In a 2019 lecture entitled “From Water Walkers to Water Protectors,” Aminishaabe game designer Elizabeth LaPensée reflects on the capacity of the interactive videogame system in Manoominike (2016) to “pick up on” and respond to the movements of the player's body. The game uses Xbox Connect to afford this feedback between the movements of the player, who is situated in a faux-wigwam, located in the Duluth Children's Museum, with the digital environment projected on the walls. Occupying this digital environment is the game system, which responds to human actions in a seemingly sentient way - LaPensée remarks, “it knows what you are doing,” and “it” will “tell” and “remind” the player to adjust their physical behavior to more appropriate gestures that will honor the wild rice (manoomin) that is harvested in the game. The attribution of agency to other-than-human entities is familar in the work of some of the most prominent Anishinaabe storytellers like Louise Erdrich and Gerald Vizenor. The acknowledgement of other-than-human sentience goes to the fundamentals of Anishinaabe onto-epistemologies concerning the relational dynamics of personhood and “more-than-human” environments. This presentation explores the ways in which Elizabeth LaPensée's video games allow machines to communicate, in ways that equally reply upon – and actively perform – Anishinaabe environmental values, disseminating Anishinaabe presence into digital media ecologies. The experience in Manoominike of wild ricing, while physically standing in a replica wigwam, under the active tutelage of the game machine, is a very explicit example of how, in La Pensée's Anishinaabe games, interaction with media can transform perceptions, feelings, and understandings of environments in culturally-specific ways.