#ATREUS 2018 MAKES ME INSANE | Explore Tumblr Posts and Blogs

baphomet-media · 4 years

Photo

Dad of Boy - A God of War (2018) Review

Genre: Adventure

Subgenre: 3D Adventure

Developer: SIE Santa Monica Studio

Publisher: Sony Interactive Entertainment

Platform(s): PS4

Release Date: April 20th, 2018

I have never played a God of War game before. Though I know the basic gist of the story (Kratos kills all of the Greek pantheon before they can kill him through powers of rage), that’s about it. Still, I saw nothing but praise for the new game, and the setting, story, and gameplay that I saw intrigued me. I got the game as a gift a short while ago, after it seemed to collectively drop off the media’s radar, and eventually decided to give it a shot. So, does it live up to the hype? Let’s dig in.

Story

God of War 2018 (GoW18) takes place many years after the events of the previous games. Kratos, the former bloodthirsty deicidal barbarian Ghost of Sparta has moved to a new land of giants, dwarves, and Norse gods, and has settled down with a wife and child. But Kratos cannot run away from his godhood forever, and things catch up with him one day after his wife dies, when a mysterious stranger shows up at Kratos’s door. The two engage in a brutal fight, with Kratos seemingly emerging victorious. Kratos and his young son Atreus then must set off to take Kratos’s wife’s ashes to the top of the tallest peak in all the realms.

Along the way, Kratos teaches his son about how to survive in the world, in his own gruff way, of course. The interplay between Kratos’s grim and serious nature contrasts delightfully with Atreus’s impatience and youthful energy. Various other friendly and hostile faces present themselves throughout the story, with the highlights being dwarf brothers Brok and Sindri, two dwarf smiths with clashing personalities that spend most of the game passive-aggressively bickering about how horrible of a smith the other is, but actually do their best work together. The supporting cast are all fantastic, however the enemies left a lot to be desired, and there were very few actual named enemies, making a lot of the story beats just feeling like they lacked impact, and were instead just stepping stones along Kratos’s way. Still, there were plenty of moments of good humor and intrigue, especially for anyone with an interest in mythology, particularly the Norse variety.

While the game does not have a completely canonical representation of Norse myth, it takes a lot of the established characters and ideas and puts its own grim spin on them. I enjoyed learning a bit about different mythological figures and events, even if the majority of them are merely exposited to the player and make no physical appearance in the game itself. It leaves me wanting more, and hopeful for a sequel.

Gameplay

From what I know about past God of War games, combat used to revolve around Kratos using his Blades of Chaos, two beefy short swords chained together, which he uses to spin, grapple, slam, and juggle hordes of foes. GoW18 takes a different approach, slowing things down and moving the camera over Kratos’s shoulder. His main weapon now is the Leviathan Axe, which excels at one-on-one combat, and can also be thrown and returned for ranged combat. To put it plainly, combat in this game feels a bit more like Dark Souls than Devil May Cry. Longtime fans of the series may be disappointed in the shift in gameplay direction, but as a relative outsider, I found the combat enjoyable. I liked that it made me think about my strikes, blocks, parries, and throws, instead of mindlessly mashing attack buttons to rack up insane combos.

However, combat demands that you stay in control. Even the weakest enemies can drain your health quickly, as Kratos is vulnerable to being stunlocked. Plus (at least on the Hard difficulty, which I played) enemies have a ton of HP, so you’ll need around 5-6 combos to finish off most weaker enemies. It doesn’t help that the beginning of the game only drip-feeds you the controls, so I got killed multiple times on the first enemy because I had no idea that Kratos had a shield or how to dodge properly.

Still, as you progress through the game, the number and strength of enemies increase, but the overall challenge gradually decreases as you unlock new moves and combat options to help you deal more damage, more easily stagger enemies, and better deal with multiple foes. Unfortunately, for most of the game, the combat struggles when there are multiple foes. The lock-on system is extremely reluctant to switch enemies, and it’s sometimes difficult to maneuver, dodge blows, and keep the camera looking where you want all at once. Particularly in boss fights, which are numerous.

Still, when it goes right, using the shield to parry, and landing heavy blows with the Leviathan Axe is very satisfying. Along the way Atreus himself gets more capable in combat, improving his archery, and learning assist moves that distract enemies and set them up for combos by Kratos. You can also command Atreus to shoot arrows and use special abilities, which gives you more options in combat. This starts out being only marginally helpful, but gets much more useful the further you advance in the game, and Atreus also gains abilities that help you progress in the overworld, allowing you to bypass obstacles that Kratos couldn’t deal with on his own.

The game has a fairly expansive world, though this is not so much in the sheer size of the world, but more in that the main area of the world is constantly revealing more depth to it. The Lake of Nine, the game’s main area, is constantly revealing new areas to explore, which constantly keeps it fresh, although sometimes it definitely feels like you’re constantly revisiting the same areas. At most points in the game, you can explore freely, though you may stumble across challenges and enemies that are too difficult for you to tackle at your current power level and need to come back once you’ve powered up by upgrading your gear. On one hand, I like this, because it gives you the option to try instead of just locking out higher-level content, but on the other hand, even if you’re really good at the game, you’ll have a lot of difficulty felling enemies that are even slightly higher in level than you, mostly because their HP is ridiculously high, which leads back into enemies feeling like HP sponges.

Presentation

GoW18 is a gorgeous game to look at, with the scenery being drenched in detail. The various realms that you travel to throughout the game also add differences in visual appeal, keeping things fresh when you’re outside of Midgard.

While the game doesn’t have much in the way of music, the heavy brass and choir vocals on more dark and foreboding tracks remind the listener of Kratos’s violent past, and let you know not to mess with him. You don’t want to be on the receiving end of his Spartan Rage when that music swells!

The voice acting in the game is top-notch. Christopher Judge is great as Kratos, and as a longtime Stargate fan, it’s funny just to see how much Kratos mirrors Judge’s previous role as Stargate’s Teal’c. I also particularly enjoyed the voice acting of the character Mimir, voiced by Alastair Duncan, who exposits his own twisted take on Norse mythology to the father-son duo during travel periods. The rest of the cast are fantastic in their own right, as well.

Conclusion

God of War 2018 is a great game that manages to step out of the shadow of its previous games to create something unique and new for itself. Despite how violent and dark the series is, GoW18 tells a touching story of a father and son getting to know each other better, travelling the world together, and meeting all manner of colorful friends and foes. The combat, while slower and more methodical than previous games and tedious at times on higher difficulties, rewards skillful play and empowers the player more and more as they stick with it.

All in all, if you have a PS4 and like action games, definitely give this one a try. You’ll be glad you did. I look forward to Kratos’s and Atreus’s further adventures on the PS5 when God of War Ragnarok comes out next year!

Score: 8 / 10

#gaming #review #god of war #sony #santa monica studio #article

18 notes · View notes

reformedkingsmanagent · 4 years

Note

Okay, stupid question BUT. What are 4 games you would recommend someone to play in a heartbeat?

Let me preface this with: I am Sony all the way, at least up to now. If they keep on keepin’ on with the next generation, I’ll stay that way. For me, I primarily play story-focused games. So for me, Sony and Playstation have managed to secure the exclusives that appeal to me.

Okay. So, I’m (MOSTLY) going to stick with the current generation as it’s most accessible and available. Which honestly is pretty easy given the advances in storytelling we’ve witnessed this generation alone.

And here we go!

1. The Last of Us

This is a given with me. If you’ve listened to me talk about games at all, this one almost always comes up. Yes, it was first released on PS3. So whether you have a PS3 or PS4, this title should be pretty inexpensive at this point.

This isn’t on this list because of the gameplay. It’s fine, it’s functional, it takes some getting used to, lots of waiting because: stealth. It’s here because this is, in my opinion, one of the best told stories in video games. It’s a good story in general, but the use of environmental storytelling, the quality of the banter and moments that are easily missed, the slow growth of the relationship over time through your time with the game... It’s done masterfully well. Neil Druckmann is a genius. Whatever formula he has for writing, it’s working, with this and with Uncharted 4, Uncharted The Lost Legacy, and soon with The Last of Us Part II. I still haven’t seen anything like it.

Okay, as for the next, I’m going to go with...

2. God of War (2018)

I’ve played all the prior God of War titles. Ascension, the psp games, all of them. God of War 3 felt like the best we could possibly get with the character that was Kratos.

I’m so relieved Cory Barlog proved me wrong.

As a female gamer, I treasure those moments where I feel powerful. It’s not too often, at least in terms of games that appeal to me (shout out to Aloy and Lara Croft!). I didn’t expect to bond with Atreus and Kratos and even Mimir as much as I did. I never felt excluded or never thought that the story was unrelatable. In fact, as with the Last of Us, my lack of a father figure growing up only made this more meaningful for me.

This game is stunning. The combat is SO SATISFYING! It’s a grand tale of an adventure with the background of a stunted relationship between father and son. The constant over the shoulder camera, not broken at all throughout the game, gives you the sense that you are there with them. It’s such a refreshing thing, seeing game directors choose to go out of the box with certain things. This is a must play as an all-around good game. The Leviathan Axe is amazing on its own.

3. Divinity: Original Sin 2

This is not a console-exclusive game. In fact, for the longest time it was inaccessible to me as I don’t have a gaming PC, until they released the Definitive Editions for consoles. Still, it was a good while (a year about) before it was released on consoles. It’s now also available on Nintendo Switch!

CRPGs are definitely not for everyone. They weren’t for me when I first tried it. Too complicated, multiple systems running in the background, and at that point with no knowledge on the rules of D&D and how it would apply to a game like this, stats, usefulness of certain things over others, the freedom of the game, etc, it was honestly far too complex for me.

Thanks to watching some of Critical Role as well as going back and watching CohhCarnage’s playthrough of the game (some, not all, his playthrough on youtube is easily over 100+ hours) I felt like it was doable.

So I jumped back in. With a better understanding of how things worked, I spent over 120 hours on my own playthrough. The story and characters are wonderful, the grand scale of the game felt insane to me! The absolute freedom to create your character in terms of what their expertise would be, how you want them to talk to other characters, etc, it was just giving me everything I wanted from a game like Dragon Age (I will say, companion interactions and romances are obviously top notch over there, but the gameplay leaves something to be desired). It clicked so much for me primarily because I don’t have real friends to play D&D with, so this was the next best thing. It’s an amazing game. Can’t wait to see what Larian does with Baldur’s Gate III.

Finally...and narrowing this one down was difficult, let me tell you...

4. Final Fantasy X

An oldie but a goodie. This game is available on basically all consoles at this point. It’ll be on Xbox GamePass soon with all the other Square Enix titles like Kingdom Hearts, etc, so if you have an Xbox, prepare yourself.

This was one of the first games I played fully on my own.It came out in 2001. I would’ve been about 9 years old. I don’t know exactly when I played it, but I didn’t finish it the first time around. It wasn’t until high school that I went back and actually completed it all the way through. Before that I’d relied upon my step-dad’s gamesaves to experience the ending of both X and X-2. But doing it for myself still felt fresh and new. And heartbreaking.

This is the sort of gaming convention (turn-based combat) that I wish would make a real comeback. Everything about it in this title is smooth and smart. We’ll see how Yakuza 7 does! Who knows, maybe the FFVII remake in Classic mode will scratch that itch (though the new battle system looks insanely good too).

This entry in the extensive Final Fantasy franchise stands out to me personally (next to Final Fantasy IX) as one of the best stories offered. I still cry even though I know what happens and exactly when. And I still haven’t explored the game’s depths (screw you celestial weapons!). The fact that it’s still in the back of my mind to return to this tells me it’s quality. Try it if you haven’t. Enjoy it.

Honorable mentions: Tomb Raider reboot franchise, Mass Effect 2, Batman Arkham franchise, Uncharted franchise (specifically 4 and TLL), Detroit: Become Human, Dishonored franchise, Prey, Resident Evil 7 (PLAY IT IN VR IF POSSIBLE!), Bioshock franchise.

Thanks for listening, and asking!

Go enjoy video games!

4 notes · View notes

waypointset-blog · 5 years

Text

God of War Still Impresses One Year Later

It’s been a year since Sony Santa Monica’s soft reboot of the God of War series blew away critics and gamers. To celebrate, longtime series fan Arley takes a stroll down memory lane in this reflective piece for one of 2018’s most awarded titles.

Photo: Sony Interactive Entertainment

By Arley Sepulveda

@sirfonzley

It’s crazy to think that we’re flying fast into 2019.

Maybe I’m getting old or distracted by everything going on. I have to stop and think about where we came from.

2018 was a monumental year for media of all sorts, and video games are no exception. We had AAA titles being churned out like a strongman contest. Red Dead Redemption 2, Spider-Man, Assassin’s Creed: Odyssey; all fantastic games, but if there was a game that resonated with me of 2018: it was definitely God of War.

When Sony first announced that they were making a new GoW game, I was excited. It’s one of PlayStation's flagship titles returning with a graphical overhaul that only the PlayStation 4 can handle.

Needless to say, I was very happy to play as Kratos again. After he murdered the Greek pantheon, where would he go?

In the first reveal trailer at Sony’s 2016 E3 Press Conference, they showed Kratos with a beard, an ax, and … a son? Fighting Norse gods?

That was interesting.

We all knew Kratos as this merciless god killer, fueled by revenge and anger. He was the archetypal angry video game character, bordering on the verge of self-parody. How the hell were we supposed to view him as a parental figure? He was never a three-dimensional character, so it was hard to buy him as an older and brooding man trying to teach his “boy!” to hunt.

When I had finally got my hands on this game, I knew this was the game of the year immediately.

Ask my friends.

I was honestly surprised when I saw GoW had won Game of the Year at The Game Awards in late 2018; especially when put next to Red Dead which also took home a lot of awards.

What was important was why God of War won. It all starts with the visuals.

If you played the game, you know how invoking the scenery is. As a film fan, I couldn’t help but admire the continuous camera shot that made the game look like one extremely long take. Not only is this insane on a technical level, but the flawless transition from gameplay to cutscenes makes you feel that you are in the story. That alone created a sense of immersion that made it really hard to put the controller down.

Then there’s the narrative.

The main story is simple on paper: Kratos loses his wife, so he and his son Atreus have to climb a mountain to spread her ashes.

Sounds simple enough, but it is far from it.

They have to travel different realms, meet (fight) extraordinary creatures, get challenged by the elder forces that feel threatened by them. The story goes through this beat of constantly bringing you down, but in a good way.

The narrative balances Kratos as a cold and cautious older man. He carries the burden of his past and does not wish for Atreus to follow in his footsteps. This leads Kratos to be very strict and tough with Atreus.

Meanwhile, Atreus invokes the sense of wonder and innocence who slowly learns that the Gods aren’t always meant to be trusted and that morality is always subjective to the situation at hand.

As you travel, Atreus is constantly in awe of seeing creatures he’s only read about, whereas Kratos is stubborn and his overly logical ideals of a soldier keep him both sharp in combat, but dull as a person; which the game pokes fun at.

I haven’t even talked about the combat. It is still cathartic and so much fun killing these mythical monsters. It retains that button mashing, combo building fun that God of War is known for, but adds more layers to it. The ability to throw the Leviathan ax and call it back like Thor’s Mjolnir is honestly one of the biggest flexes this game has.

You feel like such a badass every time you call it back. Not only is throwing the ax essential in combat but absolutely necessary for many puzzles and challenges along the way. The challenge of the enemies feels very close and very engaging, and little things like Atreus helping you out or calling out when an enemy is about attack lets you know that Atreus does not get in the way.

He acts as an extension of Kratos.

All these elements they added give a very unique gameplay experience. It just feels right, but at the same time, it is also difficult enough to make me not get too cocky. It can still be a challenge, especially if you do “Give Me God of War” difficulty. If you played this game, then you should know about how tough the Valkyries are.

I could go on and on about this game, but I’d be stealing all the thunder.

The biggest appreciation I have for this game is David Jaffe for creating the series and Cory Barlog for creating this particular vision.

I’ve watched his interviews and I see how he grew into this project and how he and his team at Santa Monica Studios devoted 5 years of their lives to this and it shows in the final product.

Seeing the blood sweat and tears put into this game and then seeing the final product really shows the level of quality and attention Santa Monica Studios wanted out of this game. I’m glad that this series got a more mature feel but still grounded to its catharsis that the players enjoy.

It’s a game about a man and his son killing gods. If that’s not a bonding experience, I don’t know what is.

Arley is a frequent contributor to the Waypoint Set Blog and Podcast. He is a freelance photographer/videographer and occasionally Photoshops himself in fancy cars.

You can follow him here:

IG: @fonzfotoz

Twitter: @sirfonzley

#god of war #kratos #atreus #sony #sony santa monica #cory barlog #david jaffe #playstation #game of the year #2018

1 note · View note

miuplays · 4 years

Text

Miu’s Games of the Decade

Hello all! Wishing you a Happy New Year wherever you are in the world! It’s already January 1st where I am, but I’m sure people are still counting down in other parts of the world. But anywho! I wanted to end the year with a celebration of some of my favorite games released this decade. The 2010’s have been an incredible year for video games, I think. With strides made in graphics, scale, and storytelling, I think this has been easily one of the most innovative eras on all fronts. I hope you enjoy this list of a few of my favorites, and hopefully some of your favorites are here as well! If not, make a list of your own and share it with me! I’d love to see some of your opinions.

But without further ado, on to the countdown…

2010 – FALLOUT: NEW VEGAS

This game, for me, set the standard for what every RPG game should be. From its worldbuilding, to character interactions and on-the-nose commentary, to the way it expands the Fallout universe both mechanically and through storytelling. Of all the Fallout games, this is the one that left the biggest impact on me, and it’s the one I still reflect on to this day.

Honorable Mentions – Bayonetta, Red Dead Redemption, Mass Effect 2, Bioshock 2

2011 – DRAGON AGE II

So I looooove Dragon Age. It’s, in my opinion, one of the best RPG franchises ever made, and this game in particular is easily my favorite in the series. The writing is at its best, and every character is so loveable that I found myself playing it multiple times just so I could romance everybody. Despite some structural issues in the overall story, I still consider it to be one of the most memorable in the franchise, and I don’t regret a single hour put into this campaign.

Honorable Mentions – Deus Ex: Human Revolution, Dark Souls, Portal 2, The Elder Scrolls V: Skyrim

2012 – DISHONORED

As RPG-heavy as this list is, I do wanna give some love to immersive sims. Another favorite genre of mine, and Dishonored is by and large one of the best. I found myself entangled in a number of sticky situations that I had to sleuth and stealth my way out of one too many times. Yet they somehow managed to make that the best part of the game. Player freedom and creativity are practically the foundation of this game, and it’s something that made this game not only an enjoyable and unique experience the first time around, but its replay value is through the roof. I do think that later installments in the series, as well as other immersive sim games like Prey, definitely improved upon this one in a lot of areas. But regardless, I still really enjoyed Dishonored, and I’m holding out hope for the future of the series.

Honorable Mentions – Sleeping Dogs, Mass Effect 3, Borderlands 2, The Walking Dead

2013 – THE LAST OF US

I’m sure you’re all surprised, but yes. The Last of Us is my GOTY for 2013, and possibly my favorite game of all time. Before playing this, I’ve never had a game put me in such a state of emotional duress for an extended period of time. Not even MGS3’s ending did what this game did to me. And even as I’m typing this, I realize that the technical aspects of this game—the graphics, mechanics, level design, etc.—aren’t what makes it stand out in my opinion. My favorite part of this game has to be the journey. The connection between Ellie and Joel (two characters so brilliantly portrayed by Ashley Johnson and Troy Baker). My love for these characters and my desire to see them succeed despite all of the hardships and challenging decisions they were faced with. That’s why I love this game. It is, for me, the most incredible storytelling experience I’ve ever had.

Honorable Mentions – Grand Theft Auto V, Tomb Raider, The Wolf Among Us, Injustice: Gods Among Us

2014 – BAYONETTA 2

The Queen has made it onto this list, and I have nothing but praise for the greatest hack n’ slash game ever made. Character design? Stellar. Combat system? Robust, intricate, and absolutely flaw-fucking-free. Improves upon its predecessor in every way imaginable and still remains as stylish and fun as ever? 100%.

If you haven’t played this game yet, please stop reading this and go play this game. It is… phenomenal.

Honorable Mentions – Dragon Age: Inquisition, Dark Souls II, Alien: Isolation, Tales from the Borderlands

2015 – THE WITCHER 3: WILD HUNT

What can I say about this game that hasn’t already been said, like, 9 million times…?

It’s legendary. Simply put. A flawless and unforgettable RPG experience that simply cannot be replicated. Also, I would die for Yennefer. And Ciri of Cintra is the love of my life.

Honorable Mentions – Bloodborne, Metal Gear Solid V: The Phantom Pain, Life is Strange, Mortal Kombat X

2016 – HYPER LIGHT DRIFTER

The only indie game on this list, but its spot is well deserved. What has always set video games apart from other storytelling mediums is interactivity. Despite this, I feel like most games still rely on heavy dialogue and cinematic cutscenes in order to spin its narrative. Which is why I’m so appreciative of games like this, where art and exploration are key to understanding the world and the happenings around you. Hyper Light Drifter is a gorgeous game, with challenging combat and beautiful, stylish music and design that will have you feeling both nostalgic and mesmerized. Even in its quieter moments the game remains so rich and thoughtful, and even now it’s hard to decipher my feelings afterwards. A mixture of melancholy, delight, and solace. It’s a journey I thoroughly enjoyed taking.

Honorable Mentions – DOOM, Uncharted 4: A Thief’s End, Titanfall 2, Deus Ex: Mankind Divided

2017 – HORIZON: ZERO DAWN

This year was a solid year for games, which made this decision insanely difficult… but after a lot of deliberating, I decided to go with my gut. Aloy stole my heart the moment she came on the screen. She’s an incredible leading lady who’s strong, determined, complicated, and layered in ways that both intrigued me and that I could relate to. But beyond just my crush on the game’s protagonist, the scope of this game is just… fantastic. The way they mixed post-apocalyptic tribalism with futuristic technology, the physics of every monster you encounter being so dynamic that every battle feels viscerally intense, even just the combat mechanics and how much effort was put into designing Aloy’s bow and her diversity of combat options, I’m just so!!!! In LOVE with this game!!!!!!!

Honorable Mentions –Tekken 7, Uncharted: The Lost Legacy, The Legend of Zelda: Breath of the Wild, Butterfly Soup

2018 – GOD OF WAR

Yet another game that I’ve showered in so much praise that I don’t think there’s anything left for me to say about it anymore. This game is flawless for a number of reasons. Its meticulously crafted combat system, amazing graphics, beautiful character and game design, gorgeous score, and seamless transitions from action to story that make it feel like a film taken in one single camera shot are all key selling points. But what sold me on this game, and makes it my top pick for this year, was its compelling narrative. The story is one that’s very personal to me. I felt for them and their loss at the very start of the game. I resonated with Atreus and his struggles to connect with his father. And I understood Kratos’ inner battle with coming to terms with who he is and the things he’s done, and trying to be the father his son deserves. I related to these things, as they resembled all to closely the relationship I had with my own mom. God of War moved me in more ways than one, and I’m very thankful that this game exists. I felt like it was my own story being told on that screen as well.

Also… the boss fights are just so fucking fun.

Honorable Mentions – Spider-Man (PS4), Red Dead Redemption 2, Gris, Super Smash Bros. Ultimate

2019 – RESIDENT EVIL 2: REMAKE

This may be a more controversial pick considering the amount of quality games that came out this year, and I know most of my viewers were probably expecting Control or The Outer Worlds to be here considering how much I hyped those games up. But in my defense, Resident Evil 2 was already one of my all-time favorite games, and this remake nothing short of a masterpiece. To me, it’s what every horror game should be. The atmosphere is dark yet engrossing. Every aspect of design, from sounds to levels to enemies, make this one of the scariest horror games I’ve ever played, all without relying on jumpscares, or grotesque imagery (although there’s plenty of that as well, it’s not what makes the experience so horrifying imo). It’s one of the most beautifully crafted survival horrors, while manages to improve upon the original while still remaining faithful to it. I consider it a masterclass in how to approach any remake. Capcom truly earned back my trust with this one.

Honorable Mentions – Control, Katana ZERO, The Outer Worlds, Sekiro: Shadows Die Twice

And so concludes the list! I hope you enjoyed reading, despite how lengthy it got. I wanted to get out as much praise as I could because every game listed here deserves it. I’m in love with every single one, including so many more that weren’t mentioned. It was truly an amazing decade for gamers and game developers alike, and I’m nothing but optimistic for the future.

See you all next year.

– ミウ。

2 notes · View notes

odanurr87 · 5 years

Text

2018: My year in games

2018 was another good year for gaming as far as I’m concerned, provided you haven’t played Fallout 76 that is. Sony’s still releasing great exclusives, to the point I’m left wondering whether they can keep it up, and we’ve had some interesting releases on PC as well. I don’t have a clue as to how Microsoft is doing, but their one exclusive title I might’ve been interested in, Sea of Thieves, had a messy release and is only available on the Windows 10 store (no, thanks). Notably absent in the release schedule this year was EA’s BioWare, who have been working to release Anthem come February 2019, a title I have little hopes for considering how much it departs from the games the developer is known for as EA tries to embrace the Destiny “live services” crowd everyone is so keen on getting these days (*cough*Bethesda*cough*). CD Projekt RED is also on standby as they continue to work towards Cyberpunk 2077′s release... sometime. Well, at least we know we’re probably getting it sooner than Star Citizen or Half-Life 3. Thankfully, it was a year absent of controversies, like, say, a studio using a franchise to cash in on the battle-royale rage with minimal effort, or a company mocking consumers and telling them not to buy their game... Oh... Well, shit, guess no year is absent of controversy then, but it’s nice to see EA’s spreading the love.

But enough remembrance. You’re here for the list of my top games of 2018, or whatever category I come up with to sort them into, and that’s exactly what you’re going to get. 100% guaranteed, no microtransactions included. This year I’m going to try something different, listing the best games I played this year without ranking them, then selecting my favourite among these, my GOTY if you will. It may be rather unusual, and we all enjoy debating whether this game is the best or that other, but, on the plus side, it builds suspense for my GOTY, doesn’t it? After all, once you see a number other than 1 next to a title, you already know it won’t be my #1 choice. That and I’ve had a tough time trying to rank these games, especially the ones I’ve only just played. Perhaps I’ll change my mind later, but, for now, let’s what games were deserving of some praise this year, shall we?

PSA: This list won’t feature Red Dead Redemption 2 in any way, shape, or form, largely for two reasons: 1) I haven’t played it; and 2) it doesn’t particularly appeal to me, and its large runtime is one of the reasons why.

Let the epicness begin to this theme!

youtube

Best Aesthetic

Let’s start with a classic. Last year, the award went to Abzû for its excellent blend of pastel colours, pleasant gameplay, and wonderful soundtrack. It’s only fitting then that this year the award go to the game I recently called “2018′s Abzû”...

Released only a few weeks ago, Gris is another great example on how a game can exquisitely combine gorgeous artwork with an infinitely beautiful soundtrack, and provide an engaging, and rather creative, gameplay experience. Indeed, I'd go so far as say that is one aspect where Gris actually stands out over Abzû, with puzzles that are quite simple, but may require some lateral thinking from the player at times. The level design is fairly intuitive and I was hardly ever stumped as to what to do or where to go to next. Or maybe I was too busy enjoying the watercolour landscapes to pay much attention to where I was going. While Gris won't take more than 4 to 6 hours of your life, depending on whether you've found all collectibles, it is a visual and auditory spectacle well worth your time.

Runners-up:

Ni no Kuni II: Revenant Kingdom

Forgotton Anne

The PlayStation Exclusives

A Telltale-like game on steroids with spectacular visuals, thanks to an insane amount of mocap, and a great soundtrack, Detroit: Become Human really pushed the envelope in regards to choices and consequences within a narrative, so much so that every chapter has a story tree that shows the choices you made as well as the different branching-off points. Our story takes place sometime in the future of Detroit and explores the onset of an android revolution through three different characters, all of them androids: Kara, a housemaid android who runs away with a little girl called Alice; Markus, a domestic android turned rebel leader; and Connor, an advanced prototype specifically designed to help the police track down deviant androids.

Gameplay-wise, Connor’s story is definitely the best of the three, as it allows for more input from the player as Connor has to solve cases with his partner, Lt. Hank Anderson, played by Clancy Brown. These sections of the game are similar to the ones in the Arkham games, requiring you to analyze the scene and put together the clues to recreate past events. At times though, you’ll be placed in adrenaline-filled chases of suspects that make an impressive use of QTEs. As much as I loved this human-android crime-solving duo, the award for most dramatic and emotional story has to go to Kara and Alice’s odyssey to find a new home in the midst of all the chaos. I couldn’t help but feel immediately protective of Alice so I naturally roleplayed Kara as a mom, trying to set a good example for her through my actions. My one regret about this story concerns a decision the developers made, that takes place towards the game’s end and chips away a little at the significance of their relationship for no real value. As for Markus, he felt the more underdeveloped of the three, perhaps because he’s written more as a symbol than a person, becoming the Messiah for all androids (the game’s anything but subtle about this). He’s given a romance arc with the gorgeous Minka Kelly that, sadly, feels unearned, as her character, North, doesn’t have that many intimate moments with him.

Damn you for so obviously pulling at my heartstrings you two!

No story is without flaws and Detroit: Become Human is no exception. While it does feature humans interacting with androids here and there, I was surprised that the android revolution was 100% human-free, what seems rather disingenuous. The game also does little to explain android deviancy and actually muddles the issue by giving its Messiah a unique ability that ends up being not so unique after all. Furthermore, the story doesn’t explore at all the possibility that, even after going deviant, some androids would prefer to stay with their families rather than join Markus’ uncertain revolution. The game’s not particularly subtle in its depiction of android segregation in human society, to the point some of it struck me as more than a bit ridiculous (exclusive stairs for androids?), but I rolled with it thanks to the strength of some of its characters.

Clocking in at around 12 hours, give or take, this is one game that encourages multiple playthroughs as you read the decision trees to figure out where exactly you want to take the characters next and how to do that. A blind first playthrough is encouraged, especially if you want to end up an emotional wreck. For my part, Detroit: Become Human scratched my sci-fi and Telltale itch this year, and that’s why it makes it on my list.

A solid action-adventure title, and one that further disproves EA’s bold, but dumb, claim that single player games are dead. While perhaps not as visually striking as titles like Horizon Zero Dawn or Assassin’s Creed Odyssey -probably due to do the muted colour palette used to depict this world-, God of War remains engaging gameplay-wise, throwing in a healthy mix of satisfying combat and puzzles that will put Kratos’ skills to the test, as well as interesting side quests that never feel like a chore to play, thanks to how well integrated they are to the game’s theme and main story. The customization system is simple enough to understand and use, what is always welcome, and plays a key role in ensuring you will survive your journey, allowing you to upgrade your weapons, craft unique armours, and further tune the both with enchantments, through the tireless efforts of the best side characters in the game, the dwarves Brok and Sindri. The only fault I can find here is related to progression, and how the better armours in the game are available a little too close to the end. By that time, I had three great sets of armour to choose from when I could’ve used at least one of these earlier.

For those new to the franchise, as yours truly, you play Kratos, voiced by none other than Christopher Judge (Teal’c!), a Greek God (with a capital G) who has decided to exile himself to somewhere around Scandinavia after the events of the previous games. The game’s premise centers around trying to fulfill your deceased wife’s last wish to spread her ashes from the highest peak of the mountain. Along for the journey comes your BOY, Atreus, who does his best to connect with a father he rarely knew growing up, what strikes me as odd. Being a Spartan, and given his background, Kratos is more tight-lipped than I would’ve preferred, what makes communicating with his son rather difficult, at least in the beginning. While I understand and welcome what they tried to do with the characters here, I feel the father-son relationship could’ve used further development, especially in regards to a radical personality shift Atreus experiences out of the blue mid-way through the game and is gone just as quickly.

Infused as it is in Norse mythology, comparisons with 2017′s Hellblade: Senua’s Sacrifice seem inevitable, but whereas that game retells the myths via a great narrator, in God of War you actually get to partake in this mythical world and explore some of them. Perhaps precisely because I had previously played Hellblade, most of the twists didn’t come as a surprise, but that doesn’t make them or the story any worse for it. I also have to give the game credit for its ending, which avoided some of the more cliché options available to it. Given the running theme, it would’ve been easy to turn it into something else entirely, and a few minutes leading up to it, I feared that’s exactly what the game would do, but was pleasantly surprised to find out otherwise. It even went the extra mile of hiding away the post-credits scene where one could expect to find it.

In the end, despite a few flaws in its storytelling, God of War is a solid entry in the single player action-adventure genre that I can easily recommend to anyone. If Hellblade didn’t scratch your Norse mythology itch, then God of War most assuredly will.

I don’t think it’s a stretch to say this game has done for Spider-Man what the Arkham series did for Batman. Marvel’s Spider-Man is a great Spider-Man story and a very entertaining superhero game, that truly makes you feel like the highly acrobatic, web-slinging, joke-cracking, crime fighter. Swinging your way through NYC was a great rush, reminding me of Mirror’s Edge: Catalyst’s best parkour moments. But Spider-Man is only half of what makes the character great, and the other half, Peter Parker, is perhaps the best adaptation of the character I’ve seen to date, foregoing the tale of his early days as a superhero and reporter for The Daily Bugle, instead focusing on his career as a research assistant under Doctor Otto Octavius. He’s still broke as fuck though.

The story throws you right into the action at the onset, as you ensure Wilson Fisk finally goes to jail for the many crimes he has committed. It doesn’t take long before a new criminal group moves into town however, one that is far less concerned about civilian casualties and is determined to bring down the mayor of NYC, Norman Osborn. So begins a rather complicated web of lies and secrets that both Peter and Spider-Man will have to untangle as the city is slowly engulfed in chaos. Joining you in this fight are NYPD captain Yuriko Watanabe, Mary Jane Watson, now a reporter at The Daily Bugle, and even Miles Morales. Of the three, I liked Yuri the best and felt we could’ve used more time bonding with her. I know very little of Miles’ run as Spider-Man and, while I welcomed his addition to the game, it felt a little lazy to make him such a carbon-copy of Peter. As for MJ, she thoroughly annoyed me with her shtick of getting mad at Spider-Man for constantly saving her, moreso considering how she recklessly puts herself in extremely dangerous situations to begin with.

Less MJ and more Yuri please.

The game features an open world that gets layered with side activities the more you progress through the main campaign. It’s a good idea so as not to overwhelm players with a ton of busy work right at the beginning, and I’ll admit some of them give the player more insight into Peter’s past and Harry Osborn’s character. However, busy work they remain, and you’re obliged to tackle at least some of them if you want to buy suits or upgrade your equipment. While often creative, especially Harry’s research stations, their abundance highlight the lack of more (and more interesting) side quests (the amount of loading screens doesn’t help either). Furthermore, teases like Felicia’s Black Cat returning to NYC or even Silver Sable’s introduction were begging for side quests of their own. Even so, the game’s worst sin by far is how it forces you to play scripted “stealth” sections with Miles and MJ that I kept wishing I could skip. I’m a huge fan of stealth games, but these sections felt extremely forced, perhaps done out of a need to give these characters some agency.

In the end though, Marvel’s Spider-Man is one of the best superhero games to date, and perhaps the best story we never got to see on the big screen, but it naturally benefits from a running time longer than 2 hours. Ironically, it’s similar to the recently released Aquaman, in the sense that it throws a lot of familiar faces and action-packed set pieces at you, particularly towards its emotional third act, unfortunately sacrificing some villains (in terms of storytelling) in the process. Furthermore, this final act feels a little rushed, as if it were missing a cutscene or two in the beginning, and likewise in the end to explain the state of the world. Yet for me, Marvel’s Spider-Man’s crowning achievement remains making me feel like one of my favourite Marvel superheroes as I parkour, fight, and web-sling my way through New York City.

Best Soundtrack

This was not an easy choice to make as there were several titles with solid scores this year, such as Detroit: Become Human, created by three different composers for each of the characters, Peter Due’s Forgotton Anne, or even Joe Haisashi’s Ni no Kuni 2: Revenant Kingdom. Even John Paesano makes a comeback from his average work on Mass Effect: Andromeda with an excellent main theme for Spider-Man as well as a few other great tracks like “City of Hope” (which plays every time you traverse the city), “Responsibility” and “Behind the Mask.” But the difficulty in choosing one of these increased exponentially when Gris released to an absolutely mesmerizing score by Berlinist, putting me in a similar predicament as last year. In the end though, only one gets to take home this prestigious award, and that game is...

This one was almost a toss between Gris and Detroit, but, in the end, I have to give it to the latter for the sheer amount of work put by Philip Sheppard (Kara), Nima Fakhrara (Connor), and John Paesano (Markus) into crafting three separate and distinct scores that not only feel authentic to each of the characters but are also wonderful to listen to on their own, effectively elevating the source material, something not many titles can boast. If you were to force my hand right now to pick between one of the three, I’d naturally have to go with Philip Sheppard’s score, as his Kara leitmotif was the one that stuck with me the most throughout the game. It’s a simple string composition but the things he does with it, the way he builds upon it, it’s something truly wonderful. It doesn’t hurt that I loved Kara and Alice’s story the most, from an emotional standpoint, and Philip Sheppard’s score plays no small part in this. Having said that, I also have to congratulate Fakhrara’s Connor score, far and wide the one that feels more at home in this sci-fi world, and Paesano’s work in elevating Markus’ character through his music, with great tracks such as “Something You’ve Never Seen Before” or “Markus’ Speech,” to mention a couple. Like last year’s NieR:Automata, Detroit: Become Human’s score is definitely worth a purchase.

Runners-up:

Gris

Forgotton Anne

The Animated Adventures

Of all the games in this list, none fit the category of “family game” better than Ni no Kuni II: Revenant Kingdom. Everything from its bright and colourful art design that could be lifted straight from a Studio Ghibli production at times, imaginative world and characters, and cheerful soundtrack, made this game a delight to play from beginning to end. It was truly refreshing to play such a straightforward and sincere story about a young prince who wishes to unite the world in peace, working together with his mentor and a motley cast of allies from all corners of the world. The story is framed as a series of chapters, with opening slides and even a narrator to close each one, and it follows Prince Evan as he's exiled from his kingdom after a coup, yet finds the strength in his newfound commitment to bring peace unto the entire world. As such, he founds a new kingdom that you get to micromanage throughout the game, building and creating different facilities, undertaking research or crafting new weapons and armour, finding new recipes for your cook, or scouring the world for people keen on becoming the first citizens of your new kingdom. Unless you’re planning on rushing through the main story, kingdom building will take a good deal of your time, as you’re sent on quest after quest to gather ingredients, find missing people, or engage in battle from time to time. To give an example, it took me 37 hours to beat this game and I still had a ton of things to do on my quest log!

As perhaps one would expect from such a kid-friendly game, Ni no Kuni II is surprisingly easy to play, so much so that people actually complained it lacked difficulty levels, which were eventually added in a patch. If I had to criticize it for something, it would have to be for its world map exploration, which looks similar to Worlds of Final Fantasy, a design decision that clashes with the vibrant Ghibli-like art that is prominent throughout. Perhaps it was outsourced to a different studio than Level-5? Also, the amount of side content in this game can get a bit overwhelming and more than a little repetitive, but if my runtime proves anything, it’s that you can engage it at your own leisure (indeed, it takes 90 hours for a completionist run), or not. The game also features a sort of in-world Facebook/Twitter where you can check posts with pictures of events that have transpired, people looking for new jobs or challenges (a nice way to search for citizens), or even examples of the world’s flora and fauna. It’s a nice little feature that makes the world feel a little more alive and reactive than it really is. As for its score, composed by Joe Hisaishi, while it does have great tracks such as “The Curious Boy” (my personal favourite), “Kingmaker’s Theme,” or “Happily Ever After,” not to mention its main theme, and is solid overall (more so than other titles in this list), it’s probably not one I’ll often find myself listening to, which is why I didn’t award it with my Best Soundtrack award.

All in all, Ni no Kuni II: Revenant Kingdom is a title I’d heartily recommend to anyone who wants to experience a charming and colourful bedtime story in a little country a long, long way from here...

Developed by ThroughLine Studios and released by Square Enix earlier in May, this game wasn’t even on my radar, but, like Ni no Kuni II, Forgotton Anne is a game brimming with imagination, that pleasantly surprised me with its great voice acting and soundtrack. Unlike Ni no Kuni II however, the game maintains its beautiful, hand-crafted, aesthetic throughout, making you the protagonist of an animated adventure with high production values, as you take on the role of Anne, a human tasked with enforcing the law in a world of forgotten objects turned sentient, called Forgotlings. When a group of rebel Forgotlings strike a power plant, Anne will have to track down the mysterious rebel leader and uncover the truth about herself and this world. Forgotton Anne is a game that allows you to roleplay a ruthless Enforcer as well as one that prefers more peaceful means of resolving conflict and these decisions are acknowledged throughout the game. Equipped with the Arca, a glove that allows you to manipulate anima (or soul energy), Anne will often be presented the choice of 'distilling' Forgotlings or sparing them, opening or closing certain doors for you.

The game plays as a platformer with puzzles that revolve around your use of the Arca to open doors, power up consoles, etc. These are not terribly difficult but you may find one or two that leave you scratching your head for a bit. Exploration is encouraged by way of collectibles and, in fact, a feature is introduced at the end of the game that allows you to travel back in time and replay certain levels in order to track down memorabilia and unlock achievements. It's a neat way of allowing replayability while in the context of the story and it gets extra marks from me for the additional effort.

While the story is largely predictable, it's by no means any less good for it and was, to my mind, perfectly executed. One lingering issue I have, nonetheless, is how the game makes a reveal halfway through, believing it'll have more impact than it actually did as I'd already been playing under the basis this was true. Perhaps they should've made more of an effort to hide it in the beginning. Then again, maybe that would've drawn more attention to it. Another issue I had storywise has to do with how underdeveloped, and slightly contradictory, I felt one of the endings was. It's a feeling I also had when playing the original Life is Strange and realizing how much more effort was put into of the endings as opposed to the other.

When all is said and done, Forgotton Anne is a charming animated adventure that will undoubtedly pull at your heart strings, but also make you smile merely for being allowed to partake in this world of ill-tempered teddy bears, trigger-happy guns, and Shakespearean mannequins, and it’s a definite recommendation.

Lara’s Final Chapter

Shadow of the Tomb Raider delivered almost everything I wanted from a new entry in the Tomb Raider series, but not all I would’ve expected from Lara’s final chapter. Together with her friend Jonah, Lara must stop Trinity from finding an ancient artifact in South America that has the power to reshape the world. However, in her rush to beat Trinity to the finish line, Lara may have inadvertedly set in motion a series of events that threaten to trigger an apocalypse. As a result, Shadow of the Tomb Raider turns out to be a darker game than its predecessors, a fact highlighted at several points throughout the game, but never sufficiently explored, though I give it credit for acknowledging it. Sadly, while Shadow tries to tie together the Trinity storyline from Rise, we learn very little in terms of the composition and overall goals of this shadowy organization, that is now practically reduced to providing cannon fodder for our favourite Croft. The main villain is a little more nuanced and sympathetic than previous ones, and for once the series doesn’t tie your hands behind your back during the final boss fight. Unfortunately for the game, I was more invested in fighting his lieutenant, who gets killed in a cutscene.

In terms of gameplay, Shadow doubles down on tomb raiding, adding underground and underwater exploration, but one can’t help but feel its maps are more constrained than in Rise, favouring the Uncharted series’ more linear approach, particularly when it comes to the game’s combat sections, which feel more scripted than ever before. Perhaps by way of compensation, the game introduces a new stealth mechanic that allows Lara to camouflage herself, thus getting insanely close to her enemies, and the ability to hang enemies from tree tops a la Arkham series. The crafting system now allows you to harvest insects to craft poison grenades or special arrows that turn your enemies against each other, though, regrettably, these are introduced rather late in the game. Weapon customization also makes a comeback as does Lara's ever-increasing wardrobe. Shadow also tries something new by introducing side quests, but thankfully never so many as to feel burdensome.

This game looks pretty to boot too.

The music is mostly unremarkable, working to great effect immersing you in the setting and building on the game’s atmosphere, as I’m sure was Brian D’Oliveira’s intention, but there's nothing that'll stick with you after you're done tomb raiding your way to the end. The pieces that stood out to me the most are “Lara's Dream” and the end credits song, “Goodbye Paititi,” but that’s about it. This might partially explain why Lara’s final chapter lacks emotional resonance; a lot of the emphasis is placed on the action, few, if any, leitmotifs or themes are introduced, with (maybe) only the main theme carried over from previous games. It would be wrong to lay the blame entirely at Shadow’s feet when the first game didn’t establish a musical narrative beyond Lara’s theme though. I don't recall a Jonah theme or a Trinity theme, for instance. Perhaps if the series had maintained a coherent musical narrative with its score the story beats would've been more impactful.

Our story ends in an uneventful note that I feel doesn’t do the series justice. It’s not a bad ending, but it doesn’t pack the same punch as, say, Uncharted 4 did. In a way, this is a curse of its own making, as the Tomb Raider series is tonally different from Uncharted; and whereas the strength of the latter rests in Nate’s interactions with his friends and family, Lara has always been terribly isolated in these games, Jonah notwithstanding. Thus, while not exactly the swan song our tomb raider deserves, if you played the previous two games, Shadow of the Tomb Raider is definitely not one to miss.

Best Side Content

I don’t think any other game I’ve played this year has come close to making its world come alive nearly as much as this game did. With plenty of side quests and side activities, it would be easy to make them seem like busy work, but this game somehow manages to turn them into events the player can look forward to, building the world these characters live in, making it feel real. Some are so entertaining that I found myself delaying the main campaign so I could play more of them. No game released this year did this better than...

While the game shows some signs of its age (it was originally released in 2015 in Japan), what it lacks in visuals it more than makes up packing its world full of fun things to do. Do you want to go out for drinks and do some karaoke? You can do that. How about some batting practice? You can do that too. Dinner? Sure. Car racing? You bet. Can I rock the dance floor? Like freaking Travolta. You can even play games at your nearest SEGA arcade, bet big on an underground fight ring (there are two), get into real estate or manage your cabaret club, by far the mini-game I had most fun with. The amount of detail put into some of these mini-games is beyond ridiculous and would definitely justify having a game of their own. Beyond these activities, you also get to meet a lot of interesting NPCs that have their own unique stories to tell and that you always feel glad to have helped at the end of the day. You can help a mother rescue her daughter from a cult, have the Chinese mafia fake a ring for a guy’s girlfriend, teach a dominatrix how to be better at her job, or even share your stories with a radio programme to win a prize, to mention a bare few. You can also have a few laughs at how bad Majima is tailing people and trying to hide from them.

Yakuza 0 is an example of side content done right, that foregoes the modern-day open-world formula, opting for a more constrained setting a la Deus Ex: Human Revolution, but that feels big and rich thanks to its content and characters. And on that note, let’s give it up for Judgement Kazzy!

Runners-up:

God of War

Ni no Kuni II: Revenant Kingdom

youtube

Assassins No More

Last year, Origins made it into my list through sheer spectacle, the lure of exploring Ancient Egypt, and the promise of a return to the modern storyline of the Isu with the introduction of a new set protagonist, Layla Hassan. This year, Odyssey ups the ante by delivering a story that, while still revolving around a family drama, no longer makes revenge the driving force of the narrative. Indeed, for a good chunk of the game, our character’s motivation (Kassandra, in my case) is a blend of making a living as a mercenary and exploring the world beyond her small island of Kephallonia. Given how beautiful and colourful the world in Odyssey is, I’d say it was a smart choice. The game also introduces more interesting side quests than its predecessor did, and better tied to the main campaign, with one of my favourites being the Silver Islands arc; perhaps in no small part thanks to how cute the rebel leader, Kyra, is. In fact, Kassandra can romance a TON of people as she explores the world and runs errands, but, sadly, no relationship is as well crafted as, say, your relationship with Triss or Yennefer in The Witcher 3. Some might come close to being as impactful, such as your relationship with Daphnae, one of the Daughters of Artemis, but they’re all mostly just one-night stands, with one particular relationship coming out of the blue as the game ends that I wished the game had set up and built further.

I know I said cute, but hot works too.

Gameplay-wise, Odyssey plays very much like Origins, with a more streamlined crafing system, that requires less variety (but still tons) of resources to upgrade your gear, but with blocking gone after the shield was removed, an odd design choice. You still get to level up your character, though the leveling-up curve is rather steep at the beginning, forcing you to play much of the side content that would qualify under busy work. It doesn’t help that the in-game store sells a Permanent XP booster that gives you an additional 50% XP for $10, as well as materiales to upgrade your gear, and has the balls to outright call them “Time Savers.” Ubisoft further pushes the in-game store and Helix credits by introducing a new currency in-game, necessary to buy crates with random legendary gear drops from a special vendor, that you get at a much slower rate than your usual credits. I’m not too mad about this, given that the game does reward you with some great-looking armours through normal playthrough, but it’s something we should be on the lookout for future titles.

Naval battles make a return and, simple as they are, I welcomed the distraction and opportunity to sail the Aegean Sea and discover new locations and secrets. At times, Odyssey manages to replicate the sense of wonder and mystery I experienced when playing Skyrim. On the other hand, Conquest battles, its newest addition to the franchise, fail to live up to the expectation. Beyond their limited scope, the worst sin they commit is how inconsequential they are, having no impact in the world around you beyond what banner the closest fort will fly. Curiously, these battles are missing from the main story's end content, what seems odd considering they would've been a perfect fit for the story. In fact, there's a stark contrast between Chapters 1-7 and 8-10, with the latter chapters moving at a brisk pace that is not necessarily justified. On the plus side, Ubisoft has seemingly embraced the Isu civilization, what has allowed them to include mythical creatures like the Minotaur or Medusa, and even throw in Atlantis for good measure. I only hope they’ll go the extra mile and throw in some Greek Gods as well.

The game has some well-placed humour as well.

For all the things it does better than Origins however, I feel Odyssey takes a few steps back, especially insofar the modern-day storyline is concerned. While Layla Hassan makes a comeback, her story is so short and uneventful that it comes across as an afterthought, jumping ahead in time and introducing a whole host of new characters we have never met and referencing events we know nothing about. Layla herself experiences a radical transformation from being skeptical of the assassins’ intentions to becoming one of their strongest supporters. Nothing about the modern-day storyline makes a lot of sense, with many gaps that are probably filled in with other material such as comics and novels, but I’ve always believed that to be the hallmark of lazy and poor storytelling. Either commit to the modern-day storyline or don’t, Ubisoft, you can’t have it both ways.

Overall, I feel like Odyssey is an improvement over Origins, and that’s why it makes it on the list. I am however, skeptical that Ubisoft will pull it off a third time before the charm and novelty of an open-world Assassin’s Creed game wears off -it already is thanks in no small part to its side content-, or before they push the Helix Store so hard down our throats that they have their own Battlefront 2 controversy. Perhaps they still have a shot with a game set in Japan or China. Only time will tell.

My favourite game of 2018

This wasn’t a particularly easy choice to make considering the different strengths and weaknesses of the games in this list, not to mention their different approaches to storytelling. Assassin’s Creed: Odyssey is a strong contender, but its world is so filled with busy work, its modern-day story so underdeveloped, and the push of the Helix Store so blatant, that I cannot in good conscience say this was my favourite game of 2018, let alone GOTY. Likewise, Shadow of the Tomb Raider was initially well-positioned in my mind to take it home, but it just didn’t stick the landing for what it’s supposed to be (but hopefully isn’t) Lara’s final chapter. Another single-player action-adventure title, God of War, gets almost everything right, but I couldn’t connect with the story of Kratos and Atreus in the same way I did, say, Kara and Alice in Detroit: Become Human. I could go on knocking out competitors, but I’d rather talk about my favourite game released in 2018...

Yakuza 0 is not a perfect game, but it gets pretty close at times. Set in the 80s, Yakuza 0 follows the characters of Kazuma Kiryu and Goro Majima, two rookie Yakuza who, for different reasons, have fallen in disfavour with their respective families, and need to figure out whether they have what it takes to return to the fold. That’s about as much as I can reveal without talking spoilers. No story in any of the games I played this year gripped me nearly as much as this one did (some moments in Detroit: Become Human come close), not only because of how well-written the characters are across the board (including the villains who come across as fearsome opponents), but also because of its many twists and turns that will keep you guessing what the real goal of the different players you find yourself involved with is. Your character, be it Kiryu or Majima, and his understanding of events by the game’s end, is radically different from his starting point, as you unveil plots within plots within plots, a result of the many and varied agendas at play here. To say this game has as many layers as an onion would be high praise... for the onion. Both Kiryu and Majima are powerful characters in their own right when fighting thugs, as demonstrable by the gameplay, but Yakuza 0 is quite ruthless in showing you exactly how out of their depth they are when they decide to take on... bigger opponents. You would think this is because Kiryu and Majima get beat up, and they do, a lot, but I actually found it’s the conversations they have with other characters, the villains in particular, that’s the highlight of the game. Yes, characters in Yakuza 0 talk, a lot, so you’d better get used to it, but these conversations, excellently voice-acted, fill the atmosphere with so much tension, dread, or sometimes anticipation, that you can’t help but be absorbed by them, as you can never guess what the other party might say that will surprise you. And this game surprised me a lot.

Man, the conversations in this game...

Having said that, it is true many of the twists and turns that were a surprise in the beginning started to feel a bit trite when they’re re-used in the final chapters. One that annoyed me in particular was the game’s use of the “Your Princess is in Another Castle” trope (incidentally, God of War also does this to some extent), sometimes forcing events a little much to pull it off. I suppose this has to do with the fact that this “Princess” becomes the sole motivation for your two characters towards the end, getting shuffled around so both Kiryu and Majima can get a crack at the villains. It works thanks to the strength of the characters and their dialogue, but I would certainly take issue with a lesser game that kept me running around the place for 4 or 5 chapters straight. I also felt that, of the two leads, Kiryu’s ending is the one that feels more natural to his character, as opposed to Majima’s, who experiences an odd personality shift that doesn’t seem to jibe with what we know of him. It’s possible this has to do with the fact that, while Yakuza 0 is the starting point in the series for our two protagonists, it’s not the first game in the series. As a matter of fact, there were 5 Yakuza games, released over the space of 10 years, prior to Yakuza 0.

Having previously awarded it with my “Best Side Content” award and praising it for its world-building, despite not being an open-world game (yes, you can have invisible walls and still make a great game!), Yakuza 0 only needed to deliver on its story and characters, and it did that in spades.

And that’s it for my list of the best games I played in 2018! It’s a bit of a long read, for sure, but I could hardly have done these games justice had I written less, and in some cases I probably didn’t write enough. What about you? What are some of the best games you played in 2018?

#best games of 2018 #gaming #gris #detroit become human #god of war #spider-man #ni no kuni 2 #forgotton anne #lara croft #shadow of the tomb raider #assassin's creed #assassin's creed odyssey #yakuza #yakuza 0

0 notes