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More than two decades on, Australia has a robust ecosystem of video game development supported by grant programs across the country. My research looked at the scope and structure of these programs and examined how they affect game developers.<\/p>\n\n\n\n
My findings reveal that the structures of funding programs emphasise generating profit and growing the video game industry. This is at odds with the approach taken by many game developers, who view themselves as artists, and their games as a cultural form.<\/p>\n\n\n\n
This fundamental mismatch is a source of tension for game developers who rely on public funding to support their work.<\/p>\n\n\n\n
Competing priorities of public funding<\/h2>\n\n\n\n
I read through more than 50 annual reports, strategic documents and other materials from Australian arts funding bodies to analyse funding policies for Australian video games.<\/p>\n\n\n\n
The documents emphasised the economic potential of the video game industry, frequently citing growth rates, expenditure figures and returns on investment as justification for continuing to fund game development. However, they also promoted Australian video games as complex, experimental and culturally valuable.<\/p>\n\n\n\n
This shows how funding agencies juggle competing priorities. While they value games with artistic merit that contribute to the cultural landscape, agencies must also demonstrate that their public funding programs generate financial returns.<\/p>\n\n\n\n
These agencies\u2019 economic priorities heavily influence how public funding programs are structured \u2013 which can make them seem highly formal and business-like.<\/p>\n\n\n\n
Company or community?<\/h2>\n\n\n\n
This formality creates difficulties for game developers, whose work practices are often artistic, informal and adaptive. I interviewed 11 game developers to understand their experiences with public funding.<\/p>\n\n\n\n
They generally held positive sentiment towards the funding available to them, describing it as a \u201clifeline\u201d, \u201cfantastic\u201d and \u201cawesome\u201d. Several developers spoke highly of the range of funding programs available for projects of various scope.<\/p>\n\n\n\n
At the same time, they had criticisms. They found the application processes for public funding overly formal, forcing them to adapt their artistic practices to a rigid, business-like structure. As one interviewee explained:<\/p>\n\n\n\n
\nIf you want to go for funding, you\u2019re talking about needing to start a company. You need to get a lawyer. People don\u2019t know that.<\/p>\n<\/blockquote>\n\n\n\n
Tensions were particularly acute around providing diversity information. Most funding applications ask applicants to submit information about diversity, equity and inclusion in a highly formalised format.<\/p>\n\n\n\n
The developers I spoke to felt \u201cicky\u201d, \u201cgross\u201d, \u201cweird\u201d and \u201cuncomfortable\u201d while completing these forms, describing them as \u201ctokenising\u201d, \u201cdehumanising\u201d and \u201cimpersonal\u201d. As one interviewee said:<\/p>\n\n\n\n
\nThe language it asks you to use is so corporate, you know, and it\u2019s like, who is this talking to? Who is this for? And the answer is always a company. I\u2019m not a company, I\u2019m a person.<\/p>\n<\/blockquote>\n\n\n\n
More than just products<\/h2>\n\n\n\n
The interviewees recommended several changes funding agencies could make to improve their application processes. They could, for instance:<\/p>\n\n\n\n
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- provide example funding applications and information sessions to help guide applicants<\/li>\n\n\n\n
- provide more feedback on both successful and unsuccessful applications<\/li>\n\n\n\n
- allow more flexible formats for submitting the required documentation, especially for diversity information<\/li>\n\n\n\n
- provide venue space and smaller, more accessible funding options for developers to run events for skill-sharing and community support.<\/li>\n<\/ul>\n\n\n\n
These changes would signal to game developers and the wider public that our public institutions value video games as more than just money-making products.<\/p>\n\n\n\n
Australian-made games such as Untitled Goose Game and Cult of the Lamb \u2013 which have achieved international critical success in recent years \u2013 wouldn\u2019t exist without public funding.<\/p>\n\n\n\n