Umurangi Generation blends cyberpunk, anime and climate crisis themes in this Māori sci-fi photography game, inspired by the 2019 Black Summer bushfires. Using a Kaiju (giant monster) attack as a metaphor for climate change, this game gives players control of a camera, encouraging them to look closely at the effects of over-policing and militarisation in response to disasters.
Set in a futuristic Ngāi Te Rangi (Tauranga), the city is alive with neon lights, crowded rooftops and rundown districts. Through the camera’s viewfinder, players see a city struggling with climate change and political apathy, where protests are met with force. Points are earned for taking photo of the environment than shooting enemies like most dystopian games.
By demonstrating a non-violent way to navigate a dystopian future, Umurangi Generation uses creativity as a form of resistance, challenging environmental neglect and government inaction.
Curator Notes
Umurangi Generation’s world and its characters are shaped by references to colonial resistance. The game’s first level, 'Mauao View,' looks out over Mauao (Mount Maunganui), a sacred place for the Ngāi Te Rangi, the iwi (people) of creator Naphtali Faulkner. One of the first missions is to photograph Mauao and there’s also graffiti of the site appears throughout the level. This is a cultural reference that would be especially meaningful to Māori players.
Another important symbol in the game is the Huia, an extinct New Zealand bird. Once intended to play a bigger role in the game, the Huia still appears in spirit form in the final scene. The bird’s feathers were highly valued by Māori, worn as a sign of mana (prestige) and leadership. Despite its extinction, the Huia’s inclusion reflects the ongoing importance of Māori culture and heritage.
Retro-futurist resistance
In Umurangi Generation, resistance is shown through the joy and resilience of communities facing crises. Naphtali Faulkner’s “retro-future” world is inspired by real events, like Australia’s Black Summer fires and Black Lives Matter protests. The game’s mix of neon colours and old technology, like analogue cameras and cassettes, brings a playful, hands-on feel to its dystopian world. These vintage items become tools for creative expression, allowing players to capture moments of beauty in the chaos. ‘Umurangi’, meaning "red sky" in Te Reo, refers to the strange skies during Australia’s fire crisis. This ties the game’s imaginary world to real-life environmental disasters.
'Red sky' generation
“There were just people marching on the streets, within their rights… I remember they interviewed these cops [on the news], and the cops said, ‘Oh, we were expecting it to be more violent.’” – Naphtali Faulkner on the 2020 Australian Black Lives Matter protests
Umurangi Generation engages with the effects of over-policing and the militarisation of protest responses. The final level, “Macro”, happens during a protest when the UN turns mechanised robots – originally used as protection – against the people. The level is inspired by Black Lives Matter (BLM) protests, which happened in response to the deaths of George Floyd and Breonna Taylor at the hands of police in the United States. During a BLM protest in Australia in 2020, Faulkner heard a First Nations activist draw a comparison between American police brutality and the ongoing tragedy of Indigenous deaths in custody, in Australia. But it also relates to the tradition of Māori resistance movements in Aotearoa / New Zealand, which in 2024 are ongoing with 40,000 people recently marching to protest a bill to alter Indigenous rights.
“That final level was about the essence of what protesting is... because there are these layers to the whole thing. This isn’t new for Māori people — the idea is that it’s taking place beneath Gate Pā. Gate Pā is a historic site of resistance for my family. It’s this resistance against another government in the form of the British Empire,” Faulkner said in a 2021 interview.
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