“It’s sort of the opposite thing where this stuff has control over you, rather than you having control over it.” He says he wants this narrative to have more of a profundity to it in the way that the best psychological horrors tend to grab you. “By making it in the horror genre, we’ve tried to really depart from that power fantasy,” says McNally. It’s that sense of unease over what might happen next that goes hand-in-hand with the type of cyberpunk tale they’re targeting. As Haze, players will encounter fragmented memories that distort space and time, giving the game more of a trippy feel. One way they’re tackling said psychological elements is through non-linear storytelling. How much does your identity matter in who you are? And how much do memories play a part in that? So we want to just focus more on the cerebral side of it and less on the action side, technological side.” “A pretty famous theme in cyberpunk is what makes humans human, and we wanted to focus on that and talk about identity. It’s not so much talking about the socio-economic issues that the cyberpunk genre has really pioneered.”Ī key part of that, says Smith, is the “psychological” aspect of cyberpunk. “A lot of popular cyberpunk media really focuses on what we would describe as a ‘dad rock’ mentality of cyberpunk where it’s basically a male power fantasy. “ a narrative that was representative of the disillusionment of marginalized identities within that kind of dystopian future,” says Rollins. The darker tone also lets them expand on their love of the cyberpunk genre, which they currently explore in a recreational role-playing podcast called Dark Future Dice. “We were kind of burnt out from like the teen coming-of-age, romantic dating sim comedy kind of genre, and in our true fashion, we pivoted completely opposite to less humorous and more horrifying,” adds Rollins with a laugh. As well, we wanted a bit of a departure - more interactivity in the gameplay, and to just kind of push ourselves a little bit to try something new.” We decided that a psychological horror game with a narrative-heavy direction was going to be easier to get people to understand what we were trying to do.
“We wanted to make it more obvious upfront that we like to tell stories that have an impact and say something and can go deep. “It was really hard to sell people that we’re going to make something that says something interesting,” admits Smith. As Smith puts it, they’re both “kind of silly on their face.” While players have praised Rocket Adrift’s previous work for their emotional depth and 2SLGBTQIA+-friendly themes, Rocket Adrift does feel that the goofier elements sometimes misrepresented their intentions. One quick look at Psychroma reveals a decidedly darker experience than the colourful Order A Pizza and Raptor Boyfriend.
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“We have our specializations but we all write, all design, and we all code to a degree.” Tackling a new type of game “We all just kind of switch hats when it comes to the development and design parts of the game,” explains Rollins. We were stuck in that realm of animation because it’s too hard to produce anything else.” “But that gave us the opportunity to tell a longer story, versus doing two-minute animated shorts. “It’s a medium where you can not have voice acting, and there’s a lot more flexibility in the world of video games,” says Smith of the decision to shift to game development.
After working in animation for a few years, the trio made the pivotal decision in 2017 to break into the gaming industry through Rocket Adrift. They’ve come a long way since meeting at Toronto’s Seneca College in the Independent Illustration program. “That’s my strategy - I don’t know how healthy it is.” I don’t really allow myself to enjoy it until it’s confirmed,” remarks Titus McNally, co-founder, writer, lead programmer and UI/UX designer, with a laugh. “I always try to get ready for the worst possible outcome and everything. “It hasn’t sunk in yet, still - it’s been weeks,” adds Sloane Smith, co-founder, writer, composer and background artist.
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