Being Seen Matters: Bringing Marginalized Representation to Life in Usual June

In 2020, Finji's CEO Rebekah Saltsman and creative director Adam Saltsman were planning their next move after Overland. They opted for a drastic change of scenery, shifting from a post-apocalyptic world to the eerie, supernatural setting of Usual June. "We were determined to work together on our next project," Rebekah Saltsman shares with GamesIndustry.biz. "We wanted a central character, an action-based narrative, and a story that resonated deeply with both of us." The story revolves around June, a character far from ordinary, who possesses the ability to communicate with ghosts. She utilizes this gift to investigate the mysterious town of Fen Harbor and battle supernatural entities across multiple dimensions. At its core, Usual June champions the stories and experiences of marginalized individuals. For Saltsman, it was crucial for players from underrepresented groups to form a connection with the game and see themselves reflected in its characters. "It's heartwarming when you see a game trailer and think, 'Someone sees me,'" Saltsman says. "Whether you're someone who discovered action games later in life, like me, or an avid fan of series like Dark Souls and Elden Ring, like my husband, we aimed to make Usual June inclusive." To achieve this, the game offers tools and features that cater to players with varying skill levels, including special abilities. One ability, Dashing, makes the player invulnerable for a brief period, while another slows down time during battles and when navigating menus, ensuring players can access necessary options without feeling overwhelmed. "Players have a wide range of tools at their disposal," Saltsman explains. "You can progress through the game using the tools you're comfortable with, and if you want to learn more, we provide the opportunity to gradually add new skills." Saltsman emphasizes the importance of making the game inviting and accessible. "High-level players will find a challenging experience, but newcomers won't be excluded because they're not skilled enough. We've created a pathway that's fun and educational, allowing players to build confidence as they progress." Saltsman notes that more advanced players might find the game's early stages easy, but the natural progression and intuitive controls make it enjoyable for everyone. To attract a broader audience, Usual June draws inspiration from familiar genres, blending elements of horror and storytelling. "Adam and I are fans of genre films, and we wanted to capture the essence of true horror and compelling stories, often featuring ordinary people in extraordinary situations with their friends," Saltsman says. "We love media like that, and it's not well-represented in games. By incorporating more diverse voices, you get more diverse stories." The game's development team drew inspiration from various media, including TV shows like Buffy the Vampire Slayer and Veronica Mars, as well as games like Bayonetta and Control. The Spider-Verse films also significantly influenced the game's art style. However, the Netflix series I'm Not Okay With This had the most substantial impact, as it follows a teenager navigating her daily life while dealing with superpowers. "We watched that show and thought, 'This feels like Mae from Night in the Woods with powers,'" Saltsman exclaims. "It was a great touch point for us, and we were already working on Usual June at the time." The game is set in a town inspired by the Midwest American towns that Saltsman and the team are familiar with. "These places are full of interesting people, unique stories, and urban legends," she says. "The United States is vast, and we often only hear stories about coastal locations, rather than the interior towns where many of us grew up." Saltsman notes that modeling buildings after those found in these towns enhanced the team's storytelling capabilities. "These locations are intentionally designed to resemble old American towns established in the 1800s, but with buildings that have been repurposed over time," she explains. "You might visit a town like Grand Rapids and walk into a coffee shop that used to be a factory or a dentist's office. The history is still there, and when you start exploring, you wonder what secrets these places hold." The game's spooky locations are intertwined with the narrative, which is presented through large story sections and investigative sequences. "We have big narrative sections in the Earth realm, while in the other realm June can access, there are narrative fragments throughout the action sequences," Saltsman explains. "June will encounter ghosts in this realm that become companions and provide context to the story. They're not fighting alongside her but rather aiding her with information or pieces of themselves to help in combat." Despite the game's strong focus on narrative, there is no spoken dialogue. Instead, characters produce sounds, and the dialogue is text-based. Saltsman explains that this decision was driven by personal preference and practical considerations. "Recording voice acting, especially for an indie team like ours, is extremely costly and time-consuming," she says. "You need to have the script finalized early, and then you're dealing with acting and timing issues. It's a significant challenge, even for well-funded teams." Saltsman notes that using Vocaloid, a voice synthesizer program, added atmosphere to the game and helped distinguish between characters. "It was a challenging problem to solve, but our audio designer, Adam Hay, is brilliant. He spent a lot of time perfecting the sound, and it's truly unique."