Pluto has been under development now for a long time. It’s evolved out of previous Campbell/Breeze collaborations such as The Dead Tower, #PRISOM and #CARNIVAST, in conjunction with raw experimentation, short fiction, Mezangelle, and even artwork produced in the mid-1990s on the Commodore Amiga.
In parallel, Pluto itself narratively toys with the concept of time, offering a series of windows into characters’ lives at different points in their personal histories. Pluto also explores – through the central gameworld – that concept of other places existing where time no longer feels stable or linear.
Writing prose and developing our gameworld simultaneously has allowed one to affect the other, and snippets from each to interweave in fascinating ways.
Bringing sections of writing into Pluto’s increasingly immersive and out-of-this-world landscape – sometimes editing it on the fly in the process – has given the text itself a fittingly delicate, fragile, beautiful feel, where its complexity and meaning has gained a form of heightened value.
Also, its newly attained attributes of being mapped around physically-affected objects or being set in fluid motion-patterns in the sky have had a mesmerizing and unexpected effect on the overall story.