We interview what's probably Sweden's funniest indie studio

The acclaimed Cuphead and the upcoming Mouse: P.I. For Hire aren't the only rubber hose-animated games we can enjoy in the gaming world. Swedish developer She Was Such A Good Horse (based in Malmö) is currently working on the incredibly appealing Into the Unwell, which is a third-person roguelite where up to three people take on the roles of what the developers refer to as "problematic and heavily medicated misfits".

This sounds exciting, of course, so we decided to talk to them a little more about this promising project and had the opportunity to ask questions to Mårten Stockhaus, creative director for Into the Unwell.

Into the Unwell feels both humorous and uncomfortable at the same time. How do you balance the tone between the absurd and the dark without one taking over the other?

Stockhaus: The humorous tone allows us to venture into dark areas without it becoming too difficult to take in, a bit like when you hide medicine in ice cream or when you pour Fanta into spirits.

What do you think gamers will react to first when they start playing?

Stockhaus: I hope they'll react to the fact that we have a good combat loop and a fun game, but they'll probably react to a pink character staring at the player from the edge of the map or drinking moonshine that makes you stronger.

How early in the project did you know what kind of game it would be mechanically, and how much have you discovered along the way?

Stockhaus: We knew from the beginning that we wanted to make a roguelite and that it would be third-person and co-op. All of that remains, but we previously had much more strategic combat with stamina, like in a Soulslike game. Over time, we've made it more fast-paced. The feel of the game has always been important to us, and we want the game's visuals and mechanics to work well together.

The game's visual style stands out immediately. What creative boundaries did you set early on to avoid falling into the "usual indie aesthetic", and what did you actively choose to leave out?

Stockhaus: We always wanted to make the game in 3D, which many indie studios don't do, so I think we were a little different in that respect. But then Felix, our art director, was keen to do something with rubber hose early on, and the rest of us thought that was really exciting! It opens up a lot of creative ideas that other graphic styles don't allow.

How did you design the co-op so that all players feel important, even if they have different skill levels?

Stockhaus: There aren't really any systems that check how good someone is, but there are other systems, such as enemies reacting to the player who is most active, which means that one player may get more of the enemy's attention. The game will also have different levels of difficulty in the form of "relapses," which means that the game gradually introduces more difficulty and other elements. The game is difficult. Life is more difficult. Both become easier with a friend!

What was the biggest design mistake during development that you had to scrap, and what did you learn from it?

Stockhaus: There are a few. We really wanted the characters to vomit if they drank too much "moonshine"... it's still a great idea that never felt quite right. It meant that players had to keep track of their stacks too much, and the game lost a lot of its momentum. Even today, a year after we removed it from the game, we ponder and think about how to bring it back into the game. Maybe we'll solve it tomorrow!

Which part of the game do you personally think best represents what Into the Unwell is trying to convey?

Stockhaus: Each character has unique talents that can be unlocked during the game, and they are representative of that character; we take their weaknesses and turn them into strengths. Our rooster character, for example, happens to have an unhealthy relationship with gambling, and his talents give you random powers or allow him to summon a slot machine, which is his best friend.

If Into the Unwell is successful, does it feel like the beginning of a game series and a universe, or is it a work that will stand entirely on its own?

Stockhaus: I don't think any of us have grown tired of this world, and we're constantly coming up with new fun ideas we'd like to include. So if there's interest in seeing more of Into the Unwell, we have plenty more to tell!