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Triple A titles are sold on action and violence the industry’s biggest annual events E3 and Gamescom are cacophonous battle zones, where the loudest, brightest booths inevitably win (last time I went to E3, one major games publisher was issued a warning by the event organiser because their booth was so loud no one else could get anything done).

ONE NIGHT STAND GAME REVIEW KINMOKU MOVIE

The mainstream games business, similar to the mainstream movie business, is mostly about noise and bombast. Now, perhaps more than ever, independent games – and the communities that make them – have a vital role in video game culture.

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More recently, platforms like Xbox Live Arcade, PlayStation Network and the PC games service Steam have given indie developers access to huge online stores where they can sell their often offbeat and idiosyncratic games alongside major releases. In the 90s, the rise of the internet meant these developers had the ability to sell their games digitally, to a global audience, without ever having to produce or distribute physical copies. In the early 1980s, small teams made their own games, downloaded them on to cassettes and sold them at trade fairs, bypassing the retail business that was growing around software. There has always been an independent game development community. The best kind of inspiration #trainjam /bZco7u7irk- Train Jam March 11, 2016 I’m doing it just to be around those people and that feeling again. Next year, I’ll be taking part in Train Jam - a 52-hour train ride from Chicago to the annual Game Developer’s Conference in San Francisco, where developers make games as the scenery rushes by.

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My first - Awkward Dating Simulator - has been downloaded over 1,000 times already, which is amazing and terrifying.

It’s largely because of Stugan that I’ve started making my own games. The trailers of these games, and the others made during Stugan 2016, are all worth watching. Mira and Tanja, a team of two women, one Swedish and one Danish, collaborated on their two-player game Tick Tock, when they weren’t playing incredibly tense rounds of Magic: The Gathering. Robbie, Dorianne and Marc, the only three-person team, all from South Africa, were working on Kingdom in the Sky, a project they’d been unable to work on for months because of their full-time jobs.

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Developers have to apply to attend, and if selected get to stay for freeĪuston and Diana, another couple, were making Catdate – a game that seems like a simple dating sim (but with cats) but revealed itself to be a touching, meaningful exploration of connection, friendship and learning how to communicate with others. Stugan (Swedish for ‘cabin’) is a two-month game creation retreat. There were Michael and Laura, a married team who were making a game despite being animators rather than programmers, using their artistic style to inform what their project, Thin Air, would become.

There with me were people like Ivan Notaros, an incredibly talented Serbian developer who was ostensibly making a game called House of Flowers based on his experience and knowledge of the war in Yugoslavia in the 90s, but spent much of his time making tiny games, procedurally generated art, and incredible low-res photogrammetry of us as a group. I turned up three weeks late, and already an outsider as the only journalist, but within a few days I felt like I’d been welcomed as one of the team. The Stugan attendees were from all over the world, but we’d ended up in this tiny corner of Scandinavia, brought together by the one thing we shared: the desire to create and play video games. While not working on our game development projects, we watched meteor showers from a nearby mountaintop, swam beneath the Northern Lights, and sat around a campfire getting sloshed on schnapps. The eight-week event, organised by alumni from game publishers Rovio and King, took place in adorable red wooden cabins perched on a hill overlooking a lake – apparently called “Bjursen”, although we just called it The Lake, because we couldn’t pronounce anything correctly. That may sound like a faintly sinister concept, but it was in fact stupidly idyllic. O ver the summer, I spent a month at Stugan, a Swedish “game development acceleration camp”.

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