Set in the 1950’s, Lowbirth Game’s newest indie title This Bed We Made follows the day-to-day life of the maid Sophie as she tends to guests’ rooms, uncovering clues and trying to unravel the secrets of the hotel’s enigmatic and deadly visitors. Those who want to dive into the mysteries of the Clarington Hotel can play the demo now on Steam and wishlist the game for future release on PC.
Game ZXC spoke to narrative writer and marketing director Sai Afzal about the extensive research that informed This Bed We Made’s design, the voyeuristic nature of being human, and more. This interview has been edited for brevity and clarity.
Q: Please start off by introducing yourself. What is your involvement in This Bed We Made?
Sai Afzal: Hi ! I’m Sai, and I’m the digital marketing coordinator for Lowbirth Games and one of the narrative writers for This Bed We Made. On the marketing side, I'm running the socials, interacting with the community (on and offline), relentlessly making and sharing memes, and writing blog posts; on the writing side, I've penned dialogue, character profiles, object text, UI text, and worked with the voice acting cast of This Bed We Made. I pinch myself whenever I remember that I’m lucky enough to get paid to be creative and to make meaningful art! (I'm talking about making memes).
Q: What is the origin story of This Bed We Made? How has it changed over its development cycle to get to where it is today?
A: I wasn’t around from the beginning, so forgive me if I get some details wrong! The founders of Lowbirth Games - Chloe, Raphaelle, and Olivier - are all family and have been making games together since childhood. As adults, and after graduating from their respective college programs, they decided to make a business out of it and begin the project known now as This Bed We Made, inspired in part by the time they spent working at hotels.
Just as the studio grew from its 3 founding members to the team of about 15 that we are now (not to mention many other contractors, mentors, and friends who’ve contributed to the project!), the scope of the game grew as well. This Bed We Made would originally have consisted of only one floor of the Clarington Hotel and feature Sophie as the only on-screen character, but years later and the setting has expanded, the character roster has grown, and the gameplay has deepened. Like all creative endeavors, it’s kind of taken on a life of its own, but one way in which it hasn’t changed is that it’s always been a labour of love - now there are just more people whose love has gone into the game.
Q: What themes and/or mechanics does This Bed We Made call on to evoke the classic noir-style mystery theme? Were there any other depictions in other media that inspired you?
A: A really prominent theme that plays out both textually and mechanically is the theme of voyeurism. We really wanted to tap into that little urge we all have to be in the know, to learn secrets, to discover sides of people to which we don’t normally have access.
Sophie will eavesdrop, find secret messages, rummage through the guests’ belongings, and interpret the clues she finds to intimately get to know the subjects of her investigation while avoiding detection. Noir fiction is often characterized by protagonists who are hard boiled, moody detectives, and this is one point on which we diverge: Sophie’s just a maid and has to make the most of her specific skillset, the resources in the hotel, and the help of her friends, in order to solve the mystery.
The films of Alfred Hitchcock were a big inspiration for the overall atmosphere and the sense of tension present in the game, while games like the Life is Strange series inspired the pacing and style of gameplay, and L.A. Noire inspired the mechanics behind uncovering clues and executing an investigation.
Q: I really got a kick reading some of the blog posts on your website! I found the post about Valentine’s cards particularly interesting. Can you tell me more about your research process that helped inform your game design?
A: Thanks so much for saying that! I’ve written for other publications in the past that had such rigid structures in place around what their writers could or couldn’t say, and having the kind of freedom I’ve been given while writing the Lowbirth blog has been a blast!
This Bed We Made is set in the 1950s, which of course necessitated some research so that we could convincingly recreate the visuals and the atmosphere of that era. Research is always a huge chunk of the job as a writer, but I think part of the challenge was knowing what to integrate and what to maybe cut around, so to speak.
Historical accuracy is important for a sense of immersion, but we’re still making a video game that we want players to have fun playing, and we’re exploring themes and characters that we want players in the here and now to be able to relate to; sometimes that means fudging the details just enough to allow for the kind of story we want to tell while still maintaining the feel and vibe of the period in which it takes place.
To speak to the blog post you mentioned, about creating an unhinged 1950s-style Valentine's Day card: it was a real Aluminum Christmas Tree moment, as TVTropes would put it. We know that the 1950s weren't the most culturally sensitive years, but the casual racism, misogyny, and violence that came up in Valentine's Day cards of all things was wild! It was a really interesting rabbit hole to fall into, especially if you're short on nightmare fuel.
Q: How has that research been applied to creating authentic assets and character designs that appear true to the era in which the game is set?
A: Our fantastically talented art team has put a lot of work into bringing the world of This Bed We Made to life! From everything to the hotel’s design to the characters’ fashion to the look and feel of the many inspectable objects in the game, a lot of research and care has been put into crafting a setting that feels authentic. Over time, we’ve cultivated a database full of references and visual aids and, when in doubt, we’ve sometimes turned to our older relatives to give something a look-over.
Q: Can you elaborate on some of those core mechanics of the game in terms of investigation and gleaning information about the mysterious figure of room 505? What kinds of puzzles can players expect to encounter?
A: I think it’s best to think of Sophie (and by extension, the player) as having two jobs: detective and maid. They both overlap and are both integral to piecing together the larger story taking place in the Clarington. Sophie’s still on the clock and those rooms aren’t going to clean themselves, so one of the game’s primary mechanics involves tidying up - but it just so happens that cleaning up a room is a great pretense for snooping through the things of the room’s inhabitants. Emptying garbage cans, picking up scattered objects, making beds - who knows what you’ll find as you tend to these tasks.
At the same time, you'll be asking yourself questions such as: should I be cleaning this room and thereby giving away my presence here? Should I help this person by throwing away something incriminating, or avoid tampering with potential evidence? Should I shirk my duties in the interest of staying covert, knowing that I'm responsible for Sophie's job performance? It's a fine balance to strike!
As far as puzzles go, I won't give away too much! The central puzzle we saw in the demo was to break the code of a safe in one of the hotel's rooms using the various belongings of the guest to decipher the numbers - there'll be more puzzles in that vein: more secrets to decode, more clues to put together - maybe literally. Sophie will definitely be kept busy.
Q: There is a definite theme of voyeurism and curiosity in others’ lives at play in this game. Why do you think people in general are so fascinated in the lives of strangers? How does this game satiate that curiosity for players?
A: The more wholesome answer is that it stems from an innate yearning for connectedness that I believe we all possess. So much of our media is, whether we recognize it as such or not, crafted around this voyeuristic desire: whether it’s reality TV that sticks cameras in peoples’ homes and workplaces, or social media influencers who broadcast the seemingly intimate details of their lives and relationships for us to consume. Media primes us for these kinds of parasocial relationships, and they can be so exciting and fulfilling because of the feelings of connection that are fostered.
The less wholesome answer is that we’re just nosy. And that’s fine! Video games are a great environment in which to scratch that itch because no actual people are having their privacy violated. Being nosy can be of a totally innocent nature: even as a kid there was always an allure to going over to a friend’s house and seeing the different habits and rituals that made up their family’s lifestyle and how it contrasted with my own. The human experience is so vastly different from person to person that there’s an inherent thrill in getting to step into someone else’s shoes for a bit and getting to see the world a little differently.
I think Sophie feels both sides of it: her life isn’t the most exciting, and she finds herself endlessly fascinated in people whose lives are, to some degree, extraordinary, and at the same time she begins to learn more about herself and her loved ones as she embroils herself in the stories of people to whom she finds she can relate. Hopefully the players will have a similar experience as they embroil themselves in Sophie’s story!
Q: How does interaction with Beth and/or Andrew aid Sophie in processing clues? How does consulting with one or the other affect the information players can uncover?
A: One thing to get out of the way is that players won’t be disadvantaged by picking one over the other - the intention is to give the player (and Sophie) a different perspective based on who they choose between these two colleagues who’ve lived very different lives and who have cultivated different problem-solving approaches.
Beth has seen a bit more of the world, met a lot of colourful people, and picked up some valuable street smarts, while Andrew is armed with a vast knowledge of literature, history, and logic as a result of all the time he’s spent devouring books. They’re both equally capable of helping Sophie solve the mystery, in their own ways, but you’ll uncover different details or develop different understandings of the people on whom you’re snooping depending on which partner you’re in conversation with.
And of course, Beth and Andrew have their own individual stories for you to uncover. Players will want to think about who they're interested in getting to know on a deeper level, as well as what skills they lend to the investigation. And of course, we hope people will replay to enjoy both characters to the fullest!
Q: What were some of the major challenges you and your team encountered along the way? How have you worked to resolve them?
A: This Bed We Made is our first game as a studio and as such we faced common challenges that come with being rookies, so to speak: being overambitious and full of ideas and then having to reign ourselves in to focus on what's feasible, figuring out what how to create the most efficient pipeline for the team, doing a lot of trial and error with marketing and seeing what stuck! As far as resolution goes, sometimes the only way out is through.
We lived, and we learned; we fostered an environment that was truly collaborative and where everyone's strengths were used to the fullest; we received help and learned from friends and mentors and our colleagues at the Indie Asylum, and as a result, we're in an even better position to tackle our future projects.
Q: What is your favorite aspect of the game that you’re excited to share with players?
A: This might be super predictable, but as a writer, I’m most excited to see players experience the full story, get to know all the characters, discover all the different branches in dialogue, etc.! Since launching the game’s demo to the public, there have already been strong reactions from players as they theorize about the plot, pick sides between characters, and discover easter eggs and references that we slipped in.
It’s been so much fun already, and I absolutely can’t wait to see how players receive the full cast of characters and their narrative arcs once experienced from start to finish. Being tapped into the community management side of things while this has been happening has really informed my work as a writer, because it's so valuable to see what people are responding strongly to. I can't wait for the fan art, the memes, and the conversations that will hopefully arise when the full game is out!
Additionally, the voice acting in the game is such a highlight! The talents of our incredible (and award-winning) voice cast as well as the hours and hours of work that went into editing all the recordings really brings the characters and their stories to life. Certain scenes give me goosebumps every time I play through them, without fail.
Q: I see that This Bed We Made was nominated for and won several awards in 2021 and 2022! How does it feel to have that kind of recognition before your game has even been released? What has your community’s reaction been like so far?
A: It was such an honor and a joy to be recognized with awards based on the game’s demo! I mean, we even got a giant check, and holding a giant check has been on my bucket list for years - so it really felt momentous. It’s like a regular check but giant. You hold it in both hands and simultaneously feel so powerful and yet so petite. It’s very Alice in Wonderland, very Gulliver’s Travels. Anyway!
At Montreal's MEGAMIGS 2022, we received two awards: Best Actor’s Performance and Emergent Talent’s Favorite. We were also nominated for the Best Audio & Music and Social Impact categories. We were overjoyed! It's such deserving recognition for our voice cast, our creative director, and our sound team, all of whom have worked incredibly hard to make the game as immersive as it is.
The reception we've gotten in general has been shockingly lovely. We unveiled the first playable demo of the game at Gamescom all the way over in Germany last year, and everyone was so kind and enthusiastic about what we were showing. It was such an encouraging first venture out into the wild.
At the time, I figured, "Sure, but no one's going to tell you they hate your game to your face - it'll be a different story once we’re on the internet!" - and, honestly… not really! People have mostly been lovely all around! It’s a really special feeling to know that what we've created is resonating with exactly the audience we set out to attract. It’s a little disappointing, even: I really thought, as a community manager, I’d get to fight someone by now. I’m going to regret saying that, aren’t I?
Q: Alright, here’s my fun question before we end: for a game titled This Bed We Made… how many beds are in-game and how many do you actually get to make?
A: Whoa, now - I can't think of a bigger spoiler. That’s real inner circle stuff. Anything about the beds is sacred and protected by the strictest of NDAs. They're the meat of the whole game. The bread and butter. The whole sandwich, even. You’ll have to play to find out! How's that for a hook?
Q: Is there anything else you’d like to share that we haven’t touched on yet?
A: Lowbirth Games is a women-lead company with a team made up of women, queer people, and allies. We take pride (pun absolutely intended) in making games about atypical characters whose realities reflect our own, and in telling the stories of those who don’t always get the spotlight. I hope you’ll enjoy the experience of playing This Bed We Made and that you find an element of it that resonates with you.
For me, that element definitely isn’t bed-making, I fear: I’ve made the bed in room 505 more times than I’ve made my own bed this past year, but video games are all about living unrealistic power fantasies anyway, right?
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This Bed We Made is slated for release on PC sometime in 2023.