Developed/Published by: Coal Supper / Panic
Released: 1/08/2024
Completed: 7/08/2024
Completion: Finished it!
It seems contrarian for me to open this by saying this is definitely the best game of 2024 and it’s definitely going to be my favourite game of the year… but it’s true.
The thing, I suppose, that makes that kind of wild, declarative statement seem so difficult to declare is that… games are just so broad, aren’t they? Playing something like Thank Goodness You’re Here! is so unbelievably different from playing, say, my favourite game of last year, Hi-Fi Rush, that it doesn’t feel as easy to say as declaring one movie “the best film of the year.” I mean in that case, you still just sit there and watch a movie. There’s not quite the same… granularity of experience. I mean even if you were talking indie games, Balatro touches such a different part of my brain from Thank Goodness You’re Here! So how could I ever, really, compare them?
Well, you know what? Sometimes you gotta just stick your flag somewhere, and my flag goes in the top of a Yorkshire pudding, and when it unfurls it’s the flag… of Yorkshire. Which surprised me, because I’m Scottish, so normally it goes in the top of a Scotch pie, and it’s a Saltire, so I guess I really like Thank Goodness You’re Here!
To describe it, though, which is what you’ve paid for, Thank Goodness You’re Here is a non-evil Untitled Goose Game. You play, in some respects similarly, an agent of chaos in a small town: a tiny man with… jaundice(?) who has been sent to the town of Barnsworth to help the mayor, but end up in the tangle of everyone’s lives. You help them do things that sound explicitly rather simple like mowing a lawn to buying some soup… but it’s not simple at all.
Unlike Untitled Goose Game, your tiny man isn’t just a wee dick; you’re actually helping people, it just happens to be in a very anarchic fashion. You rise to the level of the town, rather than lowering it, so outside of a few smacky bum-bums, you never feel like you’re bullying anyone… well maybe that guy with the chimney. But the joke works.
It would be regressive to describe this game as “weird” or “crazy.” What it is, and what makes it so brilliant, is that it’s so British. If you love the era of British comedy that brought us things like Look Around You or Alan Partridge, you’ll feel right at home here, and I was genuinely laughing all the way through this. Mileage may vary: some jokes and sequences are unbelievably puerile, some are a little smutty; some are… disturbing, but there’s a joyful nature to this whole thing, and it’s all so rapid fire that if something falls flat, it’s not long before you’re laughing about something else.
I think also that the game has a near-perfect take on interactivity for this kind of story-based experience. Outside of special sequences basically all you can do is slap things or jump, but everything is reactive, and the level design is cleverly focused; your path through the game is a sequence of designed loops that you can’t deviate from, but as a result you don’t suffer from the kind of downtime you can struggle with in more open adventures and which can ruin immersion.
Here you’ll never return to an area and discover it static, how you left it, and have to waffle around trying to find X or Y; you’re always moving forward onto Z. I can hear the criticisms, but at least for me this never felt restrictive; the only issue I really had was feeling that I had to put the game down regularly lest I finish it too quickly–though it’s surprisingly lengthy for something featuring so much bespoke art and sequences, at almost five hours.
To be honest, the game manages something that I wish designers of interactive experiences–think your Meow Wolfs, your Sleep No Mores–would learn from, which is how to always be guiding your player forward through a space and yet still allow them to experience it at their own pace. Sure, it has the benefit of being able to lock doors behind you, and there aren’t 300 other tiny men with jaundice trying to do everything in it at the same time (though I’d love to see that?) but I couldn’t help but be impressed with the flow.
(This may relate to me seeing Sleep No More before it closes just before playing this, finding it a hard to navigate mess of meaningless rooms in a warehouse and thinking it was fucking rubbish.)
The reason, really, that this is my game of the year already is that it’s trying to do something specific and it’s doing it as unbelievably fucking well as anyone probably could. Your dexterity won’t be challenged, your brain won’t be taxed, but they don’t need to be. Sure it’s a funhouse mirror, but if someone was to ask me “What’s the UK like?” from now on, I’ll probably just say “Play Thank Goodness You’re Here!”
Will I ever play it again? Absolutely. Not for a long time, I think, but I didn’t technically see “everything” according to the achievements, and I’d like to.
Final Thought: For categorisation sake, I would like to mention that I do think that Thank Goodness You’re Here! is largely specifically English, and Northern English at that, but there are enough commonalities and it features a big role for Davey Swatpaz that I think it’s fair to think of it as extremely British anyway. And speaking of the excellent casting, Matt Berry is in this and as always he’s brilliant. There are few games where I’d say “I really hope you run out and buy this” but there are few things that are such polished diamonds, and even though this was funded by Panic, who apparently have enough money that they can piss it up on a wall on the world’s most niche handheld (hey, I still bought it) smaller games are having such a rough time of it that when they’re good we should really, you know, reward that. Don’t just do it for me; do it for Tiny Tom. Or Big Ron.*
*pie size preference depending.
