While the indie game development community has been spoiled with success stories over the past few years with small and even one-man teams creating both successful and popular games, the truth is that the vast majority of indie titles rarely earn a profit or get the notoriety they deserve. Now a handful of the more successful developers are teaming up to create a new funding source for their peers.

The Indie Fund is simple in name and simple in message: “to help indie developers get financially independent and stay financially independent.” The backers of the fund include the two man team of 2D Boy, makers of World of Goo and Jonathan Blow, the creator of Braid.

The first game projects to receive funding from Indie Fund will be announced soon, More info about the venture will be announced next week at the GDC.

Here’s the full list of founders:

Ron Carmel and Kyle Gabler, 2D BOY (World of Goo)

Jonathan Blow, Number None (Braid)

Kellee Santiago, thatgamecompany (flOwer)

Nathan Vella, Capy (Critter Crunch)

Matthew Wegner, Flashbang Studios (Off-Road Velociraptor Safari)

Aaron Isaksen, AppAbove Games (Armadillo Gold Rush)

On One’s Own is a column about, you guessed it, independent gaming. The wayward wanderings of DIYGamer’s James Bishop might lead to probing art, gameplay, design, reception or a number of other aspects related to independent games. But you can rest assured that all things indie will be carefully considered on a weekly basis.

One thing that does not differentiate between your regular developers and the more independent developers is the limitation of resources. Regardless of the reasoning behind it, there will always be something that needs to be cut, refocused or rethought in order for a game to progress from idea to reality. Though it might seem like an entirely negative process, considering that it is by definition cutting back, it can lead to some interesting design decisions in order to compensate for lack of sufficient time, money or technology.

Many of the qualities that are often associated with indie games are simply remnants of a limited budget. Crude artwork, obscure music and simplistic control schemes have turned out to be qualifiers of indie games for just this reason. The lack of a big publisher or developer hinders the design process in the worst way: lack of available resources. Resources being broadly defined here as time, money and technology. To be fair, an indie developer consisting of, say, four students at Digipen have all the time in the world to make their game. Even so, they are still limited by the sheer amount of work ahead of them with such a small team.

In a way, this limitation becomes the inspiration for innovative thought. As an anecdotal example, it’s often claimed that back during the development of Silent Hill, the developers at Konami had wanted an open game world. However, the hardware at that time just could not handle rendering such an expansive environment; the technology just wasn’t there to realize their vision, regardless of how big a developer they were. Instead of eliminating an open world, they added a layer of fog to the mix. And so the foggy environment of Silent Hill has since been dreary and bleak due to limitations imposed on the original. It’s pretty much a series trademark by now.

So how is it that indie games continue to be produced, even on their much lower budget of limited time, limited money and the ever-present limits of technology? One look at the amount of sheer garbage in any given indie games section offers a pretty good answer. But a better question might be, how do indie games of such quality continue to be produced under these conditions? Braid, at least the Xbox 360 version, is sitting pretty at around 92% at GameRankings while the WiiWare version of World of Goo has a whopping 94%. Apparently, it’s not as if these so-called limitations have actually hindered them critically. At least not all of them. But it doesn’t answer the question of how.

To put it simply, indie games aren’t actually designed to be fantastic games. Instead, the majority of them seem to be designed to provide a distinct and unique experience in order to make up for that fact. The game is just a vehicle for the experience. Much like films or books are intended to convey experiences, games are only a means to an end. Arguably, almost all games tend to work toward this outcome rather than rely entirely on visuals or gameplay. Developers tend to strive to be more like the Steven Spielberg, as opposed to the Michael Bay, of the game-developing world.

Depending on what sphere of influence you are in, all of these limitations can either be a frustration or joy. Or a bit of both, as is the case for Fumito Ueda, the man behind Shadow of the Colossus and the cult-hit Ico. Speaking with Level, a games magazine, Ueda said, “If we don’t have any limit to work from, it becomes hard to make anything good out of an idea. But if we on the other hand have a very distinct technical limit it’s impossible to go beyond it. It will put the bar in a certain place without any way to raise it.”

On the flip side, many of those in the indie community see these sorts of limitations as more of a challenge or puzzle that needs solving in order to adequately and accurately convey whatever experience they intend. In an interview with Indiegames.com, Wan Hazmer, the guy behind Ballistic Wars and The Last Canopy, said, “The more limitations, the more creative one gets!” Designers are required to constantly rethink and rework things when they encounter an immovable limitation.

And it seems that many in the indie game community agree with him. A member of Kokoromi, what Wired refers to as a collective of experimental game designers, Damien Di Fede was quoted back in 2007 as stating that “[t]he hardest thing in the world is to decide what to do when someone says, ‘You can do anything.’” It’s the age-old problem of the blank page—where to start. Being given absolutes, as in you have to be finished in this amount of time or have to be able to fit it in 256 pixels, leads to creative design solutions. Don’t believe me? Just check out Jason Rohrer’s Passage.

Passage is and was Rohrer’s entry to the competition called “Gamma 256″. It fits in 256 pixels, can be played with an Xbox 360 controller, and has a 5 minute span of playtime before the game is considered ‘over’ and completed. It’s simple. There are not a lot of visual accolades that can be crammed in with the limitations imposed. And yet, people still thought an awful lot about his game and Ian Bogost, a rather prominent name in the field, even praised it outright in an article of his own.

“But James,” you might say, “what does this have to do with the majority of indie games out there and why should I care?” Well, theoretical reader, here’s why: indie games will lead the way in terms of original ideas and innovation. And it’s because of, you guessed it, the limitations they handle. Lack of huge payrolls might mean that there’s no massive backing for any project, but it also frees a developer to create games that may never have seen the light of day otherwise.

Jason Rohrer’s newest project, titled Sleep Is Death, is a two-player story-telling game that involves using one player as the actual player and setting the other up as a “game master” of sorts where they respond to all the text-based shenanigans of the first player. In order to pre-order the game, you just need a measly $9 or $14 if you purchase past the release date. Clearly, it’s not marketed like a regular videogame, so that takes some of the expenditure off, but there are still resources tied up in it and it does represent an investment. Even so, if the game is absolutely horrid and nobody understands it or how to play, it is only a drop in the proverbial bucket overall.

That is not to say that companies like Sony don’t have the capital to blow on these kinds of projects. They do and at times make the leap of faith to a place that isn’t a sure bet. (Heavy Rain, anyone?) But you have take into consideration the sheer amount of money spent on developing a AAA title in this day and age. Too Human, a AAA game that ended up being a massive disappointment in sales, cost over $60 million dollars to make. Part of the problem with Too Human was a lack of limitation. They even built their own engine after deciding that the Unreal Engine 3 was too confining for them.

Rohrer’s projects, on the other hand, are financed and developed on his own. The same goes for Wan Hazmer’s games. Being that their design team is composed of only a single person, themselves, they are allowed to set their own goals and only use as many resources as they care to expend. In a similar fashion, many iPhone applications have incredibly low production costs, sell for less than a dollar and finish it up by reaping major profits—even when they don’t sell all that well. This has also caused a massive influx of games that are, well, garbage. But that’s for another column.

What it comes down to is that companies like Sony are more concerned with ensuring that they will make money off any given venture. They want a game that sells. In fact, more than simply wanting a game that sells, they need a game that sells. Their investors demand it. Rohrer and Hazmer want a game that people will play and enjoy. Sure, there’s money involved, but it’s not the ultimate goal of either of them.

In short, they design to design. They approach it as a puzzle and, like Gregory House, enjoy the thrill of it. Basically, they are the kind of people who think inside the box. In this way, they seek to change the way we fundamentally approach gaming. Somewhat ironically, that’s why indie developers will continue to be the ones to push the boundaries. Not because they have unlimited resources or because they have access to all the best tools, people and public relations but because they have limited resources and tools.

Jonathan Blow, the man behind Braid, has started to tend a blog about the process of developing the the next game on his agenda, The Witness.

He’s already posted some concept art by artist Eric Urquhart, as well as a lengthy discussion of lighting in the new venture.

Braid‘s development blog was a great source of news, not just for the game but for indie news of all sorts. Since Blow is still pretty active on the Braid blog, the material on The Witness‘s should stick to news on the game’s development.

[via The Braid Blog]

On One’s Own is a column about, you guessed it, independent gaming. Specifically, nothing specific. The wayward wanderings of DIYGamer’s James Bishop might lead to probing art, gameplay, reception or a number of other aspects related to independent games. He might even talk about general gaming as it corresponds to the independents! (Henceforth referred to as the Browncoats) But you can rest assured that all things indie will be carefully considered on a weekly basis.

If you were to ask your average gamer to name an indie game, they would most likely name one that has been brought to the marketplace sometime in the past five years. That might be generalizing a bit, but there’s truth in it. We, as consumers, are constantly bombarded by a steady stream of indie titles, which is in no way at all a bad thing. But what has suddenly gotten into us that we are paying so much more attention to indie games? Why indie and why now?

Independent games are not exactly new by any standards. There have been a great number of independent games developed since the introduction of the console era and before that the original PCs. They just were not what some might typically think of as independent. That Drug Wars game for your calculator that it seems like everyone played eight to ten years ago? Technically, that’s an independent game. There were a large amount of shareware games that made their rounds via floppy disk back in the day as well. But that is not what your typical gamer these days might associate with the indie game scene.

What, exactly, has pushed indie games to the forefront of the mainstream audience’s mind since then? Especially considering that it is not like they did not exist and then suddenly did. We’re not looking at an entirely new art form, it’s just more visible. Somewhat ironically, the answer lies in the exact same reason we ended up with gaming in the first place: the ever-onward march of technology.

It used to be that to reach a large enough audience to be even barely noteworthy, a developer would need to team up with a publisher that could then get them some marketing and retail space. This is, of course, a generalization again but the basic idea of it is there. If you were some no-name developer, without the backing of a well-known publisher, it was unlikely that you would ever see your particular box with those zany characters you worked so hard on ever see the fluorescent light of a store’s shelf.

But like any good tech person will tell you, progress will eventually find a way. Or maybe that’s the guy from Jurassic Park… who is, technically, talking about life. That’s what happened, though. Eventually, consumers as a whole outgrew the antiquated notion of buying things by going out and getting them. Call it Westernization or whatever you want, but we’d rather have someone bring things to us over purchasing them for ourselves. I mean, come on, that requires effort! It’s just so darn convenient to order something. Less expensive, too.

It didn’t take long for games to make the jump either. Once people started ordering goods of any kind from the Internet, it spread like wildfire to all different markets. You still had your huge publishers with the marketing budget to spend on commercials and other attempts to garner attention, but the word of mouth sensation that is the Internet can’t be stopped. In a lot of ways, the Internet is one big never-ending chat room. Even if you leave, there will be people mucking about on the tubes in some fashion. Think 4chan but even worse. Or better. Either way, there’s a lot more /b/ out there than anybody will ever admit. In any case, you can’t stop the signal and someone, somewhere, is talking about the newest indie game to come out.

This perceived renaissance in independent games is not simply because we have suddenly started making better games either. Sure, there are a number of great indie titles out there but the movement did not start with Flower or even Braid. These were just the heralds of the real reason. We actually have digital distribution to thank for the abundance of indie games that we now have at our fingertips.

Where we before may have needed to know a developer personally, or develop our own games, in order to get our hands on something that might truly be dubbed with the dubious honor of being ‘indie,’ now all it takes is a quick jaunt to the Xbox Live Marketplace or Playstation Store. Or WiiWare, if that’s your thing. All of these services, plus platforms like Steam, provide easy and immediate access to almost any game that a person could desire to play. With the ease of access, came an ease of publishing, thus the huge influx of what we refer to as indie games.

This, as stated closer to the beginning of this column, is not a bad thing in and of itself. The easy accessibility has led to the increased attention paid to all things indie, if not directly then at least tangentially. But the rise of the mainstream indie has also produced growing pains in the scene as a whole. The definition of what exactly makes a game independent has become broken and not easily explained.

As a recent example, The Misadventures of P. B. Winterbottom, a game released on Xbox Live Arcade just this past week, was originally intended to only be Matt Korba’s graduate thesis but was then picked up and published by 2K Play. With the rise of social networking sites, we’re also being inundated in an entirely new way with quick-start casual Flash games that many might, and do, classify as independent games. It is almost like a brand new world out there filled with hybridizations of all our old definitions. And that is why asking your average gamer what an indie game constitutes will consistently end up with varied answers. I mean, heck, even Mike Capps considers Epic Games independent.

Regardless of definition, it is clear that independent gaming has certainly hit its stride. More and more games seem to be coming out of the woodwork daily. Unfortunately, without clear guidelines it could all lead to disaster as well. But there is always hope for the future and as long as people continue to get together and share interesting ideas, there will always be changing definitions and new developers to inspect. And new developers mean new games. And I like games.

Independently developed games have come a long way in the last 10 years. In fact, 10 years ago they weren’t actually termed “indie games” at all. They were actually called Shareware titles… games that were often free but of lesser quality than the mainstream title. While that definition can still ring true for some games today, the indie games industry has grown exponentially in the last ten years. While I’m sure most of you would have a hard time naming a single indie game made pre-2007, I’m doubly sure you could name at least 5 from 2009, especially if your reading this site regularly.

Anyways, with a new decade just around the corner, I thought it would be fun to revisit some of my indie favorites throughout this decade, one for each year starting with the year 2000. Keep in mind these games are in chronological order starting with the year 2000.

In our burgeoning age of indie development and rapid expanse of digitally distributed content there has been a lot of attention being paid to indie games. With services like Steam, Impulse, and the various console digital download stores (XBLA, PSN, WiiWare) it has become increasingly easier to get your game distributed in as many places as possible. However, while this may sound like great news for the average indie developer, there are certain games being touted as “indie” which actually aren’t.

There are a few de-facto indie games most people will mention when speaking on the subject: Braid, World of Goo, and Crayon Physics Deluxe. However, only two of the games I listed here are true indie games. As shocking as it may sound, Braid, often thought of as the holy grail of indie games is not in fact as indie as most people would make it out to be.

Indie games received some nice coverage last Friday courtesy of a New York Times article that discusses how indie game developers have managed to make a mainstream splash.

The lengthy piece hits on how games including Blueberry Garden, Braid and Flower were able to become successful ventures in a culture and industry that constantly demands high-end graphics and FPS realism. Pretty good read and great general exposure for the little guys.

[Can D.I.Y. Supplant the First-Person Shooter?]

Hothead Games will deliver Jonathan Blow’s ultra-popular title, Braid, to the North American PlayStation Network on November 12th! The puzzle-platformer has you traveling through worlds and solving puzzles with the singular goal of rescuing the princess (sound familiar?). Each world gives you a different power to manipulate time in order to overcome obstacles. Additionally, you don’t die in Braid, and the forgiving gameplay works well with the nonlinear story to supply a unique experience unlike most other puzzle-platformers.

The title promises no filler content and claims to introduce something new about each and every single world. As proven evident by the game’s success, this is surely a title to watch out for on the PSN. I will update and list pricing upon discovering that information. European gamers should expect it sometime soon, but not on November 12th.

Braid developer Number None appears to be getting into motion control for one or more potential titles. Dev head Jonathan Blow has posted a job listing seeking a programmer to perform “very interesting work in full-body motion tracking.”

This could be for the revealed but much-unknown project The Witness, or for a completely separate unannounced title. It was mentioned previously by Blow that Witness would contain motion control in “only a limited way.” Whether things have changed between then and now is currently unclear.

[Source]

It wasn’t long ago that nobody really knew what an indie game was. The early parts of this decade was a ghost town for indie developers. Think about it for second; there was no mainline distribution channel, next to zero digital distribution services, and even blogs, which accounts for it’s fair share of video game journalism, hadn’t yet become a prominent medium for journalism and reviews. Suffice it to say, if you were an indie developer just seven or eight years ago you were facing a serious uphill battle.

Sony wouldn’t talk to you. Nintendo wouldn’t talk to you. Microsoft wouldn’t talk to you. It was a major league game and the only place you were allowed to play was in your own backyard.