Tolkien spent most of his twilight years shooting down any and all theories on what Lord of the Rings might be a social commentary on. Nuclear weapons? Class warfare? Race relations? He had none of that in mind. “I cordially dislike allegory in all its manifestations, and always have done so since I grew old and wary enough to detect its presence” he often said.

Sooooooo...... you're telling me Braid isn't an allegory for the East-Asian industrial revolution?

Sooooooo…… you’re telling me Braid isn’t an allegory for the East-Asian industrial revolution?

So when you put your work out there, be ready for people to not experience it exactly how you envisioned. When this happens, have a laugh over it. If their misinterpretation has had a positive effect on their life or outlook, why would you want to shoot that down? Most developers understand this. The few that don’t, that get very possessive of their vision, they’re the ones that bring the whole community down. I roll my eyes at a lot of attempts at gaming as art, but I’m just one person. I know people who were genuinely moved by Datura, which I hated. Many of my fans read a lot more into Limbo than I did, to the point that I went back to play it, actively searching for a way to see it the way they did. The thing is, they’re not wrong, and neither am I. Art interpretation is always in the eye of the beholder. As a developer, once your game is out on the market, you’re not the beholder anymore, and you have to accept that.

The Indie Bubble

Many of the more image-damaging indie developers live in what I call the “Indie Bubble.” It’s a bubble almost completely removed from the world you and I live in.  Where developers can image a world where their insecurities can be addressed without having to incorporate things like “reality” or “facts” into it. Unfortunately, the Indie Bubble still has access to Twitter or blogs, meaning their delusions get exposed to a group of people who live in what is known as the “real world.” And the people living in the real world are so not ready to play along with their fantasies.

Earlier this week, while discussing the economic problems of the Wii U (as I did two weeks ago in this editorial), a developer from within the Indie Bubble told me that indies could, no, WOULD, save the Wii U. I responded by saying that indies can’t move consoles. Indie Bubble developer responded by saying he knew people who had bought a Vita just for the indies on it. I responded by pointing out that the Vita isn’t exactly the most successful game machine out there. In fact, it’s doing quite poorly. More over, if indies could significantly move consoles, the Ouya would be a runaway success right now, instead of being, well, the Ouya.

Remind me: how is indie-centric console Ouya doing?

Remind me: how is indie-centric console Ouya doing?

The developer responded by saying I was coming across as anti-indie. Not because I said I hate indies, or that indies are crap, or that most indie games suck. No, I had committed the sin of being realistic. Also, it’s hard to convey exactly what I meant in 140 characters. Yes, there are people out there who will buy game machines just to play the indies. Most of these people stick to PCs, where the majority of high-quality indie games are at. On the console side of things, those who are primarily looking for indies will simply not be statistically significant. Anecdotal evidence of “I know people who bought a Vita just to play indies” doesn’t mean that’s how most of the world works. Especially when you and the people you hang out with are in the bubble.

Journey was probably the most critically acclaimed game of 2012. It’s my all-time favorite PlayStation 3 game. The most common response to my review of it was “man, I wish I had a PS3!” Not “I’m going to run out and buy a PS3.” Journey simply didn’t move consoles. It didn’t when it was bundled with Flower and Flow and released on disc. Indies just plain aren’t good at that. Blockbusters move consoles. Indies are a wonderful side dish. They serve to provide content that is not on-trend, so that gamers of all stripes have something for them on a gaming device. The indies that get promotional effort from the manufactures often tend to be released outside of peak-seasons, assuring top-quality content year-round. So indies serve a function. I would dare say, indies are essential to the modern console business model. There’s no need to boost your egos and placate your insecurities by making absurd claims like “indies move consoles.” That makes you sound like a lunatic.

Absurd claims are a running theme with the fringe Indie Bubble crowd. Another one I got this week was “all games come from indies.” I responded simply with “Madden?” The developer’s response: “Never heard of it.” That’s the Indie Bubble. And the Indie Bubble is the most dangerous thing the community’s image faces. “Never heard of it.” Oh please. See, there’s nothing wrong with being proud of being in the indie community. But when you’re not grounded in reality, it makes you tough to root for.

Just to quickly clear up the “all games come from indies thing”, the first video game console was developed and funded by a defense contractor. Video games evolved from people within the military industrial complex. The man behind it, Ralph Baer, was meticulous in his methods, making sure every little detail was profitable and patentable. When Atari came out with Pong, his company successfully sued Atari, who ended up a licensee. By signing the license, Atari assured that the military contractor would stomp their competition with great zeal, protecting their patent. Does this sound indie to you? Because it doesn’t to me. I bring this all up because, when I called out the theory that all games are inspired or come from indies for the bullshit that it is, they typically reach back to the origins of gaming, when a model railroad club designed the first PC game during recreational lab hours. If you have to reach that far back to make your point, you have a weak argument.

"I thought Braid was talkin' about me!"

“I thought Braid was talkin’ about me!”

The ultimate asinine statement is “Indies are the only REAL artists in gaming.” It’s a shitty attitude to have, and it completely undermines your own contributions to gaming, because it makes you guys look like beret-wearing. art-house assholes. The kind of people nobody likes, that nobody wants to see succeed. Chances are, if you work in the game industry, you’re a creative person. Even the most design-by-committee titles like Call of Duty or Gears of War are built by people who do their best to put their personal touch on their work. Indies have built an “us versus them” mentality that shouldn’t exist. You’re all artists. Don’t allow the freedom you have as an indie developer turn you into an elitist.

With Fans Like You..

Criticism is subjective, and not all my reviews are popular. A recent trend I’ve had to deal with is, when someone disagrees with one of my reviews, I’m called a “Call of Duty player.” For fans that have entered the Indie Bubble, this has become the ultimate insult. It’s like “Yo Momma” for people who love the scent of their own flatulence. This idea that people who play indies shouldn’t play mainstream games is so damaging to the community. Gaming is a big tent. Indie games should tackle issues that mainstream games can’t possibly do, but the community at large should be welcoming to gamers of all stripes. When the hardcore, indies-only crowd starts using games like Call of Duty or Gear of War or Halo as pejorative insults, they’re telling people “you’re not welcome at our party.” That’s bad for developers, because the hardcore fans are making their work less accessible. Would you want to be part of a community populated by people who regard the games that inspired you to buy your console with contempt? Of course, like developers, the majority of hardcore indie game fans are not assholes. They don’t consider the act of playing a game like Madden to be an affront to the scene. But for those in the bubble, they would rather see games sell less than have people like me, who enjoy all aspects of gaming, from being part of their community. When I reviewed NES Remix, someone outright called me an enemy of indie gaming. When I said that review brought all kinds of attention to my blog from non-indie fans, who then were exposed to an entire different crop of games as a result, the person responded with “I don’t care.”

Back in 2012, when Halo 4 was released, I spent a few weeks inviting my fans to play with me and my friends online. Those living in the Indie Bubble, especially non-developer indie fans, were hugely insulted that someone called “Indie Gamer Chick” would play such a game while actively promoting the scene. I have done similar events with indie games, and a big problem with those is getting participants. Indie games typically fill specific niches. When myself, my fellow XBLIG critics, and the developers at Milkstone Games had a little impromptu Little Racers STREET event, we had trouble filling all the spots. Even though we were actively giving away free copies of the game to get enough players in. When Brian and I were looking for fans of Terraria to trade items with, finding interested parties was shockingly difficult. For Halo, the moment I said “anyone want to play?” I had a queue that lasted for days. I was able to expose more people to indies just from the ease of access Halo offered than I would have literally handing out free copies of an indie game.

Little Racers STREET supports up to twelve players online. Even bribing people to play, we only had seven or eight at most at any given time.

Little Racers STREET supports up to twelve players online. Even bribing people to play, we only had seven or eight at most at any given time.

But, because I was preaching the gospel of indies from a Halo pulpit, I was the enemy. People were calling me things like “fraud” or “poser” simply because I was playing Halo. If there’s one thing I hope people take away from this piece, it’s that those inside the Indie Bubble don’t speak for the community. The majority of indie fans and developers are amazing people who welcome newcomers to the scene with open arms. It’s one of the few online communities where newcomers are so readily accepted. Those fans who want us filthy mainstream game players to stand clear? They’re not part of the indie community. They’re in their own world. The difference between their side and the side I’m on? My side wants them, and everyone, to be a part of our community. The more, the merrier. Indie fans who say things like “go play Call of Duty” are essentially telling the millions of Call of Duty players that them and their money are something indie developers can do without. On behalf of the indie developers who you did not consult when saying that, kindly shut the fuck up, please.

In Conclusion

There is no such thing as the “Indie Ego.” The majority of indie developers are down to Earth and humble, while indie fans are normal gamers just looking for ideas off the beaten path. I wish the perception of the scene was more in line with reality. Yes, some developers are egotists who insult fans, throw tantrums, and sniff their own farts. Yes, some indie fans are obnoxious, elitist, uptight dorks. But they are not the standard bearers for indies, and gamers need to know that.

Indie gaming doesn’t breed these kind of personalities. Some people are just born to be douchebags. While I was catching shit from those in the Indie Bubble, an indie music critic fan of mine told me “welcome to my world.” An independent film-maker friend of mine said “you could change “console” to “studio” and publish this as critique on the indie movie scene.”

A friend of mine took a look at an early draft of this editorial and hypothesized that success is a factor in “the Indie Ego” perception. It’s been known to change people. You’ll notice that a lot of the guys I would label as being type-A personality developers, IE the kind that are most in need of a good slap across the face, are the ones that are typically the most successful. It’s been suggested to me that my positive experience with the community is in large part because most of my developer friends haven’t had a large level of fame or recognition.

I don’t think its true. When you see a developer meltdown over a bad review or people talking shit on his game in the Steam forums, success has nothing to do with that. I’ve had developers who have never caught a whiff of success threaten me with lawsuits or try to organize a Reddit mob to “get me.” Some people are just not capable of handling the type of feedback you receive when you’re a creative person. That’s why some developers laugh and tell disarming jokes when they’re accused of being a hipster, while others declare that they’re cancelling their next game, like a bratty eight-year-old taking their ball and going home. It’s very unfortunate that, in such situations, the response from those outside the community is “well, that’s indies for you.”

No. The correct term is “that’s assholes for you.”

I heard someone say this week "I wish more developers were like (Thomas Was Alone creator) Mike Bithell." Um, dude. Most developers are. He's an amazing human being, like most indie devs. If most indies were more like Phil Fish, I wouldn't be doing this.

I heard someone say this week “I wish more developers were like (Thomas Was Alone creator) Mike Bithell.” Um, dude. Most developers are. He’s an amazing human being, like most indie devs. If most indies were more like Phil Fish, I wouldn’t be doing this. Hell, there wouldn’t be an indie scene.

So, if you’re a true fan of indies, make sure you set the record straight whenever you get the chance. Indies are not about elitism or self-glorification. They’re about freedom of creative expression. They’re about childhood dreams realized. Indies are community-oriented, helpful to a fault, and anxious to excite fans of all shapes and sizes. That is the real indie community, where you’ll find most fans and developers. Those other guys? They’re in the Indie Bubble. They might tell you they speak for the community, but they don’t. They claim to love indies, but their behavior does not show that. They insult those they perceive as “not indie enough.” They have no tolerance for anyone who doesn’t interpret their world view. And they willfully drive away new people from the scene. Guys, you’re not helping. I know you’re not capable of realizing that, but I figure I should try. Indies need a thriving, growing community to succeed. You guys are essentially advocating indie obsolesce. If you’re in the bubble, you need to quietly reflect on if that’s the community you want to be a part of. And while you reflect, crack a window or something, because the lack of oxygen in the bubble seems to be affecting your brains.

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