Unpacking the Dev's Bookshelf: Nyamakop's Marcia Shange on Fantasy Escapes and Game-Ready Worlds
AI Gaming News Author · Rock Paper Shotgun ·
Nyamakop COO Marcia Shange shares her eclectic reading list, revealing how fantasy epics, classic horror, and thought-provoking memoirs inspire her work and spark ideas for innovative game adaptations, like an open-world take on *The Midnight Library*.
Right, so you know that feeling when you're deep into a game, totally lost in its lore, and you just *know* there's a whole library of inspiration behind it? Well, turns out, that's often literally the case. We've been poking around the digital shelves, and a recent chat from Rock Paper Shotgun really caught my wizardly eye. It featured Marcia Shange, the Chief Operating Officer of South African devs Nyamakop – the clever folks behind the mind-bending puzzle platformer *Semblance* and the upcoming postcolonial heist 'em up, *Relooted*. Our mate Edwin Evans-Thirlwell over at RPS had a proper nosey at her bookshelf, and bloody hell, it’s a goldmine of fantasy, dark magic, and some genuinely deep thoughts on narrative. Turns out, what game developers read isn't just a casual pastime; it's a peek into the very soul of their creative process. This fascinating chat originally appeared on Rock Paper Shotgun, penned by Edwin Evans-Thirlwell.
Marcia confessed she’d hit a bit of a reading slump – happens to the best of us, mate, whether it's books or games. But what pulled her back? Fantasy, of course! She's currently wrestling with *The Dragon Republic*, the second book in R.F. Kuang’s *The Poppy War* trilogy. And by 'wrestling,' I mean it's got her 'brain in a chokehold,' which sounds like a potent spell indeed. As for what she just wrapped up, it's a bit of a marathon – Tracy Deon's *The Legendborn Cycle*. Four books deep into King Arthur lore mixed with a glorious 'sprinkle of Black girl magic,' as she put it. Sounds like exactly the kind of narrative alchemy we need more of in gaming, doesn't it? She also squeezed in *The Knight and the Moth* by Rachel Gillig, describing it as a 'whimsical dark gothic fantasy' and shouting out a character named Bartholomew. I reckon any book that inspires such a specific, enthusiastic shout-out is worth a look.
And what's next on her enchanted reading list? Apart from finishing *The Poppy War* trilogy, she's diving headfirst into Brandon Sanderson's *Mistborn* series. It seems our Marcia is firmly stuck in the fantasy realm, and honestly, who can blame her? In her own words, 'The world is in shambles and a fantastical escape is needed.' Preach, mate, preach. We all need that portal to another dimension sometimes, whether it's through a controller or a page. But she's also planning to revisit some proper old-school horror – Bram Stoker's *Dracula* and Robert Louis Stevenson's *Dr. Jekyll and Mr. Hyde*. Her take on them is just brilliant; she marvels at Jonathan Harker's naivety in *Dracula* and praises *Dr. Jekyll* for being 'beautifully written... horror but reads like poetry.' It really makes you think about how different eras frame horror and character – something game devs are constantly grappling with, trying to build characters that are memorable and unsettling without relying on cheap jump scares.
Now, this is where it gets really interesting for anyone pondering narrative design. Marcia shared a couple of quotes that have truly stuck with her. From *The Poppy War*, the Phoenix declares, 'Nothing is written... Destiny is a myth. The gods choose nothing.' That's a punchy one, isn't it? Especially in an industry where we're often talking about player agency and choices that *feel* meaningful. What if a game leaned into that idea, not just letting you make choices, but truly making you feel like your path isn't predetermined by some grand, unseen hand? Then there's the deliciously chilling description of Mr. Hyde from *Dr. Jekyll and Mr. Hyde*: 'He is not easy to describe. There is something wrong with his appearance; something displeasing, something downright detestable... I never saw a man I so disliked, and yet I scarce know why.' And the kicker: 'if ever I read Satan’s signature upon a face, it is on that of your new friend.' That's master-level character design, that is. Imagine trying to translate *that* indescribable, visceral revulsion into an NPC's visuals and animations without it feeling like a caricature. It's a proper wizard's challenge, I tell ya.
When it comes to books she's constantly badgering her mates to read, Marcia's got a couple of gems. *The Dream House* by Carmen Maria Machado, a memoir about a toxic relationship, which she calls 'almost perfect.' And then there's *James* by Percival Everett, a reimagining of *Adventures of Huckleberry Finn* told through the eyes of Jim, the fugitive slave. That one, in particular, screams 'untapped narrative potential' for gaming, doesn't it? Imagine a game that deftly flips a classic perspective on its head, forcing players to confront familiar stories from a radically different viewpoint. That’s innovative storytelling right there.
But the real magic happens when she talks about a book she'd love to see adapted into a game: Matt Haig's *The Midnight Library*. If you haven't read it, it's about a depressed woman named Nora who finds herself in a magical library, navigating different versions of her life based on choices she could have made. Marcia wonders how that would translate into an 'open world type of game,' and bloody hell, so do I!
Think about it: an open-world narrative where every major choice you make branches you into an entirely new 'life,' a new environment, a new set of characters, perhaps even new gameplay mechanics unique to that path. The core hub would be the library, of course, a nexus of possibilities. You could experiment, learn, and then return to the library to try a different 'save file' of your life. It's not just a 'choose your own adventure'; it's a metaphysical sandbox about regret, potential, and the infinite pathways of existence. The challenge, of course, would be the sheer scope and the need to make each alternate life feel distinct and meaningful, not just a cosmetic change. How do you maintain player investment when they know they can just 'reset' in the library? That’s where the narrative wizards at Nyamakop (or whoever took on the challenge) would have to pull out all the stops. You'd need a really strong core 'Nora' character and perhaps persistent consequences that subtly carry over, even if you jump lives.
So, there you have it, folks. A wander through the literary mind of a game developer. It’s a brilliant reminder that the best games don't just spring from code; they're nurtured by diverse inspirations, deep dives into narrative, and a healthy appreciation for the stories that move us. Whether it's the epic sagas of fantasy, the psychological twists of classic horror, or the poignant introspection of a memoir, these stories are clearly fueling the next generation of digital worlds. It makes you wonder what else is hiding on the bookshelves of our favourite devs, doesn't it? Perhaps the secret to the next big gaming innovation isn't in a new engine, but in an old dusty tome. Keep those pages turning, and those pixels rendering, mates!
Tags: Game Development, Narrative Design, Indie Games, Reading, Nyamakop
Original article: Rock Paper Shotgun