GameLoading: Rise of the Indies (2015), directed by Anna Brady/Lester Francois

Production Company: Studio Bento | Length: 85 min | IMDb || Rating: 8/10

GameLoading: Rise of the Indies is a documentary on the modern indie game movement. Not unlike something you may see on an informational cable channel, the documentary takes a specific aspect of the gaming industry and peels back the different layers to see what is beneath. This documentary is primarily focused on a smattering of the social, philosophical, and human elements of the indie game movement, and less so about the games themselves.

Throughout GameLoading: Rise of the Indies, we are primarily presented with a few recurring indie developers; Davey Wreden (Stanley Parable), Zoe Quinn (Depression Quest), Rami Ismail (Vlambeer) and Robin Arnott (Soundself) primarily drive the overall tone and base of the documentary.   A wide-range of diverse indie game developers and people who are famous historically for their indie roots (John Romero and other founders of id Software) also make an appearance and drive along some of the overall points in the documentary. A lot of people from different aspects of coding, from education and into the very niche corners of indie game development also offer insight into what motivates them or what their goals are and what challenges they face, including sexism, social media trolls, and of course, money.

The tone of the first roughly 30 to 40 minutes of the documentary is setting up the basis of what indie games are, who these people are, what their philosophy is, and what the motivation for doing what they’re doing is. You instantly feel a romanticized and articulated quality to nearly everything that is going on, and at times it can feel like the documentary is sort of dragging its feet in moving on from this introductory phase due to how this first piece is structured. They intersplice the stories of Davey Wreden and Robin Arnott with all sorts of other random game developers giving their small tidbits of information to expand upon a particular point. It can be a bit hard to follow the narrative of the documentary at this point because you are not sure who you are actually really supposed to be invested in paying attention to and who you are going to see repeatedly.

A big thing missing in the first chunk of this documentary is a conflict to keep the viewer invested in what is going on. You don’t realize that the primary focus of the documentary is Davey Wreden until much later.  Considering the game had released in 2011, it was a bit disorienting to finally figure out about halfway through that the Stanley Parable had been on the cusp of release while the documentary was in production rather than taking place after its release.  If the documentary were structured a little bit differently, it could have framed the Stanley Parable as something that was impending release during this segment to create a slowly progressing storyline as the narrative base since there is no narrator to provide that structure.

We learn a lot of interesting tidbits about the thought process behind the Stanley Parable, and as we are introduced to and follow that game’s progression, we also follow Soundself. Other games such as Depression Quest, Cart Life, and Analogue: A Hate Story among others, are profiled in the same fashion, though not as in depth as the Stanley Parable or Soundself.

Overall what the documentary helps us learn is about the philosophical and human elements of these games as an outward expression of the developers themselves. Giving these games a human element gives people a reason to connect these products with emotions and events in real life. In the context of this documentary, most of the indie developers view their games as interactive art projects and storytelling devices. The whole of the documentary focuses on these indie “art” games, and less so any of the indie “pure game” games, which primarily focus on level design, controls, and the concept of “fun.” While mentioned where necessary, the “pure game” games are definitely not the focus here which elevates the purpose of the documentary to something that seems to be selling “indie games” to someone who doesn’t normally play them and also may not find one of those “pure games” as fun or interesting. Which is FINE – it is an interesting look at this segment of games regardless, but the flaw is that the documentary unfortunately doesn’t take a tempered approach to both of the main draws to the indie scene when it calls itself “Rise of the Indies.”

Another large part of the documentary is the different events/conventions that are introduced. There is a small piece on an event called the Fantastic Arcade, but the main event of the documentary is GDC. Leading up to the GDC, there is an interesting coding event called the Train Jam where people form teams and create a game within a 50 hour train ride from Chicago to San Francisco where GDC takes place. We have a quick overview of some of the games being quickly developed on the train and Zoe Quinn takes part in some of the festivities. I thought this segment of the documentary was very interesting and it was cool to see how things like that happen. While it wasn’t supposed to be a huge focus of the documentary, it would have been nice to see a little bit of a more in depth look at what was going on.

Overall the documentary looked very good. It seemed professionally shot and I didn’t notice any terrible lighting or editing issues (for reference, I am a video editor so I notice these things). There were some questionable backdrops where a couple interviewees were against a completely white backdrop and Ben Kuchera from Polygon was in a seemingly empty office in a tall building of some sort. The frequency of the cuts between different people during the interview portions prevented the documentary from having time to breathe at certain sections. I also thought they could have completely cut out a couple of people and/or interview cuts because they added nothing to the overall information in the documentary. It would have been nice to be a bit more focused on fewer secondary interviewees instead of including a lot of extra random people who are of questionable value to the overall product. An interesting aspect of the documentary seems to be that there are a lot of people with different colored hair, with the primary color being pink. There is sort of an “alternative” lifestyle being sold in this documentary and the interesting looks and clothing people wear in the documentary fits into that quite well. While not everyone they interview is going for that look, there are enough in the documentary where you begin to notice it as a theme.

At a running time of 1 hour 25 minutes, I thought GameLoading: Rise of the Indies was interesting overall and a nice introduction to deciding whether or not you may want to get into the indie gaming industry itself as a hobby or otherwise. It was less informative about the technical and day-to-day aspects of indie gaming, with an idealized look at the culture and events of the indie gaming scene instead.

GameLoading: Rise of the Indies can be purchased on Steam, iTunes, and other gaming storefronts.

A reviewable copy of GameLoading: Rise of the Indies was provided to Squackle.

A trailer for the documentary can be seen below: