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Kisima Inŋitchuŋa (Never Alone) Painting

Philip Leister

Painting, Acrylic on Canvas

Size: 40 W x 40 H x 1.5 D in

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About The Artwork

Never Alone, also known as Kisima Inŋitchuŋa ("I am not alone"), is a puzzle-platformer adventure video game developed by Upper One Games and published by E-Line Media based on the traditional Iñupiaq tale, "Kunuuksaayuka", which was first recorded by master storyteller Robert Nasruk Cleveland in his collection Stories of the Black River People. Swapping between an Iñupiaq girl named Nuna and her Arctic fox companion, the player completes puzzles in a story that spans eight chapters. The game was the result of a partnership between the Cook Inlet Tribal Council and E-Line Media. It is one of a growing number of video games produced by Indigenous people. The player-character plays as the Iñupiaq girl Nuna and her Arctic fox. As an "atmospheric puzzle platformer", Never Alone'spuzzles entail swapping control between Nuna and the fox. While the fox is fast, Nuna can pick up things and open new areas using her bola. The story and its structure is based on the intergenerational transference of wisdom. Told in the form of an oral tale, unlike traditional platformer games, which involve overcoming obstacles and defeating enemies, Never Alone rewards players with collectible "cultural insights" - video vignettes of Iñupiaq elders, storytellers, and community members sharing their stories. The central plot revolves around discovering the source of the blizzard that has ravaged Nuna's village and restoring balance to nature. Other stories include that of Blizzard Man, the Little People, Manslayer, the Rolling Heads, and the Sky People. It takes place in a harsh physical environment. Never Alone was developed by Upper One Games in conjunction with writer Ishmael Hope, a storyteller and poet of Iñupiaq and Tlingit heritage, and the Cook Inlet Tribal Council, a non-profit organization that works with indigenous groups living in Alaska's urban areas. The Council partnered with video game education company E-Line Media and generated the idea for Never Alone as part of a series that "shares, celebrates, and extends [indigenous] culture". The Council's for-profit Upper One Games is the "first indigenous-owned video game developer and publisher in US history". They built the game to explore "what it means to be human" and intergenerational stories. It is intended both to share the stories of native culture as entertainment, and to revitalize interest in Alaskan indigenous folklore. Proceeds from the game will fund the Council's education mission. E-Line Creative Director Sean Vesce was excited by the opportunity to "go into a community, learn more about a culture and then try to infuse their values and mythologies into a game". Vesce and his team made "a dozen trips to Alaska" to meet with community members and gather stories and imagery and was "blown away at the richness and beauty and depth of that storytelling tradition". He realized that "none of that had really been ever explored in a videogame". Vesce previously held leadership positions at Crystal Dynamics and Activision. Vesce built and led a 12-member development team in Seattle, who worked in deep partnership with "40 Alaska Native elders, storytellers and community members" to craft the game. Never Alone was built in the Unity game engine. A local-cooperative mode is available. Source: Wikipedia

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:40 W x 40 H x 1.5 D in

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I’m (I am?) a self-taught artist, originally from the north suburbs of Chicago (also known as John Hughes' America). Born in 1984, I started painting in 2017 and began to take it somewhat seriously in 2019. I currently reside in rural Montana and live a secluded life with my three dogs - Pebbles (a.k.a. Jaws, Brandy, Fang), Bam Bam (a.k.a. Scrat, Dinki-Di, Trash Panda, Dug), and Mystique (a.k.a. Lady), and five cats - Burglekutt (a.k.a. Ghostmouse Makah), Vohnkar! (a.k.a. Storm Shadow, Grogu), Falkor (a.k.a. Moro, The Mummy's Kryptonite, Wendigo, BFC), Nibbler (a.k.a. Cobblepot), and Meegosh (a.k.a. Lenny). Part of the preface to the 'Complete Works of Emily Dickinson helps sum me up as a person and an artist: "The verses of Emily Dickinson belong emphatically to what Emerson long since called ‘the Poetry of the Portfolio,’ something produced absolutely without the thought of publication, and solely by way of expression of the writer's own mind. Such verse must inevitably forfeit whatever advantage lies in the discipline of public criticism and the enforced conformity to accepted ways. On the other hand, it may often gain something through the habit of freedom and unconventional utterance of daring thoughts. In the case of the present author, there was no choice in the matter; she must write thus, or not at all. A recluse by temperament and habit, literally spending years without settling her foot beyond the doorstep, and many more years during which her walks were strictly limited to her father's grounds, she habitually concealed her mind, like her person, from all but a few friends; and it was with great difficulty that she was persuaded to print during her lifetime, three or four poems. Yet she wrote verses in great abundance; and though brought curiosity indifferent to all conventional rules, had yet a rigorous literary standard of her own, and often altered a word many times to suit an ear which had its own tenacious fastidiousness." -Thomas Wentworth Higginson "Not bad... you say this is your first lesson?" "Yes, but my father was an *art collector*, so…"

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