Unfairly Maligned Games, Vol. 2
Games I loved that got low scores, review bombed, or have some other weird negative stigma attached to them that I think is unfairly earned.
NOTE: I don't believe in giving games a number score or a letter grade. Maybe I'm just bad at criticism or very easy to please, whatever.
We Happy Few [2018]
Originally advertised as some kind of procedurally-generated stealth horror survival game that people kept insisting was "like BioShock" even though there is literally zero correlation or even vague resemblance to BioShock, this game's crowdfunded development process was a long hard rollercoaster ride through concept and scope changes, getting picked up by major studios and publishers, a constantly evolving marketing campaign, and a loud, rude blasting of negative press right before and right after launch due to bad take misinformation and some game-breaking bugs on Day One.
We Happy Few started as a Kickstarter project from Compulsion Games, a small studio known only for their previous game Contrast. In Contrast, you play as a child's silent imaginary friend in a cabaret dancer costume who can phase in and out of backgrounds to become a shadow on the wall and solve platforming puzzles. Working together, you help the child navigate through her emotions as her parents struggle through their own relation-shit in an early 1900s European port town. Seeing as their first game was stylish as hell and widely praised among indie crowds, it's no surprise that a Kickstarter for a new game from that studio became an instant success, so much so that it caught the eye of several big studios (Microsoft and Gearbox Publishing), and it quickly turned into a vastly bigger project with many more hands working on it. The proc-gen element was downtuned and streamlined, and the main emphasis of the game became about survival, stealth, and story.
And let me tell you. In terms of story, this game is phenomenal. The simple premise is that you play through the lives of three people living in 1950s-60s England, under a government that is forcing everyone to take these candy pills called Joy that make you instantly and excessively cheerful, so you can easily forget about all the horrible things that the government wants you to forget ever happened about The War, the Missing Children, and all the people still actively dying of malnutrition from the ongoing Famine and all that. The people are mandated to forget their worries, grin and bear it, pretend everything's just peachy keen, and if you refuse to take that pill, people will notice your un-cheerful behavior and call the police to track you down and beat you senseless. Can't have any Downers in our perfectly lovely happy town, now can we?
The game's art direction features two stark parallels between a dreary English village and early 60s-70s psychedelia (with a hint of A Clockwork Orange for good measure), and a soundtrack influenced by bands of the era, such as The Doors, The Beatles, The Byrds, etc. The dichotomy of looting dilapidated rural homes while avoiding plague-ridden peasants versus the rainbow streets and lava lamp light show sex dens in the cities is truly astonishing. It's a game about, funnily enough, Contrasts between the bright and cheerful life everyone is forced to think they're living, and the grim depressing reality that lies underneath. Many people initially assumed this meant the game had some kind of anti-drug message about not relying on your depression medication cause pills can't fix everything, but it's clear right from the get-go that's nowhere near the case. We Happy Few is a story about revisionist history, the pressure to conform, submission to a corrupt system that might not even know what it's doing, and the very British notion of Keeping Calm and Carrying On as if major atrocities hadn't just been committed in a massive world war.
Gameplay-wise, this is a strange hybrid of survival and stealth, with combat definitely being present, but taking a backseat for the most part. It's much easier to distract enemies than fight them, and many of the characters excel at hiding in plain sight, provided you don't do anything to make people suspicious, like running and jumping around or breaking into houses to raid them for food. You do have options and skill trees though, so the game does allow you to tailor it to your own playstyle to a degree. I had significantly more fun playing it slow and methodical, sneaking up and choking out enemies, and watching NPCs bump into each other awkwardly while quoting ancient English literature for no apparent reason. Taking it slow, reading every scrap of paper and Journal I found, my final playtime was about 50~ hours.
Again though, let me gush about the story for a second. The base game has three full chapters, each of which has you play as a different character with different strengths and game mechanics (including such wildly inventive ideas as the burden of motherhood taking up inventory space if you don't periodically check on the baby you have to leave at home, and carefully maintaining a balanced blood sugar level so you don't collapse?!). Their stories are all deeply connected in ways that aren't immediately apparent but are cool as hell once the pieces of the puzzle come together. Each chapter more or less takes place at the same time, but the events always play out slightly differently, because memory-altering drugs fuck with your sense of reality and make us all question the reliability of each narrator. If that wasn't already cool enough, the game also features three DLC packages where you play as three ADDITIONAL characters, each of whom is also a recognizable face in the main story if you're paying attention. These DLCs add even more neat mechanics and open up the story events even more in and around the main game. They were honestly all an absolute blast to play, especially if you were already as invested in the story as I was. And the subject material goes all over the place, touching on such highly specific topics as 60s science fiction, gay lovers, Beatlemania, trippy drug-induced murder mysteries, the British occupation of India, and plenty more. I can't stress enough what a unique storytelling experience this game has to offer. It really is unlike anything else I've ever played! But alas, we should probably talk about why nobody else seems to be as enthused about the game as I am...
Aside from the huge misunderstanding about the game's message, We Happy Few was bombed with criticism on Day One due to some major bugs that hadn't been ironed out - remember, for a $60 game backed by some big names in the industry, it was still very much an indie passion project from the start, and it's clear it wasn't given the full AAA treatment at all. Several big-name Game Reviewers (a field I detest almost as much as Cartoon Reviewers) ripped into the game for its bugs, and while I can't fault people for being mad at broken quests and at least one full-on softlock, not everyone experienced those bugs, and many of them were ironed out in later patches. It's almost like chasing those Day One reviews and videos are a bad idea for people who want to Enjoy Games. Sadly, first impressions are all that seem to matter anymore in gaming, so those early negative reviews still sting to this day. But people out there will give games like Skyrim a perfect 10/10 despite a significant number of similar bugs (hell, they're almost a charm of the series at this point), so why should an indie game not be given the same graces?
In closing? We Happy Few is a phenomenal story in a completely fresh setting that really doesn't feel like anything else before it. The game has been criticized to hell and back for its early bugs or for "boring" gameplay or whatever the Review outlets chose to report, but to me it stands out as an extremely unique experience in a sea of Lowest Common Denominator games. I'd rather play an imperfect or buggy game with a unique or highly niche premise than yet another polished piece of pristine pop pleasure, and I genuinely think people would enjoy games like We Happy Few if they just lowered their goddamn expectations for once in their lives.
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Enough discourse, I wanna post about headcanons
The Vees are a polycule to me, but in a way that I can't even explain without an entire slowburn fanfic (stay tuned. I'm a slow writer). But I will try.
Velvette:
I do adhere to the lesbian Velvette headcanon. She's dating Vox and still occasionally joins Valentino for a threesome with him. When she first joined the Vees, Velvette used to identify as bisexual (and still loves the bi flag colors the most) and all three of them used to date, before Velvette realized that she's a lesbian.
She and Vox are still dating, and they have an open relationship.
Vox:
Vox's response to Velvette coming out was, "So you're breaking up with Val?" Yes, his pronouns are he/him. No, he's not a man. He'd long shed the fleshy confines of humanity and gender along with it.
Vox is aspec, agender, autistic. To me. He's sex favorable of the 'I want to do it for my partner's enjoyment' flavor. Watching from cameras brings him just as much enjoyment, and he watches everything and everyone, living vicariously, a voyer through the screen. As a result of that, he's so so touched starved, but his sense of feeling is muted (the consequences of betraying flesh in favor of the machine). Soft touches to his synthetic skin don't really register, his sense of feeling restricted to mostly pressure and pain, so he's become a bit of a masochist in response because that's something physical.
Valentino:
He just likes sex. He chases pleasure in any form he can find, dopamine rushes from numerous drugs, orgasmic release, the rush of power from crushing someone underfoot. Anything and everything, he'll try it all. And none of it is really enough, so he'll never stop chasing more.
Valentino doesn't consider his relationship with Vox romantic, even if Vox totally does. They're friends, sure, business partners, absolutely, and fuckbuddies wherever Val is in the mood for it. But romance isn't Val's thing. That's hard work, and Val saves romancing for potential new hires he wants to sign a contract with. What Vox and he have is also written down on a contract, joining their businesses together too closely to be parted without blood, but it's not the same. Not to Val. So, he wouldn't call Vox his boyfriend, but he also wouldn't correct anyone who said they were. Vox is someone he can let his guard down with, one of the few people who would never want to get out of the contract their names are signed on. They work well together. That's better than any romance you can get in Hell, Val thinks.
Val and Velvette are catty besties. Pan/Lesbian solidarity and hostility all in one.
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