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[synchronicity]

I'm not sure if this thread is considered too self-indulgent, but I know that I always enjoying reading other user's threads that cover their all-time favorite games - something I've been working on over the years as well. Anyway, this place doesn't move at the pace it used to, and I thought I'd provide a little content assuming it's not outside the scope of what's permitted.

If it's not allowed, feel free to lock obviously.

Anyway, I know we're well into 2018, but I have a habit of reviewing and ranking everything I play every year. It's a bit of an obsession of mine - a hobby within the hobby, if you will. I don't always go too in depth, but I thought some members may enjoy reading and, if interested, discussing their thoughts on the set of games I played in 2017. Assuming this thread is ok, I'll add 3 or so games everyday until I get to my top spot so that it's not too much at once.

Without further ado...

#39 Cheater's Blackjack 21 (PC)

I really love Blackjack. When venturing into a casino, it’s the only game to which I will dedicate any significant amount of time. And…I win (usually). I know the odds are stacked against you in all casino games, but I’m a lifetime winner of hundreds (austin powers gif) of dollars in 21. I know you can gain a slight edge in certain situations and with certain approaches. (single deck - very hard to find, effective card counting - which isn’t that hard, and not Rain Man-like at all, certain betting options on offer, and of course using solid basic strategy, etc.) Yet, I’ve never really been able to find any truly advantageous games in my journey inside gambling parlors, unsurprisingly of course. (I’ve heard single deck games used to exist, and may still off the beaten path.) But, still I win on most trips to the table.

Loving the casino game, I thought I’d try a cheap representation of the experience I found for under a dollar on a recent STEAM sale. Sadly it appears little to no effort went into the creation of this title. There is so much that could be done to spice up the experience, given the fact that the basic game is already created for you. But this digital version of the classic casino game is utterly devoid of personality or any presentational elements worthy of excitement. It actually somehow makes the basic game of blackjack worse by incorporating a “cheating” element to the equation, an element that is poorly thought out and not well-implemented, in the first place. I would have certainly been better off playing one of myriad free casino games than picking this up. When you pay less than a dollar for something and still feel ripped off, it’s not a good sign. A generous 2/5, and only because I can’t truly hate blackjack, but in the end, I still feel cheated.

#38 Rituals (PC)

Rituals is a first person adventure/point and click/walking simulator of sorts. The basic gist of things thematically is a commentary on the harmful effects of post-industrial life on the planet and human life. The narrative didn’t have a great deal of detail, but I could certainly get behind the vibe. Humanity, for me, often feels at a type of crossroads in this day and age, at a juncture where we will either choose greed and further accelerate our own destruction or look to temper our innate self-interest/greed and try to establish harmony with the only home we’ve got. This core notion is certainly worthwhile and resonates with me, so I did appreciate the central theme.

However, outside of that general idea, I didn’t find Rituals to have much to offer. The control scheme was awkward, necessitating spinning around the camera and clicking on arrows and objects rather than allowing free (WASD/Stick) movement. The graphics were simplistic and blocky, and while that style can be appealing in the right hands, it didn’t impress here. And despite knowing how brief the experience was going in, I didn’t feel the need to complete things. It was a throw-in as a part of a Humble Bundle I bought at some point, and I only picked it up to satisfy my mild, and ultimately unwarranted, curiosity. Not really worth spending time on. 2/5.

#37 Guinness World Records: The Video Game (DS)

What's a 40-something year-old man playing this. Never you mind. The Nintendo DS was a machine that saw a LOT of software, and given its incredible popularity with people of various ages, including many children, it was always inevitable that it would see a fare share of quick and messy cash grabs. The concept of a game centered on the Guinness World Records property is a fine one. The possibility of having a collection of mini games with the carrot of trying to best your score as well as those of your friends and family, and presumably those online, is full of potential for some good times. And to be sure, there are quite a good number of games in which you are able to compete, games which are often conceptually quite entertaining. Unfortunately the execution, where the rubber meets the road, is of another caliber altogether unfortunately. The controls often feel inconsistent, slippery and imprecise, leading to frustration and disappointment. And while you certainly can compete with those locally for high scores, I'm not sure the same is true in regards to online functionality. Because either the user base was very, very tiny, or the records/servers no longer synched, or - and I'm leaning this way - I'm just awesome at EVERYTHING. In the final analysis, I'm left with a game that had potential and some good ideas, but finds itself hobnobbing with the glut of shovelware you will find on any system with a large user base. It's not the worst game I've ever played, but it's good friends with those guys. 2/5.

 

[HeisenbergFX4]

I personally enjoy these even from casual players because I might discover a new gem I have never heard of so keep them coming.

 

[synchronicity]

I personally enjoy these even from casual players because I might discover a new gem I have never heard of so keep them coming.

Great, will do. I also enjoy reading the opinions and lists of other gamers - especially all-time favorite lists. It's nice to get a flavor for what someone did or did not like within what they played - impresssions that you might not get in mainstream reviews.

 

[wipeout364]

I enjoyed the thread. So keep going, although you appear to be somewhat of a dumpster diver if the first thee games on your list are somewhat representative. But you know what, that is probably a lot more interesting than your impressions of call of duty or destiny 2 as I have never heard of any of those games you talked about.

 

[synchronicity]

although you appear to be somewhat of a dumpster diver if the first thee games on your list are somewhat representative.

Lol, yeah, it does look that way. I've been gaming since the beginning, so I like to give games off the beaten path a chance. Sometimes it works out, other times...

Anyway, I play the big (mainstream) stuff too. I drop games that don't click with me. Too much good stuff to waste time.

 

[koosa]

Edit: sorry, wrong thread

 

[AnimalFather]

this whole generation has been garbage imo

 

[Grimmrobe]

It's always nice to hear about obscure games from another perspective. Good thread.

 

[synchronicity]

I should mention that in terms of my reviews, I use a 5-star scale. 10 is too many degrees of differentiation, and a 100 point scale is, for me, just ridiculous.

In short:

5-star: Personal all-time great
4-star: Excellent game, well worth my time
3-star: Not bad, but nothing worth getting too excited about
2-star: It may have some nice ideas, but the execution was lacking or it just wasn't for me.
1-star: I've almost never played a game I would give this rating to. I can usually find something of merit in most experiences.

#36 Her Story (PC)

Long ago, FMV games made a brief appearance on the gaming scene and quickly vanished, probably for good reason. The distinguishing feature of video games is their interactive nature, and not that interactivity is impossible within the context of a series of video clips, it's just that it is ultimately a lesser form of interactivity, generally speaking. There is no one-to-one, instantaneous feedback, and this type of game finds itself removed from the essence of what makes this art form interesting in the first place.

Now, I am not opposed to the idea of the possibility of a good FMV-based game. I imagine a creative mind could come up with a compelling way to implement a series of video clips into a gripping experience. And Her Story does put forth a good effort. The idea of unraveling a mystery by stitching together a variety of police-interview segments, eventually forming a coherent whole is promising and interesting.

Unfortunately, I found the story to be less than exciting, in part because I wasn't really enjoying the actress in the clips and also despite having an interesting plot, the execution didn't really strike me with any impact. I also wasn't a fan of entering search terms - random words at first, and then words you gather from the interview clips you've watched which clue you in to what's going on, taking you further down the rabbit hole to flesh out the story. I mean, that's all there is to it. Enter a word or phrase, pull up associated clips, and watch them, gradually unveiling the larger picture.

This was a title that had seemed to garner a pretty positive reception, and I was pleased to score it for cheap on a Steam sale, but in the end, I'm left scratching my head as to what the fuss was about. For me it is a disappointing 2/5.

#35 Doorways : Prelude (PC)

I enjoy the horror genre, so I'm willing to extend a chance to games with mixed or even mostly negative reputations in the search to find a personal gem. On a STEAM sale a while back I picked up Doorways : Prelude due to watching a trailer on the platform and thinking it looked pretty interesting and had potential. It wasn't and didn't. The graphics were passable, yet the mood was far from foreboding or sinister. The voice acting was over-dramatic, in contrast to the intended grim nature of the experience. It was incredibly brief and just didn't have much to offer a horror fan. Hate is a strong word, and I won't use it here, but I felt a palpable dislike and sense of disappointment - despite the modest expectations going in - by the time I reached the conclusion. Oh well, at least it didn't steal a significant amount of my free time, although I'm now stuck with the fact that I have the sequel already in my backlog with little urge to ever pick it up. A 2/5.

#34 Wheel of Fortune (DS)

I'm not a huge Wheel of Fortune fan, but somehow this came into my possession, and I figured I'd give it a whirl. Everything seems to be a pretty accurate representation of the show, and there seemed to be a good number of puzzles. (I didn't encounter any repeats in my play.) Everything progresses at too slow a pace for my tastes, however. There are too many bankrupts and lose-a-turns unnecessarily breaking up the rhythm, and it's pretty annoying and unwarranted. Although there are options to skip forward past some segments which tightens up the flow a bit. The game keeps track of a limited number of stats, and I'll remain proud of my record of solving a "tossup" round puzzle in .73 seconds. The category was "Classic TV" and the puzzle ended with a hyphen then a single letter. I immediately and correctly assumed it to be Hawaii Five-0, solving the puzzle in an instant. Beat that world! Overall though, I would say that you would need to be a massive fan of the show in order to really get significant enjoyment out of this title, and even then, the show is more entertaining than the game in my opinion. Winning virtual prizes has never been less thrilling. Not poorly made, but just not compelling enough to recommend. 2/5.

#33 Never Alone (PS4)

Never Alone is a "companionship" game in the vein of Ico, The Last Guardian and Brothers. You play as a young native Alaskan Inupiaq girl and an arctic fox in a 2D cooperative side-scroller that can be played solo or with a partner. Presented In the form of a folk tale, your village has become overburdened with blizzard conditions and you venture forth to uncover the cause and find relief so that the hunt may continue. On your journey, you encounter obstacles and enemies that must be overcome using the complimentary strengths of the two characters.

I definitely enjoyed the unique setting. I've always had a fascination with Alaska, and sometimes dreamed of living there. And it's a locale that you don't really see represented in gaming, especially with respect to its indigenous peoples and their longstanding culture. I thought the graphics were well done - vibrant, clean and sharp, offering a nice sense of place within the confines of a two-dimensional space. I also really appreciated the collectible videos covering the culture of the people. While not very long or as informative as I may have liked, I enjoyed the idea of melding education with my interactive entertainment.

I wish that I could give the actual game as much praise. While it's playable, I found it overly clunky and cumbersome. There was little real joy to be found in the interactive elements here, and I found myself putting it down, even though I knew I was nearing the finish. When a game can't inspire me to cross a finish line that is so obviously in sight, it communicates the state of things clearly from my perspective. With acknowledgments to the unique qualities of setting and worthwhile attempts to integrate actual learning into play time, I unfortunately wouldn't recommend Never Alone. Some nice ideas are sadly lost amidst a rather uninspiring game. A 2/5.

#32 Reigns (PC)

Reigns is a game about making choices as a succession of kings over a long period of time in a mythical kingdom. You are tasked with balancing 4 elements - the church, the army, the people, and the coffers - against each other so that none get too strong or too weak. Let them get out of balance and allow an element to grow too powerful or one to be pushed into obscurity and it's curtains for the current sovereign, leading to a new heir. You engage with these elements via a deck of cards that is dealt randomly representing a variety of characters with which you interact, and your choices are always binary. Swipe left or right, in a sort of medieval, autocrat tinder. The choices are sometimes interesting, but it's not always easy to get a feel for what the outcome of a decision will be, leading to some regret and a few short-lived kings. There appears to be a bit of an overarching narrative that unfolds with your lineage of crowns, but it wasn't readily apparent with my time with the game. In the end, Reigns had a fairly interesting premise, and I didn't hate it, but it didn't really compel me to want to dig deeply into it either. My final ruling on the matter is a 2/5.

#31 Everybody's Gone to the Rapture (PS4)

The end of the world seems to be quite the obsession with humanity. Personally, despite enjoying the concept in popular culture, I've never seen the reason for the fixation. Whether we all go together or one at a time staggered over the years, the result is the same. We're here, then poof, we're gone. I guess it's certainly more dramatic if we all make our exit collectively, and the idea of the sudden end of our kind isn't necessarily a pleasant one. It's a dramatic premise, to be sure, I suppose.

I entered the world of Everybody's Gone to the Rapture without great expectations, knowing that it was more or less another walking simulator. The genre has yet to grab me, but I'll give it a few more chances. The world of Rapture is absolutely gorgeous. The rural English countryside serves to heighten the eerie feel of walking around alone. Everything is varied and realistic and really puts you in the setting nicely. I spent a couple hours or more wandering around and picking up a few dozen bits of information, delivered in a variety of ways, regarding what had happened to everyone, and I have to say that I found it pretty uninteresting. There were some beautiful scenes and a couple of interesting bits of story, and I enjoyed soaking up the vibe, but all-in-all, it was a plodding affair, and I found myself caring less and less for what happened as time went on until I eventually decided it didn't matter to me at all, and put it down. It's a shame, because the world was wonderful, and I would have loved to see it put to use in a more interesting way. And I'm not against the "walking simulator" genre in theory. I'm sure it can be executed with some finesse by the right developer with the right ideas. In terms of Everybody's Gone to the Rapture, however, I'm not even curious where they went. 2/5.

 

[The Scrivener]

2/5 on every game so far, looks like your 2017 wasn't that great! I hope it got better for you!

BTW I use a very similar scale when I rate games, and I gave Never Alone and Her Story the same 2/5, but I think I enjoyed them a lot more than you described. I especially appreciate Her Story for what it does.

 

[wipeout364]

I’ve only played never alone and EGTTR and I agree with your reviews on those two. EGTTR starts slow and stays slow and doesn’t deliver in the end similar to Gone Home although arguably without the misdirection of Gone Home. The only games in this genre I’ve liked are the vanishing of Ethan carter and dear Esther. I agree with never alone; interesting premise but tied together with very boring gameplay.

 

[koosa]

SOMA is the best ,,walking simulator'' on the market imo, i'm curious if it's gonna show on your list.

 

[synchronicity]

2/5 on every game so far, looks like your 2017 wasn't that great! I hope it got better for you!

Yeah, thanks. It got better. Although I've honestly had better gaming years overall.

The only games in this genre I’ve liked are the vanishing of Ethan carter...

That's in my backlog, so maybe it will hit the spot.

SOMA is the best ,,walking simulator'' on the market imo, i'm curious if it's gonna show on your list.

As with Ethan Carter, it's in my backlog, so it won't be on my 2017 list. I might make time for it this year because from the little I've heard, I think I would love it.

 

[wipeout364]

SOMA is the best ,,walking simulator'' on the market imo, i'm curious if it's gonna show on your list.

Is SOMA a walking simulator? I played it but I never felt like it was part of that genre I think because I don’t associate walking simulators with dying which I thought you could do in SOMA quite frequently but it’s been awhile since I played it. Isn’t it closer to outlast which I wouldn’t call a walking simulator.

 

[koosa]

Is SOMA a walking simulator? I played it but I never felt like it was part of that genre I think because I don’t associate walking simulators with dying which I thought you could do in SOMA quite frequently but it’s been awhile since I played it. Isn’t it closer to outlast which I wouldn’t call a walking simulator.

Well, you can die, but i wouldn't say deaths are frequent, i think i died 3-4 times in my playthrough. There's no combat, just a couple light puzzles, and it's mostly story driven. Plus in the latest patch they've added an official mode which erases all enemy encounters, so you can play it as a walking sim by your definition.

 

[synchronicity]

#30 Life is Strange (PS4)

The narrative heavy, interactive drama genre is in a weird spot for me. I’m drawn to them in theory, but in practice, I’ve yet to really find one that I think is great or even very good. I’ve played 3 David Cage games, a few Telltale games, and maybe some others I’m forgetting, and I always go in expecting to have a good time only to be let down in the end. I think my issue is that I’m certainly more of a mechanics-first type of gamer which leaves all the burden on the story and characters to impress, and I’ve yet to find an entry that crafted those elements well enough for me not to be bored or annoyed. I thought The Walking Dead was decent enough, but just average overall. Each David Cage game has made me increasingly angry that I spent any time with them to the point of being “anti-Cage”. But still, I love a good story and keep hoping to find a game that is a nice mix of narrative and soft-gaming elements.

So, I gave Life is Strange a shot. Yes, it’s about teenagers, but that’s not a problem because, you see, I was myself once a teenager. Additionally, any well-written character or narrative will be relatable. At first inspection, things are promising. Graphically things are nice looking with some attractive, small-town locales and character models that don’t usually push the uncanny valley into scary circus-clown territory. The characters have some interesting elements to their makeup, showing a bit of depth, which I appreciated. There are lots of things to interact with, and doing so gave you added flavor for the world and further developed the narrative. There were numerous choices to make that - we’re told - will have an impact on the ultimate unfolding of the tale, and some of them were worth pondering. A pretty nice set of qualities, to be sure.

But…I didn’t like it. For one thing, the central conceit of the narrative allowing the protagonist to manipulate time, but sometimes it hurt or couldn’t be done in critical moments just rubbed me the wrong way. It felt ridiculous, contrived and came off awkwardly in Life Is Strange. When the central focal point of a drama can’t draw you in, it’s hard to get invested in the supplementary elements, and I just couldn’t sustain my investment. I could tolerate the melodrama and teen angst to a degree, but things eventually became wearisome and off-putting there as well. The actors were decent enough, but they were tasked with carrying a dead narrative and it hurt their performances as well. I guess in the end, I’m of the perspective that when all you have to offer is story, it better be great, and it just isn’t here. When the narrative pull is insufficient in this genre, things become tedious and I put it down, and that’s what I did here at some point in the fourth of five chapters. I can see some people falling in love with this game, and it’s obviously gotten a lot of positive reviews, so take my viewpoint in context. For me, however, it falls into a similar category with other titles of its ilk. By putting all its eggs in one basket, Life is Strange - along with other genre works - has an inordinate burden on the only element it brings to the table, its story and characterization. And, unfortunately, Life is Strange failed to draw me in. I’ll keep waiting for a game in this niche to really grab me. Maybe Until Dawn will do the trick, or maybe this genre just isn’t for me. 2/5.

#29 Team Fortress 2 (PC)

Online multiplayer gaming can be fun, and I've really enjoyed my time with some experiences. Out of the Park Baseball, Rocket League, NFL 2K5 (& Madden), The Souls series, Mario Kart 8, Virtua Fighter 5 FS and a variety of other offerings have provided a great deal of fun for me in an online competitive (sometimes co-operative) environment. But for the life of me, I cannot find myself able to connect with online FPSs, squad based or otherwise. I just don't get it. Kill, be-killed, re-spawn, do it all again in a frenetic, chaotic scene with everyone hopping around in a maniacal fashion and I feel I struggle to make heads or tales of the experience, regardless of the mode, and even if I understand it in concept. I simply cannot get into any flow, I'm just not at home there, and I don't really know why. Perhaps it's my reluctance to embrace keyboard and mouse. I just really like playing (most) everything with a controller, and of course that puts me at a disadvantage in this type of game. Maybe it's my old-man reflexes, but I don't think they're that bad, and I have done very well against (presumably) some much younger competition in twitch-based competition. I was excellent in Virtua Fighter 5:FS online with an really solid record and high rank over a huge sample size - well over a .600 winning percentage with over 1000 matches played. I don't know what it is, but for whatever reason, the competitive online shooter is seemingly not for me. I tried spending some time with Team Fortress for the benefit of my child - who loves it, but despite enjoying "our time" together, I was just - from a gaming perspective - not having any fun. I can see the draw. I can watch others play and see a certain appeal, and I want to get it for those who want to enjoy it with me, but I can't make it click for me, for whatever reason. Sorry genre, sorry Valve and TF2 - you're a 2/5 for me. Maybe one day I'll find one - I really think I might enjoy Player Unknown's Battleground, and may give it a shot one day - but until then this gaming staple will continue to elude me.

#28 Scott Pilgrim vs The World : The Game (PS3)

I love a good beat-em-up - emphasis on the word "good". (God Hand is one of my favorite games of all-time.) Battling your way through endless hoards and unleashing your moves all the way to the ultimate boss can be so satisfying when things are well put together, so I'm always open to giving a title in this genre a chance. Unfortunately, I found Scott Pilgrim to be lacking any real draw for me. Other than some interesting old-school style music, it didn't have anything for me. Everything was rather slow and clunky, and the retro-themed graphics have become so commonplace that they can't carry any novelty factor at this point. I suppose it had a certain charm, but being unfamiliar with and uninterested in the source material, it had no weight in that regard for me either. I just couldn't get into it. Admittedly, I didn't play it long, but I did play long enough to know that I didn't want to play any more of it. In a land of plenty for gamers, the burden on a game to impress quickly is ever-increasing. If a game can't at least show me a glimmer of potential or possibility of some real entertainment within a couple hours, I'm out. 2/5.

#27 Anna (Extended Edition) (PS3)

The point and click genre is in a tough spot for me. I'm generally a patient person/gamer, so the fact that it's more of a feature of bygone times when games didn't necessarily hold your hand or even respect your time isn't necessarily a problem for me. Although having said that, a game of this breed needs to be really special for me to truly get into it. The obtuse, trial and error, okay-how-do-the-designers-want-me-to-solve-this-puzzle-gameplay can be a real thorn in the side and a source of needless frustration - certainly. But if a game in this genre really nails the narrative and atmosphere elements, it can overcome any such gripes with this largely antiquated - at least in terms of mainstream gaming - formula. The burden falls squarely on the aforementioned qualities to overcome the otherwise negative and pervasive genre staples.

In the case of Anna, there is a decent enough atmosphere that is suitably mysterious and offering intrigue for the fan of horror and all things dark and disturbed. Finding yourself in this remote setting, not really knowing what's going on and trying to fill in the gaps to make sense of things is a pretty solid set up for some good scares and troubling revelations. There is a nice amount of back-story and documentation to fill you in and keep you interested. Unfortunately, the inventory management is kind of clunky - a serious sin for this genre - and the promising set up wasn't enough, in the end, to carry the weight pressing upon you in the form of illogical and rigid puzzle solving scenarios. I wanted to like it, and I wanted to discover all the mysteries buried within, but I found myself unable to endure the punishment. Games in this genre need to evolve and offer more flexible ways to tackle problems or absolutely knock my socks off in terms of atmosphere. Unfortunately, Anna did neither. Were I to have more time or less options in terms of gaming entertainment, I would certainly be more forgiving and likely get more enjoyment out of this one, but in an age with an absolute glut of better options, I'm forced to see things through that lens, and its qualities are inevitably measured relative to its time. 2/5.

#26 Dishonored (PS3)

I never followed Dishonored very closely and honestly went into the experience with minimal knowledge of what to expect. I had gathered that you had the option to be stealthy or not, something that must have seeped into my awareness from consuming gaming message board content over the years since its release. And I knew it was tied to Bethesda, but I honestly didn't even know if they were the developer, publisher, or both. I had (rightly, it turns out) assumed them to be publisher-only, given their catalogue of previous work. I had also accumulated a sense that the reception was kind of mixed. Other than that, I entered the scene pretty fresh.

The first thing that made an impression for me were the character faces. They had a distinct, plastic and unappealing look that seems to be present in a great many games of the era, perhaps attributed to poor implementation of the Unreal engine - I don't know. Moving past that, I thought the setting was at least mildly interesting thematically, if not always technically. On offer here we have a plague-ravaged, dilapidated waterfront city with some interesting structures spanning vertical as well as horizontal play spaces. Not long into things, it becomes obvious that you are going to have the ability to upgrade your sneaking and dispatching skills via a variety of tools like "Blink" which allows you to teleport a distance forwards or upwards, "Dark Vision" which allows you to see through walls for enemies and important environmental elements, among a handful of other utilities to make yourself a more effective character in the world of Dunwall. I've heard people compare it to the Thief series and Deus Ex, the latter of which utilized some of the same talent in Dishonored's creation, but I was reminded of the Bioshock franchise more than anything else, for some reason. (I haven't played any entry in the Thief series.) Something about the initial and superficial experience was reminiscent of Bioshock's world for me, obvious differences aside.

And Dishonored does do some things that are worthy of praise. The controls were responsive and moving throughout the world was empowering thanks to the tools at your disposal. "Blinking" behind an unaware foe and chocking them into unconsciousness made you feel like a lethal, ethereal apparition that could affect his environment without himself being affected. It certainly serviced the god/hero fantasy to which gaming so often caters. And sneaking around the environments was fairly enjoyable. I wouldn't place its stealth feel among the greats, but it was fairly effective. There is also a great deal of story available if you are inclined to read the myriad documents scattered about. Personally, I couldn't be bothered to invest myself in the lore, which brings me to my issues with the game.

Dishonored - and don't castigate me for this comparison, those of you who aren't into sports - feels like a team that tries to accumulate lots of quality pieces without consideration for whether everything comes together into a whole. There are certainly enough enjoyable elements present here, but I never felt like things came together into a cohesive whole where all of the constituent parts, despite their individual merits, complemented each other and worked together in unison for the greater experience. I found it sometimes hard to realize why I wasn't enjoying things more, but in the end, it was obvious that Dishonored was lacking the real and obvious magnetism or "magic" you easily recognize in better gaming experiences - at least for me. It was solid enough in most areas, but it just didn't have that "it" factor or the ability to really captivate thematically or mechanically. Driving home this sensation for me was the feeling of wanting things to just end at some juncture late in the game. I reached a point where I wasn't really wanting to invest any more time with it, despite its good qualities, and found myself making a rush for the finish line. There's a nice amount of good to build upon here, and maybe the sequel shines, but I couldn't strongly recommend this game to anyone other than stealth fanatics, and even then it often feels like the game wants you to explore non-stealth approaches. It just doesn't have a complete identity for me, and I was honestly glad when it was over. I wouldn't go so far as to call it a bad game, but it is less than the sum of its parts, and that is indictment enough in my view. A tepid 3/5.

#25 Mario Party 10 (Wii U)

I've always been interested in the Mario Party franchise, despite having never played any entry previously, and if for no other reason than the fact that I generally enjoy most of what Nintendo puts out. I know that it's not revered like many of the other long-running Nintendo staples and was aware of the generally lukewarm disposition towards this series, but still I wanted to give it a shot and figured it might be a fun family time for a while. I did find a large number of mini-games on offer as well as a variety of modes and boards on which to play. Some of the mini games were more entertaining than others, but quite a few were worth playing and were decent enough fun even outside the context of the board-game play. Unfortunately, however, the overarching board game presentation felt more luck (RNG) based than anything based on skill, which is fine I suppose, especially since Nintendo was probably working from the assumption that there would be younger ones playing and wanted to provide a good time for all involved. In the end it provided a few evenings of family interaction with the Wii U, but if I'm being freely critical, the fun quotient is more a by-product of the people you are interacting with than the game itself - certainly not a ringing endorsement. After having played it, I would not count Mario Party among Nintendo's highlights or consider it a must play by any stretch. If you have some young children around, you might get more mileage out of this one, but for me and my family, it's an unenthusiastic 3/5.

#24 Kopanito All-Stars Soccer (PC)

I'm always ready for some fun and quirky arcade sports, and soccer is such a beloved sport for me personally that I was eager to give Kopanito All-Stars Soccer a try. In terms of what it does well, I have to praise it for the responsiveness of its controls. Everything is tight and quick and you feel like success or failure hinges on your execution. I also love international soccer, so having so many international teams and tournaments to choose from was particularly exciting for me. The FIFA World Cup is probably my favorite singular sporting event in the entirety of the wide world of sports, and I just love the nature and concept of competitive multi-national soccer tournaments. There were also some fun power ups - things like a giant fan that you can use to blow back a shot from your opponent and a freeze ability that puts any opponents in your vicinity in a block of ice for a period of time, among others.

On the other side of the coin, I was disappointed that there was no unique flavor to any of the squads. The only differences were cosmetic in terms of their flag and uniforms, along with their appearance on the pitch. Playing one team is the same as playing any other, and that was a very big negative for me. It would have been nice to have unique rosters/players/attributes so that there would have been some personality and flavor to the various opponents. It would have also been nice to have special moves associated with unique players, giving even more added flavor to everything, rather than the meter that opens up a power-up for whoever you want to use it. Everything feels pretty bare-bones because of these omissions. Additionally, despite things being mechanically responsive, the actual nuts and bolts were too simplistic for my liking. Everything boils down to an endless succession of slide tackles, looking to open up a bit of space to unleash a shot. Just because you are an arcade sports title does not mean that you have to lack depth - just look at Super Mega Baseball, for example. Kopanito really lacked finesse, but it also was lacking in the pick-up-and-play-fun department in comparison to many of its genre siblings. Finally, online seemed to be non-existent. With seemingly no community, you're left playing the A.I. I really wanted to love this game because, in concept, it's right up my alley. Unfortunately the flaws detract too heavily for an emphatic recommendation. It's certainly not bad, but it misses the mark in too many areas to warrant significant attention. It's one of many ordinary 3/5's for me.

 

[koosa]

Dishonored 2 is an improvement in every way, you should give it a shot in the future. Stunning artstyle, stellar level design (i'd risk to say, among the best in gaming as a whole), better AI and more options and utilities for low chaos as well as high chaos playstyle.

 

[jshackles]

I'll be honest, I was half expecting you to list every single game you played last year as 2/5.

I'm loving the write-ups, and want to formally invite you to come participate in our 52 games, 1 year challenge for 2018. Even if you don't think you'll make the cut (it looks like you got close last year at the least!) it's a fun place to keep track of what you're playing and write casual reviews like these for others going forward.

 

[synchronicity]

Dishonored 2 is an improvement in every way, you should give it a shot in the future. Stunning artstyle, stellar level design (i'd risk to say, among the best in gaming as a whole), better AI and more options and utilities for low chaos as well as high chaos playstyle.

Yeah, that's what I've heard. I'll probably give it a chance one day.

I'll be honest, I was half expecting you to list every single game you played last year as 2/5.

I'm loving the write-ups, and want to formally invite you to come participate in our 52 games, 1 year challenge for 2018. Even if you don't think you'll make the cut (it looks like you got close last year at the least!) it's a fun place to keep track of what you're playing and write casual reviews like these for others going forward.

Thanks. I know about the thread, but I'm pretty certain I'll never make it to the 52 mark - or I guess you're saying that doesn't matter. (If so, maybe I'll do it.) Even dropping games I'm not enjoying, I don't know if I've ever played 52 games in a single year. Not enough time.

 

[CloudStrife_ca]

I really liked Scott Pilgrim, for me I think that comes from what I played in the past as a kid, sure its got some over tones with a "world map" from Super Mario Bros 3, the beat em up of River City Ransom and early Double Dragon games but if you've ever played a game on the NES called "Yo Noid!" about the crazy claymation mascot of Domino's Pizza back in the 80's you'll find alot more inspiration pulled from that game than alot of other places from the visuals, to the world map, to the difficulty of the game. I would have gone atleast a 3/5 for that but its your perspective and to each their own. Great job on the reviews, I browse this thread from work once and awhile.

 

[synchronicity]

I really liked Scott Pilgrim, for me I think that comes from what I played in the past as a kid, sure its got some over tones with a "world map" from Super Mario Bros 3, the beat em up of River City Ransom and early Double Dragon games but if you've ever played a game on the NES called "Yo Noid!" about the crazy claymation mascot of Domino's Pizza back in the 80's you'll find alot more inspiration pulled from that game than alot of other places from the visuals, to the world map, to the difficulty of the game. I would have gone atleast a 3/5 for that but its your perspective and to each their own. Great job on the reviews, I browse this thread from work once and awhile.

Yeah, I certainly don't intend for my opinion to come off as any sort of "objective" measure - as if there could be such a thing with critique of any creative form. Just one dude's opinion, that may or may not stink.

Thanks for reading.

 

[synchronicity]

#23 You Must Build a Boat (PC)

Gem-matching/match-3 games, and all the variants on the same theme seem to be extremely commonplace. So, I'm assuming they must appeal to something fundamental in a great number of us. I guess the sense of feedback and accomplishment is immediate and constant and probably taps into those addictive centers of the human brain that Las Vegas knows so much about. Acknowledging that, I have yet to be really absorbed by one, yet find myself playing a new variation on the theme from time to time. In You Must Build a Boat, your tile matching is tied together by a theme of traveling by boat from one place to the next and adventuring through various dungeons, slaying enemies, opening chests for loot and upgrading your boat with various vendors in order to make you stronger for yet further symbol matching. It honestly is really a grind, yet oddly compelling. There is a nice retro aesthetic here and it has a fun, quirky and humorous energy to the presentation. In the end though, I can't escape the fact that everything feels like a chore, albeit a moderately enjoyable one. The core mechanic is stretched out longer than needs be, leaving you repeating the same rote matching over and over again in a subtly different context. I just can't say that it's a great experience, but I can't say I hate it either. It's a decent time waster and distraction, but like many other titles, ultimately pointless and forgettable. As an aside, I think this one is more suited for a touch screen, and that's not how I played it. You Must Build a Boat is obsessed with the concept of matching 3, and I think it therefore appropriate to give it a 3/5 with a booming voice that echoes to infinity.

#22 ABZU (PS4)

Over time in this relatively young format of expression, the scope of what video games are has broadened significantly and continues to do so with the passage of years, the advancement of technology and the inclusion of more devotees. As the medium has gained more of a mainstream, rather than enthusiast, foothold and developed from its infancy, it has, by consequence, included experiences that cater to a wider variety of tastes. Some of those more recent additions to the medium are less about mechanical mastery and more about theme and atmosphere - about the passive, mildly interactive experience. ABZU, from some of the creative talent behind Journey, caters to that niche in the ever-expanding frontiers of gaming, offering a beautiful depiction of an underwater world with a hint of mystery. You take on the role of a mysterious human-like creature who is apparently on a quest to rectify things gone-wrong in his or her aquatic home. In the course of this adventure we encounter some absolutely amazing scenery and some suggestions of advanced ancient and/or mythological cultures under the sea. I cannot overstate how beautiful some of the visuals are. They really are breathtaking at times, vibrant and full of life and color, with brilliant artistic interpretation. There are some segments towards the end of the game in which you can breach the surface of the water that I found absolutely jaw dropping and awe-inspiring, and I really enjoyed soaking in the atmosphere and the world of ABZU.

On the other side of the coin, for someone who dates back to the advent of this medium we love, I tend to prefer more mechanical interaction in my games. I'm all about contemplative, subtle, interpretive experiences, but I prefer a little more game - in the traditional sense - WITH that rich atmosphere. ABZU, from my angle, isn't really much of a "game", with concessions to the broadening definitions of that term. I want something to do in my interactive media consumption, and here I found ABZU mostly wanting. In the end ABZU is more art than game, but I have to say, what a stunning piece of art. I don't regret my time with it, and it's worth experiencing, however brief and absent more traditional conventions, but for me and my personal predilections, because if what it is lacking, I have to give it an average 3/5.

#21 The Legendary Starfy (DS)

I am always down for a good platformer, and I found myself picking up The Legendary Starfy for the Nintendo DS, a game that has been resting in my backlog for a long time. I hadn't enjoyed much DS gaming in a while, and the call of that fine system had started to grow louder for me. Before commenting on the game itself, I have to say that picking up this hardware reminded me just how much I love the device. (DSIXL) It really is one of my favorite pieces of tech ever. It has a ridiculous battery, it's incredibly solid in its construction, has really nice big screens, enough power to enjoy pretty much any genre, an insanely massive library, and a novel concept to top it all off. It really is near-perfection as a handheld gaming device for me - great for gaming on the go or sitting around in the comfort of your home.

Now then, with that gushing out of the way, let's get back to Starfy. This cute and colorful platformer introduces us to a star-shaped prince from Pufftop, a magical kingdom in the sky. One day a mysterious rabbit-like alien being with amnesia, named Bunston, comes crashing through the rough of Pufftop palace, and an adventure to help this little guy discover who he is and ultimately vanquish his foes ensues. In the course of their travels, Starfy will battle a variety of foes and bosses underwater, on land and in space. He will learn a variety of moves that grant him access to previously inaccessible areas and make dispatching enemies more efficient. Initially, I felt that the gameplay left quit a bit to be desired, but as things progressed and the game opened up a bit, I found the mechanics grew to become more fun, If lacking in the area of challenge.

Visually things were wonderfully colorful and nice to look at. In terms of presentation, things skewed decidedly younger than an adult audience might normally find interesting, but I found its appeal grew on me with time. There was a significant and surprising - given the genre - amount of hokey and saccharine dialog and story, but there was a really enjoyable innocence to the characters and narrative that I nevertheless found refreshing, and it carried some nice themes of friendship and forgiveness, something I wasn't necessarily expecting going in. It was a nice contrast to much of the blood and brutality that forms the diet of the average gamer, myself often included. Sometimes it's nice to get back in touch with that innocent child within, and I thought Starfy did a nice job of helping me reconnect with that sometimes buried part of me.

All in all, I enjoyed this Legend enough to complete it, which took me about 7 hours. But, there were still lots of hidden goodies, levels to be unlocked and a significant amount of gaming left on the plate. I didn't feel compelled to uncover all that it had to offer, but I found it to be worth going through the main path and don't regret having spent a bit of my time with it. I think anyone who can enjoy the genre or simply wants to play something that is utterly inoffensive could do worse than taking a trip with the prince of Pufftop. A sweet and harmless 3/5.

#20 Oh...Sir!! The Insult Simulator (PC)

With the abundance of games available in this day and age, it's hard to come across something that feels relatively novel, but that's exactly what happened when I decided to play Oh...Sir!! The Insult Simulator. At its core, it's a fighting game, replete with health bars and its own cast of protagonists. Instead of trading physical blows, however, you trade barbs in an effort to get the better of your foe in a verbal sparring match. All characters possess their own weakness - sensitive topics that can be exploited for more devastating quips that really cut them to the core. Knowing the various soft spots of all the potential opponents is often the difference in winning and losing matches, at least in the online space. One of the flaws of Oh...Sir!! is that the AI is nowhere near the challenge of a human foe, often choosing nonsensical sentences that do less damage. Thankfully you can joust with other humans both on the couch and online, although the latter is not overflowing with potential opponents in my experience, despite finding matches fairly often when I tried to do so. I ended my online career with an 11-5 record, so I figure I'm good for the insult playoffs.

Overall though, I did enjoy my time with this one. Some of the humor can be pretty good, although after not too long the freshness of the banter can wear off, but it's good for a laugh for a while, and that's a better feat than many games can claim. Some of the sentences that can be formed as you take turns selecting words and phrases can be really funny, at times because of their utter absurdity and babbling nature. And winning an insult duel with a Morgan Freeman sound-alike deity in order to get the answer to the meaning of life is worth the modest price of admission on its own. This isn't a game to get overly excited about, but it was worth about 7 hours of my time. It's a 3/5.

#19 PokerTH (PC)

If poker has any appeal to you, it's always a good time. (Although better when winning, of course.) And there are innumerable ways to play poker online. I was perusing my distro's repository (Zorin) out of curiosity one day and was drawn to PokerTH, an open source poker title. Now, I don't usually play much in the way of casino/card games online or digitally period, for that matter, but I was in the mood and thought I'd try it out. The first thing that I found was a snappy and focused game of hold 'em without needless fluff. Everything was clean and simple, which I very much appreciated. After playing a handful of offline games, I figured I'd venture into the world of human competition to see how that was handled. What I found was another clean and efficient experience that offered a really solid game of multiplayer poker. I also appreciated the various statistical categories which were tracked (on the website) which were a nice reference for yourself and other players. I'm always about breaking down numbers, so the (admittedly limited) data offered scratched an itch in a way that is always satisfying for me. There are also many table themes you can apply to customize the experience to your personal tastes, which I'm sure is nice for some.

Of course with poker, you're going to encounter a variety of play styles when dealing with people. Poker is really simple at its core. You want to play/bet good hands and dump bad ones. Of course there is more subtlety in the execution of that concept, and it essentially distills into a game of risk management/tolerance, and different people handle that in different ways. You have the ultra conservative players that fold everything that isn't a sure thing and at the opposite spectrum there are those who go all-in on the first hand or will bet huge amounts with nothing in their hand or even pre-flop. In regards to the really aggressive players, I always find it amusing to watch them flame out in a hand or three. The value of inaction, stillness and silence is obviously utterly lost on them. However, if they get lucky in a hand or two, they can really make things annoying for the rest of the crowd as they bully the table, but sooner or later their all-or-nothing style will almost invariably see them absent any chips and escorted away. I was, however, pleased to encounter a fair number of crafty and unpredictable players in my time with this.

In the end, I much prefer playing poker face-to-face, which I get far more than my fair share of from my in-laws and their utter obsession with weekly poker games. It's far more interesting to look people in the face as they dump their pile of chips into the center of the table, and really poker in an online setting is only half the game. You can observe tendencies, but it's not the same. But despite the limitations of playing in a virtual realm without that interpersonal flavor, I still enjoyed this brand of poker, and I'll come back to it from time to time for my poker fix, if I'm in the mood. 3/5.

 

[synchronicity]

#18 Dragon's Crown (PS3)

The beat-em-up genre has a great deal of allure to me. Laying down the pain on the hordes of baddies in your way can be a real catharsis when life's annoyances add up. And when you add in rpg depth and trimmings on top of the battles, you've got the potential for something really special. In addition to the aforementioned qualities, the art style was gorgeous, the sound design was top notch - everything about the presentation showed a genuine care and the total package was obviously lovingly crafted. The combat felt weighty, responsive, and satisfying to execute. Dragon's Crown had a wonderful recipe that ought to have really clicked with me. I say "ought to have" because I was pulled out of the experience due to several factors. The prime culprit was how overly busy everything felt. In the heat of the action it was incredibly easy to lose contact with your own character, so chaotic were the effects of the on-screen drama, and that's a big no-no for me. Everything felt really "button-mashy" and didn't really have the finesse in terms of mechanics I would have liked to see. I also thought things felt very grindy after a while. Going through the same areas over and over wore me down after a little more than 10 hours. Things just started feeling slow and tedious, traipsing through the same few environments, battling the same enemies. I don't mind the grind in some games, but here I just didn't enjoy the moment-to-moment action enough to continue, and in the end, I just didn't care enough to press on to see the climax. I did enjoy many aspects of Dragon's Crown, and it's obviously a well-made game, but this is my second Vanillaware title that I've ended up lukewarm on. (GrimGrimoire) I really wanted everything to click and gave it adequate time to do so, but perhaps their work may just not be for me. I can see the right person really loving this and getting lost in it, but for me it's a 3/5, with an acknowledgement that it's beautifully crafted.

#17 Hitman 2: Silent Assassin (PS2)

The concept of sneaking is appealing to me on a deep level, I think. The idea of being hidden, yet having influence touches on something more substantial than mere gaming for me. I certainly would classify myself as being introverted, and I have always enjoyed significant amounts of solitude, despite obviously needing the presence of others. And being invisible has always been a "super power" fantasy of mine, along with the idea of voyeurism. Watching life unfold as an unknown observer is simply appealing to me on a fundamental level. So in theory, stealth games should be a big draw for me, and there are some that I really enjoy, with the Metal Gear Solid franchise being the obvious example. Granted, that series appeals to me on other levels as much or more than the stealth aspects, however.

Years ago, close to its initial release, I tried Hitman 2 : Silent Assassin for the PS2. I don't remember exactly how much I completed, and I don't remember why I put it down before completing it so long ago, but after playing it again recently, I was certainly familiar with many of the levels. Upon replaying this, I was reminded of the interesting and mysterious main character, agent 47, the great soundtrack performed by a live orchestra, and the variety of fun tools available for completing the various scenarios. Observing the movement patterns of your foes along with the various opportunities to exploit your environment to your advantage resulted in some fun situations that really made you feel like a bad-ass operative. When things were at their best, you could really see the potential and vision behind this work on a conceptual level.

Unfortunately there were some significant aspects that really took me out of the shoes of agent 47. Chief among those problems was the often rigid feeling nature of the stealth. In the first place, it often felt like there was a preferred method of accomplishing things, a feeling which is decidedly at odds with the inherently creative nature of sneaking, surveillance, espionage, and tactical operations. I frequently felt funneled into a particular approach in levels despite a great desire to create and adapt. I'm sure the AI is difficult to get right for this genre, and unfortunately the results presented some pretty ridiculous and/or unrealistic situations. I found myself in one situation where I had taken out the entire security force in a brutal, loud and decidedly un-stealthy fashion from inside a building in a mission, but was seen outside in disguise by, presumably, part of the same crew without incident. I'm assuming these guys had communications technology, but were evidently not bothered enough to make use of it, and were seemingly also deaf to the chaos present behind some thin walls, which would have certainly been within earshot. In another level I had killed a perimeter guard and donned his disguise, making sure to also carry the appropriate weapon in order to blend in. I had not alerted any other members of the security force in this stealth takedown - because you are notified if you do so, so I was certain - and as I walked casually around a bend, I was immediately notified that I had been targeted by a sniper in a tower only to be shot down in an instant. I could not have been identified as an enemy so quickly, even if they had great familiarity with all their own security forces. There are lots of little things of this nature that took me out of the experience.

Having acknowledged the flaws, I still feel there is so much potential to improve for this franchise, and I will still eventually give Contracts and Blood Money an opportunity to show that IO interactive learned from their missteps in Silent Assassin. They are really close to making a very compelling stealth experience, and maybe they ironed out some kinks in the follow-ups. As for Agent 47's adventure in this installment, I'd have to give it a 3/5. It's not a must play, even for the stealth lover, in my opinion, but there is enough promise to maintain some excitement for other entries in the franchise.

#16 Marlow Briggs and the Mask of Death (PC)

The action genre is one of my favorites, especially the top-tier in the category. Games like God Hand, Bayonetta and God of War - to name a few - are some really incredible examples of great games of this type and offer quick, satisfying, adrenaline-soaked gameplay. I specifically mention God of War here because Marlow Briggs and the Mask of Death is a pretty shameless clone of that series, albeit in a different setting. The titular Briggs arrives on a dig site where his girlfriend is being used by some crazed ego-maniac to do some translation work for this character who is hell bent on unlocking some long-dormant power. Marlow is quickly killed in the conflict and revived via an ancient mask allowing the carnage to begin. It's a pretty clumsy and rushed set-up narratively speaking, only serving to establish a "save the girl" scenario, but in this genre, presentation can be forgiven if the action is worthy. And I do have to say that in terms of basic feel, MB does a nice job of capturing the essence of God of War. The actual moment-to-moment sensation of the weaponry is pretty close to its inspiration. Unfortunately it falters in other ways. Firstly, the mechanics only go so far if the balance isn't right and Briggs fails to maintain tension because things aren't properly calibrated in terms of enemy encounters. Every enemy can be beaten with the initial weapon on its lowest level with simple dodge-attack strategy. It never feels like there is any reason to upgrade or use any new powers or tactics because the unlocks don't have any real reason to exist, with enemies that never demand a change in play-style from beginning to end. Additionally, it has to be noted that God of War is itself nowhere near the pinnacle of action gaming, if we're speaking in terms of mechanics alone. It's always fun and exciting, however, because they DO get the balance right more often than not, and because the setting, production values and presentation are so incredible, making up for any weaknesses in the fundamentals. Marlow, in contrast, feels low rent and a bit rushed in comparison, and that is on top of the aforementioned balancing issues. In the end, the Mask of Death provided some entertainment, despite its shortcomings. There was a pretty enjoyable sense of spectacle and the mindless minions, while offering no real challenge, offered a modestly satisfying stress-release. It certainly had potential to be better than it was, given a little more polish and attention to detail, but ultimately, it falls significantly short of its muse. 3/5.

 

[synchronicity]

#15 American McGee's Alice (PS3)

The brilliantly creative, twisted and dark writings of Lewis Carroll provide a wonderfully fertile Petri dish for creators who would like to form inspired works in another medium, and with the introduction of a new millennium, we were also introduced to American McGee's Alice, a new interpretation and vision of those tales that landed in popular culture for our inspection. The initial impression was that McGee and his team did an excellent job in providing suitable visuals for this surreal and dreamlike tale. Everything is askew and oddly angular with plenty of depictions of things that aren't possible in normal waking life. The use of architecture and bizarre characters does an admirable job of placing you in the tortured and confused shoes of Alice. The use of color is often particularly nice and the overall visual package is impressive, even this many years past its debut. I found myself eager to experience what sights lay around every new corner, and I was usually quite amazed and entertained. The soundtrack also deserves special mention and was excellent throughout, giving off a sense of unease and imparting an otherworldly flavor that complemented the deformed art. I also found myself charmed by returning to an era when gaming was often varied and wildly different from game to game, when the commonly-accepted rules of what to do and what not to do weren't so uniform in practice. So many older games have an original flavor, something that I find decreases with the passage of time and increases in budgets, factors that have resulted in a more homogenized feel to gaming in general. Gaming during this time was still a relatively new frontier and the rules and norms were still up for debate, resulting in some incredible creativity that you rarely see today, despite some of the great modern content that is admittedly produced. I just found a freshness here that is often lacking in the modern, focus-tested and expectations-conforming climate.

As we step through the looking glass, however, we do find some unpleasantness. The gameplay was quite clunky and things felt really unbalanced at times. The platforming was often loose and inaccurate, resulting in numerous pointless deaths. In terms of balance, things were fairly easy with the exception of a couple bosses. The Jabberwock, for example, was absolutely brutal, and could finish you in a heartbeat. I ultimately had to kind of "cheese" that battle and win it in a way that certainly wasn't intended, but I couldn't do it otherwise. Also Alice made no sounds when she stepped, although I guess that could be attributed to the dream-like state of affairs. Of lesser offense was the fact that Alice was voiced by an obvious Lara Croft soundalike, a clear hallmark from its time.

In the end, however, I did have an enjoyable time with Alice. I was able to look past its faults, many of which are attributable to its age, and see its good qualities. It's not a game that I would recommend to someone who has little or no tolerance for the antiquities of this medium, but for the more forgiving gamer, the individual who enjoys grim fantasy, or the player who simply has a fondness for the awkward formative stages of this art form, it's definitely worth your while. As I peered down the rabbit hole, I was enticed enough to jump in and, after coming out the other side, I don't regret the trip. 3/5.

#14 Alice Madness Returns (PS3)

In going back to the world of Alice's tortured psyche in Madness Returns, a follow-up to 2000's American McGee's Alice, I found myself again enjoying the surreal art and atmosphere along with the dark narrative. This time around, the controls are far superior to the original entry, and the platforming and combat are responsive, if not always inspired. Maneuvering Alice through the enormous levels was fluid and easy for the most part. She had a grace about her movement that wasn't present in the earlier entry, as she glided, spun and floated from perch to perch, triple jumping and making slow descents while using her skirt as an air-brake of sorts. Getting around the wonderfully bizarre worlds was usually pleasant and effortless. The interaction with the nasty denizens of Wonderland saw Alice using a variety of weapons from a pepper-grinder (which was basically a machine gun), to a blade for getting up close and personal, and a tea-pot for ranged bombs, among a couple others. All of the weapons functioned adequately and the enemies were sometimes interesting, if rarely challenging.

Despite Alice's better qualities, there was an obvious undercurrent denoting some deep-seated troubles. At first glance everything appeared very well-made, but as I made my way through the game, the levels revealed themselves to be punishing in length, an unfortunate state made all the more apparent by the poor level design. Once you've seen the first level, you've more or less seen the entirety of the game in terms of player interaction. Yet things drone on and on without offering up any meaningful changes to the formula. It's as if Spicy Horse never played their own game from start to finish, which if they had, would have revealed the tedious and bloated nature of their design. Things overstay their welcome and by the time you've played half the game you may be ready for things to conclude. Had they pared down things or offered greater variety, rather than feeling so formulaic, I wouldn't have run out of enthusiasm. In addition to the lack of finesse regarding level-design, you can get stuck on environmental geometry at times, or sometimes get frozen in place, requiring you to jump to unstick yourself from the world, a relatively minor inconvenience, but it happened often enough to warrant mention.

Despite the weight of the flaws, the art alone was enough, despite being inconsistent in quality, to push me to the finish line. I wanted to see the world of Alice's troubled mind, so I followed the white rabbit where it took me. After all is said and done, however, I'm only able to give a lukewarm critique of things in their totality. There was a great deal of promise, but seeing it go somewhat unfulfilled only made things more frustrating. Some of the sights on display were genuinely stunning - and disturbing - at times which made me want to love it more than I actually did. Madness Returns, despite the true strengths it possesses, just lacks a spark to push it into the realm of must-play titles. It's missing that special sauce that you find in really great games, regardless of era or genre - a quality that is not always easy to precisely articulate. For me, I'm forced to give it a 3/5. It's got so much potential that it's ultimately disappointing when you think of what could have been. Promise and potential are double edged swords. Reach it, and you're exalted. Fail to match what you could have been and it feels like you are worse than you are. In this case, the strengths serve to undermine the sense of the experience when all is said and done, which is really unfortunate. That said, it's still a good enough game to merit some attention.

#13 Let It Die (PS4)

I would seriously like to sit down and have a meeting of the minds with the person or people who came up with the free-to-play model for video games because I am really frustrated and would like to let them have a real tongue lashing. The fundamental essence of a video game has been, despite the obvious desire to sell a product, first and foremost - and at its roots - about creating something fun. Now I know, if you want to nitpick, you could look back to arcades and cite the methodology there - the concept of designing games around relatively short play times in order to keep siphoning quarters, and that would be a fair point. But even in that environment, the possibility of besting the machine was very real, and the idea of making your quarters last a long while wasn't unrealistic. Sure, games are products like anything else in the marketplace, and a return of investment has to be realized in order for the industry to perpetuate itself. I get that. And there is a lot of money to be made in this industry and companies are going to do whatever they can to get a piece of the pie, to survive. Understandable. But there is something so spiteful about the F2P model that just rubs me the wrong way. It conveys a palpable hatred for its own consumers, a taste that goes down extremely bitter for me.

The whole concept is built around a tug of war between reward and frustration, with things tilted just slightly towards the frustration side of the equation. It's cynically mathematical and cold in its design and robs any real joy from the player, instead offering to grant relief in the form cash payment. That's it. That's all it's about. Whatever trimmings surround that icy heart are just that, ancillary décor designed to stimulate the continual need for paid relief from the punishment inflicted upon their "customer". To alleviate the grind, you are given the opportunity to buy back your time. How GENEROUS! And I have come to detest this model with a passion, even prior to playing Let it Die - a game which, despite how much I really want to love it, only further cemented my feelings about this deplorable method of monetizing people.

On the plus side here, we have the brilliant, dark and quirky charm of Grasshopper games. It's all here, and it's really well done. The blend of grim and lighthearted elements mix deliciously contrast wonderful into a uniquely styled presentation. If you've enjoyed any of Suda/Grasshopper's work in the past, this will scratch that itch nicely. Tasked with climbing the dystopian Tower of Barbs as one of innumerable mindless fighters, you make your way from floor to floor, leveling up your characters and their weapons, finding loot to build better weapons and armor, battling some crazy bosses and enemies, raiding other players for their resources, pulling off awesome "goretastic" finishers on your foes and trying to get the skills, equipment and abilities to make it further up the tower than you did before. It has a type of combat that is immediately similar to the "Souls" series where you lock on and engage in a back and forth dance of timing your attacks and defense. It's not as polished as the aforementioned franchise, but it gets the job done nicely and was not an impediment to enjoying the game. There are tons of pointers and tips in an in-game encyclopedia. The whole thing can feel kind of overwhelming at first because there is, at first inspection, so much to learn, but it doesn't take too long to get the hang of things. The meat of the game is very well done, full of content, and I would have had no problem paying for it. It had the flavor of AA games from the PS2 era in a lot of ways, and it seemed to be a nice middle ground between AAA and indies, a position that has sort of disappeared as budgets have continued to increase, forcing out the mid-tier type of experience.

However, oh man, the whole game is built upon another "game", propped up by that free to play structure. In this other "game", you are offered the opportunity to pay actual money to alleviate your suffering. Despite all the merits, and there are many, the whole thing is eventually and ultimately an overly tedious grind, asking for more than is reasonable from the player with the understanding that things can be made better for you with an investment of money to diminish the investment of your time. At a certain point, it's obvious that paying is the best route forward, assuming you don't want to dedicate an inordinate amount of time to the title. There is a very real sensation of being bullied to hand over your wallet, and this is sometimes cited as one of the better examples of F2P done "right", lol. Thankfully, I'm a stubborn cuss, and bullying doesn't go over well with me. Let it Die is in such a conflicted place for me. Part of me adores it, and part of me loathes it - the economic aspects, at least. And it really stings in this case because I love the game as it exists without that supporting method of monetizing permeating the experience and making it worse. And a part of me, the stubborn person who actually CAN enjoy grinding in games, was tempted to put my head down and press on. And I did play a long while, But eventually I reached a point where I found my patience wearing thin in this war of attrition, which kind of saddened me due to how much I love most parts of the experience. I cannot in good conscience give money to this method of game creation, this method of selling. It's not good for the player and I don't believe it's good for the industry. Because of this, no matter how much a big part of me wanted to continue playing, no matter how much I really loved so much of what this title offered, I ultimately had to let it die. A frustrating 3/5.

#12 Cook, Serve, Delicious (PC)

It's funny how the mind can interpret situations and circumstances. For example stress can be both perceived as excitement or terror, depending on the individual and the presentation of the stimulus - I like roller coasters, but hate busy traffic. Take Cook, Serve, Delicious for instance. This game, in many ways is the the antithesis of my personality. I'm generally very slow and methodical in my approach to things. I like to move with caution and in a deliberate manner and I most definitely do NOT like to be rushed. I hate the term "multi-tasking" and a society that embraces such notions. And in CSD, you are tasked with managing a constant and ever-changing stream of requirements via keyboard inputs corresponding to customer orders. As you look out from behind the counter through your high-rise window upon the city-scape beyond, you receive dining orders in your (initially) humble, urban cafe from customers and fill those orders per their finicky specifications. Filling long lines of requests within sometimes strict, and varying time limitations, you can have as many as eight patrons waiting to be served exactly what they want - numerous variations on every item you have chosen to include in your daily menu. This menu will get increasingly complex as you upgrade your offerings, allowing for seemingly innumerable requests on any given day. And heaven forbid you get behind. You'll have orders chiming that they're ready to be finished or delivered one after the other, many requiring mostly pre-serve work and many others needing to be completed after some cooking is done. You've also got 2 rush hours per day to contend with, which can really up the hustle and bustle quotient of running your own eatery. If you are prone to getting frazzled, you'll probably experience that sensation at some point here. On top of the aforementioned, getting successful only makes things worse. After I built up my establishment to a 5-star locale and managed to not screw up too many orders over a period of time, while keeping my menu fresh day in and day out, I eventually reached a state where my "Buzz" was over 100% causing a flood of customers from open until close, as if the entire day was one long rush hour. Oh, and let's not forget your chores that must be done during all this. Dishes pile up, garbage must be disposed of, rat traps have to be set, and you can even get robbed, requiring you to quickly form a sketch of the perp if you have any hope of recovering the money stolen. Sheesh. Keeping all the balls successfully in the air can really be a task. At the end of some days, I was spent and felt as if I had been doing the actual work. I'm not epileptic, but I think I felt a twinge of what that must be like as my brain sizzled on overdrive at times.

However...I had so much fun being put into this state of chaos. In part it was surely because it was self-inflicted and I love to have a challenge in my gaming time. I also really loved the window dressing propping up the admittedly basic bones of things. Gradually building your restaurant and pleasing a base that frequent your establishment gives a sense of gratification and pride, feeling oddly satisfying to please your virtual diners. I felt bad when I had a bad order - when I pushed the button to give customer 1 their half-baked pizza order instead of giving customer 2 their order - a hamburger that was about to burst into flames, I was disappointed in myself. Not only because I knew it would lower my buzz for tomorrow, but because of the presentation, I felt a sense of obligation to satisfy those who were giving my business their money, including dropping tips oftentimes. As things currently stand, I'm only a couple of special events away from earning my "platinum" status - something that I thought would have been insurmountable 20 hours ago in-game. And I probably will go ahead and reach the highest standard I can for my once-trashy dive, and revel in the glory of a job well-done. I expected that this game would be fun going in, but I ended up enjoying it even more than I had imagined. It's an easy recommendation and a solid 4/5 for me.

 

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#11 Costume Quest (PC)

Presentation can go a long way towards an enjoyable experience in gaming. I love to be engaged mechanically with this hobby, but that doesn't detract from the potential to find compelling experiences that are more atmosphere than action. Take Costume Quest, for example. It's hardly got any depth for an rpg. It's very brief - comprised of three short main areas. There's nothing epic or serious in tone about it. It comes off as more of a "baby's first rpg" in terms of overall weight, but it has such a wonderful sense of charm. What could - to most Americans anyway - be more relatable than being a kid going in search of candy on Halloween. (although that convention seems to be waning along with many others, for better or worse) And that backdrop, with the sense of mystery and foreboding intrinsic to the holiday, along with the excitement of becoming another character for the evening is the perfect setting for an imaginative adventure that has the potential to reconnect you with the spirit of your own youth. Giving the various collectible costumes powers and personalities of their own is an excellent idea that I found to be really playful and intuitive. The combat itself, while dreadfully simple and offering very little challenge, was nonetheless enjoyable because I was so absorbed by this light-hearted tale of being a kid on adventure on my most favorite of holidays. While Costume Quest may lack substance, much like the vacuous treats associated with the holiday, it was similarly sweet and delicious while it lasted. 4/5.

#10 Tales of Monkey Island (PS3)

The classic adventure game genre has long since passed its time in the spotlight, but to this day there remains a steady trickle of offerings for an audience that apparently hasn't altogether vanished. As for myself, I've never really been an avid fan of the format - having only played a very few examples, but I did play Escape From Monkey Island on the PS2 back in the day, and enjoyed what I was able to play of it, before eventually running into a game-ending freeze/glitch that halted me in my tracks. I was really enjoying that one, and that bug really frustrated me, so much so that I contacted Lucas Arts to express my displeasure, something I rarely do with any company. I suppose that experience left a sour taste in my mouth because it has been a good number of years between that experience and my attempt at another Monkey Island game. But time heals all wounds, and I found myself ready for another bout with LeChuck in the Tales of Monkey Island on the PS3.

I was immediately reminded of the charms of Escape when encountering the familiar off-beat and witty Guybrush Threepwood. His assessment of his circumstances and interaction with friend and foe alike are often hilarious and really carry a great deal of the heavy lifting in terms of the enjoyment present here. Everything revels in a wonderfully whimsical and playful atmosphere along with a swashbuckling sense of adventure, and I found the vibe entirely refreshing in its lack of gravity along with its propensity to embrace the absurd. The entire cast was mostly charming and quirky and there were plenty of ridiculous twists and turns in the narrative which kept things fresh throughout the games five separate chapters. There is even a mildly titillating love triangle that weaves a thread through much of the game.

Of course, within this genre, there are the typical complaints of puzzles that are sometimes illogical, and there were a couple of those in Tales, but I found things to move and resolve at a reasonable clip for the most part. The Telltale graphics engine has its own issues, but it wasn't as bad as my experience with some of their other titles, technically speaking. Artistically, things were usually colorful and interesting, but they certainly weren't the star of the performance.

At the end of the day, vanquishing the dastardly LeChuck was mostly a pleasure. Not being a huge fan of the genre to which Tales belongs, the fact that I enjoyed my experience here as much as I did speaks well of the total package. I can confidently recommend this for anyone who has an affinity for classic adventure gaming or the curious who want to dip their toes in the genre or series. I definitely think it is worth a play. 4/5.

#9 The Room (PC)

I'm not the biggest pure puzzle-game fan in the world. I certainly enjoy some thoughtful puzzles sprinkled in throughout some other genres, but games that are strictly puzzle focused tend to lose my interest more often than not. The Room, in contrast, was engaging from beginning to end. In the first place things were presented beautifully with crisp graphics and suitably mood-enhancing music. But what really grabbed me here was the overall atmosphere of unraveling a mystery. The various intricate boxes and elaborate and ornate contraptions you had to unravel piece by piece, along with some added flavor imparted through found-notes from a predecessor on this path, really gave off a compelling sense of uncovering some ancient and profound knowledge. I felt like I was going to discover something precious that only a select few, if that, had ever realized. This flavor gave the various peculiar puzzles added impact and really drove the experience for me. The sparse narrative was just enough to propel the experience beyond a simple series of puzzles, tying it together in a cohesive, enigmatic and interesting whole. As for the puzzles themselves, things most often came down to figuring out what you could actually manipulate and then putting the pieces together conceptually. None of the challenges were overly inscrutable, but offered a nice sense of accomplishment, nonetheless. I played without any hints, and I think the experience was better for it, given the lack of punishing difficulty. I thought that everything was well-balanced to accommodate a reasonably observant person, making the experience accessible for most everyone. All in all, I was surprised at how much I enjoyed The Room and it just makes me even more excited that the sequel is already in my backlog and waiting. 4/5.

 

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#8 Transformers Devastation (PS4)

Growing up a child of the 80's, I was very aware of the Transformers phenomenon, and couldn't escape its wide-reaching influence. Despite that, I was never drawn to the property in the slightest. At best I was disinterested, and at worst, I found the whole thing kind of dumb and annoying, even as a child. That's not to demean those who enjoyed it, but for me, the idea of extra-terrestrials who changed forms into vehicles common to Earth just seemed absurd and could in no way draw me in. Additionally, I always thought their transformations looked stupid with vehicle parts clumsily displayed and integrated into their non-vehicle forms. Granted, there are things I enjoy in life that are just dumb fun, but Transformers fell into the same category as professional wrestling for me. It just had a cheap, dull-witted quality about it that didn't resonate with me.

So why, pray tell, would I play a game associated with this license? Well, for those who know me and are aware of the developer behind Transformers Devastation, the answer is obvious. Platnium is one of my absolute favorite developers in the industry, and I'm always eager to give their works an opportunity. So this title was in an odd spot for me where I was simultaneously repulsed and compelled to play it. But after having overcome my aversion to the source material in favor of my disposition towards Platinum games, I'm happy to report that I was justified in doing so. The game is absolutely fun and typical of what you would expect in the action category from Platinum. Everything is quick, responsive, full of spectacle, and just a blast to play. There's even a decent amount of depth to the mechanics, something I was not expecting, despite the creators at the helm. Using a slow-motion dodge mechanic similar to Bayonetta, everything was a balance of attacking and evading in stylish ballet-rhythm resulting in some absolutely epic encounters. It was really a joy to play, and there is plenty of challenge and replayability if you're interested in attacking the harder difficulties, learning multiple characters, crafting tech, building weapons and/or conquering side content.

In the end, despite how much I enjoyed it, I did not find myself a convert to the Transformers universe, but I was able to finally see some of the appeal that my younger self found completely impenetrable, thanks to the masters at work within Platinum. I enjoyed it enough that I would recommend it to action fans who are unfamiliar or uninterested in the license , but especially so for those who are already fans of the fictional universe. The fact that I enjoyed something that was always fundamentally ignore-worthy for me is a real testament to my love for Platinum, and just another reason that their work registers in the must-play category by default, as far as I'm concerned. 4/5.

#7 Rogue Legacy (PS3)

The roguelike genre can be really fun if well-made, and Rogue Legacy brings a great deal to the table. Among the positives are the ability to play as a lineage of adventurers exploring a randomly generated set of 4 worlds all contained within 1 "castle", each with its own level boss. As you make progress, you unlock new offspring after your previous hero succumbs to the dangers of the castle and can select from 3 descendants to continue your journey. Each new character boasts their own class, stats, and (often humorous) traits that can affect gameplay in a variety of useful and bizarre ways. Certain characters are better suited to certain play styles or accomplishing certain things, like accumulating more gold, for example, which makes expanding and purchasing from the large upgrade tree possible. You can choose to develop a plethora of traits like overall health, attack strength, equip weight, critical hit chance and damage, just to name a few. Unlocking new abilities and equipment via purchase or discovery within the castle is an ongoing process on your forays through the levels, and it's very satisfying to watch your descendants grow in strength, skill and loadout along with being fulfilling to improve your skill as a player. There is really quite a nice amount of depth to everything, and it's a satisfying loop that is made all the more enjoyable because of the tight and responsive mechanics. The moment-to-moment engagement is always fun, a must for any action game. Things can occasionally feel a bit grindy, given the large amount of possible upgrades and the rate at which they are acquired, and the art style, while inoffensive, wasn't particularly a draw in my case, but those are minor issues weighed against the amount of fun on offer here. Rogue Legacy is an enjoyable experience from first trip until defeating the final boss. I spent close to 30 hours with it and would definitely recommend it to anyone who enjoys fun action games or is fond of the genre. 4/5.

#6 Midnight Club : Los Angeles (PS3)

Good racing games are always thrilling to me. There's just something inherently fun and exciting about the concept of going faster than someone else. I think it appeals on a very primal level, probably rooted in escaping predators I would imagine, without giving it too much thought. Whatever the reason, coupling the concept of going faster than others together with vehicular technology that amplifies the limits of top speed, and you have an adrenaline fueled, dopamine-pumping formula that usually results in a grand time when adroitly assembled.

In search of some racing bliss, I found myself giving Midnight Club Los Angeles on the PS3 a shot to impress. I had never previously played any of the well-received PS2/PSP entries in this franchise despite having MC3: Dub Edition Remix in my PS2 backlog, so this seemed like a nice point to jump in. Hey, I'm only a decade late to what seems to be the franchise finale. But, better late than never for any good game as far as I'm concerned. The first thing I noticed was the map system that was eventually implemented in GTA V. Zooming out to a birds eye view of the city and then panning across and zooming back in to ground level to a new locale is a really enjoyable presentational touch that gives the world an added sense of wholeness, and I really in enjoyed that and had no idea that Rockstar used it before GTA V. The world itself is quite large and I believe this is my first open world racing experience, now that I think about it. I enjoyed driving around as I pleased and looking for various racing challenges, of which there were seemingly innumerable. It offered a nice sense of freedom that is common to other Rockstar open world games. Driving up to a potential opponent and flashing them to indicate you want to race was a nice way to handle things, although there were other options to initiate a variety of different race types. Another element that I found to be impressive was the very deep vehicular customization options. In addition to performance tweaks, you could make your vehicle look however you liked. The tools were robust if you wanted to dig into things, giving you the chance to feel a nice sense of pride and ownership over your stable of machines. The sense of speed was very good as well, especially as you advanced in the career of a street racer, opening up better and more powerful vehicles. I really liked the feeling of flying through the urban environments on two wheels. When pushing the envelope, the bikes really imparted a thrilling sense of recklessness and living on the edge as you would weave in and out of other traffic and obstacles, trying not only to win the race, but (theoretically) keep yourself alive. In terms of the races themselves, some of them had such a wonderful flow of dips, jumps and turns and along with the great sense of speed, and I often found myself in a type of zen groove where thought vanished into pure reaction. Not all of the races were so expertly crafted, but when they were, they were top-shelf. Finally, I thought the soundtrack was pretty good too, offering a wide variety of tunes to soak in. There were many tracks I didn't care for, but the inclusion of a custom (in-game) soundtrack is always appreciated, and I did take full advantage of that feature.

Of course there are usually things I would change in most any title if given the chance, no matter how good. Here I thought the whole process of your career could feel a little bit grindy. I'm not one to complain about too much content, generally speaking, but I'll just say that I had my fill well before doing all the available races or completing the career, despite how much I did enjoy myself. After a while, I felt like I had seen and done everything the game had to offer, and continuing would just be redundant without offering much of merit in terms of any new experiences. I also didn't really care for the machismo racer culture vibe that the game was going for. I found it juvenile and a bit off-putting in an unintentionally comical way. Finally, the cops could be a bit of a nuisance sometimes. I did enjoy some chases, but they didn't really add much to the game in my view.

Despite any issues I had with Midnight Club Los Angeles, the core of the experience - the racing itself was very well done and I really enjoyed the rush provided. I wouldn't call it an all-time favorite, but it certainly justified my time with it, and I am happy to have played it. For me, it is a very solid 4/5.

 

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I've listed a lot of games so far, and I've had quite a bit of fun with many of them, but none of them are all-time classics for me. In some ways, playing all the games up to this point was a necessary evil - something I have to do if I want to find the real gems in the sea of also-rans. If it weren't for the types of experiences that make up my favorite games ever, I might not game at all, or in a very casual manner. But gaming offers some real treats, some special experiences and the following 5 games fall into that category for me.

#5 The Legend of Zelda : Breath of the Wild (Wii U)

No game can be all things, check all boxes, be all genres, or fulfill the expectations of all players. Creators have to pick a focus, a structure for their creation, and make the best game they can within those constraints for the sake of a cohesive and coherent experience. And for better or worse, developers and publishers have to have their finger on the pulse of the industry and culture surrounding it in order to get a feel for what will and will not generate interest in any potential customer base. In a nod to those trends, Nintendo has sought to reinvent Zelda with the most recent entry in the long-running franchise, Breath of the Wild. And while there are certainly similarities in terms of structure to the original Zelda, this particular work has its gaze cast on the more modern open world sensibilities that have become so commonplace in this medium. Nintendo has sought to recreate Zelda and the open world formula with their own unique brand of magic dust. Does it succeed? Let's take a look.

From the moment you walk out of the cave in the first scene and into the vast light of day, you are more or less on your own. With minimal direction or prompting, you are tasked with finding your way in the immense world, figuring out what is going on, and once again - presumably - vanquishing the dastardly Ganon. If you are the type of player that likes - or needs - being told what to do all the time, a player that wants to be directed down a tunnel to the next inevitable objective, this may induce severe agoraphobia in you. Where should you go? Why should you go there? Just what in the hell is going on and what am I supposed to be doing? This type of freedom puts a great deal of trust in the player, but also shows a great deal of confidence by the developer that the fog will gradually lift and that the possibilities will present themselves in due course to the player that simply acts, to the player that is willing to venture into the unknown and simply explore what is there. That freedom to explore and the yearning to discover - that pioneering spirit - is at the heart of this new incarnation of Zelda and it does what it does brilliantly. The world is an adventuring soul's dream, chock full of peaks and valleys, bodies of water, forests, ruins, all manner of climates and environments, little secrets tucked away here and there, high and low - you get the idea. If you are an individual prone to wanderlust, you will forever find yourself wondering what is over the next ridge or beyond the next horizon. That itchy desire to venture beyond propelled me near to the 150 hour mark just with a pure childlike fascination for what's around the bend, despite knowing I could have wrapped things up long before eventually venturing towards the climactic battle. And I still left a fair bit unseen, I'm positive.

The enormity of the world, while imposing and full of wide open space only serves to facilitate the notion of a grand and epic adventure. Moving relatively slowly throughout the gigantic world reinforces your stature as small and magnifies the gravity of your task. Fast travel is available via horse or teleportation (to previously visited shrines/towers), but I often found myself taking the slow route because of this sensation, rooting myself in the shoes of the hero against the monstrous and ever-looming presence of Ganon. It really facilitated the "against all odds" fairy tale trope for me, deftly transplanting my identity into that of Link. Aside from a thematic reason for enjoying a leisurely Sunday pace when exploring (urgency of the conflict aside), there is also the fact that there is so much to see, and it seems a shame to skip so much of it unnecessarily. It's just very enjoyable making your way through this version of Hyrule and a big part of a reason to play it in the first place.

Why is exploring so fun here? I think there are a few clear reasons. In the first place, this version of Hyrule is absolutely gorgeous. The various environments all have a unique beauty, the draw distance is impressive, which I think is really important for the feeling of a vast expanse, and the lighting and weather effects convey a wide variety of conditions in a believable way, albeit with artistic license. Without a beautiful world at your disposal, the pull to go forth may be less compelling, but that is certainly no issue here. The diversity on display kept me curious. I found the world to be consistently impressive, and I needed to know what was out there. In addition to the natural beauty presented in Breath of the Wild, the wide open and empty (at cursory glance) spaces are littered with all manner of things to collect which can be used to craft healing foods and elixirs, granting powers in your quest to fight the return of evil in Hyrule. I never ceased to amass a bounty of useful flora and fauna at every turn, aiding me in tolerating various inhospitable climes, buffering my strength and defenses, helping me to move silently, and giving all manner of aid on my journey. Beyond that, I thought the mechanics of moving, the physical interaction with the world, provided a pleasant experience, for the most part. Creeping, running, riding horses, climbing, sand seal surfing, paragliding and launching yourself skyward all felt good and gave you an almost tactile sense of physical connection to the world at large. Everything felt right, everything felt tight. Via Link and his movements through the world, I felt myself to be a part of my surroundings that fit and belonged in this environment. This was the best Link has controlled for me, and just navigating the world was a pleasure.

No game is without room to improve and all is not perfect in Breath of the Wild, despite all the superlatives. Back to the initial point about choosing a direction for your creation. You can't walk on two different paths at the same time. By default, when you choose to go one way, you are choosing not to go in another. In choosing to go with an open world for this round of Zelda, Nintendo has had to sacrifice some things that have become standards for the franchise. In being so large, open and free, there is automatically a diminished sense of tightly crafted design. Scope and freedom have their price, and here we see the costs. The sense of intimacy and charm present in some other 3D entries in the franchise is lacking in the new Zelda. Sure it's beautiful and a joy to explore, but I found myself missing some of the craftsmanship which I found present in say, Majora's Mask. Things felt too big at times, giving the impression that there was difficulty in filling so much space with meaningful content. Again, you can't be all things, and I won't bother directly comparing which type of Zelda I prefer here, but suffice it to say that they certainly are different, and for all the good you get in this new iteration, I think it's important to note that there have been trade-offs and sacrifices to some very enjoyable elements that many, myself included, have come to love in this series. In the way of example - gone are the intricate dungeons of the series, replaced by many bite-sized tasks/shrines. This should not be construed as serious indictment against this new Zelda, but rather an acknowledgement that heading into new territory requires leaving the past behind, and sometimes it is natural to yearn for the comforts of the familiar.

Aside from broad differences between this and other entries in the series, I have to say that I missed the wonderful music and sound design that has been part of this series for a long time. Here, the music is very sparse and not very memorable in my view. I also thought that the voice work detracted from the magic and charm I've felt in past entries in this series. I won't say it's the worst voice work I've heard, but it is not good, and did not suit the vibe I've come to love and expect from a Zelda title, and I have to say that it did remove me from the fantasy a bit. My imagination is far better at bringing the characters to life than what was achieved by listening to these actors deliver their lines, and giving voice to the denizens of Hyrule, poorly executed at that, removed my imagination from the equation, leaving me with dull and disappointing characters which could have easily been avoided by doing nothing. Thankfully, for me anyway, at least Link remained silent. Again, this is, for better or worse - depending on your view - a different Zelda, and it has its own strengths and weaknesses. Another point that I feel may be important to note is that Breath of the Wild hasn't really lasted in my memory, it didn't seep into my bones in the way that many titles I deem great do. I think it is partially attributable to the structure being open world and feeling less hand-crafted. It's utterly enjoyable in the moment, but it's not something that I find drawing me back mentally or emotionally as many wonderful games do. Of course, I can remember it if I focus on the experience, but it isn't something that "dwells with me" in the way that some games do, if that makes sense. But I think I feel similarly about most open world games I've ever played, despite how much I enjoyed them in their moment on stage for me.

There are some other minor issues or improvements that could be made which I will mention, although the following weren't significant for me personally. The frame-rate dipped to near-freezing on a handful of occasions. This was very rare, but when it did happen it was quite severe. I also found the combat, despite controlling well and being responsive, to be merely competent. I know it's not trying to be Bayonetta, but I sometimes wished for some greater depth. Speaking of the combat, I also thought the enemy variety could have been greater. There are a fair number of enemy types, but given the size of the world, it would have felt better to have a greater selection of foes. The last nitpick I'll mention is the weather. I felt it changed a bit too rapidly, which was especially noticeable when you weren't traversing a large amount of territory. I thought they could have toned that down a bit. And of course, the rain preventing your ability to climb was sometimes a nuisance, forcing you to wait or go another direction (assuming you haven't unlocked a certain ability that can sometimes circumnavigate some of these instances). Again, in the big picture, these are minor issues, but they are there and worth noting, nonetheless.

In the final analysis, however, when I put this trip to Hyrule on the scale and wait for things to balance, I'm left in appreciation for what this entry does so well. I felt that Breath of the Wild encapsulated the concept of adventure. It provided a great deal of freedom and autonomy while effortlessly directing your focus on the ultimate task at hand, keeping the goal literally at the center of things physically as well as conceptually. It was elegantly designed in this regard, and about the best that could be done within the "constraints" of ultimate player freedom. I found the trust in the player wonderfully refreshing, in contrast with the majority of large budget gaming in the modern industry landscape. The lack of blatant hand-holding was so liberating, yet there was plenty of subtlety in terms of direction and a great deal to be learned via observation and interaction. It was, "Here's your objective, now go figure things out." vibe, and it placed you squarely in the role of a protagonist who had been away from things for 100 years fantastically. Because of the immensity of the adventure, because of the scale and scope, you need to be prepared for a lengthy quest. This has the potential to either facilitate the sense of a grand and epic journey or become wearisome if you're not in the right frame of mind. But with the right mindset, everything comes together for an incredible and expansive undertaking. With the wrong outlook, I could see things simply feeling overwhelming, making you feel directionless, but that's the dichotomy of freedom - it can crush you with its immense weight or liberate you with its expanse and possibilities. Praise be, I'm free. 5/5.

 

[synchronicity]

#4 The Last Guardian (PS4)

I knew Fumito Ueda's talent was special before I ever played a minute of his work. This is not self-congratulation or any pride in my predictive talents. This is, rather, an acknowledgment of the unequivocal brilliance that emanates a brush with his greatness. Back in the days of the PS2, I became aware of the upcoming ICO via various sources and I did something I rarely did back then or since - I bought a game on its release date. (I also bought Silent Hill 2 that same day, on its shared release date, but that's another story.) There was an obvious quality that was unique and different in the little I was able to absorb of that game prior to deciding I had to have it immediately. It stood separate and distinct among the masses, and I'm very pleased to say that those same feelings are present for me in both Shadow of The Colossus and his most recent (and long-delayed) masterwork, The Last Guardian.

I think what separates Ueda's work from many others and what makes him special and stand out as original is his mastery of emotional and minimalist narrative. His creations are industry models of "feel" and his economical tales carry more weight than the glut of contemporaries that are often deeply reliant upon overly complex and usually clumsy and self-contradictory exposition. He understands the value of showing rather than telling and always leaves a tantalizing sense of mystery and the unknown to his creations. We experience and learn bits of information throughout his games, but never everything. That lack of ultimate clarity - along with the hints suggesting a possible connection throughout the trilogy - leaves your innate curiosity forever engaged, and for me, parallels the beauty of life itself. So much of experience - the vast majority, if not the totality - dwells fixed in the absence of certainty (yes I see the paradox), in a place of wonder and inscrutability, something that (hopefully) remains familiar to our inner child and really resonates, for me at least. In addition to the mysterious nature of things, there is always an emotional pull and connection to the plight of others. This persistent - over the course of his three titles - attribute always gives added weight to your trials and journeys.

In the case of The Last Guardian, I found things to be largely reminiscent of both ICO and Shadow of the Colossus in terms of tone and feel, with this work more closely resembling the former in terms of practical construction. The creature companion, Trico, is certainly the star of the show in terms of visual impact. His mannerisms and movements are incredibly lifelike, despite being a fictional, hybrid creature of sorts. As he looked around, jumped, reacted with curiosity, fearfully or in a protective manner; as I comforted him and addressed his wounds, as we relied upon each other for help at various points, the presumed fictional nature of this beast gradually and naturally transformed, leaving me bonded to this creature in a way that has rarely, if ever, happened in gaming. The bond fostered was impactful not only because he was relatable due to his natural and convincing gestures and idiosyncrasies, but also because we needed each other, the essence of any truly meaningful bond. He felt real, and I cared. And the fact that the creature companion was so different from the co-star in the boy you controlled, necessitating sometimes-uncertain communication and bridge-building across a gulf of great inherent differences, really served to convey the notion of compassion and understanding towards those with whom we may seem to be so different and carried a beautiful theme of unity and tolerance for me.

The environments here were also familiar in concept to anyone who has played Ueda's former games. Everything felt vast and majestic in scope and the lighting, as previously, was particularly stunning. Paired with the ancient and otherworldly architecture, there is a really evocative and dreamlike aura to the setting, and I found it easy to lose myself within the presentation of my surroundings.

In terms of the mechanics of the game, the environmental puzzles felt natural and were integrated in a subtle and thoughtful manner, offering just the right level of resistance to progression while giving a nice sense of satisfaction and accomplishment. Only on rare occasion, not unlike interacting with any living creature, did I find it problematic to get Trico to follow my instructions, and when there seemed to be a bit of confusion, it was always quickly resolved.

Despite all the glowing praise, I won't say all is perfect. The camera can indeed be problematic at times, obscuring your view and causing frustration. I also didn't enjoy the frequent contextual prompts for gameplay inputs. If there are any games that ought to forego that presentational clumsiness, it's those from Ueda. It's like the development team didn't trust their own work and expected the player to get stuck or frustrated. While that may have been the case for some, I found it to be quite straightforward in terms of what to do once the ideas had been initially communicated, leaving no need for regular reminders which pulled me out of the experience just a bit. However, any and all quibbles are thoroughly incinerated in the blazing fires of greatness - and only mentioned in the spirit of impartiality.

The Last Guardian (along with all the artistry of Fumito Ueda) may not have the the loot, the crafting, the multiplayer, the complex systems, the endless quests, the large number of hours needed for completion, and many of the other bullet points required by a large segment of the gaming populace, but what it lacks in back-of-the-box marketing, it makes up for with beautiful sound and imagery, convincing and sympathetic characters, and a lean, emotional punch that lands with authority and confidence. In the end, The Last Guardian was well worth the wait, and in this particular instance, that is probably the most compelling endorsement I am able to give. Unmissable. Magic. 5/5.

 

[Pepboy]

Pretty fun! Keep posting! Sorry for the combo breaker but enjoying some of these reviews.

 

[synchronicity]

Pretty fun! Keep posting! Sorry for the combo breaker but enjoying some of these reviews.

No problem, thanks for the reply. Glad you're enjoying the reviews.

 

[jshackles]

Also chiming in to say keep them coming! Can't wait to see what your top game was especially since BotW and Last Guardian barely made the top 5.

 

[synchronicity]

Also chiming in to say keep them coming! Can't wait to see what your top game was especially since BotW and Last Guardian barely made the top 5.

Thanks, although I hope you're not disappointed. My tastes are pretty eclectic and don't always fit comfortably in the mainstream of gaming culture in terms of both timing and popularity. But, I like reading lists that are personal and varied, and that's why I posted my own yearly review, thinking maybe some others enjoy the same.

 

[grfunkulus]

Glad you liked Midnight Club 3. Really wish there had been a PC version of that game, as a next-gen facelift would do wonders for the game. The core of the game, the replayability, and yes, even the music, just gelled to create something that was a beautiful distillation of a series. Not to mention a better game than nearly any arcade racer that gen, and certainly better than one that is getting a remaster whilst being the weakest in the series (cough, cough *burnout paradise* cough)

 

[synchronicity]

#3 Okami (HD) (PS3/PS2)

Many in the gaming community like to debate the topic centering on whether or not games can be classified as art. For me personally, everything is art, up to and including the ways in which you live your own life, but that's another topic. In relation to the former debate, I cannot fathom how an individual could experience the creation that is Okami and maintain an opinion that video games are anything other than art, even in the most strict sense.

Every element is dripping with an attention to detail and an awe inspiring level of creativity. The watercolor/cell shaded look is mesmerizing with its use of vibrant colors - an element alone which immediately sets Okami apart from the majority of titles in the gaming landscape. There is no redundancy to the visual splendor encountered in this work, appearing as a beautiful painting brought to life. Aside from choice of visual style, there is a rare beauty present here that speaks to a labor of love and passion, and to a degree rarely found in any medium, let alone gaming. All characters, adversaries and locales have their own unique flavor along with beautiful animation that lends personality to every encounter, and an overall identity that is entirely unique. The narrative - a hodgepodge of legend mixed with creative license comes together into an unforgettable, moving and frequently humorous tale. I was touched by the plight of most all I met and involved in the narrative to an unusual extent for me personally, when it comes to gaming. The folk-tale delivery carried a gravitas and an otherworldly quality that drew me in with sustained interest from start to finish. The music was also sublime and evocative of an extraordinary mythical fable, adding to the fairy-tale vibe, and it truly deserves special mention, as it's an especially important element in any game for me, and wow does it deliver. Numerous Eastern-flavored tracks ranged from the serious and poignant to light-hearted and silly, giving added meaning and impetus to the whole experience, and serving to facilitate the nicely mixed pacing that existed throughout. Everything fit together with such a harmony and had such an intensity in terms of overall quality that I found it, despite the large number of games I've played over the years, a little stunning - in truth. I simply found Okami to have an attention to detail that is absolutely extraordinary. I pre-ordered this game years ago for the PS2, but I never got around to it. (Although I've used the pre-order bonus, the Buddha board, before giving it to my kid long ago.) Perhaps this was a blessing in disguise, as I was privileged to play the HD version on my PS3 and able to enjoy the splendor of the enhanced resolution.

I don't have a great deal to say about Okami as anything other than unrestrained praise would be off the mark for me. I will mention a couple of things that could be problematic for some potential players. The "voice" of the characters is delivered in an abstract sense with subtitles overlaid on the exchanges. It's sort of like you might hear in The Sims, although every character has a unique form of garbled-speak, usually suitable for the various characters in both tone and rhythm. I've heard some mention that they found it off-putting, but to me it was perfectly befitting a mythological yarn, and I found it quite charming. Hearing everything in English voice would have been off-putting for me, and at odds the the spirit of a legendary tale. Amaterasu's companion character, Issun, can also be a bit obsessed with the ladies which, in this day and age, would perhaps offend the uber sensitive crowd who would probably label him a "perv" or whatever the youth of today say. He's also more than a little loquacious, blathering on and on about most everything, but I grew to really like his feisty, little-man-syndrome persona. Also, the combat, while quite fun and varied, isn't really on the same level as Platinum's best action games, but taken in context of the overall package and considering the fact that this is an adventure game, this issue is rendered a non-complaint for me, and I only mention it because of the expectation many have regarding the developer in terms of mechanics. Again, they're really very good and engaging, but don't have the subtlety, depth, or certainly difficulty, that you might find in some of their other works.

There is so much I could touch on, the suggestion of the transformative power of art (the brush), the long list of colorful, engaging and varied characters, the fun fishing game, the variety of collectibles to find, the refreshing quality of playing a nurturing, life-giving character rather than a destructive one, and on and on and on, but it would all be superfluous to the central point that Okami is a truly rare and a one of a kind work. That is what I'm left with at the end of my experience. Okami is just a peculiarly polished and original work of art - true art. Few games are worthy of the designation "special", but that is exactly what Okami is. It is a creative tour de force, full of drama, humor, emotion and visual splendor. Platinum have proven themselves to be seemingly infallible. An authoritative 5/5 and another notch in the seemingly endless amazing library for the PS2.

 

[synchronicity]

#2 The Pinball Arcade (PC/PS3)

Man, do I LOVE pinball. Learning a new table through trial and error and discovering as much of the rule set as possible through your own experience, and then managing to apply what you've learned to increase your score is one of the most satisfying gaming experiences. That loop of learning a new board in terms of concept and execution is among the highlights of this hobby for me - well, if we're including pinball as video games, and virtual pinball certainly qualifies for me. Pinball is just endlessly entertaining and fundamental to the roots of gaming in my view. The moment-to-moment mechanical, skill-based engagement is something I find so simple and pure and is a hallmark of great action video games to this day. On top of the simple mechanical interaction, there are endless variety of tables with wildly unique themes, sounds and rules. Each table is so different, and the better ones are true works of art in my opinion.

Here I'm reviewing The Pinball Arcade and the digital PSN version comes with 4 free tables - Ripley's Believe It or Not, Black Hole, Theatre of Magic, and my personal favorite of the four, Tales of the Arabian Nights. (The PS3 version is apparently no longer supported.) The PC version only comes with a single free table, the latter of the previous list. This review reflects my feelings on the total package including DLC, a total of 95 tables available at the time of writing, despite the fact that I do not yet own them all at this point. I plan to complete the collection in the future, but I already own numerous tables on offer in the form of disc-based collections for the PS2 and PS3 from the Williams and Gottlieb collections which are from the same developer, FarSight Studios. Even if I were to only play the 4 free tables in the PSN version, however, that alone is deserving of high-praise and merits a spot in my personal gaming pantheon. On a side note, of special mention in the PC version is the fact that the tables are absolutely gorgeous in DX11 - even in comparison to the HD console versions. That fact and the fact that you can probably find discounts a little more frequently on table groups makes the PC version the preferred option here.

All is not perfect with digital pinball, however. The table physics, while usually great, can never be perfect like a real machine. You can have instances of a ball clipping through a physical object or disappearing from the table altogether. It's also possible to get "funny" bounces, where things don't seem to behave properly. Granted these things don't occur constantly, and there's an option to "call an attendant" to fix a problem, but if you are familiar with playing actual tables, these things are noticeable. In addition to issues with physics, the PSN version had a problem with properly attributing high scores on my friends' list. All of my local scores were correct, but when consulting scores of my friends, I found that my high score was usually assigned to someone on my friends list instead of myself. In a game that centers on the pursuit of high scores, that bug is a serious error, and really inexcusable. Also, while the pinball itself may be great, the menus and interface are buggy and poor, and really ought to be remedied. But if FarSight hasn't done it by now, they may not be capable or simply don't care. Another possible item worthy of mention is that the table packs granting you access to sets of new tables aren't cheap. You will pay up to $29.99 if you want to unlock a new group. For me, I don't have a big problem with the cost relative to value, but I'm sure for many that price seems unnecessarily high, given the fact that pinball generally isn't as highly regarded as it used to be.

But despite the problems, virtual pinball remains a wonderful option to the pinball enthusiast. Short of having your own arcade, digital pinball compilations bring that old-school goodness into your man (or woman) cave and offer endless hours of enjoyment, whether it's learning a new table, chasing your own high score or besting that of your friends. It's hard for me to tire of pinball and having so many great tables meticulously recreated and available in digital form really offers limitless enjoyment for me. It's so easy to get sucked in and that just-one-more-game feeling is ever-present on any enjoyable table. For a pinball lover, The Pinball Arcade is an absolute must. It's like I have an infinite supply of quarters in my pocket. 5/5.

 

[synchronicity]

Well, if anyone has managed to stick with this list to this point, you deserve props for reading a last-year's favorites list of some random member. I hope you got a small measure of enjoyment from it. Thanks for reading, and feel free to post your own, if you are so inclined because I, for one, would happily read it. Well, it's time to reveal my personal game of 2017.

#1 The Long Dark (PC)

The need to survive is the fundamental force driving all life. And the direct link that survival has to the natural world is something that I think is largely lost in the modern world and something that many may yearn to reconnect with. In our post-industrial/technological age we find ourselves separated from any real intimacy with our own lives, instead our own survival is largely dependent on the machinations of an ongoing functioning society in which we only play a small part, an indirect part in relation to our day-to-day essential needs. We don't provide our own food, clothing, warmth and shelter. Instead we run businesses, offering trivial services or trinkets rather than real sustenance, we work in cubicles staring at the glow of a digital display instead of the warmth of a bright fire, and so on. We give our time and energy in exchange for a symbol of survival in the form of currency - a symbol which we use to obtain the requirements of life. But that symbol, despite a representation of what we need to continue our existence, is always a step removed from actual contact with reality. Money, in an of itself, offers virtually nothing of real value, and only continues to derive value from a continued and collective agreement. Our ability to care for ourselves in the potential collapse of that communal agreement and the subsequent unmasking of the facade of civilization would be virtually nil for most. Our positions of comfort are not earned through the means in which it has been earned for that vast majority of our species history, and I think that many, including myself, at least sometimes feel like something is missing, as if we are strangers in our own world.

Because of this sensation, we see issues that were likely absent for the bulk of human history, at least to the degree we find today. We (collectively) deal with rising rates of depression, chronic anxiety, societal suicide epidemic, and mood disturbances and disorders of all kinds. Everything has its cost. Every solution creates new problems that need solving which, when solved, create more problems, and round and round it spins. There is a yin/yang to all things. We're (at least in the developed world, for the most part) no longer hungry, not as disease ridden collectively, and live in a relative state of physical ease, but we're devoid of sunlight, lacking real community and sedentary to an extremely unhealthy degree. People are born into a strange land, into a place that is in disharmony with the fundamentals of life that have existed for eons, and they find themselves looking for peace, trying to find a balance that eludes them in a world which has moved beyond what our species has developed to experience. In this technological adolescence (or maybe toddler phase), we struggle to catch up with our circumstances - to rapid changes that have moved quicker than we were designed to adapt, and many don't know where to turn, or those that do may find comfort in looking back to a simpler world in which life was clear in purpose. I think that we even see this yearning in the form of our entertainment. Books and movies focused on apocalyptic settings have been everywhere. It is obvious that there is a pull to tear things down. It seems we have an innate need for physical struggle, to battle for our survival against the elements, against something tactile and immediate. And in gaming, we see evidence of this as well. I think the prevalance of survival games point to this deep-seated need, and none moreso than The Long Dark. (End of philosophical rant. )

Set in the Canadian wilderness after a global disaster of some kind, you are tasked with working out your own survival in some of the harshest conditions possible for human existence. There is a story mode, which I have not played, that presumably fleshes out more of the details regarding what exactly happened. But for me, I only played the sandbox mode, a mode in which the only purpose is to survive as long as you are able. It's wonderfully simple in premise. Scour the frozen north for all of your basic needs. Procure your food, clothing and shelter, and stave off your demise for as long as you are capable. In your quest for averting the inevitable, you will have to manage four elements. Hunger, thirst, warmth and need for sleep all must be properly attended, and not addressing any of those needs properly can put you in a state that starts a downward spiral towards your doom. It is possible to hunt for caloric sustenance via weapons and tools you find or create, and you can also be a scavenger, picking from the carcass of a collapsed society, finding food and drink in the sparsely placed structures you may find on your travels. Of course, the canned and manufactured foods will all eventually run out, and especially fast when the pickings are slim in this remote setting. This leaves you with the stark realization that you are going to have to kill to eat - something you (as this character) have likely never had to do. In order to drink, once the cans of soda and whatnot have run out, you'll have to melt snow and boil that water in order to remain hydrated. This requires fire, of course, which is a limited resource - limited to the amount of equipment you have to create such a force. Your matches will run out sooner or later, even those you've accumulated along the way, so you'll need to find a magnifying glass (and hope for sunny, calm days) or some other means of generating heat or purifying the liquids that you must consume. In addition to fire and shelter, staying warm requires appropriate attire. You can find better/warmer clothing or make your own from beasts you've felled. I should mention that clothing and equipment deteriorate, so the need to find new items and/or repair what you've got is an ever-present issue. The simple facts are that you will be in a state of constant alert and fine-tuned awareness to your basic needs. Knowing the fact that nature can recycle you at any moment is a truth is never very far removed from your current state, no matter how good you may feel in the moment, or how much you may have accumulated in the way of supplies. You can never be too comfortable, and I found that Hinterland Studio did a nice job in creating an enjoyable balance representing a survival scenario, despite some necessary "gaming" concessions.

In terms of visuals, I found The Long Dark to be absolutely gorgeous, far more in an artistic sense than a technical one, but that always clicks with my tastes. Things are not presented in an ultra-realistic fashion. Instead everything has a painted/watercolor look that is a bit removed from reality. I'm fairly certain that I read somewhere that their textures were hand painted, and although I can't find it at the moment, it does give off that look, regardless of how the effect was achieved. Ultimately, however, things feel quite real, despite the stylized look, and I think it is in large part due to the wonderful weather effects, both visually and aurally. The effect achieved reminds me of something Fumito Ueda said long ago - something about reality being in the mind's eye. The particle effects for the snow storms are of particular note. In white out conditions, the howling and swirling winds can cause total disorientation and really facilitate a feeling of urgency and the desperate sensation of needing to find shelter. The twinkling night skies are absolutely gorgeous on a clear evening, and seeing your breath as your steps crunch without the insulating cloud cover really makes you feel the icy cold. Getting to your base or finding a shelter in unexplored territory and sitting down to the glow of a warm fire you created has never felt so real and comforting. I would sometimes kneel down and just watch the fire for a while without hurrying to sleep or fast-forwarding time to quickly get myself to an acceptable state of warmth, so soothing was this digital fire. I - and not just my on-screen avatar - needed that fire, so convincing was the experience for me. Sitting in the calm and comfort provided by the warm shelter was a rare reprieve from the constant and consuming demands of sustaining your own life, and there was a real peace and relief in those moments.

There were some small hiccups along the way. I started playing in early access and because of that, there were UI and various other changes that sometimes took away the comforts of the familiar way of doing things. But, that's the price of playing a game that is still undergoing development. Also, on the easiest level, you can eventually reach a point where you feel like you can survive indefinitely - living off the land in totality, which removes much of what makes the game beautiful and work in the first place. There are multiple difficulties to remedy this, but the down side of the harder difficulties is that animal behavior is unrealistic, something which can remove you a bit from the experience. It works in a game-sense, but I would have liked to see a difficulty that allowed for realistically skittish animal behavior while maintaining the difficulty of ongoing survival. It's not a big deal, but I was so into the experience when animals didn't attack in strange, uncharacteristic ways, and I would like to have been able to maintain that without eventually losing all sense of difficulty.

Taken as a whole, however, The Long Dark is absolutely brilliant. It's a "realistic" survival game that doesn't rely upon zombies or monsters, and it presents that scenario with a creeping sense of stillness and loneliness along with a haunting natural beauty and harshness that connected deeply with me. I found such satisfaction in working out my survival against nature, a sensation that personally resonates deeply and points to a longing within for a world in which we are more intimately tied to nature, rather than one in which we attempt to distance ourselves from it. Ironically, of course, I'm saying this in reference to something that could only exist in a world somewhat removed from close contact with nature, but such are the paradoxes of life. The Long Dark is a game I will not soon forget. For me, it's a pensive digital meditation on the loss associated with technological and societal "advancement" and I consider it a true classic. An amazing 5/5.