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Indie Game: The Movie on Steam
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The emotional journey of four developers as they sacrifice money, health and sanity to realize their lifelong dreams of sharing their games with the world.
Indie Game: The Movie is a indie, great soundtrack and linear game
developed and published by BlinkWorks Media.
Released on June 12th 2012 is available on Windows and MacOS.
It has received 1,852 reviews of which 1,709 were positive and 143 were negative resulting in a rating of 8.8 out of 10. 😎
The game is currently priced at 9.99€ on Steam, but you can find it for 1.09€ on Eneba.
The Steam community has classified Indie Game: The Movie into these genres:
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System requirements
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Windows
- OS *:Microsoft® Windows® XP Home, Professional, or Tablet PC Edition with Service Pack 3; Windows Server® 2003; Windows Server® 2008; Windows Vista® Home Premium, Business, Ultimate, or Enterprise (including 64-bit editions) with Service Pack 2
- Processor:2.33GHz or faster x86-compatible processor or Intel® Atom™ 1.6GHz or faster processor for netbooks
- Memory:512 MB RAM
- Hard Drive:4 GB HD space
MacOS
- OS:Mac OS X v10.6
- Processor:Intel Core™ Duo or faster processor
- Memory:512 MB RAM
- Hard Drive:4 GB HD space
- Additional: Not compatible with OSX 10.7.3
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User reviews & Ratings
Explore reviews from Steam users sharing their experiences and what they love about the game.
This is a challenging film to watch. I am glad I finally saw it though. Indie Game: The Movie is a piece that speaks to the creative. If you are person who makes things, has made things, or at least understand the creative process, this is probably going to be difficult to sit through, just because you'll probably identify parts of yourself in this film. Before I get too real on that though, I should elaborate on what this is. This documentary looks at the past of indie games (Braid, with Jon Blow), the present of indie games (Super Meat Boy with Team Meat) and the then future of indie games, with Fez and Phil Fish. It gives us some brief dialogue from Jon Blow, before following closely the nightmarish struggles of Team Meat (Edmund McMillan & Tommy Refenes) trying to finish their first big, real video game, Super Meat Boy, as well as Phil Fish's struggles in bringing Fez to PAX and showcasing, exposing this game that isn't quite ready yet, that has bugs, game-breaking crashes and glitches in it, at one of the biggest industry events in the world. These individuals discuss in some detail, what indie games are, how they are made, what they are working on, where their creative energy comes from, and why they do what they do. While the profundity of the dialogue varies from scene to scene, overall, it's worth sitting down to watch this just to listen to these people talk, because they have stuff to say. I think Phil Fish is the weakest, nothing he really has to say is terribly insightful in my view, but at the very least I did come to understand him a little more and why he is the way he is and what Fez meant to him and how big a struggle it was to make. I understand him a little better, so it was worth hearing from him all the same. Anyway, all this hits me pretty hard, because, you get to listen to a lot of people in this film speaking very plainly and very openly about deeply personal, private things. The word 'depression' is thrown around nigh constantly and for good reason - all of these people basically are poor and struggling just to live, and on top of this are working on some toy that may or may not even work. Phil Fish threatens to kill himself if Fez fails, while Team Meat nearly kills themselves by crunching on Super Meat Boy. Since they're all baring their own selves to the camera, I may as well do it too. It's challenging to watch this because, I see a lot of myself in these people. Jon Blow's insecurities about the success of Braid, of his game not being understood, and being very disappointed in the reactions to Braid, I fully understand that and always have. It's something I have to deal with every ♥♥♥♥♥♥♥ day of my life on this stupid internet we all share. I have to live with being misunderstood. I am, in every sense, alone. So I can understand how he got to this point where, he was commenting on every thread that ever mentioned this thing he really cared about - it's a mirror of how I can't stop commenting on every stupid comment people make, about games and stuff that I care about, things that I didn't even make but I care about them so damn much. It's so frustrating when you run into, hundreds, thousands of opinions that do not match your own, when you realize that you think one thing and 99% of people don't understand your opinion, will never understand, and cannot understand. That even the 1% who might feel similarly, still might not feel the same for the same reasons. That lack of connection is, difficult to describe just how lonely it can make you feel, and I am sure Jon Blow puts this into his own words in this very film. He wanted Braid to be, like a conversation, through his level design, with the player. And I totally get that. It's a hard thing to pull off, and only people operating on like the exact same level as you, approaching the game from the perspective of a level designer, are going to intuit that. Most people who play games don't think about games like this. They aren't constantly breaking down the graphics, the worlds, the enemies, the waist-high walls Nathan Drake crouches behind, they are just experiencing the thing in rough, simplistic terms, compared to what it's like when, you make games or have some understanding of how games are made, and you play that same video game. Even though I'm not a developer of video games, I still get a kick out of seeing reactions to the stuff I say. That's my thing - I write a lot about what video games are. I try to be objective, to find the facts of the game and present them in a readable form. So it's frustrating and almost depressing, when I'm faced with a game like, Sekiro, or Red Dead Redemption for example. I know that people, LOVE this game, and I'm stuck being the one who deeply, deeply hates it. Not because I have some predetermined bias, or I just want to hate the thing, I just speak frankly about what I think are flaws with the game, and frequently I end up being the only one who can see them, or, I have to deal with people who don't seem to understand how to critically analyze anything, and just download their opinion from some YouTuber who told them what to think. If a game isn't just a gigantic pile of garbage that doesn't even work, most people won't seemingly complain. And I find it hard to not be cynical about games, I just see the structure, I see how it works when a game is demanding like hours of your time daily just to keep up with it. And it's so much more depressing to me, that on top of this, these games can be successful. Even if a game is mixed reviews - just an absolute dumpster fire, even if it fails critically, it can still succeed, survive, drive sales, and in the end win, even if it's garbage and has no artistic merit or creative value. It's beyond depressing. And I was thinking too, that, when you watch this film, aside from all this, aside from literally watching a depressed, sad, unhealthy, poor, rail-thin nerd inject himself with insulin on-screen, so he doesn't die from diabetes, aside from all that, I mourn this time period. We had no idea how much worse things were going to get. Now, we just live in a nightmare of live-service slop, and 'free' soulless gacha games that only cost one soul to play - and your credit card, too. As much as I malign Braid, as much as Fez seems to me just like a 6.5/10 game, these games were so much more pure than anything released in the past decade. It's difficult to feel optimism, when everything just seems to keep getting worse, year, after year, after year.
Great and inspiring documentary, showing both the good and the bad of being a game developer. I also liked the bonus content, especially the commentary from the creators of the documentary, which goes over a lot of the behind the scenes stuff. The minigame was a neat addition too.
On Vulnerability and Video Games—What a Review Cannot Measure I was on the beach; it was either dawn or dusk, as though time itself had finally managed to coalesce. The air carried that rare breath we so desperately lack after everything we have done — after a long day, an explosion of emotions, of unexpected resonances. At last, one can breathe a little more easily through this day, just one more day. When I listened to Edmund McMillen speaking to us, addressing us with such earnestness, he seemed thrilled by the reviews from gaming magazines. It brought back memories of my university years, even my postgraduate studies. I achieved good marks. Yet does obtaining a 10, or an A+, truly tell me who I am? Do I know what I know? Am I genuinely capable of claiming, through a grade alone, that I have mastered something? At first, I did not fully understand McMillen’s words. When such marks fail to define who I am, then perhaps what I have achieved carries no greater weight than my resonance with others: the willingness to share knowledge, or the hope that, should I create something, it might endure in some fragile guise of eternity. And yet, along this journey, there is something a grade — or a handful of likes — simply cannot bestow, and cannot reveal. I sat there listening to what each developer had endured through time. I have not yet inhabited all of their works, but I listened carefully. Jonathan Blow remarks that the video game is a commercial product, or something close to that. But then, how does Braid distinguish itself from everything else? From those works that appear to be mere commodities? Even without having inhabited it, I can already discern Braid from Super Meat Boy. A walk through the city brings tranquillity. It soothes something inward. The mist that rolled in during the convention carried a coldness that settled deep within me, yet it also brought an opacity that prevented me from seeing beyond this place itself. This city, with its timid amber lights illuminating the streets. This sea, expressing everything it carries, everything it leaves upon the shore. As I contemplated that stillness, it seemed to me that the calm these developers reach finds its true culmination when their work — not merely a commercial product — achieves something far greater than success. It becomes openness. Refuge. An expansion within those of us who look upon it. What a review cannot measure is the thing that continues to resonate within us, that which continues to connect us. Even here, in this place where one can hear the beating of sincere yet shadowed hearts: fear, despair, joy, exhaustion, hunger, and above all, joy for the other. A joy that is not merely a smile. No. It also makes me vibrate alongside them, laughing with them, as though inhabiting their works gave me the breath to laugh at my own mistakes as well; or to feel moved, deeply stirred somewhere within the soul. It feels like being at home with my sister. We hold the controller and begin to inhabit that space together. We grow angry, we laugh, we weep — and surely the developer too, if they realised their work was truly habitable and cherished, would laugh as well. I agree with McMillen and Tommy Refenes: words are not the only means of expression. If something can express what is so intimate, so painful, so exhilarating, so full of laughter and tears, then why should we hesitate to call it art? I think back to my dance classes, and to how seldom people truly supported me. Yet there will always be someone nearby who remains present; witnesses who marvel at the work itself. At the very least, I feel grateful that each developer has found some connection with others, whether face-to-face or from afar, as in the case of Jonathan Blow. That is another thing a technical review — useful for corrections, perhaps, but never transcendental, never intimate — will never be capable of holding. It is overwhelming. Like McMillen’s wife, gentle and devoted, helping him immensely. Or Phil Fish, who often seemed alone, though perhaps without realising how many people truly surrounded him. Even when comments rain down in grey and black drops full of malice, there will always remain some kind of umbrella to protect us: one’s dignity before the other, just as the other already exists within us. The convention itself feels like one such sanctuary. I should like to inhabit Phil Fish’s Fez. To feel the fresh air there, and marvel at every shifting dimension that reveals itself. The perspective through which we see the world does not always need to remain flat, nor uniform. Where does the ivy lead me, growing upon the wall beneath that diaphanous blue sky? And what is time — and my relationship to others — within Braid? Even if they claim to be alone, the mere fact that there are witnesses watching this documentary renders their struggles comprehensible. They must believe this remains true not only for small games, but even for colossal ones, though that is something we seldom witness openly. Granted, I cannot speak to them face-to-face. Yet through this journey across the city — through the mist, the convention halls, the streets, the shoreline — I was invited, however briefly, into their rooms, allowed to look with a discreet and respectful gaze at what dwells there. And so I can be present. I can say that when a developer pours themselves into their work, rather than merely receiving a score, and when I feel what they have achieved — the joy and profound emotion it awakens in me for them — what they truly reveal is vulnerability. Video games express vulnerability. They express the accumulated weight of emotion contained within the act of creation itself. And though I may not be a skilled reviewer, I still make my attempt: not to imprison the work within technical terminology, but to understand what a video game truly is — and whether I have managed to understand even the vulnerability of the game itself. Phil Fish, I tell you, it is not that they reject your work, but rather that some of us ask ourselves if we are worthy of understanding what lies within it.
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Frequently Asked Questions
Indie Game: The Movie is currently priced at 9.99€ on Steam.
No, Indie Game: The Movie is currently not on sale. You can purchase it for 9.99€ on Steam.
Yes, Indie Game: The Movie received 1,709 positive votes out of a total of 1,852 achieving a rating of 8.79.
😎
Indie Game: The Movie was developed and published by BlinkWorks Media.
Yes, Indie Game: The Movie is playable and fully supported on Windows.
Yes, Indie Game: The Movie is playable and fully supported on MacOS.
No, Indie Game: The Movie is not playable on Linux.
This information about Indie Game: The Movie is not available yet.
This information about Indie Game: The Movie is not available yet.
No, Indie Game: The Movie does not support VR.
Indie Game: The Movie is a single-player game.
Yes, there is a DLC available for Indie Game: The Movie. Explore additional content available for Indie Game: The Movie on Steam.
No, Indie Game: The Movie does not support mods via Steam Workshop.
No, Indie Game: The Movie does not support Steam Remote Play.
Yes, Indie Game: The Movie is enabled for Steam Family Sharing. This means you can share the game with authorized users from your Steam Library, allowing them to play it on their own accounts. For more details on how the feature works, you can read the original Steam Family Sharing announcement or visit the Steam Family Sharing user guide and FAQ page.
You can find solutions or submit a support ticket by visiting the Steam Support page for Indie Game: The Movie.
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Additionally, we incorporate data from the SteamSpy API, which offers insights into game sales and player statistics. This helps us present a comprehensive view of each game's popularity and performance within the gaming community.
Last Updates| Steam data | 18 September 2026 14:05 UTC |
|---|---|
| SteamSpy data | 13 October 2026 15:02 UTC |
| Steam price | 15 October 2026 19:03 UTC |
| Steam reviews | 12 October 2026 05:59 UTC |
If you'd like to dive deeper into the details about Indie Game: The Movie, we invite you to check out a few dedicated websites that offer extensive information and insights. These platforms provide valuable data, analysis, and user-generated reports to enhance your understanding of the game and its performance.
- SteamDB - A comprehensive database of everything on Steam about Indie Game: The Movie
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Developer
BlinkWorks Media
Publisher
BlinkWorks Media
Release
12 Jun 2012
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