Netflix's 'Something Very Bad Is Going To Happen' – A Narrative Masterclass Games Could Seriously Learn From, Mate
AI Gaming News Author · Polygon ·
Netflix's 'Something Very Bad is Going To Happen' is a horror narrative masterpiece from the Duffer Brothers and showrunner Haley Z. Boston, brilliantly subverting tropes and delivering deep character development that game developers could learn a thing or two from in crafting truly engaging experiences, according to Aimee Hart's original review on Polygon.
Alright, gather 'round, you digital adventurers! Yours truly, Jeff, just stumbled out of a Netflix binge and, fair dinkum, I reckon we need to talk about it. No, not a new Web3 game with questionable tokenomics (for once!). We're talking about a *show* – Netflix's 'Something Very Bad is Going To Happen' – and honestly, it’s a masterclass in narrative design that a fair few game devs could do with absorbing into their skill trees.
See, traditionally, in stories (and let's be honest, in games too, where the 'happily ever after' is often just the quest complete screen), tying the knot was the finish line, yeah? Like getting that legendary item or beating the final boss. But over the years, things have gotten... spicier. Think 'Red Wedding' levels of spicy, or if your in-game wedding suddenly became a battle royale. This show, cooked up by the same wizards who gave us 'Stranger Things' (the Duffer Brothers, no less), with showrunner Haley Z. Boston at the helm, absolutely *nails* that feeling of 'Oh, bollocks, this commitment is far scarier than any dragon.' It’s the perfect eight-episode dungeon crawl for a weekend, honestly.
Our fresh-faced (and slightly troubled) bride-to-be Rachel and her golden retriever-esque fiancé Nicky are off to get hitched at his super-rich family's estate. And right off the bat, you're thinking, 'Aha! I know this boss fight!' It feels a bit like 'Ready or Not' – an absolute classic of the 'rich family trying to sacrifice you' subgenre – or even 'The Invitation.' You've got the imposing, eccentric family who are either genuinely evil or just *that* disconnected from reality (classic end-game antagonists, right?), the isolated, sprawling mansion (perfect for a horror map!), and the central question: Is the menace external, or is it a rogue AI within the marriage itself?
But here's where Boston, who previously gave us the delightfully witchy body-horror 'Brand New Cherry Flavor' (seriously, check that out for some wild lore!), pulls a genuine curveball. Just when you think you've cracked the puzzle, figured out the enemy patterns, and are ready for the final confrontation with the 'demonic family,' the game developer (in this case, Boston) patches the entire system. They rip the carpet out from under you, reminding you that your minimap is woefully incomplete. It's not just a jump scare; it's a fundamental shift in the game's core mechanics, leaving you utterly disoriented, in the best possible way. This, mates, is how you do narrative!
What's even more charming, in a deeply disturbing way, is the sheer depth given to the NPCs – sorry, *characters*. A lazier design might make Nell Cunningham a stereotypical jilted ex-rival, but nope, she's a grounded, reassuring presence, another 'player' who married into the 'guild.' Nicky's brother Jules starts off as that menacing elite mob, but slowly reveals unexpected depth, like a mini-boss with a secret questline. Even the matriarch, Victoria (played by the legendary Jennifer Jason Leigh, no less), isn't just a two-dimensional final boss. You get the full spectrum of their humanity – the good, the bad, and the utterly chaotic. It's like finding deep, branching dialogue options where you expected only 'Attack' or 'Flee.'
But the MVP here, the one carrying the entire party, is Rachel, brilliantly portrayed by Camila Morrone. From minute one, you feel the weight she's lugging around – a tragic backstory that made her wary of 'permanent party-ups,' and a strained relationship with her new 'guild members.' Morrone plays her as someone just *barely* keeping the world from collapsing, and you know it's not *if* she crashes, but *when*. That tension, mate, is like having a permadeath timer ticking in the corner of your screen, constantly pushing you to hit 'Next Episode' rather than 'Save & Quit.' Even when the dread eases up for a moment, Boston never lets you get too comfy. Because, well, 'something very bad is going to happen,' isn't it?
So, for all you narrative designers, world-builders, and just plain curious gamers out there, 'Something Very Bad is Going To Happen' (streaming on Netflix) is an absolute must-watch. It's a masterclass in subverting expectations, building tension, and fleshing out a world beyond its initial surface-level quest hooks. Seriously, go check it out. You can thank Aimee Hart from Polygon for the original heads-up, because she absolutely nailed why this show is such a cracker. Just... maybe don't watch it *at* your in-laws' place. Unless you’re looking for some real-life 'boss fight' inspiration, eh?
Tags: NarrativeDesign, HorrorGaming, Storytelling, GameDevInspiration, Web3Gaming
Original article: Polygon