🕹️ Written by Mike Loder
GCAP ... that wonderful blur of ideas, conversations and caffeine that kicks off Melbourne International Games Week. I stopped in for the opening day to catch the keynote and soak up the energy in the foyer.
As the global games industry faces ongoing change, sustainability has become a central focus. After a challenging 2024 for many sectors, the year ahead looks set to continue testing how developers and studios adapt.
The morning was filled with handshakes, quick catch-ups and friendly “good to see you agains” from across the industry.
I reconnected with Rebecca from Indie Brew, who I’d previously sat beside at Indie Symphony II. There’s something grounding about bumping into familiar faces as the week begins.
I even found myself reconnecting with a fellow high school student from my old school who’s already making their mark in the local gaming scene. That sense of shared roots, of seeing someone else coming up through the same halls and now diving head first into games, was awesome.
And then there was a nice full circle moment reconnecting with the team from Sub Zero Sound, who mentioned they’re still using bullet casing props from my film A Little Resistance in their audio experiments. Knowing those little brass shells found new life in gaming filled me with genuine joy, a small reminder of how connected these creative worlds can be.
Before the keynote, I grabbed a coffee and had a quick chat with Jennifer Reuter, one of the speakers. We spoke about the day ahead and their talk on the complexity of colour I took note of how Jennifer appreciates it when developers take on “daring colours,”.
GCAP’s first day can feel a little like the first day of school, familiar faces mixed with new ones, that blend of excitement and nerves (especially when you’re not a developer like me). So Jennifer’s friendly energy instantly made me feel a part of the crew.
One of the standout sessions of the day came from Jordan Mochi, the creator of CONSCRIPT, an upcoming survival horror title set in 1916 during the Great War. The game blends the tense, punishing mechanics of classic horror into a cohesive and hauntingly atmospheric experience, drawing inspiration from the genre’s golden era while exploring the psychological toll of conflict.
Mochi talked about downloading GameMaker in high school to reclaim lost creativity, his lifelong fascination with Resident Evil 4, and his love of history and survival horror that eventually led him to explore World War I through an interactive lens.
He walked us through early prototypes, which included time travel mechanics and painting jumping inspired by Super Mario 64, alongside the ultimate decision to narrow the scope (something I keep hearing from developers) to the Battle of Verdun.
That process of cutting ideas to find clarity felt familiar. As he described the challenges of chasing authenticity, balancing budgets and wrangling technology that “wants to fry your PC,” I found myself flashing back to my own film production journey once more.
His insights on funding, marketing and being vulnerable when it comes to asking for help were great reminders that it’s okay not to know everything.
The marketing and budgeting side of things is often where creatives can trip up, and his take on gamifying milestones referred to as “badges” for getting through the Kickstarter grind was both clever and grounded. It felt like a mirror of so many independent creators I’ve met.
Perhaps the most striking takeaway was his reflection on what he called the “lone wolf complex.” Mochi reminded the room that it’s okay to ask for help, to admit burnout and to step away when needed. His humour, candour and the occasional self-deprecating story, including an unfortunate hospital trip on embargo night, made it all the more human.
As the keynote wrapped, I overheard quiet reflections from developers around me, stories of long nights, self-doubt and small victories. One comment really stood out: “I love the transparency,” someone said, reflecting on how openly Mochi had shared the ups and downs of development. That simple moment summed up why GCAP is special. It’s not just a showcase, but a space for creators to breathe, connect and remind each other why they started out.
Walking back through the foyer, I couldn’t help but think about how our paths as filmmakers, developers and storytellers overlap.
Whether you’re crafting pixels or frames of film, it’s all about chasing something honest, something that moves people, especially as we move further into this tech led and very distracted world we live in.
GCAP has only just begun so expect more updates as the week continues!
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Mike Loder trading as Rusty Sprocket Films.
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