SXSW Sydney 2024 aimed to go bigger and better than last year, with individual tracks given more freedom and scope to expand. The games track benefitted immensely from this approach, with this year’s show offering a diversity of insightful talks, and unique gameplay experiences that all contributed to a wildly inspiring atmosphere.
It’s no secret that it’s tough to develop games. In 2024, it’s tougher than ever, with publishers withdrawing from the market, and many studios cutting down on hiring, or laying off staff.
At the Melbourne-based GCAP 2024, the mood of developer talks was defiant, as many pushed back on recent trends, instead focussing on the creativity and passion surrounding games. SXSW Sydney 2024 continued in a similar vein, with developers of all sizes, from Australia and around the world, sharing their works with pride.
Whether on stage delivering talks, or showcasing in the Great Hall at UTS, developers attended SXSW Sydney to share their creativity and inspiration. And in a difficult time, the enthusiasm felt much needed.
Perhaps it was in the mix of developers that SXSW Sydney 2024 was able to spark those feelings of joy. It wasn’t only Australian developers given the spotlight this year. There was also ample representation from New Zealand, Japan, Europe, and the United States, with some developers travelling over to chat and display their games, and others leaving their builds in the capable hands of volunteers.
This diverse array of voices allowed for a patchwork of eye-catching creativity. Each game on the show floor felt incredibly different from its nearest neighbour, in a way that really highlighted the vast depths of what games can be.
Travelling the show floor, I experienced everything I possibly could: I was a tiny doggy causing mayhem, a knight bound to defeat monsters, a food truck owner slinging burgers. In other demos, I learned about the importance of connection to Country, why having longer arms is frightening, how art can create whole worlds, and how pastel pixels can invite you into a childhood you’ve never experienced.
It was a wonderful few days at SXSW Sydney. I didn’t see everything I set out to see, based on timing, game rotations, and an ambitious schedule – but I also saw plenty of things I didn’t intend to, and my experience was richer for it.
In the BitSummit showcase, I played a wonderful game called Wabisabi SushiDerby, where you can only cheer living sushi on, as they run through a derby, pursued by chopsticks. If an order for your sushi comes up, they might get eaten – but if you cheer them at the right time, you can save their life. It was bizarre. It was slightly terrifying. I loved it.
In sci-fi traversal adventure Garganta, I tested my speedrunning and wall jumping skills. In Your Holy & Virtuous Heretic, I took my first steps into an SMT-like occult world filled with moody atmosphere and creepy, eldritch beasts. And in Fruit Mountain, I found a brain-tickling break from the hustle and bustle, where all that mattered was combining small fruits to make bigger fruits.
Read: SXSW Sydney 2024 Games Awards winners revealed
In every corner of the games showcase, there was some new delight to discover, and usually, an enthusiastic face to greet you, and to share more about design intentions, gameplay, and the origins of development. It was enough to give hope that, despite everything going on in the games industry, there will always be people making games, and wanting to chart new realms of creativity – not just in Australia, but abroad, too.
Elsewhere at SXSW Sydney 2024, the games-focussed talks were similarly compelling. This year’s lineup of speakers hailed from an array of projects and disciplines. The ever-reliable Rich Lambert came down to Australia to discuss the ongoing success of The Elder Scrolls Online, and the importance of community.
The developers behind viral hit MOUSE: P.I. For Hire also flew in to chat all things game development, and how the team leveraged social media to generate interest and excitement for their upcoming project.
There was also plenty of micro-talks from developers focussing on more intimate, personal discoveries. The Master’s Pupil developer Pat Naoum delivered an insightful talk about traditional art practice, and how he integrated it into a digital platformer.
An all-star panel of trans developers, researchers, and academics (Ella Ma, Zoe Rowen, Sav Wolfe, and Casey Lynn Crone) shared personal insight into the value of representation in games, with a specific focus on personal elation, and how trans representation benefits everyone, as it builds understanding and connection.
Personally, I was on two panels that made me forget I was the moderator: one about the need for authentic documentation for game development and processes, and another about the inclusion of the occult in games. In both cases, my panelists shared deep insights into their creative processes, discussing the nature of game development, why it excites and inspires them, and why games are such important cultural artefacts. I forgot I was the moderator, simply because it was so engaging to listen in.
In the mix of these panels, there was a bounty of knowledge to be shared. Whether from Australia or abroad, developers were generous in their discussions – personal, educational, and encouraging. It felt like the SXSW Sydney team was particularly curatorial this year, forging a schedule that highlighted innovation, new thinking, and excitement. That level of care was felt in all parts of the show.
In nearly every facet, SXSW Sydney was a very well-developed showcase for game developers, with a high bar for quality. Amidst the doom and gloom of the games industry, it was a bright spark that will hopefully encourage a flow of future creativity for all attendees.
