Diversity & Inclusion
While the studio has been founded on a commitment to disability equality, we strongly believe in the importance of greater diversity and inclusion. We aim to make the studio a safe place for all who work on our projects and we openly welcome diversity and intersectional diversity across gender, race, age, orientation and spirituality/religion. Further, we strive to create applications, games and experiences that include positive and accurate representation.
Philosophy & Goals
We believe games are an important and powerful medium and that everyone should be able to experience exceptional and life-changing games.
We aim to create amazing games that are inclusive and accessible to a broad range of disabled players.
We believe in building a studio culture that recognises the value of all people. We actively seek to work with developers that have intersectional diversity; we aim to create a work environment that is welcoming, safe and supportive; and we hope to be a positive example to others within the industry.
Inherently, the studio is founded on and motivated by the love and promises of God; the idea that God wants everyone to experience a life of fullness, and that his plans include a hope and a future.
We have two vision statements:
To create exceptional, life-changing gaming experiences that are both accessible and inclusive while remaining fun.
To advocate for and create disability equality in games and game development.
Designer, Producer and Programmer
Drew has been involved in the media and games industries for more than 20 years, most recently in the field of PR and marketing for companies including THQ Asia Pacific, Disney Australia, Bethesda ANZ and Surprise Attack Games. Wanting to make a more meaningful contribution to games, he founded Blind Sparrow Interactive in October, 2018.
Drew believes entertainment is one of the most powerful mediums of change and his role is to help facilitate the development of essential games that are inclusive and accessible.
Accessibility Consultant and Advocate / Voice Actor
Brandon Cole has been blogging passionately about blind accessibility for almost eight years and has worked as a consultant and advocate with a variety of indie and first party developers. His speaking engagements include: GDC 2014, Sony’s Accessibility Day Celebration and the first ever Game Accessibility Conference, both in 2017, and Microsoft’s Gaming and Accessibility Bootcamp in 2018. He was also a guest of ESA at E3 2019.
Brandon’s voice acting include Paradox Interactive’s RPG, Pillars of Eternity, audio games, audio dramas for a group called Darker Projects, and commercials.
Born in Japan, Ripley is a Deaf and partially sighted writer who began as a journalist and podcast producer for Utah Public Radio (a division of NPR). They have a background in Ecology and Philosophy, having published several papers in each field as a masters student at Utah State University. This work has influenced their writing particularly in climate fiction and generally science fiction. They began work in the games industry doing tabletop and video game jams, releasing works on Itch.io. Their focus is on telling stories focused on people and showing the experiences of people in the margins.
If they had to pick one quote to sum up their approach and beliefs it would be: “This society eliminates geographical distance only to produce a new internal separation.” ― Guy Debord, The Society of the Spectacle.
Amanda J. Lim (Maskedsound)
A freelance composer and sound designer for film, television and games, Amanda enjoys scoring across a range of styles – anything from orchestral to ambient to old school chiptunes. Her games portfolio includes music and sound effects for Aura of Worlds (Cognitive Forge), numerous contributions to game jam projects, and a track for Objects in Space (Flat Earth Games).
Amanda makes game music to help elevate the story that the developer wants to tell and to enhance the player experience. Her favourite part of the composition process is moving from a simple sketch with melody and chords to a fully fleshed out arrangement.
Veronica has always been passionate about the stories that can be told through games. She has brought that love into her work as a freelance illustrator and concept artist, creating vibrant characters and worlds that are often fantastical in nature. Her work aims to evoke a range of emotions and communicate these meaningful stories in a way that continues to resonate with audiences.
Beyond art, Veronica spends her time as an esports referee, in addition to volunteering as team leader of the content team for Summoners’ Society, an online Oceanic League of Legends community.
Timothy C. Best
Game Design and Production Consultant
Timothy helps make 1s and 0s talk to people. As a game designer specialising in systems and story, he’s been making games professionally for ten years and wrote about them for a living for ten years before that. He’s worked at studios including Mighty Games (Shooty Skies) and Many Monkeys (Breath of Light). He’s currently lead designer at Ultimerse and consults with independent studios working on devastatingly creative and inclusive content.
Outside of game development, Tim’s industry experience includes games PR and marketing; he’s taught the course “Gaming and the Writer” at the Victorian College of the Arts; and was editor of PC PowerPlay magazine.
Sound Design and Implementation Consultant
Trevor has been involved in sound design and implementation in game development for over eight years with experience in both linear and interactive media across all of the major game hardware platforms. He also has advanced implementation experience using FMOD Studio, FMOD Designer and Wwise game audio middleware within Unity 3D, Unreal 4 and in-house game engines. Trevor’s extensive portfolio includes award-winning games such as The Banner Saga 2 & 3, The Forest, Armello, Paperbark and L.A. Noire: The VR Case Files. He is currently Audio Lead on Fanclub’s Dead Static Drive.
Trevor believes that audio is vital to a player’s experience with a game and that one of the key values in achieving this is early involvement of audio in a projects production and a workflow that allows for iterative design and implementation.
Digital Content Manager
Lewis is a jack of all trades, master of none. Perpetually interested and distracted, Lewis spends most of his time bouncing from passion project to passion project. Having tried his hand at writing, design, photography, film making, production, community management and everything in between, he still hasn’t settled on what to focus on, which keeps him busy.
When he’s not losing sleep to whatever project he is working on, he’s probably playing video games, watching skateboarding/motorsport videos, or simply just thinking about how good Star Wars is. He’s also always wanted to be a Ninja Turtle.
Digital Content Manager
Jessica lives and breathes content. When she’s not consuming it, she finds joy in creating it. She has dabbled in the games industry for the last three years and during this time has participated in the creation of content in all forms; written, streamed, video, audio and graphic.
In her brief time involved with games she has worked with Twitch, Sony, Intel, Samsung and EA, to name a few, as well on many projects such as Throwdown, Gfinity Elite Series and The Next Gamer.
In her spare time Jessica’s focus is on creating content for her Kpop-centric YouTube channel, Two Girls One Kpop, and spending time with her cat, Coco.
Barbara is passionate about inclusive and representative games. She has written for beloved titles such as The Warlock of Firetop Mountain and the AGDA award-winning Miss Fisher and the Deathly Maze for Tin Man Games, and made John Robertson’s The Dark Room work on PC, sort of. She also loves history, fashion, capybaras and has strong feelings about combat design.