The undeniable truth is that SXSW Sydney, now in its third year, continues to be a hub for technology, music, and film in Austin, Australia, surrounded by brands. On Saturday, families attending a complimentary children’s concert navigated through the vibrant yellow CommBank Tour Zone, while queues formed at the enormous L’Oréal tent. Yet, just a short distance away in the gaming hall of the International Convention Center, the brand’s presence was noticeably subdued.

As the global gaming sector grapples with an ongoing recession, major studios remain cautiously distant from Australia due to the high cost of living. Even amidst a conference buzzing with brand synergy, indie developers took the spotlight. Large development teams were scarce; the majority of projects showcased were from solo creators or small partnerships. Reflective of the broader Australian gaming landscape, these indie developers were impressively ambitious.

Australia’s two standout titles in the showcase, though still feeling somewhat subdued, gained significant attention. SXSW’s Game of the Year, Mixtape, from veteran developers Beethoven and Dinosaur (who brought us the delightful psychedelic adventure The Artful Escape in 2021) and the mid-sized American publisher Annapurna Interactive, tells a humorous ’90s coming-of-age story blending Edgar Wright-type comedy with the animation style of Spider-Man: Into the Spider-Verse.

Set to release later this year, the game promises a nostalgic journey through the joy of youth. Imagine Devo downhill skating on a lazy afternoon with cassette tapes playing in the background. Think of headbanging to Silverchair on a road trip or sneaking booze into parties while evading cops with erratic shopping carts. My 20-minute demo left me beaming, with at least one standout joke causing a fit of laughter.

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In contrast, the concept behind Pro Jank Footy emerges. Co-creators David Ashby and Tyler Roach, known from the series Danger 5, have cautiously ventured into gaming with support from film distributor Umbrella. This game offers a whimsical, arcade-style take on AFL reminiscent of SNES-era sports titles. After each goal, the losing team selects one of three comical power-ups (like attacking seagulls, oversized players, or resetting the score to zero) before the game resumes. During a live demonstration at Tumbalone Park, hosted by Aunty Donna’s Broden Kelly, who also features in the game, a small audience of families gathered, while a few brave souls took to the stage, risking embarrassment for the chance to win a scarf and seemed to enjoy themselves.

Highlights emerged even from games featuring less ambitious concepts. One standout was the dynamic shooter Hyper Primate, where you embody a monkey, armed with various makeshift wooden guns, battling other animals in pursuit of a colossal floating banana. While the game has an intentionally rough aesthetic, the movement mechanics felt incredibly refined as you zoomed through jungle arenas.

Another impressive title was a solo project called Huedini, an exhilarating top-down game where you swiftly match colors to evade and consume enemies and obstacles. Even a brief gameplay session revealed that its seemingly simple mechanics could evolve into mind-bending complexity.

The Victorian Government’s strong backing for indie developers continues to yield benefits, with several projects funded by VicScreen, including Huedini. Other notable selections from this group included Way to the Woods, a stunning adventure game where you guide a deer and fawn endowed with light powers through a verdant city, and a captivating puzzle game, Letters to Arralla, where you decipher photo-based addresses in a serene island community populated entirely by root vegetables. South Australia also showcased a robust lineup, including Pro Junk Footy and a satisfying minimalist cube-rolling puzzle game, Toya, which felt like a serene reprieve amidst a bustling exhibition floor.

Even international participations largely embraced the grassroots ethos of the showcase. While most games, except for Sony’s Ghost of Yourei, weren’t playable, the discussions garnered good attendance. Exceptional projects from small teams included A Week in the Life of a Non-Social Giraffe, a point-and-click puzzle game centered on social anxiety from the U.S., Abyss X Zero, a 3D action game akin to Zelda from Brazil, and Crescent County, a pastel-themed broom racing simulator from a UK developer.

A recurrent critique of SXSW Sydney has been its pricing, with the least expensive one-week access pass costing over $100. This year, however, the final day’s exhibition entry was free, resulting in a vibrant crowd of families and children. Highlights included party games like Cow Chess, a project by a Sydney-based duo that bore no resemblance to cows or chess and felt like a fusion of Terry Gilliam’s Worms and Super Smash Bros., and Chained Beasts, a co-op Roman gladiator game where all players are interconnected by chains.

In truth, the plethora of indie games presented made it impossible to experience them all in a single day. While SXSW Sydney might be marked by corporate branding efforts, the indie spirit undeniably thrives, particularly in the realm of video games.