The Australian video game industry is experiencing a resurgence, highlighted by the success of the indie game Hollow Knight: Silksong. This phenomenon is featured prominently in the current interactive exhibition titled Game Worlds at the Australian Centre for the Moving Image (ACMI) in Melbourne. The exhibition showcases the evolution of video games, presenting a chronological journey that culminates in the spotlight on this year’s hit from the three-person development team known as Team Cherry.
As visitors navigate through the exhibition, they encounter a unique display at the end, which includes not only terminals for playing Silksong but also a collection of notebooks filled with sketches, technical notes, and diagrams related to character movement and game mechanics. This creative process resonates with the documentation displayed alongside the classic The Hobbit, a game developed by Melbourne’s Beam Software in 1982. Both projects, though separated by decades, share a common thread of grassroots innovation in a time when video game development was still in its infancy.
Despite the industry’s evolution into a multibillion-dollar enterprise generating approximately $600 billion annually, the indie spirit has made a notable comeback. Silksong has sold an impressive 6 million units in just four weeks, indicating a strong appetite for games developed by small teams. This resurgence has been facilitated by changes in distribution methods, allowing independent developers to reach audiences without the barriers previously imposed by large corporate publishers.
According to Seb Chan, director and chief executive of ACMI, the landscape of video game development has transformed significantly over the past fifty years. He emphasized that while the industry has always expanded, the last two decades have been defined by a renewed emphasis on individual expression. “What’s similar now, what’s come back, is that distribution has opened up again,” Chan explained. “Initially, we saw that with the PC marketplace Steam, but now there are various platforms that support indie developers.” He likened the current climate to the 1980s, when platforms like the Commodore 64 and ZX Spectrum allowed small games to gain widespread popularity.
Chan’s own experience mirrors this evolution. Growing up with the Commodore 64, he learned to code by dissecting the games of the time, a practice that contributed to a vibrant DIY culture in the gaming community. While the indie spirit persisted on PCs during the 1990s, the dominance of game consoles shifted control of distribution towards larger companies. This transition resulted in a landscape where significant publishers were the primary gatekeepers for game releases, often sidelining indie developers.
Today, the internet has played a pivotal role in democratizing game development and distribution. The resurgence of the indie scene is not merely a return to form; it has flourished alongside blockbuster titles, proving that creativity can thrive in a competitive environment. Moreover, the rise of modding—where players modify existing games—has become a vital outlet for creativity and a potential springboard for aspiring developers.
The Game Worlds exhibition not only highlights the successes of contemporary indie games like Hollow Knight: Silksong, but also serves as a reminder of the rich history of video game development in Australia. As the industry continues to evolve, the blend of artistry and technology remains at the forefront, showcasing the potential for innovation in a medium that has come full circle.
