Heartwarming and soothing – a completely different kind of video game

Stardew Valley (ConcernedApe, 2016) is certainly not the first, but probably one of the best-known representatives of the wholesome games genre, alongside veterans such as Animal Crossing (Nintendo, 2001) and Harvest Moon (Amccus, 1996). These are games in which things proceed at a somewhat slower pace. The proportion of elements such as violence or horror is low to non-existent, and when they do occur, they are presented in a trivialised or downplayed form. It is not uncommon for the game to focus on interaction with other players or characters that appear in the game itself, who often have a high degree of character development. Socialising is at the forefront and is also deepened, and there is often a way of measuring how far the social bonds have already progressed.

However, it is questionable whether we should speak directly of a genre here, because even if the characteristics of the wholesome game genre seem relatively clear, there are other examples that could not be more different from the games mentioned above. Of course, I don’t want to start a discussion about genres here; others are much better at that, for example Thomas H. Apperley in Genre and game studies: Toward a critical approach to video game genres, a very worthwhile article that could turn quite a few things upside down, if you’re willing to engage with it. (But please don’t forget that this article is an academic work on game studies and may only be applicable to a limited extent to the genre labels we encounter on a daily basis!)

But enough with the wild theories, let’s take a look at a few examples which, I am convinced, also belong to the wholesome games category, but are less likely to be counted as part of this genre.

GRIS (Nomada Studio, 2018)

GRIS has a special place in this list, and perhaps that is why I unconsciously put it in first place. This should not be taken as an indication of the game’s value. GRIS is so special because, to me, it feels like a worthy successor to Journey, even though the game certainly does not intend to take that place. 

The game transports us to a fascinating fantasy world that is, unfortunately, dreary and grey. Colours are difficult to distinguish. We wake up and immediately, without a lengthy tutorial, the game wants to show us how everything works and what we can do. Without us even noticing, it draws us right into its spell, which is certainly also due to the cinematic presentation of the world. At just the right moments, the game zooms out far enough for us to realise the significance of our actions. At the same time, we realise that everything we have seen so far is only a fraction of this world. The further we progress, the more cleverly designed puzzles await us, making even a second playthrough of the section we have already completed seem like a walk in the park, precisely because we know that we haven’t seen enough yet.

Of course, companions also join us on our journey. Sometimes they lead us, sometimes they accompany us, and sometimes they give us little puzzles to solve. 

GRIS demonstrates that a wholesome game does not necessarily require well-written dialogue or farming. Even with a character who does not speak a single word, an incredible amount can be expressed. Especially in our noisy world, which presents us with new audiovisual challenges every day, such a game is a welcome retreat. Here, one can dream, fantasise and discover a world that is incredibly beautiful.

The last Campfire (Hello Games, 2020)

We play the little Ember and have been cut off from our comrades by the loss of our paddle. A small world reveals itself to us, characterised by its impassability and the absence of other people and beings. But not so fast – if we solve various puzzles, we can free souls. These souls lead us to a fire and slowly create life in a world where, apparently, there was none left. 

We are guided here by a voice belonging to voice actress and actress Rachel August. With her unusual accent, she creates a feel-good atmosphere that fits almost perfectly into the setting. Different characters are spoken with different intonations, but she never loses the uniqueness and accent in her voice. 

The interplay between a protagonist who is essentially silent, a world full of secrets that nevertheless feels inviting, numerous puzzles, and the voice of Rachel August creates a game that feels like a comforting blanket on a rainy day. It demands just enough from you that it never feels truly challenging. You’ll want to keep playing a little longer, because the question of what lies behind the next opening or the next stone arch is similar to what happens in the next chapter of a good book. 

Some say it’s a classic puzzle game, but all these components also make it a wholesome game. I would even go so far as to say that Rachel August is the soul we find and who guides us through the entire game, just as Ember is repeatedly led by souls to the eponymous „campfire“. 

Röki (Polygon Treehouse, 2020)

Röki tells the story of a little girl named Tove who must find her kidnapped brother. So far, so simple, were it not for one small detail with a big impact: she must journey through Norse mythology to find out how to get her brother back and who is behind it all. What’s nice about this is that it does away with all the clichés and focuses on the part of mythology that has little or nothing to do with a thunder god. This creates a world that could hardly be more diverse. On our journey, we encounter monsters both large and small; we must flee from some and free others. We complete various tasks, clear paths and solve tricky puzzles. In doing so, we get closer and closer to the truth about our brother’s abduction and delve deeper into a world that captivates and enchants with its fascination. 

The environment, the story and the pleasant sound design, especially that of Tove, form a cohesive whole. You quickly get swept away and immediately feel at home in this unfamiliar new world, which is certainly also due to the composition of the environment, as it is repeatedly brought to the fore without the characters getting lost in the process. The subtle cartoon-like graphic style supports this. 

All this together results in a wholesome game set in Norse mythology, which impresses with its seamless consistency. Despite the suspense, you can sit back and enjoy all the facets mentioned above. 

Far: Lone Sail (Okomotive, 2018)

The world has been destroyed and little remains. Here we find Lone, a brave survivor in this dystopian-looking world. Together with her, we must restore an old ship to working order. This means not only searching for fuel again and again, but also preventing our ship from falling apart. Small tasks and puzzles keep us busy. What is not neglected is the enjoyment of this completely destroyed landscape, which actually has little to offer. But this is exactly where Far: Lone Sail knows how to fascinate, because, as with the other games, our journey is never stressful, even if a fire breaks out on the ship. This gives us enough time to take a closer look at this world, immerse ourselves in it and let it carry us away. Is it perhaps even our world, and are we getting a glimpse of what lies ahead?

Far: Lone Sail impresses with its simplicity, and despite its bleak world, it is still enjoyable. It is a rather short adventure, but that is absolutely not a bad thing. You get enough time to immerse yourself in this world, accompany Lone on her journey and, as with all the other games, relax and switch off, as far as you can get involved. It’s certainly not a typical wholesome game, but perhaps that’s precisely why it is one, impressively demonstrating the diversity this genre has to offer. 

Spiritfarer (Thunder Lotus, 2020)

Fantastic sunrises on the high seas, navigating stormy waters, and all on a ship that couldn’t be more unique. We embody Stella and have a difficult legacy to live up to, as we take the place of Charon, the ferryman from Greek and Roman mythology. It was he who guided souls across the great river into the realm of the dead. This task is now ours, and we are accompanied by Daffodil, our faithful cat, who is always by our side. 

But Spiritfarer offers much more than that, because the souls on our ship manifest themselves as extremely demanding guests for whom we have to provide their own quarters, production facilities and food. The raw materials for this can be found on various islands, which we can navigate to using our ship’s own navigation system. On the way there, we have to navigate through storms, where we can collect lightning bolts, and dark storms. 

All this, and many more quirky characters, create an atmosphere that invites you to relax. Because even if some things sound stressful, we can still go to the stern and simply do some fishing while our ship battles its way through the waves on the sea. Because even though there is the option of fast travel, in the end it is up to us whether we use it or simply set a course that may take a little longer. 

Sometimes the characters can be a little exhausting, I have to admit. Nevertheless, exploring and discovering this fascinating intermediate world quickly creates an extremely pleasant feeling. The game never fails to present you with new tasks or goals, so there’s no shortage of excitement. It’s a wholesome game that’s based a lot on socialising, as you have to interact with the characters on the ship again and again, precisely because their needs are constantly changing and presenting you with new challenges. Fortunately, this is never stressful, and you can take your time with the individual tasks and collecting items. 

Fazit

Wholesome games have always been very multifaceted, because even though Stardew Valley is described as a farming game, it has much more to offer. This is true of the entire genre, which still feels like it is in its infancy. However, there have been examples of this genre since before Stardew Valley or Animal Crossing, as I would definitely include Harvest Moon here as well. 

But what exactly is a wholesome game?
Objectively speaking, I could now list all the characteristics that we find in the above games, but even then I would have a list that does not apply to every game and is therefore not universally valid (a problem with the genre that is also addressed by Thomas H. Apperley). Subjectively speaking, I would say that wholesome games are very calm. They take a back seat, rarely stressing the player in their presentation or gameplay. They allow you to sit back, switch off and find some peace and quiet. And yes, I know people who can do that with Counter Strike (Valve, 2000) or World of Warcraft (Blizzard Entertainment, 2004), but I would never describe either of those as wholesome games.

Another point would be the story and how it is told. wholesome games often use subtle narrative structures that are not always immediately recognisable as such, but this is precisely what makes the genre so interesting. Of course, there is usually a main plot that is immediately apparent to the player, but there is often much more to it than that.  

However, we mustn’t forget that wholesome games offer us escapism in its purest form, something we are all too happy to seek out. We certainly find it in the games mentioned above, even if we mustn’t forget that there is also a real world out there, even if it isn’t always beautiful and pleasant. 

Ultimately, there are clear representatives of this genre, and it is certainly worth asking whether this genre description deserves more attention or should find its way into everyday life. Because I believe that then people would talk about it more, and the games I mentioned would be able to shed their niche status. However, I am also aware that it is often difficult for indie titles to compete with the big triple-A titles.