I've been seeing a handful of Peruvian, Andean, and Inca themed games. Have any of them had a Peruvian or Bolivian person actually involved? Game design, development, art, anything?
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Replying to @DanielSolis
Manuel Correia Retweeted Manuel Correia
I know the feeling.https://twitter.com/gamesbymanuel/status/1229724834197856262?s=19 …
Manuel Correia added,
Manuel Correia @gamesbymanuelWas there any Portuguese person involved in the production of Azul (or others in the series)? I am a big fan of the design and it's refreshing to see the aesthetic used in board games but looking over the credits I can't help but feel icky. (@PlanBGames_ ) pic.twitter.com/Qic9l6tcPWShow this thread1 reply 0 retweets 1 like -
Replying to @gamesbymanuel @DanielSolis
Genuine curiosity: What's the threshold on cultural appropriation? I get taking a culture and misrepresenting it, but just using it as a theme for a mechanic? I'm Irish and adore Inis, a game made my a Frenchman, published by a French company.
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Looking at my game shelf, at a glance, I see Tales of the Arabian Nights, Seikatsu, Segrada, The Quest for El Dorado, and Takenoko. All of them lean on a cultural theme. Which are problematic? Why? Why not?
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Replying to @quaidrayn @DanielSolis
I don't know exactly where the threshold is but I would say the levels of prosperity between the cultures matter a great deal. I mentioned Azul because it was the first time I felt it affecting my culture directly.
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In Azul the game is so abstract, it could be about anything but they chose to present it as azulejo and that's what first draws people to it.
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