(Image credit: Devolver Digital)
Letting Bennett Foddy hand over a controller can be a nerve-wracking experience. At GDC, alongside co-creators Gabe Cuzzillo and Maxi Boch from Ape Out, Foddy introduced me to their latest creation, Baby Steps. Described as “a step away” from the notorious rage games that defined his career, this game is a departure from the likes of QWOP and the notorious Getting Over It. Foddy emphasized that just as Gordon Ramsay was not made to cry by Marco Pierre White, no one is forced into Baby Steps’ challenges. He states, “You can inflict that on yourself playing Baby Steps if you want to. Some people will want to, if they’re fans of my work in particular.”
Thus commenced one of the most intense experiences in my 12-year career: navigating Baby Steps with its developers observing every move while attempting an interview. This so-called “literal walking simulator”—think Death Stranding, The Stanley Parable, and Firewatch—puts you in control of Nate, a nervous man-child in a onesie. Thrown from his comfort zone, Nate traverses a surreal landscape, stumbling with every misstep, as his attire gathers dirt with each fall.
Your triggers become the feet of the cumbersome protagonist, moving him either with cautious precision or sweeping strides. The game doesn’t hold your hand; indeed, Boch explains, “if you play a video game with anyone on this team, they’re just jamming the skip button as hard as possible.” Hence, you find your balance amid unpredictable terrains. During this exhilarating demo, I may have unintentionally bypassed some guidance by briskly brushing off an NPC—an oversight that, in hindsight, seems fittingly hilarious.
Having played both QWOP and Getting Over It, I wasn’t stepping into unknown territory. Foddy’s words, affirming my aptitude, seemed an ominously foreboding compliment as I learned by doing: raising a foot here, planting it there, hoping not to wander into a vicious cycle or the ruthless, optional paths. Baby Steps emerged from the concept that an absurd movement game could encapsulate a profound skill ceiling, and it was palpable. The game, beneath its quirks, hides genuine mastery—ready for those willing to invest time and effort. This game’s simplicity is deceptive.
Baby Steps thrives in its humorous manchild narratives, rendering its comedy effortless. Spanning both the thoughtfully curated soundtrack and Nate’s stammered dialogues, filled with excuses and social awkwardness, the game revels in its absurdity. The comedic timing matches the gameplay rhythm, where a player might repeatedly tumble, only to realize a simpler path was steps away. Foddy finds joy in such moments: “To me, that kind of thing is hilarious.” Gabe Cuzzillo adds, “What if we tried to make a AAA game? That’d be funny. Five years later, it’s still pretty funny.”
Understanding the rhythm is key. Within Baby Steps’ intimidating front, there’s a meditative core. Nate moves gracefully if you have the touch. Most players achieve basic walking proficiency within 20 minutes, but that’s only the tip of the iceberg. The environment, crafted with meticulous detail, beckons players to explore and conquer its demanding paths without confinement by invisible barriers. Inspired by the possibilities within Skyrim, one can scale rugged mountains if determined. As you explore, discover insights and inspirations from gaming communities across the world, such as this discussion.
Foddy articulates, “We wanted to reach a point where difficult tasks appear and feel challenging.” For instance, players must ascend towers using only their feet, discovering footholds in cracks and gaps. This deliberate difficulty resonates with games like Cairn, albeit with a friendlier tone. Balancing challenge with humor and maintaining the spontaneous mishaps integral to the game’s charm is an art both unique and captivating.
Foddy continues, “Some elements are allowed to be janky, while others are immaculately polished.” Boch emphasizes refining what the players engage with most, adding “there’s critique of certain AAA tropes embedded here. It’s both a parody and a reflection on what could be if big studios embraced such experimentation.” The game leverages non-traditional friction, tasking players with adapting rather than offering easy solutions.
As Nate fumbles over obstacles unlike those in traditional Ubisoft titles, a deeper conversation on persistence unfolds. Foddy notes, “There’s this moment where players decide something’s doable, even after repeated failures.” He posits, “You, the player, start determining and challenging the game’s friction.” This philosophy encourages a player-driven dynamic often missed in mainstream titles.
Handing control to Cuzzillo for a demonstration was eye-opening. His precision could outperform swimmers on water. His skill starkly contrasted my own cumbersome attempts, exposing the depth I’ve yet to master in Baby Steps. The comedy and challenge linger, compelling me to return and strive anew.
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