Indigenous Game Developers Challenge Stereotypes and Reimagine Cities in Hill Agency

Growing Indigenous Worlds in Games: A Talk by Achimostawinan Games

At the recent Game Devs of Color Expo, Achimostawinan Games presented a thought-provoking talk on the topic of Growing Indigenous Worlds in Games. The studio’s creative leads, Meagan Byrne and Sadekaronhes Esquivel, explored the themes of reappropriation and combating stereotypes in creative works for Indigenous people.

Design Inspirations and Frustrations: Hill Agency: Purity Decay

Byrne and Esquivel also delved into their game design inspirations for their upcoming release, Hill Agency: Purity Decay. Set in the year 2762, the game follows the story of private investigator Meeygen Hill, who resides in one of the few surviving major cities in North America.

Hill Agency’s world was created to reflect a relationship with plants

Reimagining Cities and Accountability

The developers explained their motivation to reimagine cities by posing a question: “What would we do if cities were emptied due to major natural disasters and Indigenous people reappropriated them?” They wanted to explore how these cities would look and feel. Byrne expressed frustration with mainstream cyberpunk games and films for perpetuating orientalist stereotypes.

By incorporating native plants into the environments and buildings of Hill Agency, the development duo aimed to visually represent the connection between the Indigenous community and flora and fauna. “The plants are everywhere; they should be everywhere,” they emphasized.

Keeping Authenticity and Addressing Feedback

The studio acknowledged that they faced negative feedback for using a city as the backdrop for their game. Byrne responded by highlighting the importance of preserving beautiful houses and structures, as well as shedding light on the unique design of New York apartments.

Esquivel emphasized the survival of the brownstones (rowhouses) in their game’s future world, despite natural disasters. The developers also considered the changes necessary in communication and language as aspects of society evolve. They referenced Blade Runner as inspiration for representing these linguistic changes visually through signage.

Misconceptions and Indigenous Representation

The conversation then shifted to the misconceptions held by non-Indigenous creatives and the issues of stereotypical representation. Byrne challenged the notion that Indigenous people only appreciate art within a curated box. They emphasized the diversity of the Indigenous community’s interests, such as their connection to hip-hop culture.

The duo criticized the portrayal of the fictional Akomish Longhouse in Infamous Second Son, which resembled a Las Vegas attraction rather than an accurate representation of the real Duwamish Longhouse and Cultural Center in Seattle. They highlighted the importance of avoiding stereotypes and racial caricatures in creative works.

Navigating the Dichotomy of Creativity and Expectations

As Indigenous creators, Byrne and Esquivel expressed the challenges they face in balancing their artistic vision with the expectations of potential supporters. They questioned the consent behind funding demands for stereotypical Indigenous work, emphasizing the importance of a true choice in creative expression.

They concluded by highlighting their desire to explore non-stereotypical avenues, such as cyber powwow work, while acknowledging the need for acceptance and support in the gaming industry.

Expanding Indigenous Realms within the Gaming World