Writer, storyteller, cultural insights
What did you see your role as?
What I really tried to contribute throughout was just the value of the elder’s voice – that our stories, and the storytellers from our corner of the world, are absolutely amazing.
How did you come to settle on the story of Nuna and the fox?
Really, I think the team decided on the main characters before we decided on the story we’d shape it around. And I think that really there’s a need for telling stories of women and young women and, from my indigenous perspective, I think that’s absolutely fitting to have a story of empowerment for young women.
During development, how much did you see yourself as a cultural ambassadors?
You know, I think what’s neat is we’re really emphasising that games can be a powerful medium for telling stories, for engaging in a story. So many people seem to comment on how they feel like they’re in that world. And that was absolutely what we were thinking about throughout… A different type of game may de-emphasise the story and have it just be about mechanics, puzzles and getting through things, and that’s the meat of the gameplay. But we were really engaging [with the story], having it not just be a side thing.
Is it an spiritual experience playing it now?
When we’re out in that world, it feels that the elders support it. That they like it! At least the elders I’ve talked to. And, for me, that’s the utmost validation. And when we hear James [Nageak]’s voice, and it’s all coming together, and it’s both respectful but creatively interesting, I’d say, yeah, it’s spiritual experience.