With Playtopia, the annual destination of Indie Games & Immersive Arts festival and conference set to return in 2024, GIA has partnered with the event to share insights from the crop of supremely talented creators in attendance. Next up in a series of speaker interviews is game designer at Tiny Baby Crown – Joanna Oluoch

Would you kindly provide some background into who you are, your entry into the games industry and how you came into your current position?

I design and develop games, as well as create character art. I started in Mechatronics Engineering but wanted a more creative outlet to tell stories with what I built while keeping the technical aspect of programming. I began following along with a Brackeys YouTube tutorial on C#. Then, in 2022, I saw a game development bootcamp by Maliyo Games and thought, “Why not?” . I joined with my laptop that barely met the requirements and worked on bootcamp assignments in my spare time during an internship as a processing engineer at a semiconductor factory.

In the bootcamp’s mentorship phase, I met Estelle Makhoba from Tiny Baby Crown. We bonded over our love for cute games, and after the bootcamp, she asked if I’d like to work on her game, Dungeon Crawler. I was so excited—it was my first proper job less than a year after I started learning game development! I’m immensely grateful for that opportunity. Now, I’m working on my first original game, an AR experience called ARGO, funded through the New Dimensions Lab, and made possible with the support of Electric South, National Film and Video Foundation (SA), Ford Foundation, and Fallohide Africa. It advocates for environmental conservation in a fun, engaging way. And it all started with a “Why not?”

For the uninitiated, what role does a game designer play in game development?

A game designer is the dreamer. We come up with ideas and plans for the story, characters, world, environments, and game mechanics. We think about the game from every angle and find new ways to engage the player. Then together with other developers, like programmers, artists, sound designers, and UX designers, we work to bring the game to life.

You can think of game designers as chaos gremlins spouting ideas while the programmers are the ones tasked with solving them logically (on behalf of game designers everywhere, I am sincerely sorry to the game developers of the world). At heart, we’re problem-solvers, storytellers, and planners, and it’s a role I deeply enjoy.

From a size, geo-political, and cultural perspective, Tiny Baby Crown Studios stands as the only all-female game development outfit. How does your work as an individual with Women in STEAM and as a collective with TBC shape your creative ambitions?

I’ve worked in largely female spaces before but never an all-female one. Both times, the environment was calming and positive. With TBC, we share a passion for storytelling from our perspectives, creating experiences that people like us can engage with. It’s invigorating, even though we haven’t worked in person yet!

Being part of TBC has made me more determined to create games and experiences that I feel strongly about. It showed me that the stories I care about are worth telling. ARGO, for example, is about my personal connection to Oloolua Forest and my desire to protect it. My games have become love letters to the people, places, and experiences I treasure, and I owe a lot of that to TBC.

ARGO was also the first time I took on the role of creative director. As both creator and the person in charge of the game’s creative vision, I had to find a balance between my own ideas and the needs of different stakeholders, like funders, forest managers, the development team, and the audience. Writing the script was particularly challenging because there was so much I wanted to say, but I also had to stay realistic about what was possible. Working in TBC’s small but focused team prepared me for those challenges and helped me navigate similar constraints while developing ARGO.

How crucial are events such as Playtopia to your development?

Very crucial! It’s easy to fall into a bubble of meeting the same people with similar ideas, problems, and solutions. While I love my local community and wouldn’t trade it for anything, stepping outside that comfort zone helps me grow.

Events like Playtopia bring together game developers from around Africa and the world, all eager to share their knowledge, tricks, and skills. I get to showcase my games and gain valuable feedback while also dreaming bigger. These events are a gateway to the global game development community and a refreshing change of pace.

What do you know about the African games industry, and how do you intend to support its growth via your role?

The industry is still young and growing. When I joined university, game development wasn’t even seen as a job option. Now, it’s my job. The African games industry is expanding rapidly, and more people are seeing Africa as the next big gaming hub.

I dream of one day starting my own studio to create opportunities for emerging game developers. For now, I do what I can—encouraging others to join, sharing opportunities I know about, and showcasing authentic African storytelling in my work. It’s challenging, but like any career, it’s possible.

Beyond the Kenyan and South African scenes, are there any other creators across the continent you collaborate with creatively?

I’ve collaborated with a developer from Zimbabwe, but beyond that, not yet. I have friends in countries like Nigeria, Cameroon, and Egypt, but we haven’t had the chance to collaborate due to different schedules. Most of my collaborations have been in Kenya and South Africa.

For ARGO, the development team was Kenyan, though not for lack of trying. I’d love to meet not just more developers and designers, but also producers, publishers, marketers, and other professionals who handle the business side of games.

What’s next for you, Tiny Baby Crown, and what advice would you give to creatives looking to get into the industry?

For me, I’m preparing to release ARGO to the public soon. It’s scary knowing people will play something I created, but early feedback has been mostly positive, which gives me hope. It has been a long journey but all the hard work from the team, and the help and support along the way has made it possible. After that, I’m taking a long nap (because rest is important), then diving into the next adventure! I hope to grow ARGO into a global experience and adapt it to other green spaces worldwide.

For Tiny Baby Crown, we’re focused on continuing Dungeon Crawler so it can be published.

My advice? Just do it. It sounds generic, but it’s true. If I hadn’t applied for the Maliyo bootcamp, joined the New Dimensions Lab, or said yes to Tiny Baby Crown, I wouldn’t be living the life I once daydreamed about. Start scared, but start. Join game jams, follow YouTube tutorials, collaborate with someone, or attend events near you. And if you’re ever unsure, ask for help. The game developer community has been a wonderful and welcoming place, and people are always willing to support you where they can. Most importantly, take care of yourself.