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Scan for outdated or missing drivers - takes under a minuteDriver Scan →Repair Windows errors before they cause bigger problemsFix Now →In a June 12, 2023 interview with MobileSyrup, Xbox executive Sarah Bond argued that games meant for everyone need teams that reflect everyone, said Xbox should offer something for many different people and moments, described its work with independent developers as long-term support rather than a one-time showcase slot, and singled out small Canadian studios she admired. The interview ran the day after Xbox’s June 11, 2023 Games Showcase. Everything below reflects Bond’s stated views at that time, not later Xbox decisions.
Who was speaking, and when
MobileSyrup identified Sarah Bond as Xbox’s corporate vice president for game creator experience and ecosystem. That was her role on the interview date. The interview, written by Bradly Shankar and published under the headline “Xbox’s Sarah Bond on the importance of representation, future games and Canadian indies,” says it was edited for language and clarity. The article does not establish what Bond’s role is today, so treat her title as a description of June 2023. The full interview is at MobileSyrup’s original article.
The conversation covered several topics: support for Bethesda’s Starfield, how visible Xbox leadership is to developers and players, representation, Canadian indie studios, the Xbox catalogue, cloud gaming, and what Bond expected from Xbox’s first-party portfolio. This article concentrates on the first four, since those are where Bond’s statements are most specific.
Representation starts with who builds the game
Bond’s central argument was that the people making a game shape what it can say. Asked about representation, she framed it as a practical requirement rather than a values statement: “if you want to build something for everybody, the team needs to represent everybody.”
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She named the dimensions she had in mind: gender, where people are from, racial background, language, and ability. She also said that teams should include people with a broad range of backgrounds and life experiences, which is how she linked the composition of a studio to the quality and reach of its games. In her words, Xbox does not get to create “authentic, innovative, evocative, new experiences that meet people where they are if only one set of people who look a certain way and have had a certain life experience are building those.”
Bond did not present this as a finished job. She said the company had “made a ton of progress” over the five years she had been on the team, but that there is “a ton of distance to go,” and that “you’re never really done on that.” Readers looking for a measured result, such as a percentage of staff or a target date, will not find one in the interview.
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A catalogue meant for different people and moments
On catalogue breadth, Bond described a goal rather than a list of commitments. She said Xbox wants “everybody to be able to come to Xbox and find something for them, or find something for that moment in time.” She also made the point that size of audience alone does not define a successful game: “There are games that everybody tweets about. There are big things people always talk about,” and yet, as she put it, “In the end, people want games.”
She listed the kinds of experience she wanted the catalogue to cover:
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- Immersive games
- Multiplayer games
- Culturally specific games
- Emotional games
- Historical games
- Creative or experimental games
This is a statement of intent. The interview does not say how Xbox weighs these categories against one another, and it does not list which future releases would fill them.
Developer partnerships and Canadian indie studios
Bond described Xbox’s relationship with outside developers as something built over years. In her account, that support can include help launching and marketing a game, feedback, dashboard assistance, and education. She set this against a narrower view of what a platform relationship might look like, one where a developer gets a showcase appearance or a place in Game Pass and little else. The distinction matters for reading her comments: she was describing a model of ongoing involvement, not a list of guaranteed services for every partner.
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Bond also described her own use of attention. She said she used her public profile to highlight smaller games she admired, and she named two Canadian studios.
Cococucumber, Toronto
Bond cited Toronto’s Cococucumber, whose games Ravenlok and Echo Generation appear in the interview as examples of the smaller titles she wanted to promote.
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- MODERNIZED DESIGN — Experience the modernized design of the XBOX Wireless Controller with sculpted surfaces and updated geometry that enhances comfort and control during long gaming sessions.
- PRECISION PERFORMANCE — Stay on target with a hybrid D-pad and textured grips on triggers, bumpers, and back case for improved accuracy and handling.
- SHARE BUTTON: Seamlessly capture and share content such as screenshots, recordings, and more with the new Share button.
- VERSATILE CONNECTIVITY — Connect via USB-C for plug-and-play on console and PC, or quickly pair and switch between supported devices with XBOX Wireless and Bluetooth support.
- BUILT-IN AUDIO SUPPORT — Plug in compatible headsets using the 3.5mm audio jack for direct voice chat and immersive in-game sound.
Thunder Lotus, Montreal
Montreal’s Thunder Lotus, which made Spiritfarer and 33 Immortals, is the clearest example Bond gave of a partnership in motion. According to Bond, the studio wanted to work with Xbox again and return to Game Pass because of its earlier positive experience. That is Bond’s account of the studio’s wishes. The interview does not independently check the studio’s experience and does not disclose the commercial terms of the relationship.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Games and studios named in the interview
The interview mentions a number of titles as context for Xbox’s portfolio and its developer relationships. The table below lists them by studio. These are examples from a June 2023 conversation, not a list of what is currently available or included in any subscription.
| Studio (location as stated in the interview) | Games named | Role in the interview |
|---|---|---|
| Bethesda | Starfield | Discussed as an example of support across Xbox teams |
| Xbox first-party (no studio named) | Fable, Senua’s Saga: Hellblade II | Part of the first-party portfolio context |
| Compulsion Games (Montreal) | South of Midnight | Montreal studio example |
| inXile | Clockwork Revolution | Portfolio context |
| Cococucumber (Toronto) | Ravenlok, Echo Generation | Smaller games Bond said she highlighted |
| Thunder Lotus (Montreal) | Spiritfarer, 33 Immortals | Partnership Bond described as returning to Game Pass |
| Not stated (third-party) | Pentiment, Hi-Fi Rush, Cities: Skylines II | Mentioned in the article’s context; the interview does not describe their development or partnership terms |
What this interview does and does not establish
- It establishes what Bond said in June 2023 about representation, catalogue breadth, partner support, and two Canadian studios.
- It does not establish which of the named games are currently playable, free with Game Pass, or sold in any particular edition.
- It does not establish that any later Xbox release, partnership, or hiring target followed from these comments.
- It contains no published statistic. Bond described her partner interactions as “dozens, hundreds,” an informal way of speaking rather than a counted figure.
- Its reporting on Bond’s views is limited to one interview. Her statements should be read as her own account, not as an audit of Xbox’s studios or processes.
Readers who want to check what happened after 2023 will need to look at Xbox’s own announcements and the current catalogue, since the interview cannot speak to either.
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