“The Box Can Be Whatever We Want” Into the Unwell Dev Talks Influences, Dark Themes, & Studio Origins

by

The debut trailer for the game titled “Into the Unwell” garnered attention at Summer Game Fest 2025 due to its distinctive rubberhose art style, intense roguelike gameplay, and thought-provoking themes surrounding mental health and personal struggle. Into the Unwell, being their initial creation, is a product of She Was Such A Good Horse, a studio established in Sweden in 2021.

I recently sat down with Mårten Stockhaus, co-founder and creative director of She Was Such A Good Horse, to delve into the fascinating backstory of this unique game studio. We chatted about what sets Malmö’s gaming scene apart, the influences behind our title, Into the Unwell, the features we’re working on for its Early Access launch, and plenty more. Here’s a condensed and clear version of our conversation.

She Was Such A Good Horse & The Malmö Game Scene

Interview with Game Rant: What’s the origin of the studio’s name? Is “She Was Such A Good Horse” a reference to a real horse?

In this example, I’ve made the sentence more conversational and easier for readers to understand by asking an interview-style question. The intent remains the same: asking about the origin of the studio’s name and whether it is based on a real horse.

Unfortunately, or perhaps fortunately, what we have isn’t an actual horse. The name is more amusing than the story, but I’ll share it nonetheless. When we first established our studio, we were in search of a catchy and meaningful name. It seems natural for humans to gravitate towards something they’re comfortable with, like other studios have done. We brainstormed numerous intriguing names. However, I wanted our studio name to stand out a bit differently. I thought, “I don’t want our studio name to be impressive.” Names like Blizzard are certainly impressive, but they also give off an air of coolness. I pondered, “perhaps we should aim for something that is melancholic instead.” That’s when I came up with She Was Such A Good Horse, which many initially dismissed as being too lengthy for a studio name. But the irony lies in its length – it’s too long and not a studio name, yet it encapsulates a heartfelt story about this horse, “she was such a good horse.” Eventually, everyone came to agree that it was fitting, albeit I couldn’t help but wish there truly was a horse involved; it would have provided an even more poignant narrative.

In a nod to casual conversation, let me rephrase that for you: Game Rant is wondering, what’s the story behind how the co-founders of She Was Such A Good Horse got together? Given that you’re all from the Malmö gaming community, I’m intrigued to learn more about how you crossed paths. Can you share that part of your journey as well?

Daniel, one of our fellow founders, and I have a shared history as classmates. For years, we had dreamt of establishing a game studio together. Fast forward to around 2020, Daniel approached me – both of us having previous experience in the game industry, including time spent at Ubisoft – with the suggestion that it was high time we turned our long-standing idea into reality. He proposed a team consisting of himself, Mathias, Felix, Måns, and myself, and over a round of beers, we all agreed that starting a studio seemed like an excellent plan. Given our shared expertise, compatible visions for the studio’s operation, and mutual interest in similar genres, the five of us made a great team. In 2021, we officially launched the studio, marking the culmination of our discussions.

In an interview: Did the discussions about establishing Game Rant occur in 2020, or was it only formalized in 2021? I’m curious, did the ongoing pandemic play a significant role in your planning process? Was there any difficulty in setting up a studio amidst the chaotic circumstances of that time?

Indeed, our team had begun working remotely even before establishing the studio, which made the transition smoother for us. At that time, I was employed at Paradox Interactive and was already working from home. When we launched the studio, there was initial uncertainty about how remote work would pan out. However, our previous preparations proved beneficial. Eventually, we secured an office where we could collaborate in person, which was truly fantastic.

Game Rant: That changes everything, doesn’t it?

Absolutely, it was a blast! While the COVID era primarily brought challenges, it also presented some unexpected advantages. One such advantage was the increased opportunity for contemplation and introspection, which led me to establish a studio.

Game Rant: You brought up Paradox and also worked at Massive Entertainment. Could you elaborate on the contrast between game development at a large studio such as those compared to a much smaller studio like She Was Such A Good Horse?

This revised sentence maintains the original’s meaning while making it easier for readers to understand the context.

In simpler terms, working on larger games like Assassin’s Creed restricts creativity due to specific guidelines and requirements. On the other hand, working on smaller games, such as ours, offers more freedom to explore various ideas, making a significant impact. At Massive Entertainment, for example, I was often confined within certain creative boundaries to maintain the game’s identity. While I understand the appeal of contributing to such an extensive project, working on our own game allows us to shape its creative direction without any predefined constraints, which is a dream come true for many creatives.

The games-centric platform, Game Rant: She Was Such A Good Horse, was established by industry veterans hailing from various segments of the thriving Malmö gaming community. I’m curious to know what sets this organization apart and how it has influenced your identity as a game developer?

She Was Such A Good Horse, which is helmed by veterans from diverse sectors within Malmö’s bustling gaming scene, has piqued my interest. Can you share what makes this organization unique and how it has shaped your journey as a game creator?

Malmö seems like an ideal city size for many of us who reside here, as it’s the third largest in Sweden yet not overly large. It offers everything you need while still maintaining a city feel. The city appears particularly beneficial for the game industry, with roughly 2,000 developers residing here – a significant number given its size, yet everyone seems to know each other.

An organization called Game Habitat, focused on game development, operates in Malmö, offering studios dedicated workspace for game development and hosting events and parties. Many within the community are familiar with this hub, contributing to a tight-knit community that benefits the Malmö game scene. The city is home to numerous talented, friendly individuals, making it an enjoyable place to be. I had a great experience at Ubisoft for a year, but I find Malmö more appealing.

Delving Into The Unwell – Inspirations & Influences

In a question reminiscent of Game Rant’s style, I’m keen to delve into the influences that shaped the gameplay mechanics of “Into the Unwell”. Given its roguelike nature, several games instantly come to mind. However, I’m particularly interested in learning if the development team took any specific inspirations from other games while creating this unique title?

In our exploration for inspiring roguelike games, we delved into the popular titles during that period. Unquestionably, Hades was a game we spent considerable time playing, and I consider it one of the finest examples of the genre. We were equally captivated by Risk of Rain 2, appreciating its unique third-person camera angle, which we aimed to incorporate in our own roguelike design as well.

Early on in development, Alice: Madness Returns was a game I frequently mentioned due to my admiration for its platforming and combat mechanics, elements we aspired to emulate in our project too. The influence of classic PS2 games, which many players online have referenced, is also quite evident in our work. These iconic games, such as Jak and Daxter, were a significant part of our childhood gaming experiences, thereby finding their way into our game design subtly.

Game Rant: Intrigued by Into the Unwell’s gloomier narrative and character portrayals, I’m curious about the team’s decision to shape the game in this somber manner. The juxtaposition of vibrant, comical figures grappling with self-harm and psychological distress is intriguing. Was the studio inspired to create such a tone as part of their identity – perhaps opting for something melancholic over trendy to make a more distinct impression?

You’re not entirely off the mark! I often find myself drawn to contrasts in games, like roguelikes for example. The main objective there is essentially to break the game and become as powerful as you can by finding synergies. This then leads me to think of superheroes or impressive weapons. And when I talk to developers about new features, I sometimes suggest things that might be seen as drawbacks in other games, like debuffs. We initially thought it would be intriguing to incorporate elements like substances instead of magic, where drinking beer could give you strength. From a creative standpoint, we found this idea fascinating and wanted to explore it further. However, we want to make it clear that we are not endorsing or promoting this behavior in any way. We’re simply acknowledging that it is a part of life for many people to experience sadness or illness, and it’s important to address these issues in games as well.

In a review titled “Game Rant“: The distinctive cartoonish aesthetic of Into the Unwell, announced earlier this year, initially caught my eye. Normally, such a “rubberhose” art style is more common in 2D animation than in 3D. So, I was curious about the difficulties encountered when creating these characters in 3D while preserving that unique art style. It’s not uncommon for games to attempt this rubberhose, classic cartoon style in 3D and fall short, but Into the Unwell manages to pull it off successfully.

As our conversation delved into creating characters with numerous imperfections, Felix proposed a unique art style for this project – a contemporary twist on rubberhose animation. This style would have been a continuation of rubberhose if it hadn’t faded away, which was the aesthetic we aimed to achieve. Although it retained many of the principles of traditional rubberhose animation, it had also evolved. At that time, 3D animation wasn’t yet in existence. Felix and Daniel, another co-founder and animation director, worked extensively on the rigs and animations, producing such innovative work that we became enamored with their creations.

Game Rant: What inspired the team to go with a cat as the main character?

Initially, Golden Nugget wasn’t our first created character; instead, he came second in line. Our initial creation was actually Golden Nugget himself. At first, we found the idea of a chicken character intriguing and developed it, but the full concept hadn’t fully taken shape at that time. In the original conception of Golden Nugget, he wasn’t injured or mutilated like he is in the current game where he’s portrayed as a gambling addict with an eye patch, missing limbs, and stitches all over his body – indicative of his losses. Conversely, Cat, our second character, was inspired by elements around us, including my makeup, and has a more complete concept from the start.

[laughs] is implied as a chuckle or laughter at the end of the sentence.

As a gamer, I’m deeply involved with this game, and it’s clear that the main character in the trailer is heavily reliant on alcohol. It seems like he might be dealing with depression and other personal struggles. Interestingly, our second character evolved into the face of our game – the posterboy, if you will.

To be honest, I can’t recall the exact reasons we chose a cat for this role, but I think it was because we all have a soft spot for these furry friends. Many of us own cats ourselves, so it could be that we wanted to incorporate something we truly love into our game.

During the closed beta testing, a specific character named Pedro has caught my attention. I seem to encounter him often and am wondering about his background. Therefore, I’m eager to learn more about him. What’s Pedro’s story? Who is this individual? Why does he keep appearing in such an unsettling manner?

It’s great you brought up Pedro! He’s our cherished character, and we put in substantial work to ensure his presence everywhere. From every trailer we’ve released, you can find him. In fact, we sometimes joke about having life-size Pedro cutouts in the office, hiding them in unexpected places, just like in the world itself. Interestingly enough, Pedro was originally conceived as Balder but has a unique flair for character design. He’s behind characters such as Beer Lad and Pedro himself. We have an undeniable fondness for Pedro – though he should be black-furred, he shaves, resulting in his distinctive pink color. His bandages are due to the many minor cuts from shaving. And there he stands, peeking out. Yes, Pedro is a ‘peeker,’ and we’re still exploring why, but for now, we know that he’s watching a lot.

Into The Unwell Development Timeline & Early Access Launch

Recently, the closed beta for the game titled “Into the Unwell” began, and I am eager to see what the developers will unveil next. Can you share any information about what we might expect beyond the “Earl of Axes”?

Absolutely! The trailer offers glimpses into the subsequent part of our game, which symbolically represents various aspects of the world. While it’s not crucial for players to grasp our specific intentions, their interpretations are valid. When designing the first world, we emphasized consumerism as a key theme. This is reflected in the junk food and fitting enemy items, as the world serves as a representation of waste and overconsumption. In the second world, we drew inspiration from societal deception, envisioning it as a realm filled with influencers who present a perfect, yet artificial image, even though many people might be involved behind the scenes.

In essence, the concept for the second section revolves around incorporating tiny ideas, which might seem insignificant at first, but they can significantly influence various aspects of the game environment, enemy designs, hazards, and events. The flexibility of the game’s design, as exemplified by the “box,” allows us to fill it with a multitude of elements, making it easier to create the game. For instance, last year, while Balder was designing an area, he struggled with finding suitable props for specific spots, like jumping platforms. I reminded him about pogs, those round toys from our childhood that can be placed anywhere perfectly for setting up jumps. Since then, he’s been creating numerous pog-like objects, and it’s fascinating how we can draw inspiration from our past or personal preferences to add elements that seamlessly fit into the game.

Inquiry Regarding Release Date: Is it clear when the game is set to debut in Early Access, and can we anticipate any projected duration for this early access phase?

Our plans are flexible, and we’re currently deciding on the exact release date. It might be towards the end of this year or the beginning of next. However, the final version depends greatly on how our Early Access phase goes. If everything runs smoothly with no major issues, we could move forward swiftly. The second game segment, or world, is already integrated, but it requires some fine-tuning. We’re aiming to include a third world and a third boss for the full release during Early Access, if all goes according to plan.

[END]

Read More

2025-08-29 16:15