For the past ten years, the USC Games Expo has quietly established itself as a vital incubator for emerging talent in the video game industry. This annual showcase, held at the University of Southern California’s School of Cinematic Arts, has served as a launchpad for countless independent developers, many of whom have gone on to create critically acclaimed and influential titles. Games like the emotionally resonant Journey, the narrative-driven What Remains of Edith Finch, and the innovative puzzle game Threes! all trace their early development back to the halls of USC’s Interactive Media & Games Division, where students experiment with groundbreaking ideas that shape the future of interactive storytelling. This year’s expo continued that tradition, offering a glimpse into the next wave of creative projects poised to make their mark on the gaming landscape.
The USC Games Expo, a cornerstone of the academic year, provides a unique platform for students to present their diverse range of interactive creations. Attendees have the opportunity to engage with a broad spectrum of projects, from intricate digital games and engaging tabletop experiences to immersive themed entertainment installations. For the student creative directors, the event is a crucial moment of truth, allowing them to observe firsthand how real players interact with their meticulously crafted work for the very first time.
Jim Huntley, an associate professor of Interactive Media & Games and the head of marketing for USC Games, described the expo as "the largest academic games showcase in the world" in an interview with Deadline following this year’s event in May. He noted the expo’s steady growth over its decade-long history, stating, "We’ve been doing it for a little over 10 years now, and it’s been getting bigger and bigger each time." This sustained expansion underscores the program’s increasing influence and the growing significance of the expo as a bellwether for emerging trends and talent.
While the USC Games Expo primarily features work from students enrolled in USC Games programs, it is not exclusively limited to them. Any current USC student who has developed a game is eligible to submit their project for consideration. This open submission policy transforms the expo into a comprehensive celebration of interactive storytelling across the entire university. However, the undeniable centerpiece of the showcase remains the Advanced Games Project (AGP). This capstone course is where multidisciplinary teams dedicate three intensive semesters to conceptualizing and building an original game, culminating in a playable demo presented at the expo.
"It’s the final expression of all the stuff that they’ve learned throughout their time learning with us," Huntley elaborated on the AGP program. Students embark on an approximately 18-month development cycle, beginning with an initial pitch and progressing through to a polished project. Working in small, studio-like environments with teams often comprising around 30 collaborators, these students meticulously refine their games before unveiling them to the public at the expo.
Huntley emphasized the increasing importance of this extended development period. USC Games has recently integrated an additional semester dedicated to pre-production, affording students more time to thoroughly refine their concepts before commencing full-scale production. "We value pre-production so much," he added, explaining that this enhanced preparation allows teams to develop a deeper understanding of their project’s core vision and mechanics before committing significant resources to development.
This pedagogical emphasis on rigorous preparation aligns with the program’s commitment to evolving alongside the dynamic and ever-changing video game industry. Huntley revealed that USC regularly engages with external studios and publishers to ascertain the skill sets and knowledge graduates will require to succeed in the professional workforce. Crucially, the program prioritizes discerning lasting industry shifts from fleeting trends, ensuring that curriculum updates are both relevant and sustainable.
Artificial Intelligence (AI) serves as a prime example of this strategic approach. Instead of focusing on instructing students to rely on AI-generated content, the program prioritizes the cultivation of foundational creative and technical skills. AI is viewed as a powerful tool to augment game development, not replace the core competencies of game designers. "We do want to make sure that the students know how to script and code and write and design by hand, so that they’re not relying on the tool as a crutch," Huntley stated. He further expressed his admiration for the raw creativity exhibited by the students, describing the program as "blue sky: what do you want to make? This is where they can make that dream happen, and it’s fun seeing what kind of dreams they have." This year’s expo indeed reflected that vibrant spirit of imaginative exploration.
Showcasing Innovation: A Glimpse at Featured Projects
This year’s USC Games Expo highlighted a selection of projects that exemplify the program’s commitment to fostering unique perspectives and innovative gameplay. Deadline spoke with the creative directors of three standout titles: Aftertaste, Sisyphus’s Worst Day (Again), and Unrealtor. These emerging developers shared insights into their creative processes, their embrace of quirky narratives, inventive puzzle design, and the creation of liminal worlds that reward player curiosity.
Aftertaste: A Surreal Journey Within
Name: Baozee
Age: 22
Hometown: Hefei, China
Aftertaste is a surreal narrative platformer that immerses players in the experience of Tammy, a sentient tongue navigating the internal landscape of an overworked chef who has lost her culinary passion. Drawing inspiration from traditional Chinese medicine, creator Baozee has ingeniously transformed the chef’s internal organs into evocative emotional landscapes. The game masterfully blends quirky visuals with a deeply personal narrative exploring themes of burnout, the process of healing, and the rediscovery of creativity.
DEADLINE: What is Aftertaste?
BAOZEE: Aftertaste is a 2D side-scrolling platformer where players embody a tongue named Tami. Tami’s mission is to assist an overworked chef named Keh, who is suffering from burnout and has lost her sense of taste. To uncover the root cause of this affliction, Tami ventures inside Keh’s body. The game is essentially a narrative adventure focused on reclaiming her sense of taste, rediscovering lost memories, and reigniting her passion for cooking.
DEADLINE: The concept of a sentient tongue as a protagonist is incredibly unique. What sparked this idea?
BAOZEE: The initial inspiration struck last year during a stress management class where I was learning about Chinese medicine. We delved into the intricate connections between emotions and physical sensations, particularly taste. In traditional Chinese medicine, specific tastes are associated with different emotions and internal organs. This concept became a significant driving force for my game. Furthermore, the tongue is an often-overlooked yet incredibly complex muscle. I thought, "Why not create a game centered around it?" That’s how the story for Aftertaste began to take shape.
DEADLINE: Were you concerned about the potential squeamishness players might feel about a tongue as the main character?
BAOZEE: Yes, that was definitely a consideration. During the AGP program at USC Games, I received initial feedback where many people found the concept unappealing or difficult to visualize. However, others were drawn to its unique blend of the peculiar and the endearing. This dichotomy highlighted the subjective nature of creative reception.
DEADLINE: How was it to receive such direct feedback on your creation for the first time?
BAOZEE: It was my first experience receiving such direct and professional feedback. Presenting the game to a diverse audience of industry professionals and peers at the school was a significant step for me. As one of the only sophomore students leading a project, alongside the director of Sisyphus’s Worst Day (Again), it presented a considerable challenge, but the learning experience was invaluable.
DEADLINE: What was the most challenging aspect of developing Aftertaste?
BAOZEE: Recruitment proved to be the most significant hurdle. Our team comprised students from various disciplines across USC, some of whom had limited prior game development experience. In a professional studio, team members are compensated for their work. Here, with teams of 50 to 60 individuals, discerning genuine passion from a desire for course credit was difficult. Ultimately, I relied heavily on the trust I had in my friends. The design lead was my roommate, and the art director was a close friend. I believe that strong friendships, love, and care are powerful foundations for creating something remarkable.
DEADLINE: Conversely, what was the most rewarding aspect of persevering with your unique vision?
BAOZEE: Witnessing the release of the trailer and the enthusiastic reception from the audience at the Expo was incredibly gratifying. We were also immensely proud of creating such a charming and visually appealing character. The creation of merchandise further solidified our connection to the game, serving as a tangible representation of our team’s efforts and the game’s impact.
DEADLINE: What games or films served as inspiration for Aftertaste?
BAOZEE: Super Mario Odyssey was a significant influence, particularly its themes of transformation, diverse abilities, and tactile interaction. Aftertaste shares this focus on engaging player mechanics. Additionally, the film Inside Out was inspirational for its clever personification of internal organs and emotions.
DEADLINE: What games have personally inspired you?
BAOZEE: What Remains of Edith Finch, also developed by a former USC Games student, profoundly impacted me. It demonstrated the potential for games to explore profound and serious themes, which was a key factor in my decision to pursue game development in college.
DEADLINE: What are your aspirations after graduation?
BAOZEE: My dream is to become a freelance game developer. I have a broad range of interests, and I’m currently studying anatomy, but my ultimate goal is to create compelling indie games with small, dedicated teams.
Sisyphus’s Worst Day (Again): A Mythic Puzzle Reimagined
Name: Jason Lin
Age: 21
Home Country: Taiwan
What began as Jason Lin’s fascination with the concept of loops evolved into a clever and humorous reinterpretation of Greek mythology. Sisyphus’s Worst Day (Again) is a 3D puzzle game that challenges players to meticulously engineer elaborate contraptions designed to keep Sisyphus trapped in his eternal, cyclical torment. The game skillfully blends dark humor, inventive puzzle design, and a playful subversion of an ancient tale.
DEADLINE: What drew you to the myth of Sisyphus? His story seems inherently suited for a game. How did this concept materialize?
LIN: My initial idea was to create a game centered around loops and cycles. I explored mechanics where players would reverse-engineer AI by preventing it from achieving its objectives. However, I soon realized this premise lacked narrative depth. I sought a story that players could connect with, which led me to Greek mythology, a subject I’ve always been passionate about. The myth of Sisyphus proved to be an ideal fit, allowing me to craft my own interpretation to serve the game’s mechanics.
DEADLINE: What was the most challenging aspect of developing this game?
LIN: The initial phase was particularly demanding. We had to simultaneously design the game and lead a large team that was unfamiliar with the game’s direction until the first demo was developed. Our design lead had the arduous task of creating levels with the conviction that they would eventually function, while also assigning tasks to teammates without absolute certainty of the final outcome. This challenge permeated the entire team. Each member had to believe in the vision before it was fully realized. Cultivating that collective confidence was arguably the most difficult aspect.
DEADLINE: What was the most rewarding part of bringing Sisyphus’s Worst Day (Again) to fruition?
LIN: Witnessing people play the game was incredibly rewarding. The first moment we truly felt the game was fun was after completing our demo last December. Observing play-testers navigate the puzzles and hearing their exclamations of "Oh my God, these puzzles are really interesting!" was immensely validating. Showcasing the game at the USC Games Expo was another significant highlight. It provided the opportunity to present our work to the public, observe their interactions, and gauge their reactions. We also found great enjoyment in creating merchandise and curating an overall experience around the game. The atmosphere at the Expo was truly exceptional.
DEADLINE: What games served as inspiration for Sisyphus’s Worst Day (Again)?
LIN: Our primary inspirations came from two distinct areas. Narratively, Hades and Hades II were major influences. Their successful integration of ancient Greek mythology with contemporary game genres, including their distinctive art style, axonometric perspective, and character design, provided valuable insights. From a gameplay perspective, we drew inspiration from traditional Sokoban-style puzzle games. Additionally, the puzzle design and visual style of Order of the Sinking Star closely aligned with our creative aspirations.
Unrealtor: Navigating Surreal Spaces
Name: Ariel Sol
Age: 25
Hometown: Chicago
Inspired by Ariel Sol’s own frustrations with the arduous process of apartment hunting in Los Angeles, Unrealtor transforms a mundane house tour into a surreal co-op puzzle adventure. Players must navigate impossible architecture and solve perspective-bending puzzles as the very fabric of reality warps around them. Drawing heavily from games like Superliminal, Sol masterfully blends optical illusions with an uncanny, dreamlike atmosphere, turning a familiar experience into an inventive and captivating mystery.
DEADLINE: Unrealtor is a visually striking and conceptually trippy game. How would you describe its essence?
SOL: Unrealtor is a local co-op game designed for two players to enjoy together on a couch. The premise involves two friends touring an apartment they’re considering renting. However, the house tour quickly devolves into a surreal labyrinth, and the players must find a way to escape while the landlord persistently attempts to finalize the sale. At its core, it’s a puzzle game, and our primary mechanic revolves around perspective. Players manipulate objects by viewing them from specific angles, which then projects a 2D image across the split-screen display.
DEADLINE: How long were you at USC, and how long did it take to develop Unrealtor?
SOL: The master’s program at USC is a two-year commitment. The development cycle for Unrealtor spanned one year, conducted through the Advanced Games Project. Projects are approved in the fall, and from that point until the following USC Games Expo, the focus is entirely on ideation and development.
DEADLINE: How did the unique concept for Unrealtor come together?
SOL: The genesis of the idea involved two primary threads. Firstly, the core mechanic—I was deeply fascinated by optical illusions and the interplay between 3D and 2D space. However, I also believed that a game, to be more than just a toy, needed a compelling narrative. Simultaneously, I was navigating the challenges of finding housing in Los Angeles, recalling numerous frustrating apartment tours. Questions like, "Where would a bed even fit?" were common, often met with the unhelpful suggestion, "Just put it diagonally." This experience highlighted how, stripped of real-world pressures, apartment hunting can feel like a puzzle in itself, requiring players to decipher spatial logic. It was at this point that I realized these seemingly disparate ideas could be effectively combined.
DEADLINE: What was the most significant challenge you faced during development?
SOL: Interdisciplinary communication presented the greatest challenge. I am incredibly proud of my team because I presented them with an idea that was, frankly, difficult for me to articulate. If it was challenging for me as the director, conveying it effectively to everyone else was an even greater hurdle. The primary difficulty lay in integrating design and art. Typically, designers establish the mechanics, and artists enhance their visual presentation. However, because our core mechanic relied on precise visual alignment within a 3D space, art had to be intrinsically involved in the design process, and designers, in turn, needed to contribute to visual considerations. Establishing this communication pipeline required considerable time and effort.
DEADLINE: How did you overcome this communication barrier?
SOL: Initially, we conducted separate meetings for designers and artists. However, it soon became evident that bringing everyone together in a single room was far more efficient. We started asking, "What do you need from each other?" This collaborative approach significantly streamlined the entire development process.
DEADLINE: What was the most rewarding aspect of creating Unrealtor?
SOL: Playtesting was undeniably the most rewarding phase. Especially with a puzzle game, there is immense satisfaction in witnessing a player experience that "aha!" moment—the sudden realization of how to solve a puzzle. When you’re designing these challenges, you already know the solutions, so you’re essentially estimating when players will arrive at that point of understanding. Seeing them actually reach that moment is incredibly fulfilling.
DEADLINE: What games inspired Unrealtor, and what games inspire you as a developer?
SOL: Superliminal served as our most significant reference point, given its similar exploration of unconventional puzzle mechanics. We also drew inspiration from games like Blueprints and Monument Valley. On a personal level, the game that fundamentally altered my perspective on what games could be was Journey. It demonstrated that games could transcend mere entertainment and function as art. Its clean, experiential design and beautifully crafted narrative arc have stayed with me ever since.
The USC Games Expo continues to be a vital platform, not just for showcasing student talent, but for actively shaping the future of the game development industry. By fostering an environment of innovation, collaboration, and rigorous development, USC Games is ensuring that its graduates are well-equipped to push the boundaries of interactive entertainment for years to come. The success of past alumni and the continued vibrancy of the annual expo are testaments to the enduring power of this influential academic program.
