How Indian game developers are reshaping the industry

For almost half a decade now, there’s been a concerted effort to support homegrown talent—from fashion to beauty, and even video games. The clarion call to produce local has never been more pronounced. In fact, I stumbled upon an article from 2020 that chronicled how the creators of Raji: An Ancient Epic, one of India’s most renowned video games, faced immense challenges in securing funding for their project. They experienced so many rejections from prospective investors that they nearly advised their team to seek other employment opportunities. Ultimately, they were awarded an Unreal Dev Grant by Epic Games. The grant programme, established in February 2015, is a $5 million (₹40 crore approximately) fund for studios and promising developers. 

Raji stood out for the significant attention it garnered as a game developed in India and appreciated in Western markets. Last year was significant for Indian developers as well as how Indian culture was portrayed in video games. In March 2023, Xbox unveiled a programme aimed at assisting “underrepresented creators”, selecting The Palace on the Hill by Indian developer Niku Games as one of the beneficiaries. In May, Sony introduced a similar initiative to support up-and-coming game developers, especially in India. And then in July, Toronto-based Visai Games released Venba, which has been praised for its portrayal of Indian immigrants in Canada and the experiences of the Indian diaspora.

For the culture 

Closer home, in Chala (Gujarat), Studio Oleomingus, is best known for building short single-player narrative games and video game-based installations, where they explore the intersections of postcolonial writing and interactive fiction. Some of the famous works by this independent game and art practice studio run by Dhruv Jani and Sushant Chakraborty include It Takes A Long Time To Grow A Mountain, which plunges players into the depths of time, inviting them to unearth forgotten narratives and challenge preconceived notions of the past. Situated within the rugged splendour of the Western Ghats, this multi-level maze offers an immersive exploration through time, mythology, and nature. It uncovers the complex histories and forgotten tales that shape our landscapes. As players traverse the labyrinth’s intricate passages, they discover excerpts from a diary written by a daring explorer who documented these lands before the borders of Gujarat and Maharashtra were officially established.

There’s also the intriguing A Museum of Dubious Splendor, which is a collection of short stories about prosaic objects and spurious histories, each written in the manner of a colonial etiological tale. It is an irreverent examination of worth and possession, aggrandisement and accumulation, the violence of objects, and the obfuscation of time. But most of all, it is an attempt to subvert our reverence for the hoard of a colonial archive. Studio Oleomingus created this with support from the India Foundation for the Arts & Technicolor. 

“Much of our work is an attempt at turning the simulated worlds of video games into possible sites of protest and reparation. Our fascination with the plural and discordant possibilities of using hypermedia as a form of record emerges from the belief that privilege withdraws from us the right to consume our own histories. That some stories from the fissures of society and time will simply not be told until the violence of their recollection and the absurdity of their form is accommodated in the method of their telling,” says Jani.

Growing pains

However, despite the stellar work being done by a handful of Indian developers, there is an obvious void in the support these developers receive in terms of grants or an educational infrastructure model that isn’t backed by exorbitant tuition fees. New Delhi-based Karan Singh, who enjoys gaming and has been following the growth of India-made video games closely, believes game development in India is “on the rise” and values events like IGDC (India Game Developer Conference) that facilitate networking and discussions with investors and publishers across the country. He also stresses the importance and reach of the mobile gaming market in India, noting that “many Indian studios are involved in art, 3D modelling, VFX, and programming for major global publishers”. When asked if this detracts from game development within India, he disagrees, arguing that the experience gained by Indian graphic designers and technical artists working with “big international studios” actually enhances the local industry and leads to more funding opportunities. 

Mumbai-based brand consultancy founder Fabian Rodrigues, who is an avid gamer too, believes world markets such as the US, Japan, and South Korea are way bigger compared to India. Despite this, Indian developers are increasingly forming innovative teams abroad. “The industry in India faces numerous challenges, mainly financial and recognition related. A prime example is PlayerUnknown’s Battlegrounds (PUBG), which enjoyed significant popularity in India, reflecting the dominance of international entities in the market,” he says. Adding that there’s also the cultural perception of video games in India, which is not looked at in the best light, especially in smaller cities and towns, where parents think it’s a waste of time if their children engage in playing video games, almost discouraging them from pursuing game development as a viable career option.

On a positive note

Project Madras also stands out as a noteworthy addition to the indie video game landscape. Developed by Royston Cinemo and a small team in India, this semi-linear, open-world game immerses players in the vibrant and culturally rich city of Chennai. 

What sets the game apart is its focus on cultural references and meticulous attention to detail. Players can explore iconic locations such as the Marina Shore and the bustling Mount Road, and encounter cultural figures like actor Rajinikanth and cricketer MS Dhoni. This creates a virtual tour of Chennai’s most famous spots, blending entertainment with education. The inclusion of missions within this open-world setting gives players a sense of purpose, resulting in a comprehensive and engaging gaming experience. 

While these games may not be mainstream yet, the developers’ approach to gaming has garnered them the right attention, blending the cultural with the functional, and a side of Indian history.

This article originally appeared in Harper's Bazaar India, June-July 2024 print issue.

Image credits: Studio Oleomingus

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