It’s not a great representation of in-depth gameplay, but it’s just a well-told story, plain and simple. I’ve heard some people say that the series looks like nothing more than an ad for OFK’s EP, and if that’s the case, it’s the best ad I’ve ever seen in my life. Even if it feels out of your comfort zone, it can say with absolute certainty that We Are OFK is a fun time… if you lean into everything that it is.
We Are OFK is a musical narrative experience that perfectly justifies its genre-defying position; the music is hot, the cast are hotter, and not only will you care about them, you’ll care about hearing the next thing they do. It’s exceptional.
All in all, I enjoyed my time with We Are OFK. Even for a visual novel, the storyline can feel a bit too on the rails at times, but Itsumi, Carter, Luca, and Jey's journey is poignant in its relatability and powerful in its narrative exploration through music.
If you have the bandwidth for the minimally interactive stuff of a visual novel, you won't find a more compelling and captivating example of the genre. Buy.
The biggest success of the game, though, is its sense of authenticity. The LGBT+ representation is excellent, with diverse characters normalising queer relationships. The developer's devotion to authentic twentysomething reference points is commendable. And where so many music stories push songwriting and acoustic instruments as more "authentic" than manufactured pop, here the secret to success is simple: just be yourself.
At this point, both in the game and presumably in real life, OFK doesn’t feel like a ‘real’ accomplished band. We Are OFK is not a traditional story that offers closure, which can be frustrating, but in many ways that is We Are OFK’s entire point – life happens to you, whether you want it to or not.