Friday, 26 June 2026

advice on how to write about indie games



Instead of "this game is niche"
try saying "i like this game because..."

Look, "niche" is not a property of a game. It's a recess in a wall to put decoration in. (Some games do have niches in them.) I guess you're using it in some metaphorical way to mean that the group of people playing the game is small enough to fit into a niche? This is not very interesting, and it is not even a fact about the game. You're telling us about the game because you like it! What do you like about it? That's way more interesting.

You're not as weird as you think you are. I'm sorry, but you're actually not. You're holding onto this idea of yourself being such an atypical person and your tastes being so niche as a way to feel a bit special. And by god you are special. You are so special. You are this beautiful unique incredible configuration of stardust and we love you. You're great. But you're not unusual. If you like a thing, there's going to be a ton of other people who would like it, for the same reasons you do. Maybe they haven't heard of it yet. Maybe you can tell them.



Instead of "this game is underrated"
Try saying "i think this game is great"

I get it: you think the rating is too low. The injustice of it!

But when you say this to someone, you're first of all telling them "THE RATING IS LOW". That's what they're gonna hear. Yeah sure you're also saying "and I disagree" but look: communication is hard. You can get ideas across more reliably if you stick to one at a time. Start with the main one. Here, that's what you think of the game. Someone else out there thinks something different? Man, you're not obliged to speak for them.



Instead of "too bad this game didn't sell"
try saying "check out this cool game"

We're not at the end of the story!

If someone's trying to get rich through investment fraud, maybe all they care about is all-or-nothing instant hits. But everywhere else, a slow burn still makes a difference. And good work doesn't stop being good just because time has passed.

All my games still sell. They kept selling through the years I was too ill to work. They spike when I release something new or when there's a nice article about me. It's not a lot, but it makes a difference for us. Heck, I hadn't released a game in ages and then suddenly a podcast series started up about my work and people are exploring games from up to 15 years ago. It happens.



Instead of "this has only X many wishlists / reviews / numbers"
try saying "here's something i really like about this game!"

These kinds of numbers are for sad people in suits who don't trust their own sense of what is good. You know what's good.

Personally, when I see this kind of comment about my games I tend to stress out a little. "Oh no, the numbers!" I think that's the most likely outcome if you post something like this: the person who made it feels bad and nobody else cares. Probably that wasn't your intention! (Don't worry, I don't stress for long - I know that juicy long tail is coming for me.)



Instead of "looks bad"
try saying "wow there’s something about it that catches my attention but i don’t feel like i know what’s going on yet, can someone explain what the deal is?"

Why has this person shown up in this thread to post this meaningless trash about something they claim not to even care about? What's going through their brain?

I'll tell you: it's because they are curious. They wouldn't have posted if they weren't actually interested. They're trying to articulate their interest but can't find the words. Surprising but true.
If you catch yourself doing this, feel free to use my wording above.
If you see someone else doing this, you can respond 100% as if they had asked this question and it’ll be a positive exchange.



Instead of "this game is fundamentally flawed"
try saying "this game is worthy of deep study"

If you're writing on the internet about something new or indie, your post might constitute a substantial fraction of the available literature on the topic. It's not a drop in the ocean. There's a good chance that this will even be the first someone has heard about it. Maybe you think you're only writing to a very specific audience, but now it's one of the top search results. You're ahead of the curve.

Many years back, someone wrote a thoughtful essay about a high-level aspect of one of my games that they felt wasn’t working as intended. They weren't even wrong! Unfortunately, they used this kind of language. In the context they were writing to, they assumed that everyone already knew about the game, and already knew that it was interesting and deep, and that's why it was worth writing about. To an academic, “fundamentally flawed” means “there are some long-term challenges that might require changes to the fundamentals to improve on”. To a layperson it just sounds really very bad: it means "broken in a way that can’t be fixed, ever". And so it came about that years later - long after I’d addressed the issue in question - I kept seeing this post resurfacing. Someone would ask on a random forum thread “i heard of this game, is it worth checking out?” and get a reply “nah apparently it’s fundamentally flawed”. Dude. Pretty sure that cost me some sales. Would have been easy to word it in a way that avoided this negative.



Instead of "if only this game was made with a higher budget"
try saying "check out this game"

How the fuck do you think we'll get a higher budget bro.
You're posting about it because you're into it: say so.

One time a big name account posted about one of my games. They could have just said something nice, their followers would buy it on their recommendation, it could have made a real difference. But they chose to dunk on it, specifically to be critical of how little money was spent on it, in a way that encouraged their followers to do the same. I was relatively unknown at the time, so for a while way more people had heard this person's negative opinions about it than anything good. It can really stick - this was well over a decade ago and i literally saw one of their fans repeating the exact same thing this week. Guys.

Look I get it: if someone's doing cool work you want to see what they could accomplish with more resources. So get them there. Support them. Focus on the things you like about what they're already doing and you'll get to see more.



Instead of "mobile when" (or android when, switch when, etc.)
try buying the game

This is a special case of the previous point. Sure, making art is a soulful devotional practice etc., but anyone who's doing it in a sustained commercial way at any level also spends some time thinking about it as a business. When it comes to ports, it's all business. We have some numbers to estimate sales, we have some costs, we decide when it's worth it. If we lose money on ports we can't make the next thing. Get those numbers up.



Instead of "outsider artist"
try saying "member of the [place/website] scene"

An outsider artist has no ties to an established scene. If you heard about someone through games media, they're not an outsider. Talk about the connections they have: knowing which more established figures a creator is linked with will help people to understand where their work comes from.



Instead of "game designer's game designer"
try saying "up-and-coming designer" or "respected and influential designer"

See, this always feels like a backhanded compliment. Sure your games are "good", but in a particular way that nobody wants to pay for.

Nah. Think about it, what's more likely?
  • There's a weird category of art which can only appeal to practitioners of that artform, and certain unfortunate individuals are cursed to only ever produce work of that type.
  • People working in a medium are likely to hear about someone new doing good work before they break through to the general public.



Instead of "your favourite game designer's favourite game designer"
try saying "Terry Cavanagh recommends this"

You've tried harder to make this positive! We appreciate that! But look: this still fails to get across what you hoped to say. Who even has a favourite game designer? Passing on a recommendation works better if you say who it comes from. Hey you could even recommend it yourself, rather than a vague "lots of people smarter than you or me are into it I guess".



Instead of "whoaaa were they ON DRUGS"
try saying "whoaaa"

So tired of this. So offensive to look at someone's creative work and say "I bet you needed some chemical assistance to think of that". Man, some people are taking drugs, some people aren't, it's not a big deal, don't be such a cop. Some have substance abuse problems and making up a story that you can't do art sober probably doesn't help them.

You can make art.



Instead of "this big-budget game sucks"
try writing about an indie game instead

If you don’t like a thing, don’t waste energy talking about it.

You convinced yourself you need to "be part of the conversation" but you're just adding noise. Nobody cares. Stop chasing clicks. If you'd instead written something positive about something you liked that the reader hadn’t heard of and might like too, in a small way you’d have made the world a better place.


Wednesday, 10 June 2026

868-BACK: quit

quick note: I used to document quite a bit of my game dev process here on this blog. I started doing videos instead in the pandemic (patreon, youtube) because I was finding that drained less energy from me than writing a post. I haven't done either very much recently because I felt so much of what I wanted to talk about would just make more sense once the game was out so you'd know what I was referring to. Now it's out! I'll hopefully be doing some of those posts. I'm not sure yet what the balance of videos to writing will be, but this one's writing!



868-HACK is structured as a series of servers you hack one after another, with increasing difficulty as you go. Quite a few people never even saw the difficulty increase because you had to win a couple of rounds in a row to get there. When I did an expansion for it a few years later (PLAN.B) I wanted to put the difficulty modifiers up front - both so that everyone would see them, and because those of us who'd been playing a bit started to find the game a bit too easy without them. But sometimes a stack of them could just be unfair though so I wanted a way to skip the really bad combinations, and came up with the .QUIT prog. This is just a basic ability you can pick up and use like any other, and what it does is instantly win the round. Actually amazing. This would be blatantly S-tier if not for the opportunity cost: you don't want to take the free win if you could use that siphon to get more points instead.

.QUIT is one of my favourite progs because it's something that computers do but games don't. Coming to the sequel I really wanted to push as far as I could in that direction; try everything I could think of that felt like a "computer" ability and would fit naturally here and not in a typical fantasy game. So .QUIT and .UNDO were at the top of my list for returning progs. (Puzzle games should generally allow undo, strategy games don't because it creates a very boring play pattern around any random or hidden element; putting a cost on it that isn't undone solved that well enough for 868-HACK, but unfortunately wasn't enough to make it work in BACK.) .QUIT fit quite nicely into BACK overall, but the new scrip system made it fairly easy to minimise the opportunity cost.

One of my early ideas for a bonus powerup in 868-BACK was called Local area network!, which I) protected a server from being hacked unless you'd hacked one of its neighbours the day before, and II) forced you to hack one of its neighbors the next day. I really liked having a "map-only" powerup, making a server more difficult to hack not because the levels and enemies were any harder but simply because it was inconvenient to get and out of. I really liked the spatial element this gave to the server map: these little sequences where you had to move step-by-step across it rather than just picking from it like a menu. There were many problems with this. Does nothing on the last day. You could get stuck and lose the game with no options if you weren't careful - and that tended to feel unfair rather than like you'd excitingly hacked yourself into a corner. Didn't interact well with the "reveal powerups by gathering data in adjacent servers" mechanic. So eventually it went away.

Thinking about limitations that could be applied to QUIT to make it slightly less dominant - what about an effect on the server map? I thought of folding in Isolated workstation!: if you quit a server you don't get to explore the ones next to it. Jake suggested folding in Local area network! instead: if you quit a server you have to go to one next to it tomorrow. This was really good! We kept Isolated as the map-only powerup (its device restriction was added much later at Leon's suggestion to prevent it doing less the more of the map is explored). When Linkcubes were added I let it go along those links as well. It seemed like the problem was solved.

Since the game's been released and a lot more people have been playing it, a few rare bugs showed up involving QUIT. This is going to happen - different people have different skills and approaches, so they'll try something in a different situation - or else just the dice get rolled a lot more times so an arrangement comes up that you never saw before. I'd added certain types of server that couldn't be accessed unless specific conditions were met - the megacorp x6s and the shops. In particular this restriction on the shops came very late in development (to stop new players from having a disappointing experience of going to a shop where they can't afford to buy anything). So a few people had been able to quit with only a shop in range but then weren't able to get into the shop! When I dug in to fix this I realised that QUIT was getting quite complicated. We'd already had a few players being confused about when they could or couldn't quit, and this was making it more confusing by adding situations where your ability to quit depended on the status of servers you haven't even explored yet. So rather than add all those complications I gutted it and made the whole thing much simpler: you can always quit, and tomorrow you can go wherever is nearest that you can get into. If you're surrounded by locked shops and corporate headquarters, instead of being sad and stuck you just get to go slightly further. It should play pretty similarly in most cases, but be clearer to understand, less prone to bugs, and maybe even occasionally exploitable in clever ways.

patch is up now!