The auteur theory, when applied to collaborative pieces like digital games, has faced criticism. This article aims to explore the feasibility of reviving the auteur theory by illustrating the work of screenwriter Meg Jayanth as a case study. Assuming that symbolic authorship can be identified through recurrent themes, distinctive game mechanics, and recognizable authorial signatures, Jayanth can be considered an auteur, despite frequently performing supportive roles for more prominent designers and directors. Jayanth's contributions, classified per Deleuze and Guattari as minor literature, encompass critiques of colonialism, advocacies for environmental consciousness, distinctive game mechanics associated with her name, and cameos. The article advocates for the revitalization of auteur theory studies to facilitate progressive dialogues on individuals whose contributions have been overshadowed in the discourse surrounding digital games.
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