It’s like this place that I’ve known all my life, but is nowhere in American cultural consciousness. These places exist!
At the center of Midautumn is its portrayal of the Asian diaspora, specifically surrounding the portrayal of a very specific type of Asian community that exists in America and that everyone on the team was familiar with: one where several different Asian groups come together, both grounding and maintaining their disparate cultures. Jiang says that much of their inspiration for the Nambo Quay community came from the visual novel game Butterfly Soup, an Asian lesbian diaspora visual novel about baseball. Soup compared to Midautumn. “It’s like this place I’ve known all my life, but there’s nowhere in American cultural consciousness. These places exist! But you don’t know they exist unless you live in A.”
Mid-Autumn Announcement Screenshots
They add that while Midautumn begins as a very personal and individual story, it later expands “to how different Asian groups interact and how it’s not a monolith and how there can be different strategies to fight the things happening in the city. works really well when you have this cast of characters from different backgrounds, perspectives, and cultural references. “
That said, Jiang didn’t want to make a game about solutions to the problems these communities face, largely because they don’t have clear, concrete answers. Instead, Midautumn is “about people doing their best.”
I thought the roguelike structure would be really interesting to tell – something where battling it takes repeated, almost endless work.
Uduwana says he wanted to create something specifically about the Asian diaspora partly because of his own background: he’s Sri Lankan, but spent 13 years growing up in Vietnam, and also part of his life in Singapore.
“I have a strange mishmash of different influences where I’m almost unable to tell a story that would be read as authentic to anyone else in the Asian diaspora if I were to write it,” he says.
“It’s hard, when you’re making games that cater to a marginalized audience, you have to take into account that a lot of the people playing those games have a certain level of distrust in how they’re portrayed,” he said. “So we try very early on to develop goodwill and trust. We do our best to portray these characters, so I hope people can relax. When I play games, once I get to the point where I feel a certain level of trust with a developer, it’s really only when I can start enjoying games where people like me are represented. “
Pham tells me that it was this concept in Uduwana’s pitch that led them to work on the game in the first place, referencing the frustration many Asian Americans have with the lack of Asian representation in games. video games, and the view of their very separate and unique. cultures as a monolith.
I was like, ‘Oh my God, I can see myself in this game. “It was a representation for who I am.
Pham is clear that Asian representation isn’t the only type of representation important to the team, however. They tell me about several characters with diverse gender identities, including the game’s non-binary protagonist, Robin. It’s been fun designing such a diverse and colorful cast, they say, and they try to be considerate and sensitive to the portrayals to ensure players can see themselves in the game as, first and foremost, human beings.
“What really struck me when I was sent the character bios was that Sherveen said to focus more on body diversity,” they add. “It was really fun tackling different body shapes and different types of people who have such different personalities.”
For Mosser’s role on environments, she’s been doing pixel art since a young age, but with Midautumn she wanted to do something that both incorporated the game’s themes and roots while looking very different from anything that’s come before. existed.
“One problem I have with pixel art games is that they can feel the same way most of the time because they all pull from the same references,” she says. “It gets into this cycle of people referencing the same few games, like Earthbound or Pokemon or Final Fantasy, so you end up with styles that look a lot alike.
“But when I came to work on this project, I told Sherveen that I wanted to draw from real life. Pixel art is just a medium; we can represent whatever we want. So we took a look. look at a bunch of different places across Asia, a bunch of different art styles and painting techniques that people use, and I wanted to take the essence of those and use them in the style art of the game. So in the wood biome, it’s a mixture of three different styles: there’s the traditional ink painting that you might know from Chinese landscape paintings. There’s a style more messy which is inspired by the palette knife paintings you might see on the street…and then there’s a bit of graffiti art influence in the foreground…I think it got turned out to be truly unique.”
The kind of communities that unite around the games you create are defined by the values and morals you put into them.
He says that whether Midautumn takes off or not, he hopes that people who find the game resonate with them will then in turn be able to find themselves and connect through the shared story.
“Building communities has always been very important to me,” he says. “In your career as a game developer, you have a limited number of games that you are going to create. The kind of communities that unite around the games you create are defined by the values and morals you put into them. For me, especially in a time when I’m getting more and more disappointed with a lot of things in the video game industry, I’m getting more and more eager to see the kind of things that represent me or people that I know . “
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