GYLT is a survival horror game with a lot more depth than its beautiful, stylized world would indicate. Behind a precocious protagonist, beautiful art, and at times whimsical music lies a darker tale — one of survivor’s guilt, bullying, and fear.
Initially released for Google Stadia, GYLT became unavailable when the platform was discontinued earlier this year. Thankfully, Tequila Works has joined forces with Parallel Circles to rerelease the game on other platforms this month. Our team reached out to Raúl Rubio, the CEO, co-founder, and CCO of Tequila Works to learn more about the game.
Responses have been lightly edited for length and clarity.
“Sometimes what is closest to us can be the most terrifying”: Exploring the themes of GYLT
The narrative and themes in GYLT seem to revolve heavily around bullying. Can you tell us more about this and why it was chosen as a basis for a horror game?
Raúl: The game begins with Sally putting up missing flyers, looking for her lost cousin, Emily. But she needs to run away from some fellow teenagers who harass her because it has been a month since Emily went missing. Bullying is a common thread in the game, sadly. Sometimes what is closest to us can be the most terrifying, like going to school or confronting other students.
In order to deal with this very serious topic in a sensible way, we consulted and were mentored by psychologists during the development of GYLT.
What were the inspirations behind the art and style of the game?
Raúl: The stop-motion craftsmanship and supreme twisted finesse of Laika (ParaNorman, The Boxtrolls) and the magical realism of Neil Gaiman’s Coraline or The Ocean at the End of the Lane were big inspirations for GYLT. We wanted an art style that dances between very cartoony proportions and very realistic lighting and materials.
How does the game help the player feel Sally’s fear and trauma related to Bullying?
Raúl: GYLT starts by having the player witness the nightmarish daily life of Sally, as she is yet again chased by bullies while looking for Emily. When she decides to take the (usually) out-of-service cable car to avoid the Valley to reach her neighborhood, we suddenly cross into an alternate world, a literal version of Sally’s fears. That’s our way of introducing the player to the hell they are gonna be living.
It’s a place where Sally, Emily, and therefore the player are trapped. They must confront their biggest nightmares or disappear without a trace in the outer (real) world.
“The catch is that these terrors are very physical and very real, even if they are probably emanating from Sally’s sub-conscience. The world of GYLT is a twisted mirror of her own morality… and insecurity.”
Tell us more about Sally and why she is a great protagonist to explore the horrors of bullying.
Raúl: GYLT is set in Maine in the 1990s, so our protagonist Sally is the vehicle to present bullying as an occurrence to the most innocent victims. It’s the story of a kid, a fragile protagonist that cannot rely on physical strength or any violent means to impose her will. She is in a bad dream, with all disadvantages. And yet, she is resourceful to prevail, to survive, and to face her worst fears.
The time period and location are because of Stephen King, who was a notorious influence on the psychological horror in GYLT. That’s why there are small Easter eggs and homages throughout the whole game, such as the Bachman School where Sally takes shelter.
How does Sally’s relationship with Emily help the player create a connection with the game?
Raúl: Sally is looking for Emily because she sees herself as responsible for her, the stronger and older sibling that should look over her weaker and younger cousin. She also feels somewhat guilty for Emily’s disappearance after how Emily was treated at school. And she feels finding Emily is a way to exorcise her demons as she is a victim of bullying herself.
“But… sometimes you are bullied. Sometimes you are the bully. Sometimes you don’t realize which one you really are.”
As we go through the game, we come across many mannequin dioramas showcasing bullying. The theme of bullying itself seems to be put across very subtly (except for the kids chasing Sally at the beginning). Can you talk to me a little bit about this decision, to have it be more subtle rather than ‘in your face’?
Raúl: Don’t forget the graffiti and paintings on the wall all over the school. GYLT is a game that doesn’t pretend to adoctrínate or judge but to expose the problem. Bullying is not just a very serious and adult topic of debate, it’s also frightening and scary because it’s so close and it’s part of daily life, even if we are unaware. From kindergartens to retirement homes, people act the same way, the only difference being the magnitude and consequences of such bullying.
Our prism allowed us to expose bullying as a real monster, one that will reflect on our own actions. But such a serious topic could not just be transformed into a hideous monster to fight (much less shoot in the face). It must be a sensible approach, it must be delicate. That’s why it is represented through metaphorical and, above all, psychological means in GYLT’s narrative. Instead of simple physical horror and gore.
How does Sally challenge and help the player with navigating the world of GYLT, and solving its many puzzles?
Raúl: As Sally is dragged into GYLT’s “Olde Bethelwood,” the twisted version of her hometown, she is as lost as the player on why and how things work here. This is really helpful when introducing alien logic to the game or navigating areas that Sally is vaguely familiar with.
Puzzles are focused on ingenuity, and Sally’s sharp mind is always trying to rationalize what’s going on around her. That can be helpful for the player to process such info or can be a source of anxiety while she tries to make her way…after all, Sally is 11 years old! Or maybe that’s why she can find extraordinary uses for otherwise very ordinary objects such as the aforementioned flashlight as a beacon.
What were the challenges of translating this game to multi-platform, since GYLT was initially made for Stadia?
Raúl: Each platform has its uniqueness. Developing for Stadia, on the cloud, was challenging yet highly rewarding. The current port of GYLT has been done in collaboration with an external team. Even if the game was “done”, doing a worthy port of a game is not a simple task. Many Stadia features had to be reinterpreted, with the Parallel Circles team focusing on quality while we continued work on Song of Nunu: A League of Legends Story and other unannounced projects.
Have you changed anything in the game as you have ported it over so that it is still a new experience for players who might have experienced it on Stadia?
Raúl: The narrative and gameplay experience in GYLT will remain the same in terms of content.
What are you hoping new players will experience with this game? What is something they should look forward to?
Raúl: Most players will be scared, some will find their courage, but all will find a reflection of their actions in the end. I really hope that such reflection brings them questions and will make them think, maybe deeper than the mines of Bethelwood.
GYLT is available now on Steam, PlayStation Store for PS4 and PS5, and Xbox One and Xbox Series X.
