Imagine navigating a world where everyday tasks feel like insurmountable challenges. This is the reality for many neurodivergent individuals, and game designer Susannah Emery is using her craft to shed light on these experiences. But here’s where it gets controversial: can a video game truly bridge the gap between neurodivergent and neurotypical perspectives? Susannah believes it can, and her work is sparking conversations about inclusivity and understanding.
Emery’s game, Life (Re)Sounding, takes players on a journey through the eyes of someone who perceives the world differently. Instead of battling aliens or monsters, players tackle mundane tasks—like cleaning a room—but with a twist. For instance, as you toss trash into a bin, the lights gradually brighten until the room becomes blindingly overwhelming. This isn’t just a game mechanic; it’s a reflection of Emery’s own light sensitivity, a common experience for many neurodivergent people. “It’s the world that creates these challenges, not us,” she explains, challenging players to rethink their assumptions about neurodivergence.
Based at Adelaide University in Australia, Emery specializes in designing games that tackle social issues. She believes games are a powerful medium to explore misunderstood experiences. “They allow us to step into someone else’s shoes in a way that’s both engaging and thought-provoking,” she says. But this is the part most people miss: her journey into game design wasn’t without hurdles.
During her final year of high school, Emery was discouraged from pursuing multimedia studies because of her gender. A career counselor suggested it wasn’t a suitable path for a girl. She initially doubted herself—until she attended a university open day and saw a female head of department leading the multimedia program. That moment was transformative. “I realized I could do this too,” she recalls. This experience fueled her determination to not only enter the industry but also advocate for diversity within it.
Emery’s path to becoming a game designer was unconventional. After earning her undergraduate degree, she taught in a remote Anangu community in Australia’s Northern Territory. Many students were disengaged from traditional lessons but were passionate about video games. She saw an opportunity and introduced a Nintendo Wii console, using Wii Sports to boost attendance and engagement. This experience inspired her to explore the intersection of education and gaming, eventually leading her to co-design a game that blended First Nations knowledge with the Australian curriculum. Her passion for using games as a tool for social change drove her to pursue a Ph.D., focusing on raising awareness about domestic violence through gaming.
But here’s the controversial part: despite women and nonbinary individuals making up half of Australia’s gaming audience, they represent only 22% of game developers. “The people making games should reflect the people playing them,” Emery argues. This disparity isn’t just a numbers problem—it’s a creativity problem. When diverse voices are excluded, games risk becoming homogenous and less relatable. So, how can we fix this? Emery believes it starts with representation and encouragement for underrepresented groups to enter the industry.
Artificial intelligence (AI) is another hot topic in gaming. While Emery acknowledges AI’s potential to streamline game development, she warns against letting it replace human creativity. “Games should be about human stories,” she says. “AI can help us bring those stories to life, but when it becomes the creator, the soul of the game is lost.” She points out that AI lacks personal experiences, emotions, and the unique perspectives that make games resonate with players. “Nobody wants to play a game that’s just a recycled version of something else,” she adds. So, where do we draw the line with AI in gaming? It’s a question that’s dividing the industry, and Emery invites us to join the debate.
For aspiring game designers, Emery’s advice is simple yet powerful: start creating. Whether it’s designing games on paper, using free tools like Scratch or Twine, or collaborating with friends, the key is to experiment and iterate. “Game development is all about playtesting,” she explains. “You try something, see what works, tweak it, and try again. There’s no failure—just restarts, like in Mario.”
Susannah Emery’s work challenges us to rethink how we perceive neurodivergence, diversity in gaming, and the role of technology in storytelling. Her games aren’t just entertainment—they’re catalysts for change. So, here’s the question: can a game truly change how we see the world? And if so, what stories do you want to tell? Let’s continue the conversation in the comments.
