“In doing this, government programs like Film Victoria have changed who gets the means to make games and opened up opportunities to more game makers from nontraditional backgrounds.”
set out to make a game they describe as a “mutant soap opera,” they didn’t know where to go.
Once a developer receives a grant, they follow procedures to report their work. Film Victoria requires funding recipients to demonstrate the completion of the work through the presence of updated builds with gameplay changes and iterations. They also require recipients to “provide interim reports at set milestones during production, submit a detailed report at the end of their funding period, and acknowledge the assistance provided in game and in any promotional activity,” Pitcher says.
Michael McMaster, director and founder at House House, says that his team likely wouldn’t be full time at their studio if it weren’t for the support of their local funding source. “I suspect that without [Film Victoria’s] support, we’d still be making games in our living rooms around day jobs, or probably just wouldn’t be doing it anymore,” McMaster said.In addition to lowering the barriers to start making a game, public funding also changes the kinds of games that receive funding.
“By and large, the games that are commercially feasible in the games industry are generally very narrow games that are about action. And not just shooting. They occupy limited, narrow genres, both in the AAA and in the indie space,” Keogh says. “By providing funding where people immediately don’t need to think about ‘How will I make the money back I sunk into this?’, [it] allows people from more precarious, more marginal backgrounds to make the games they want to make and tell their stories.
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