The Church in the Darkness director, designer, and writer Richard Rouse III doesnāt remember a time when he wasnāt interested in cults.
āCults are a fascinating thing,ā he said. āYou find out theyāre not really crazy so much as misguided or deluded. So many [members] of them are getting self-help aspects out of it where it helps them improve whatever situation they were in before, or they feel like theyāre changing the world.ā
Rouse included a cult in his second game, the tactical shooter Damage Incorporated, and now heās made one the center of his infiltration game The Church in the Darkness, which launches on Aug. 2.
āAs a game designer, youāre always thinking about whatās a cool place to go to thatās a contained ecosystem that can explain why youāre just in this one space and not leaving,ā Rouse said. āCults isolate themselves and build in the middle of nowhere and donāt let anyone else in. Thatās a fascinating place to go in a game.ā
Set in the late ā70s, The Church in the Darkness follows Vic, a former law enforcement officer who travels to South America to try to extract his nephew Alex from Freedom Town, a compound run by the socialist Christian group the Collective Justice Mission. While sneaking around, players will constantly hear PA broadcasts from the groupās charismatic leaders Isaac and Rebecca Walker, who are beautifully voiced by real life couple John Patrick Lowrie (Team Fortress 2) and Ellen McLain (Portal). Rouse had worked with Lowrie on The Suffering games, and he was one of the first people he discussed The Church in the Darkness with before starting development.
āI thought it would be awesome to get them to do this together,ā Rouse said. āI wanted not just one cult leader talking over the PA system the whole time. I think one voice would get a little too monotonous potentially, though Johnās really good so it probably would have worked anyway.ā
The motivations of the Walkers shift between playthroughs, though if you die you can choose to replay with the same preacher personalities. In one version of the game, the couple could seem to be in perfect harmony while in another the broadcasts show a rift in their relationship. These factors, along with the decisions the player makes like whether or not to kill guards, who they work with, and how they treat Alex, lead to one of 19 different endings for the game.
āAs an indie, making a very content-heavy bespoke game that you play once and itās finished is risky,ā Rouse said. āI like the idea of being able to reshuffle the content where itās still compelling each time. Youāre replaying it and really having a whole different context for the decisions youāre making.ā
The broadcasts also offer insight on the groupās ethos based on Rouseās research on social movements of the era, which were often focused on wealth inequality, racial justice, and LGBTQ rights.
āMy hope is that players will listen to what theyāre saying and think, āThey do have a point about that,āā Rouse said. āTheyāre not just saying crazy stuff all the time. Itās crazy what theyāve done, but theyāre saying stuff where you could say, āI could get down with that.ā All the antagonists Iāve done are heroes in their own mind.ā
Characters discussing police shooting African Americans, attacking liberal elites, or questioning American exceptionalism seems especially relevant today, but Rouse said thatās unintentional. He began working on The Church in the Darkness during the Obama administration and was accused of bashing socialism when the game was announced while Bernie Sanders was running for president.
āI just wrote something that I thought was interesting,ā Rouse said. āI think this setting would have been interesting 10 years ago too. Itās just the context for it keeps swimming around and changing under it.ā
Rouse had spent the last decade working for AAA studios on titles including Rainbow 6: Patriots and State of Decay, but he knew heād have to do The Church in the Darkness on his own to make the game he wanted.
āIf you have to sell 8 million copies, how are you going to take on a cult this weird and this specific and this potentially offensive?ā he asked. āIf you were going to do this, you might have had to pull back on a lot of the specific subject matter in the game or to pull out historical figures or to try to make it more apolitical. I think it just becomes a very different thing at that point.ā
An indie game gave Rouse the freedom to make attacks on Henry Kissinger and Jimmy Carter and got him back into programming again. But he also took some lessons from his AAA days with him, particularly his work on State of Decay. Rouse said he was inspired by a mission where Lily Ritter, who talks to the player over the radio throughout State of Decay, asks them to retrieve her fatherās watch from a zombie-infested area. Even though there’s a high risk and no reward, many players completed the quest just because they felt a bond with Lily after listening to her voice for 20 hours.
āThat just showed me there was more room for experimentation in how people connect to narrative,ā Rouse said. ā[The Church in the Darkness] is a narrative-heavy game, but not in conventional ways. There are no cutscenes. I just wanted something where players would have a bigger space to play in where thereās a lot of narrative going on, but itās not funneling you into one specific way to experience that narrative.ā
The nonlinear style gives Rouse room to add more content to the game post-launch, and heās considering making tweaks based on feedback on difficulty and play style, while also expanding the world with more characters and items that can flesh out the narrative. He further plans to use The Church in the Darkness to test how future game ideas he has could be received.
āIf people love this way of telling a story and the way we tackled the subject matter, thereās things I would love to do with further procedural generation,ā he said. āI would love to experiment.ā
The Church in the DarknessĀ launches on Aug. 2 on Steam, PlayStation 4, Xbox One and Nintendo Switch.
Published: Aug 1, 2019 12:00 pm