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eri-blogs-life · 4 years

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Digimon Story Cyber Sleuth

This has definitely been one of the games that I played this year.

So I have... a lot of thoughts about Digimon Story Cyber Sleuth and I wanna talk about. These thoughts might not be super contiguous or all track logically, but honestly, that’s just kind of the same as the experience that I had playing Digimon Story Cyber Sleuth (I’ll just say CS for short going forward). CS is a good game, and I enjoyed my time with it a lot, but it also is a bit baffling at times and so it’s like... I like it, I had a good time with it mostly, but there are bits that made me just feel confusion as to whether I could actually call this a good game.

So... I’m gonna try organizing my thoughts here based on the game’s title to start, cause that seems like a fun way to start out with this writeup of my thoughts.

The Digimon

So, I’ve attempted to play through this game 3 times now. The first time, I picked up the version on PS4 second-hand from gamestop and made it maybe 4 chapters into the 20-chapter story before a better big game captured my attention. The second time, I bought the Complete Edition when it came out on Switch and attempted another playthrough. I think that time I made it 6 chapters in, but issues with the game’s difficulty and my bigger interest in other games that were out at the same time made me fall off of it. Lately, I’ve been on a kick of playing through really big JRPGs on the Switch, and I figured this was the time to really push my way through. But to do that, I had to find the fun. Because my previous times, I didn’t find it to be a ton of fun - the story was meh, the experience was extremely linear, the difficulty had weird spikes and valleys all around, and it just didn’t seem that fun. But I was recently watching a retrospective on the digimon franchise (shout out to Billiam on youtube for that if you’re interested), and while watching I came to the realization that the fun of digimon has always been different than in pokemon (the comparison to pokemon is, unfortunately, always inevitable when talking about digimon - the two were so closely intertwined in popular culture in america in the late 90s / early 00′s that it’s hard to deny there’s something to connect them)

Pokemon’s about catching them all. Digimon’s about raising a partner. Digimon started as a tamogatchi brand marketed towards boys, with cool monsters you could fight with each other. The fun of digimon has always been seeing your partner(s) grow and become new forms. And that’s where I finally found the fun in Digimon Story: Cyber Sleuth.

The fun is in bonding. I found out in my second playthrough how to nickname digimon, and that became my go-to when I would get a new digimon on my team in this playthrough. Every digimon had a nickname. Early on I had a team consisting of Willis, Stinky, Specty, Babby, Evil Babby, Big Bird, Tomato, Axey, and Beedril. Over time, I got to watch these fools grow - Willis from a Terriermon into a Gallantmon CM, Stinky from a Guilmon into a Diaboromon, Specty got fused with someone called Shellby and went from Specty the Patamon to Shellspecty the Cherrymon, Babby fused with Big Bird and the two ended up as an Aeroveedramon, and so on.

The fun of the game was in watching as these monsters I’d bonded with became stronger and changed into new and different forms. And that was the fun of the game for most of the early game for me, and continued throughout the game, mostly.

Ultimately, the game has some weird difficulty spikes at times, especially in some of the sidequests, which feel nearly impossible. I ended up focusing heavily on trying to find all my digimon final forms that had penetrating moves (moves which ignore the enemy’s defense or intelligence when calculating damage), because a lot of the game’s main story bosses are heavily focused on having high defense, and relatively low HP. So, that meant that I couldn’t just use all my favorite digimon. Some just didn’t have what it takes to hold up against certain fights, and I had to move them away from forms I really liked to try to find them stronger forms so I could complete the sidequests. It was still entertaining to play, and did have me continuing to see my digimon grow over time and we bonded, but it also felt a bit lackluster that some favorite mega-level forms just didn’t have what it took to deal with some of the late-game sidequests (at least in hard difficulty, which I played through on - thankfully you can change the difficulty during a playthrough, so I could have dropped it to try to do the sidequests, but I didn’t opt to do that. I just still haven’t beat all the sidequests, instead focusing on the main quest).

the game doesn’t have a lot of animated cutscenes but those it does have come out strong

The Story

CS’s story is... fine. I think it’s probably a decently good story that’s just told confusingly. And I think there’s a couple reasons for that, but one of the biggest is that the translation is not the best. It’s passable, but it doesn’t always feel like things were translated in a holistic way to the whole game, rather it feels like each line was translated on its own, which leads to things feeling like they don’t all track together naturally at times, and a bunch of mistakes like the Eaters being referred to as Bakemon (a digimon name), because in Japanese they’re referred to sometimes as bakemono, which is just the Japanese word for a monster.

The other big issue I feel I have with the story of CS is that it feels like it’s all over the place, at least early on. Early on in the game, the story starts to set up a lot of different characters and plot threads that don’t seem to really connect with each other until much later in the game. That kind of story can be told well, but in this case, I just feel like the execution left a lot to be desired. For a long time, it felt like I was just playing through a bunch of different unrelated stories rather than a singular story. I’m not sure exactly what would be the right way to implement the idea to help keep the early game’s story interesting, but as it is, it felt a little lackluster.

However, that really only applies to the early game. And the late game, though in a bit of a different way. Around chapter 8 out of 20, the story starts popping off, and the individual stories concerning all the side characters start coming together to reveal the bigger picture of what’s been happening in Tokyo and Eden lately, and what issues that’s leading to in both the real and digital worlds. And from about chapter 8 through 19 or so, it feels really good and strong and there’s a clear singular direction that the story is taking, and every new piece of information seems to feed into the major plot in some way.

And then as you get into the last chapter, things start to feel a little less narratively tied together again. See, yes, the mysteries were building into a singular situation that was threatening both the real and digital worlds, but the game feels like it lacks a narrative throughline, or even multiple narrative throughlines for each major character. It feels like there’s no moral being focused on here, rather, it feels like there’s just a series of events that happen because it would be cool to have them happen. And they were cool. But... to really make a story feel good to me, I feel like there needs to be some sense of a complete narrative moral, and I just didn’t feel that way from this game. The closest I could tell was one line from the ending,

“You will now be the master of your own future.”

But... that feels weak. It didn’t feel like being able to control their own future was much of a theme for any of the main characters, except maybe Arata. And even then, it was a pretty weak theme. (I suppose an argument could be made that the game’s very linear story means your character doesn’t have a lot of freedom from a gameplay perspective, so the gameplay supports you not having control over your future, but... that’s a pretty weak argument.)

So, the story is interesting, but it’s also pretty weak.

fusion evolution is apparently gay as hell and i love it

The Cyber Sleuthing

There’s not really any actual sleuthing in this game. It’s really just a narrative device to give your character a reason to help out with a variety of random situations. You very rarely, if ever, have to actually solve mysteries/puzzles during your journey. So... not much actual sleuthing. But the greater mystery of the story does get really interesting in the mid game, so I’ll give it that.

Other stuff

Here, I just wanna talk about some other miscellaneous thoughts I have about this game, and then kinda sum it all up.

I loved Persona 5. It was a wonderful game, and such a powerful turn-based JRPG, that it’s influenced my perception of basically every JRPG I’ve played since. And it feels weird to do that. Like I feel like CS is a really decent game taken on its own, but when I’m comparing everything in some way to Persona 5, CS feels like it sucks. Like there are so many aspects where I can see ways to improve upon the game - the translation is lacking, there’s no english dub, combat is fairly smooth but Persona’s combat always feels like it’s a puzzle to be solved but CS’s combat feels like it’s just ‘have the right type digimon in play’, add more social elements to let me grow closer to Yuuko, Nokia, Arata, and other characters.

There’s this narration near the end of the game to explain how things change after the big final boss battle, and it’s narrated by one of the in-game characters, Nokia. And it’s amazing, because Nokia’s character can be kinda... ditzy, I guess is the right word? So there are parts in that bit of narration where she’s just like “and, you know... stuff changed” or whatever. It’s both funny, and leaves things fairly up to the player to have their own interpretations for what happens with everyone after things are over. There’s some small scenes after that narration that show some of what the main cast has been up to since the events of the final battle, but nothing that gives too much of a clue as to what happened.

----

There is a running gag throughout the whole game about how your mentor character likes experimenting with coffee, making weird blends like adding red bean paste or seaweed to her coffee, and she loves pushing this on other people who often react in horror. But there’s also this really nice scene in the finale where it shows the main character, without Kyoko around, drinking mayo coffee, and I think it’s just cute as heck

There’s a canon nonbinary character in the game, who complains about being forced to choose between either a male or female avatar when logging into the online system, and I absolutely love that kinda shit <3

My favorite status effect is one called Dot, where it converts your digimon into a sprite form and prevents them from using special attacks. And I love when JRPGs add fun unique statuses like this, which make sense within the context of the world

In Summary

So, to tie it all together, here’s my final thoughts:

I enjoyed my time with Digimon Story: Cyber Sleuth a ton. But I’m a fan of digimon and jrpgs. I think the game has its fair share of problems that mean I couldn’t really recommend it to just anyone, but if you like digimon and jrpgs, it’s worth picking up. And the complete edition comes with two games for the price of one, so all the better.

#so in summary it's got some flaws but i really enjoyed my time with the game #so now i gotta figure out which big game i'm gonna play next - i've done fe:3h and tales of vesperia recently #i might do the sidequel to CS called hacker's memory next but i'm also considering like ...#replaying pokemon swsh now that it's been awhile since they came out. i was really disappointed with them the first time #so maybe i'd like them better now? and the dlc looks like it might actually be good so...#we'll see #i also still need to get back to dragon quest 11 sometime and finish that up #i also haven't really finished octopath traveler or tokyo mirage sessions fe yet #then there's also bug fables which i played the first chapter or so of and definitely want to get back to at some point #eri blogs games #digimon #digimon story cyber sleuth

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spoookiepie · 6 years

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Hey it’s me cha girl here to talk about Digimon games

Cause like, BOY DO I HAVE OPINIONS. We just got the announcement trailer fro Digimon Survive and it looks... fine? It looks fine. Far be it from me to judge it too much based off tiny snippets in an announcement trailer, but everything shown looks... just fine.

But not like... amazing.

It looks like the battles at least will be grid, turned based, so Fire Emblem-esque. I can’t say I’m excited about that, but I bet some people are. But if I’m being honest that just... really doesn’t feel like it fits the Digimon brand. The rigid turn based stuff never really did, even less so with the even more tightly controlled grid system here.

And look, I have a soft spot for the Digimon game series. (Not ALL of them, mind you. But enough of them) But even at their best, the series has always felt like it was about 5 years behind. Even at it’s best, it’s felt a little bit cheap. Even at it’s best, and with all the love I have for certain entries into the franchise, even I can’t really say I think there’s a truly amazing game in there.

The series need a huge overhaul, is what I’m saying. In this essay I will

Problem 1; It’s a huge thematic and mechanical mess.

If I asked you what the basic core themes and mechanics of the Pokemon franchise were, you could easily rattle off the game play and battle system, the themes of friendship, and adventure, and something about ‘Catching them all’. This would hold true for every main-line entry into the franchise, differing only on the spin-offs. (these themes and ideas also carry over to the show, an important point I’ll get to later) The same could be said if I asked you about Mario, or Zelda, or Fallout. Even the Final Fantasy games, for as old and varied as they are, carry SOME core ideas - that being that they’re generally all going to be long, epic games, with emphasis on characters and story, set in pseudo fantasy worlds, and having some form of an RPG battle system. (again only straying from this in spin offs).

The Digimon games though? Not so much. Remove the actual Digimon from the first three games, and they’d be practically unrecognizable from each other. The first is a semi-open world (about as open as many PS1 era games could be), where you have a single Digimon who you essentially have to take care of, similar to the Tamagatchi-like toys the series started as in the first place. Battles are real-time and you have p minimal control over what the Digimon actually does. Meanwhile the second game is a slow dungeon crawler, with strict, 1v1 to 3v3 turn-based battles. No open Digital World, no Digimon care taking. The DW3 goes for an isometric, pixel style game, with 1v1 battles (which ARE in 3D?), and attempts to have a more robust story and host of characters. And the series just continues to spin off from there.

For visual comparison alone, check out the first 3 games of the Digimon series to the first 5 of Pokemon. These are aesthetics alone.

(pokemon image via http://www.neoseeker.com/news/23873-pokemon-then-and-now-see-17-years-of-video-game-evolution-in-a-single-comparison-image/)

Basically, there is no “core” to the Digimon games, outside of the mascots themselves. It makes the franchise as a whole feel disjointed, and it means you never really know what you’re getting when you go to play a new one. While you certainly don’t want a franchise to get old and stale, you also shouldn’t be re-inventing the wheel every single time either, cause it stops looking like innovation, and starts looking more like you don’t know what you’re about.

Problem 2; They feel cheap.

It pains me to say, but almost every aspect of Digimon games feels like it’s just a step under what it should be. Everything is aggressively just ok. The voice acting (if the game has it) is nothing of note, especially in the dubs. And the weak dialogue certainly doesn’t help.

The art and characters designs are... also just ok. The main characters in the first handful of games are aggressively generic, to the point that the ones from 2 and 3 are basically the same model. Once the games started to stray from the style of the show, the designs started to get even weaker, and the already flimsy visual design fell apart even more. (Some of the better character designs came out of Digimon Story Lost Evolution, which OOPS, never came state side) Say what you want about the character design of the original show but this

is a pretty recognizable art style and way of character design. Like Pokemon, it’s simple, but distinct unto itself. I could easily pick this style out of a lineup.

Whereas these?

Well... yeah. Not so much. I don’t even dislike the bottom two, from Digimon World Next Order (and in actual technique alone, they’re all solid). But, I also can’t say the style is terribly distinct, or what I would look at and immediately recognize next to a whole host of other anime and light novel illustrations.

The writing (when there is much of a story) is lackluster. And no, I will never understand the people who say Cyber Sleuth was great, and had a great story and writing. I just have to imagine, if Cyber Sleuth is the bar, then they’ve never picked up a Persona game. Or many RPGs/visual novels. Or... many games in general. I found it’s characters, story, and tropes all rather predictable, and nothing struck me as particularly clever. Meanwhile, Next Order had your p run of the mill but otherwise vapid ‘save the world from the Big Bad(c)’ story. Again, a bit predictable and cliche, and mostly there to move the game along.

Everything just feels a little... meh. A little like everyone didn’t put their all into the games. It feels like the studio is banking on fans buying their stuff through sheer nostalgia, rather than really putting their all behind the games. Again, even for the entries that I personally love. And that’s a shame.

Problem 3; They have very little connection to their anime counterpart.

Look, I get it. These are games, not the anime. This isn’t Pokemon, where the two have to be hand-in-hand almost all the time. And I certainly don’t want to just recreate the show in the games, or vice versa, hereby rendering one redundant.

But

I’d argue that the vast majority of Digimon fans, are fans of the anime first, and their love of the spin off stuff like the games comes after. There will be exceptions of course, but the Digimon show is the most well known and well loved part of the franchise. And the games really don’t feel like they reflect much of that. They’re a whole beast unto themselves, and not necessarily in a good way.

For a show that so heavily emphasizes friendship and bonds, you spend a lot of time in the games alone. And characters are often written lack luster and one-dimensional, giving you very little reason to care about them. They feel oddly lonely. For a show that so heavily emphasizes the special bond between a tamer and their unique, special Digimon partner, the Digimon you get in the games are frankly... disposable.

Hell, even the Digital World itself doesn’t always make an appearance in the games. I’d argue the Digital World is a vital component of the Digimon franchise and universe. It’s so unique, it’s practically a character unto itself. And to just throw it out feels like a whole part of the franchise is missing.

So, how would I start addressing some of these problems?

Before I begin, let me just say, I’m not a game designer. I’m judging this with an outside perspective, so take this with a grain of salt. But, I’m also not a newcomer to game OR the show, and have spent a chunk of my time analyzing both. I also tend to study up on design in my spare time for fun, so I’m also not completely talking out of my ass here.

1; Consistency and Vision.

So, for starters, the Digimon games need to buckle down and figure out what their core is. Figure out your themes, your mechanics, your visual style, and what are core concepts to your franchise, beyond just the Digimon themselves. These are ideas that will be carried throughout your series. This is your core, you theme, and your vision. You can tweak things, by all means. But when I set your games out on the table, SOMETHING needs to bind them all and make them a collection. Pokemon games are still Pokemon games, even when you ignore the Pokemon themselves. Persona games are still Persona games without the Persona. A Mario game is still a Mario game when you remove the plumber himself. Art style, themes, mechanics, and world building all amount to this. What - beyond just the Digimon - makes a Digimon game?

Personally, I’d like to see these things gravitate to a more Digimon World 1/3/Next Order style. I want an emphasis on exploration of the Digital World and more freedom than the likes of Digimon World 2/4/Cyber Sleuth had.

But either way, the game’s need to figure out what they are. Stop trying to re-invent the wheel every time, and please stop trying to copy whatever another popular game did 5 years before.

And also for the love of God, this is Digimon. Stop designing characters like this

If you want to appeal to a more “mature” audience, trying actually doing something smart, than resorting to T&A.

2; Figure out where to put the budget

Now, I can bet what some people are gonna say.

“Digimon is a smaller franchise than those you keep comparing it to! It doesn’t have the budget to be a huge title like those!”

And yeah, I get it. Digimon doesn’t have the kind of money Pokemon, or Final Fantasy, or Persona have. But money also doesn’t a good game make.

Once devs have figured out what’s core to their series (see; step 1), then that’s how they need to plan out where to put their budget. Is exploration one of your core themes? Budget needs to go towards the world and map design. Is it in the characters and story? Splurge on your writing team. Right now, the games feel like they’re all a bit lackluster in every department. Frankly, I’d be ok with one aspect being cut down a bit more, to make the other core parts really shine. I don’t need 100+ different playable Digimon, for example. Take some of those out and put the resources elsewhere maybe.

3; Hire better writers

Look, I’m just gonna say it. Your writing needs to be a core thing you splurge some budget on ok? I don’t expect the best of the best, epic story telling from a Digimon game, but at least try to reach the same level of writing the original show did maybe.

THAT SAID; I’d also move away from the talking head/visual novel style of story telling and cut scenes. I’m talking THIS kind of dialogue, btw

Games like Persona, Phoenix Wright, and Danganronpa can get away with it because they have A++ stellar writing. (2 of them HAVE TO since they’re visual novels, and the writing is the core of what they are. Also, ONCE AGAIN, these three games have very distinct character and visual design, that are a delight to look at)

Digimon? While I say you NEED - DESPERATELY NEED - better writers, you’re not quite here yet, where a talking head alone is enough to keep me entertained.

I’d rather see you’re characters moving and doing stuff while they talk. Have fully rendered cut scenes, and do a little more showing than telling. Again, you’ll have to budget for this, but I think it’s worth it. (also, you don’t have to have Final Fantasy level models if you just have solid character and visual design I WILL NOT LET THIS POINT GO) Seriously. The Digital World is one worth seeing in motion, not in static back and forth exposition dumps.

4; Seriously just include the Digital World

Like I said before, the Digital World is one of the most unique worlds I’ve seen in media. To. Date. It is a perfectly weird and whimsical synthesis between the natural and the man-made. It is a perfect visual representation for what it is; An AI built world, that attempted to grow organically out of completely inorganic data created by humans from all over the world.

That is a world of endless possibilities and I want to see it.

Without the Digital World, the franchise feels a bit more hollow. The whole adventure in the original show was in the kids being sucked into a new world! A world that was exciting, and new, and weird, and whimsical, and yeah, a bit scary and even dangerous. If we’re not in the Digital World, then we’re just... in Tokyo, basically. But with some Digimon.

5. The Digimon need to be characters

Okay. Here’s... where’ I’ll probably upset the most people who are fans of the games.

You should only get one -maybe two- Digimon partners and ONLY their basic digivolution trees ok!

You got Palmon? Well, ok, you ONLY have Palmon, and her evolution tree up to Lilymon. Maybe Rosemon if we feeling fancy. She does not have branching trees. She does not DNA digivolve. She does not return to an egg, and re-hatch as a new baby lv Digimon. You just. Have. Palmon. Or Agumon. Or Veemon. Or whoever you choose/or is that game’s Digimon.

Why make this limitation? Two reasons. 1. Less resources used on modeling, stat designing, and programing 100+ Digimon partners. Cut down on the amount of Digimon you can have as a partner, and the more resources and time can be put elsewhere.

2. More importantly, the Digimon partners need to be characters. The show gave huge emphasis to the fact that each partner and their Digimon had a special bond. It was special because it was unique. One person for one Digimon, each with their own unique personality and bond. There might be plenty of Agumon out there, but this one was Tai’s Agumon. He had his own personality, his own likes and dislikes. He was special. In contrast, the Digimon in the games are completely disposable. They have no personality, if they even talk at all. And oh, don’t want Tentomon? No worries, just digivolve him to something else or wait till he dies and hatch a different egg! It doesn’t matter. He doesn’t matter.

And for a show that made me so desperately want my own, unique, soul bound monster friend, that’s... really kinda sad.

So yeah, limit what Digimon you can have, and really, really write them as their own special, unique characters. And have them bound to their trainer. Want to allow your players to choose from multiple Digimon? I have a solution. Choose your trainer. Give your players the choice between 3-5 characters to choose from. You’ll be choosing that character and their stats, along with their unique Digmon and their stats. And hey, if you wanna go above and beyond, make these trainers actual characters with personalities too, who may change the course of the story, or at least the flavor, depending on who you picked. If we use Digimon Adventure for example. Your story and stats may vary greatly depending on if you chose to play as Matt and Gabumon, or Sora and Biyomon. Maybe you could go an Octopath traveler route, and have all the characters potentially converge. Or, maybe a Seiken Densetsu 3 route, where you choose 3 of six potential characters, and your story will differ depending on which you chose, and which of those three you picked as your main.

Either way, really emphasize these characters and their bonded Digimon. This isn’t Pokemon after all, right? So why have an emphasis on how many Digimon you can obtain?

Anyway, that’s my thesis on where to at least start in fixing the jumbled mess that is the Digimon game franchise. Many of these are opinions, yes, but I hope you can at least understand where I’m coming from with most of them. And hey, I guess we’ll see what the new game has in store for us.

#digimon #digimon world #opinion #essay

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krustentier7 · 8 years

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The games I played in 2016

You’re probably expecting the first paragraph to be about what a shit year 2016 was in general, but that’s so played out and I don’t really want to waste too much time. With video games specifically, I can say that this year at least for me has seen a massive drop off in quality compared to last. We did have a few pretty monumental releases that were a long time coming, but really nothing as legendary as any of my Top 5 placements of last year.

That said, I went over the list of game releases in 2016 last night and god damn, I played (and beat!) a lot of fucking games this year. In fact, while the number of games that I was interested in and didn’t get a chance to play is still pretty high, I managed to play *more* games than that. I keep feeling myself being increasingly strapped for time, and yet I still managed to play a lot and be part of the conversation, which I’m really happy about.

Still, I want to give you a list of titles I was interested in, but didn’t get a chance to play much of (despite even owning some of them) before we really kick things off: Owlboy, The Silver Case, Severed, Guilty Gear Xrd Revelator, Odin Sphere Leifthrasir (own that one), Dragon Quest VII, Thumper, Rez Infinite (mostly for Area X but fuck paying $30 for an HD remake of a Dreamcast game, even if it’s Rez), Amplitude, Salt and Sanctuary, Pokkén Tournament, Enter the Gungeon (another one I own), VA-11 HALL-A, Let It Die (first impression was pretty bad, but I dig the concept, so I want to give it another shot when I have time), Grow Up (own this one too), Steins;Gate Zero, ReCore (it’s on my hard drive), Darkest Dungeon, Gunvolt 2, Gears 4.

See, I did a similar thing last year and a lot of the games I mentioned there I still haven’t played, soooooooo… yeah… just thought I should mention them before anyone wonders where they are, let’s move on.

I’m also vaguely interested in Dishonored 2, Deus Ex: Mankind Divided (which I actually own since I’m bad with money), Digimon Story Cyber Sleuth, Watch Dogs 2 and Pokémon SuMo? Mostly because I’ve heard good things about them and less because actual personal desire to play them.

Now, one thing I want to do that I didn’t last year is talk about a few games that I played that didn’t come out in 2016, they’re pretty noteworthy titles that I’m glad I finally got around to and mark some of my high points for this year.

Earthbound and Mother 3

The best roadtrip games that I played this year. I tried getting into Earthbound countless times over the years and always stopped not very far in for various reasons, but when it was released to the 3DS’s Virtual Console earlier this year, I knew that now was the time. It’s a great game to play on a handheld, the fact it took me months to complete (I played it on and off before Summer and then started dedicating entire days to it as I was closing in on the finish line) kind of added to this feeling of going on a huge journey in a way. I love that Earthbound doesn’t hold your hand too much, the environments have so much detail and personality crammed into them and are really fun to explore. The RPG gameplay is fairly basic, but there’s enough room for experimentation to allow for clever and fun strategies, and the limited inventory really keeps you on your toes. I really didn’t expect to like Earthbound as much as I did, it holds up so well both as an experience *and* as a game.

Mother 3 on the other hand is a pretty different experience! It’s a much more linear and guided journey that goes all-in on its more personal and literal story. While Earthbound was all about the adventure with all its ups and downs and less about a larger story, it’s the complete opposite in Mother 3 – and while I ultimately came to prefer Earthbound, this approach does have its merits. It’s become such a meme over the years, but Mother 3 really pulls at your heart-strings, and some of the game’s darker moments I’m really unlikely to ever forget. The story wouldn’t work as well as it does if it weren’t for all the streamlining and hand-holding, and I think as a counterpoint to the first two games in the series, it was a worthy sacrifice. I do think a lot of the RPG open-endedness suffers in this transition to a much more linear journey, and while I do really like the rhythm combo system, I think purely as an RPG, Earthbound is the better game. Side note, but I gotta say that I vastly preferred Earthbound’s more isometric style and open environments to Mother 3’s top-down perspective and extremely linear progression. Both are totally worth playing though and I wouldn’t want them to just be the same thing, it’s good that they’re so different. The Mother 4 fan game is looking to combine aspects of both titles into one, and I can’t wait to see how it turns out.

Final Fantasy VII

That’s right, I literally *never* played Final Fantasy VII for longer than ten minutes before it came to PS4. It’s hard to say how much the extra features of that version enhanced the experience for me, turbo mode and toggleable random encounters definitely make this game much more palatable. Overall though, I’m extremely happy to report that the game completely holds up and is *not* overrated.

It really encapsulates what I think RPGs are good at: thirty, forty, fifty, sixty hours, that’s time that is rarely afforded to a story. When I think about Final Fantasy, I think about huge long ass journeys, with so many ups and downs and so many different little arcs, worlds that feel massive and alive, mysterious heroes and grandiose villains, twists and turns, revelations and dramatic high points… that’s Final Fantasy and that’s what VII offers. You really come to love this ragtag group of friends and exploring Gaia (I really love how many different vehicles you unlock by the way) is an absolute joy. Beyond that, I love the Materia system and how flexible it is. I usually only expect that kind of open-endedness from games like SMT, but FFVII has so many wacky combinations and ways to play that it’s almost mesmerizing. Just a wonderful, wonderful game.

The World Ends With You

TWEWY is a game with so many unique ideas crammed into it, none of which I’ve seen before or since its release, that somehow manages to make it all work. It’s easy to forget that games like Persona weren’t nearly as popular then as they are now, so the sheer novelty of a Square Enix RPG set in the modern day that really feeds off Shibuya teenage fashion culture was really something to behold. You eat food and need to wait for it to digest to get buffs, you need to set trends and wear appropriate clothing to raise your stats, YOU FIGHT ON BOTH SCREENS AT ONCE… it shouldn’t all gel together as well as it does, but, well, it does. When the combat and the music completely click, you get one of the most exhilarating and fun RPGs ever made, and the story handles contemporary themes like identity and adolescence with a lot of confidence and vigor.

That doesn’t mean that the game is without flaws though, far from it. I feel like the team spent a lot of time polishing the combat and the presentation (it’s really one of the most stylish games you’ll ever play) and put a lot of thought into its story, but the overall structure feels like a complete afterthought. You’re constantly asked to run back and forth through a tiny game world, story progression is often gated off behind menial tasks. The combat is so much fun and the learning curve so steep that it really carries the experience, but if they ever decide to make a sequel (MEME), this is one area that really needs to improve. Beyond that, a lot of important abilities that really round off the combat and make it actually feel fully playable are locked behind story progression; you feel artificially gimped for way too long. The game has problems differentiating between similar touch inputs at points, having to drag Neku across the screen to move is tough to get used to (I realize there’s no real way around these problems though), and the dual-screen gameplay can vary wildly between a tightly choreographed ballet or a button-mashy mess.

All of these flaws are easy to forgive though when TWEWY pulls off so many unique ideas with such confidence – it’s a game that’s impossible to hate.

Doom

In preparation for the 2016 sequel, I finally played the original Doom and it’s fucking good? I love the emphasis on high-speed movement and exploration, the gunplay is still insanely polished after all these years and every encounter feels completely hand-crafted. Not much else to say, a total classic.

Max Payne

The original Max Payne is banned here in Germany, but my girlfriend gifted it to me through Steam (<3) and I finally got a chance to play it. It’s really good! Recoil and sound effects on every single gun are spot-on and bullet time/shoot dodges really never get old. I do think it’s a bit of a contrast to Doom, it made me realize that shooters designed around hit scan weapons aren’t really my preferred type of game, but that does little to blemish what’s here.

Resident Evil 4

My last RE4 playthrough had been a while ago, the only reason I’m mentioning it now is because I somehow spent thirty hours replaying this game I know front to back on Professional?? I dunno how that happened, I just know it was fucking GOOD.

I just realized how much time I’ve already spent writing about games that didn’t even come out this year, so before I waste any more time, let’s move on to my honorable mentions, games I played but didn’t make the Top 10 for whatever reason:

Furi

The most impressive thing about Furi is that it’s a great display of working smartly around a tight budget. Crafting a deep action game moveset and then building a game around it that takes advantage of it is nigh-impossible on the scale of a $20 downloadable game (see Platinum’s Korra game for what an attempt at that looks like), so what they did instead is give Rider, Furi’s protagonist, a very limited number of moves that all have purpose and make every single combat encounter in the game a full-on boss fight.

Every boss has a number of unique gimmicks and mechanics for you to figure out, and the game remains engaging and, dare I say it, hype for its entire runtime. The only real problem with Furi is that it’s fundamentally a game about reacting to your enemy and executing a strategy rather than player expression and decision making, the latter being what defines action games like Devil May Cry and Bayonetta. The main innovation of DMC1 was the game’s ranking system: there’ve been countless other games were you run around and kill enemies before it, but DMC1 incentivized you to also try and look cool. That element, playing around with your enemies and exhausting your character’s potential, is what gives these games their staying power, and it’s sorely lacking from Furi. Again, this was really the optimal and only way for this game to be made with the budget that it had, but it sadly fails to offer a lot of the satisfaction that I expect from games of this genre. That’s also why I haven’t gone back for a replay, it’s nice that enemy patterns are mixed up on higher difficulties, but the way I react to them is always going to be the same.

Street Fighter V

I don’t really agree with a lot of the backlash against Street Fighter V, while the relative lack of modes compared to other fighters is pretty baffling, I don’t really know why anyone would purchase this game if not to play 99% online, which is decently robust here. The game has a lot of structural issues, big and small, I think the currency system especially is so incredibly stingy that it might as well not exist, but it’s really too much to get into right now.

The reason Street Fighter has always been my preferred fighting game is how grounded and based on fundamentals it is. I really do get the appeal of games like Marvel, but spending hours upon hours in training mode to learn combo execution is way too daunting for me. Street Fighter gets to the, to me, interesting part of fighting games almost immediately, you can have small mind games and strategies even on very low levels of play. Street Fighter V makes great strides to emphasize this aspect even further: combos are easier to understand than ever, every single character is unique and the V system really helps bringing their strengths to the forefront. You immediately understand what any given character is about and how to play them, which makes finding the right character for you easier and more fun than ever.

I will admit though that there’s a bit too much overlap between different V-Skills and V-Triggers, and the latter generally don’t have as much utility or change the game up as much as I would like.

I have to say that I kind of hit a personal wall with the game, and a lot of the Season 2 changes are looking… questionable. Still, I really can’t deny that I had a great time with it, generally.

Fire Emblem Fates – Conquest

I was pretty burned out after beating Conquest despite enjoying it a lot, which is why I still haven’t gone back and played the other two parts that make up the whole of Fire Emblem Fates. There’s really not much I can say without going super in-depth, I know saying how great the map design is without explaining why is just really blegh but you’ll have to trust me on this one. Every map uses some unique layout and gimmick, your troops complement each other extremely well and you it feels really rewarding to figure out the best positioning and approach for any given situation. My only major misgiving is that Awakening’s relationship mechanics feel very out of place in Conquest’s more linear structure, they incentivize you to play differently from how you actually should and I found them to be really distracting. Other than that it’s an excellent entry into the series.

The Witness

The Witness is really good but I still haven’t beaten it (198 puzzles solved?). I kinda just want to leave it at that but there’s more I can say about it.

While the island the game is set on almost completely disconnected from the actual challenges you encounter, it lends the game an air of mystery and discovering how all the locations are connected and intertwined is really engaging. The Witness has been criticized for this disconnect a lot, every puzzle uses the exact same interface, but I think this approach has a lot of advantages over games like Portal, Limbo or Jonathan Blow’s own Braid. It’s always immediately clear when you’re on the wrong track, and there’s basically no real execution required – any person can draw a line on a grid, the only thing that matters is having the brain power to figure out how to do it.

Two annoyances that I can think of: you have a map of the island, but you can only look at it when you’re on a boat? And some of the puzzle mechanics really didn’t make a lick of sense to me, even after begrudgingly checking a guide. Like, I know I would’ve never figured some of the puzzles out myself because their rules were so arbitrary and hard to understand to me. Uncharted 4

The action and combat sequences in Uncharted 4 are honestly some of the most breath-taking and heart-pounding I’ve seen in any game, I had moments where my jaw literally dropped to the floor and I was in genuine disbelief at what was happening on my TV. This stands in stark contrast to basically the other half of the game which mostly consists of slowly walking through linear environments, listening to dialogue and pushing crates. These moments served as pace breakers in earlier Uncharted games, but here they’re almost the main focus; it’s no coincidence that, for the first time in the series, there is a menu option to select and play every combat encounter (and just those) after you beat the game once. Some of the climbing and puzzle mechanics were expanded, but not to the degree that they can really stand on their own. I enjoyed exploring Madagascar on the jeep or riding the boat and exploring different islands with Sam (because here we get to do *actual* exploration of sizable environments), but so much of the non-action in Uncharted 4 is barely interactive and, well, boring.

What’s baffling is that the gunplay is so insanely good now that the game really didn’t need hours and hours of unengaging simple ass platforming or walking down straight lines. I love how the little dot inside the aiming reticle moves and twitches offset from the cross, the way enemies and their clothing react to bullet impact. I also find it almost offensive how utterly convinced Naughty Dog seem of their new direction: I think a lot of the quieter moments in The Last of Us were justifiable, but it annoys me that people are under the belief now that walking in a straight line and listening to dialogue is good storytelling. Watching the PSX demo for the upcoming DLC honestly had me burying my face in my hands in disbelief. Storytelling seems to be the only thing they’re passionate about anymore, and it’s to the point that you can just tell how bad Uncharted 4 wants to be a movie instead of a game.

Monster Hunter Generations

I love the Style system and how seamlessly it ties into with the existing weapons and mechanics, not every combination is a winner and you’re required to experiment and find what works best for you. Beyond that though, I found Monster Hunter 4’s story structure to be a huge leap forward for the series, and Generations basically takes all that progress away in favor of barebones quests with next to no context. So many of the Village Quests are based on gathering and mob hunts, you still can’t see Key Quests, and the satisfying progression of unique and charming hubs that defined MH4 has been done away with; hubs are pretty much completely meaningless now and merely serve as nostalgic throwbacks.

I’m making the game sound awful now, it still has everything we’ve come to know and love about Monster Hunter and I would recommend it to anyone, but compared to the evolution that MH4 was, it feels like a stop gap before the series (hopefully) moves on from 3DS. Final Fantasy XV

I plan to talk more in-depth about XV later down the line, and if it weren’t for me tempering my expectations to such a degree it would probably fall under disappointments rather than honorable mentions. I did enjoy my time with it, no doubt, it really nails the feeling of going on a journey and traversing an entire continent mainly through its impressive use of scale and some really cute mechanics like Prompto’s photos or camping. The game can have a really satisfying pull of exploration and combat that, when it clicks, it *really* clicks. It’s clear though that a lot of it doesn’t hold up under scrutiny, and I want to examine it more closely and explain why hopefully in the near future.

Oxenfree

I think what annoyed me the most about Oxenfree is how on-rails it feels? You’re trekking through the woods and Jonas warns you to not get lost, and I just sat there wondering how I’m supposed to get lost when I’m quite literally exploring on rails. That’s mostly what is making me hesitant to play through the game a second time, I really see it becoming something of a slog on repeat playthroughs despite the short length. The story is cute, but it fails to give you a tangible sense of danger or ever really raise the stakes significantly. I think it really could’ve used some puzzle/action moments to inject some variety and engage the player more.

What I’m really impressed by is the dialogue system and how the game really goes all-in on it: conversations and dialogue choices happen without any sort of interruption and feel completely seamless, the dialogue choices themselves almost never follow any discernible patterns or fit inside a box, and the resulting branches and outcomes feel real and natural. I love how talking is really the main bulk of what you do in Oxenfree, and it’s something more games need to try in this fashion.

Overwatch

Overwatch is really good and I think it’s amazing that a multiplayer-only FPS can have such a fleshed-out world and a colorful personality like that, but I don’t really care about objective/team-based games for various reasons and I wish it had a singleplayer. I also haven’t been wanting to dedicate time to games where I don’t make “real” progress lately, and if you take one look at my backlog you’ll know why.

Teenage Mutant Ninja Turtles: Mutants in Manhattan

I like that you can play levels out of order and a lot of the mechanics kind of start to make sense once you get to the boss fights, the open level structure is also interesting (though not as well executed as Anarchy Reigns or MadWorld), but everything else is pretty much as blegh as you’ve been told on the internet. Mob fights especially are such an incoherent mess that I wouldn’t even know where to begin.

What’s puzzling is that the game really doesn’t seem to lack polish in any way, I don’t get the impression that lack of time or money is the culprit here. That’s pretty disconcerting and I hope it’s not an omen of what’s to come out of Platinum going forward.

Quantum Break

Quantum Break has cool gunplay and a nice little story, but I instantly forgot it existed once the credits stopped rolling. I think a lot of shooters limit their enemy design by choosing a realistic modern day setting, and that issue is on full display here: the number of generic soldiers you mow down just completely washes over you after a while. It’s also easy to draw comparisons to another third person shooter, Vanquish, and one thing I realized when I thought about it this way is that powers in Quantum Break almost never combine in meaningful ways and have too many similar applications. Slowing down time after a dodge, stacking bullets into one big cluster, doing a melee takedown after running – these moves all serve to either buy yourself more time to do damage, or to do a lot of damage at once.

In Vanquish, you can slow down time at basically any point; after you jump over cover, during a dash, after a roll, after you launch yourself in the air with a drop kick or certain melee attacks. From these examples alone you can already see different actions intertwining to give you much more utility than is immediately obvious, but it goes even deeper with things like boost dodging or SHOOTING YOUR OWN GRENADES.

Quantum Break lacks that kind of depth and, while the gunplay is as polished and exciting as you would expect from Remedy, it’s what makes the game rather forgettable.

Disappointments

Games that came out this year and not only didn’t make the Top Ten, but ended up being very disappointing to me personally for various reasons. I do have to add that the three following titles aren’t bad, in fact I’d argue they’re better games than a lot of the honorable mentions; I just happen to be particularly attached to them, emotionally, which obviously creates certain expectations, expectations that weren’t exactly met.

Zero Time Dilemma

The conclusion to the Zero Escape trilogy, it’s kind of hard to talk about what made Zero Time Dilemma disappointing without going into spoilers. I did have a really good time throughout most of the adventure, even though there were a lot of structural aspects to this story I wasn’t entirely on board with (without saying too much, I feel that a lot of events lack lasting consequences and end up falling flat for me and sapping away a lot of the tension). It only really falls apart during the final act, we’re served up ass-pull upon ass-pull (a lot of which have become memes, understandably) and it completely fails to tie up the loose ends of the previous two Zero Escape games. None of the burning questions that VLR left are even remotely addressed, instead Zero Time Dilemma feels very much like its own story, and it isn’t a particularly satisfying one. This trilogy had been such a journey up to this point, and ZTD really had the potential to deliver a massive payoff for all those who stuck with it over all these years, potential that sadly just wasn’t acted upon.

Most of the smart and praiseworthy aspects of this game were already present in VLR (how game progression is closely linked to your understanding of the story) and it’s hard to replicate the same wow factor by just repeating old tricks again. Beyond that, the move to fully animated 3D visuals is well-intentioned, but uh… just look at any of the trailers, really. I’m fully aware that 3D modelling and animation is much easier today than sprite/pixel-art, but I’m finding it hard to believe that they couldn’t just have hired a bunch of artists to draw a few dozen character portraits and environmental backdrops in the vein of 999 with the same budget. I think that’s something a lot of people would have preferred, and it would’ve been an artistic choice that is much more conscious of the team’s capabilities and the available resources.

Not only would that have made the overall presentation much tighter, I also think the game in its current form has a harder time handling exposition and info dumps than its predecessors. You can hardly have a ten minute exposé on Ice-9 within the confines of what is essentially filmic storytelling. There are certain rules animated cutscenes must adhere to: pacing, frequent cuts, length. A huge storytelling advantage games have over other forms of entertainment is that they can have lengthy dialogue sequences using text boxes and the like, without the player becoming unengaged over time and on a much tighter budget. This is something 999 and VLR reveled in, but ZTD’s move to animated cutscenes means that that isn’t an option anymore. These ass-pulls I mentioned earlier are so much harder to buy into now that the world and its rules aren’t as fully established as they were in the previous Zero Escape games.

Dark Souls 3

I don’t really know what to say about Dark Souls 3. I’ve talked about a lot of misgivings in terms of level design in recent Souls games previously. One thing I would definitely like to add is how mishandled hubs have been in the series ever since Dark Souls 2: in Demon’s Souls, the Nexus was a necessary compromise since From Software weren’t yet able to connect all the areas seamlessly. The game managed to make this into a strength, however, by having the hub constantly change throughout the adventure and giving the player the option to tackle levels in any order. Items are places so deliberately throughout every single level that, on repeat playthroughs, the player will have a deep understanding of where to go early and how to give themselves an advantage through sequence breaks.

Dark Souls doesn’t have quite the same flexibility as Demon’s, owing to its move to a seamless world structure. I still think it’s a great trade-off though, because the feeling of knowing a game inside out and having the wit to figure out the perfect order in which to do things is so much stronger now that the game world is completely interconnected and requires you to map everything out in your head. Figuring out that you can go to Blighttown early or fight Pinwheel as your first boss is so much cooler when you actually physically have to perform these leaps and sequence breaks instead of just using a level select like in Demon’s Souls.

Firelink Shrine was an important piece in this puzzle: Lordran’s layout is so smart that just progressing through the game and using shortcuts as you normally would meant you had to return there frequently, and every time you would discover some new interesting change that further informs your understanding of the game world.

Now, two things: first, I think warping from the start of the game is a huge mistake. It completely removes the need for shortcuts and an interconnected game world, and it compromises this feeling of understanding and getting to know your surroundings. Dark Souls 3 and Bloodborne both have branching points where you get to choose which area to tackle first, but that’s really not the same as figuring these connections and branches out yourself. Even so, while both games have very wide and expansive areas, game progression is almost entirely linear compared to Demon’s or Dark Souls. I think 3 is a better game than 2, but I would honestly go as far to say that Dark Souls 3 is the most linear Souls game yet.

Second, it’s obvious that From Software recognized fundamental flaws in this design approach: if you can just warp anywhere and the world isn’t really interconnected, it means you’re not naturally going to return to your hub like you would in Demon’s or Dark Souls. And if the player doesn’t do that, they’re going to miss out on important NPC interactions and it makes it impossible for the designers to reset the player’s focus when they want to.

Their solution to this was to remove the ability to level up at any bonfire; the only way to do that in post-Dark Souls titles is to go back to the hub and speak to an NPC. I think the fact this change had to be made just shows that the whole idea of warping from the start was ill-conceived. Whereas the hubs in Demon’s and Dark Souls had purpose and a reason to exist, they’re nothing more than a contrivance and old baggage here.

To talk more about Dark Souls 3 specifically, a few rapid-fire points: the bosses are really great and varied and unique, and I like the weapons a lot (even though Weapon Artes didn’t live up to their full potential). I’m extremely conflicted on the amount of references and callbacks to other Souls games; every moment that I found hype or memorable was thanks to my experience with every other Souls game up to that point, which just makes me really sad thinking about it. I also think the way some of the open questions that Dark Souls left are answered so lazily here that I honestly wish they hadn’t bothered and stayed away from the first game’s legacy. Final point: god this game looks so much like Bloodborne that it’s uncanny, I genuinely can’t tell the two apart sometimes. That’s all the more upsetting because Bloodborne was a much, much better game with a lot more creative energy behind it. WHICH BRINGS ME TO...

Shin Megami Tensei IV: Apocalypse

This game is fucking shit and I’m legit not joking when I say that I have not even the faintest as to why anyone would think it’s better than the original.

Actually okay, let me back up, this game has all the trappings of any good SMT aka monster collecting/fusing and fast-paced high-stakes combat. On that fundamental primal level, Apocalypse can be pretty fun, I would be lying if I said I didn’t enjoy min-maxing and planning out how I’m going to build my party. Some of the balance and system tweaks I’m also on board with (Skill Affinities and Demon Negotiation, namely), but everything else is such a far cry from the original SMT IV that it’s honestly hard to believe. I know I’m gonna go more in-depth with this game in the future, so I can’t go into full detail about my complaints just yet, but needless to say that, seeing how much I loved and appreciated SMT IV, this is easily my biggest disappointment of the year.

On that note, I am very curious if some of the mechanics on display here are going to find their way into Persona 5, which is not something I would be against.

And now what you’ve all been waiting for, here are my ten favorite games of 2016:

10. Superhot

Superhot was really cool, but I kind of just instantly forgot about it when I beat it. Crazy potential for a sequel and I would definitely play it again and again if it weren’t for me trying to avoid replays in favor of working on my backlog.

9. Hyper Light Drifter

I really love the combat, the aesthetics and the approach to tone and storytelling in Hyper Light Drifter, but I think it didn’t quite live up to its full potential. I keep seeing people comparing this to the original Zelda (a game I am very fond of), and while I can see where they’re coming from (both games are comparatively minimalist and open-ended to most games out there, and they emphasize combat and easy-to-understand challenges over puzzles and the like), it’s really not on the same level for me. While there are plenty of secrets tucked away in HLD’s world and the order in which to tackle every area is up to you, it still follows a very basic, formulaic structure: here’s your hub, here are four areas connected to it, every area, while expansive, is its own completely separate challenge.

Compared to games like Dark Souls or yes, the original Zelda, item placements also don’t feel as deliberate, the world’s layout doesn’t seem to reward knowledge and efficient replays very much. Important, powerful items are often either rewards for completing story tasks are upgrades you buy with points from a shop in the hub. I think this basic four-area structure and the fact that everything outside the hub is very much challenge-focused (meaning you’re not gonna encounter NPCs or special shops like you would in the other games I mentioned) is a real missed opportunity.

What also put a damper on my enjoyment of the game are a lot of the technical problems I had with the PC version, which have been largely fixed over time, making me wish I had waited a bit longer to play it. I am really excited to revisit it though.

8. Super Mario Run

I’ve tweeted about this before, but what I like the most about Super Mario Run is that I’m not punished for running through every level as fast as I can. That’s the most fun way to play 2D Mario to me, stopping my forward motion to look for secrets just isn’t something I’m really into. Thankfully, 100% completion and fast-paced platforming aren’t mutually exclusive in Mario’s first mobile outing. It’s impressive how Nintendo’s designers have managed to cram clever and varied optional challenged into the confines of an auto-runner, and watching Mario vault over enemies and do a turn after every walljump is an absolute joy; he hasn’t felt this acrobatic since Mario 64. Super Mario Run is proof that control or hardware limitations can sometimes open up completely new gameplay possibilities, and I think it’s something future 2D Mario games can definitely draw from.

7. Titanfall 2

Why is this game so good?? I don’t think anyone really saw it coming. I have a lot of fundamental issues with military-style shooters (two-weapon limits, a lot of weapons fulfilling the same purpose, emphasis on hit scan enemies, regenerating health, sprinting meaning I can’t shoot while I’m moving at top speed), and while Titanfall 2 has basically all of those same trappings, it adds enough on top of the formula to somehow make it work. You have a staggering amount of movement options, most of which allow you to stay on the offense while traversing at high speeds, and the expansive environments mean you can approach any combat situation as you please without being forced into cover very much. So many times I would let off shotgun blasts while sliding along the ground or detonate C4 charges in mid-air, and the mechanics are so insanely polished and versatile that they wouldn’t feel out of place in a Platinum game.

I also think that the idea of Titans is such a smart addition to the formula that I’m surprised other shooters haven’t come up with it before. It injects gameplay variety and means the player has to be competent at two completely different styles of movement and shooting, which also intertwine in logical and cool ways (lots of opportunities to switch between Pilot and Titan gameplay on the fly). I love that you can change between so many completely different Titan loudouts at any time (not having all of them unlocked from the start for New Game+ or something of the sort is a huge missed opportunity), and they’re also an amazing way to have boss fights in this style of shooter. That also ties into how well the game expands on this idea for its story, every opponent you face throughout the adventure has their own personality and mechanics to come to grips with, and the bond between you and BT feels tangible. It’s unbelievable how this game was sent out to die by EA, they really didn’t know what they had.

6. Doom

This game is so insanely talked about that I struggle to add anything to the conversation, so just trust me when I say it’s good. I love how smartly it bucks a lot of recent FPS trends with its movement and health mechanics, with how every weapon feels like a meaningful part of the adventure and enemies don’t use hit scan, rewarding constant movement and awareness of your surroundings (which reminds me a lot of Metroid Prime somehow?). Every part of your arsenal has some limitation on how often you can use it, and later stages of the game especially become all about planning ahead and thinking constantly about when and where to use different abilities.

Glory Kills especially are such a fantastic mechanic and accomplish so many different things, and I love how your position/camera angle relative to the enemy affects the animation you’re going to get. Small thing, but too often I would trigger a Glory Kill only to watch Doomguy turn a demon into mush with a single half-hearted punch, I know they were made shorter after some feedback, but I actually prefer what they used to be like I think. The level design is very wide and vertical and encourages exploration, but that is sadly mostly limited to optional secrets; you can crit path your way through Doom very easily, the main story doesn’t require you backtrack and learn the layout of a map like the original two games or 64 did. That’s probably my main gripe with the game, but it’s still an absolute blast and something everyone has to play.

5. Inside

The only thing I really want to say and praise about Inside is that it’s a game that is not afraid to be completely and utterly disgusting in its imagery, but also paces itself and builds suspense so well that it never feels like shock value. Inside really delivers on the curiosity it creates inside the player’s mind from the word “go!”, and it feels so confident in its execution that it makes Limbo look quaint in comparison. The move to 3D visuals really elevates the experience in ways you wouldn’t expect. I honestly just don’t want to spoil anything, just go and play it.

4. The Last Guardian

I said everything there is to say about The Last Guardian in my recent post on it. All I can say now is that I hope the fact it trumps so many excellent games on this list is what’s going to give you all the urge to play it.

3. Star Fox Zero

I’m not fucking sorry.

I know I look like a crazy person, but hear me out, I’m even going to start with the bad if that makes you happy. I think rebooting the Star Fox story was very much necessary with how every attempt to move it forward has resulted in.. well, you know. The fact that it is the Lylat Wars again and that Andross is the villain really isn’t an issue to me, it’s more that this game really had the potential to elevate the story telling in the series to the standard of something like The Wonderful 101. I’m not sure if Miyamoto would’ve focused his efforts on that front if he had been given more time (I doubt it) and it still makes me yearn for a Star Fox game directed by someone like Hideki Kamiya.

This directly ties into the game’s other big shortcoming: it could REALLY use more levels. I think the length that is here is perfectly fine for a Star Fox game, my issue is rather that it never seems to be able to fully spread its wings and unleash the complete potential of its gameplay. With the Wii U suffering a less than peaceful death, I doubt we will get another attempt at this, and I have to say that if we ever get another Star Fox game, I’m really going to miss these controls.

Yeah, you heard me. I LOVE Star Fox Zero’s controls.

Just the ability to aim independently from your ship’s movement affords you a degree of control and precision that just hasn’t existed in the series thus far. You can draw comparisons to games like Kid Icarus Uprising and Sin and Punishment 2, but what makes Star Fox an interesting case is how your ship always moves forward; these other games use a setup where you move your character across the screen while the camera shifts and pans dynamically to capture different sensations of movement. In Star Fox Zero, the camera is always (mostly) behind you and you’re always in danger of being hit by whatever is in front of you. The idea that I can now aim anywhere no matter where I am on the screen gives you so much more freedom in how you position yourself and approach any given situation, and that’s what makes it such a great addition.

This all also means that there is another layer of skill involved with aiming that you don’t get in other games. For example, certain targets are harder or easier to hit depending on your Arwing’s vertical position on the field, and the fact you’re moving forward constantly means you have a limited window in which you can even attempt a shot. What you can now do is morph into the chicken walker (which halts your forward motion), use the thrusters adjust your elevation and hit your target. The game is full of little tricks like that and I haven’t seen much else like this in other shooters of this nature.

The dual-screen aspect of the controls is such a cool and interesting idea that I would love to see expanded upon in future titles, because it’s clear that it sadly never unleashes its full potential here. It still really elevates the experience though, mostly during All-Range mode where it perfectly intertwines with another new mechanic: Target View.

Holding ZL will make the camera pull back and center on an enemy, giving you a much better view of your surroundings than was previously possible in past Star Fox games. The reason this could be implemented here IS the second screen: if you put Target View in Star Fox 64 with the exact same controls as before, it wouldn’t be of much use since you a.) can only shoot at what is directly in front of you and b.) YOU WOULDN’T BE ABLE TO SEE WHAT’S IN FRONT OF YOU SINCE YOU DON’T HAVE A SECOND SCREEN. This addition makes Star Wolf especially so much more fun to fight since you can constantly stay on the offensive and react to your enemy’s movements immediately, frantically shifting back and forth between both screens. A lot of bosses will also use attacks that would be impossible to dodge without something like Target View, which makes them much more varied and interesting than bosses in previous Star Fox games.

I love how you can basically pick a flight path on the TV, then shoot from the gamepad to go on a sort of bombing run. I love how the gamepad expands the field of view, letting you shoot targets you’ve already passed by and creating opportunities for hidden targets in most stages.

By far the cutest thing about the controls is how the right stick is used to manipulate your Arwing’s movement. Tilting the stick left or right will make the Arwing gradually bank in that direction, giving it a quick rattle results in a barrel roll – it just feels so tactile and *right*. That’s especially true when you use it in conjunction with the left stick to adjust your turning speed (I do wish you could turn off the Somersault and U-Turn stick commands and just use the B and X buttons) or smoothly go into a boost or pull the break by pushing the right stick up or down, which also just feels right.

There’s more I could ramble on about, but this whole thing is way too long already and I mostly just wanted to address the main sticking points everyone’s been up in arms about with Star Fox Zero. Everything else is mostly the Star Fox you and love: frantic, fast-paced action with a satisfying learning curve and plenty of incentives to keep playing after the credits roll. The Wii U and maybe even this series might have died an unsavory death, but I’m glad I still got to experience Nintendo and Platinum to take on one of my most dear and beloved franchises in such a bold and innovative and exciting way.

2. AM2R

By far the best Metroid game since Zero Mission (maybe even better than that? I need to replay Zero Mission and Super) and in fact so good that I really don’t give a shit it’s not made by Nintendo. A few rapid-fire points:

Biggest and most varied array of bosses out of any 2D Metroid game.

Expansive, vertical areas with tons of different layers and great shifts in pacing and progression.

Controls like BUTTER.

Unlocking areas in chunks makes it a bit more linear than I would like, but there are still plenty of opportunities to get lost, do things in different orders, explore and sequence break.

More to that point, I think the idea of hunting down Metroids and unlocking chunks of world in set intervals makes for a slightly different and very enjoyable pacing compared to most Metroid games.

The visuals aren’t an exact copy of either Super Metroid’s or Zero Mission’s art styles, instead they try to adhere to and recreate the GameBoy original in a 16-Bit style. A lot of the tiles and surfaces have a rougher, flatter look to them than what you’re used to in these other games, and combined with the way color and space are used, it creates a style that is completely unique and extremely faithful to the original game.

I don’t want to get too upset about Nintendo taking this game down and denying it any sort of recognition, it’s their IP and they can do what they want with it. I personally just have to question if this was really the best way to handle the situation, and it’s sad to see such a phenomenal game be dragged out of the limelight. Coupled with Metroid as a franchise being basically dormant at this point, it’s an unfortunate state of affairs all around. None of this can diminish the quality and the value of what’s here though, and I urge everyone to give AM2R a try.

1. Dragon Quest Builders

I think… a discussion as to whether or not it’s alright to praise Dragon Quest Builders as much as I have and will continue to do when it rips off another game as much as it does is absolutely worth having… but this is not the time and place for that right now, because right now I have to gush over this beautiful, jolly, wondrous game.

Dragon Quest Builders has given me a sense of adventure and wonder unlike any game I’ve played this year. As someone who hasn’t played a lot of Dragon Quest, what always drew me to the series is how it radiates joy and manages make things that could be seen as menial or pedestrian in other games feel exciting and meaningful and sincere. All of that is true in spades for Builders, I just have to watch the CGI intro every time I boot up the game because just seeing that stubby little anime boy flash a cheeky grin or take a bite out of an apple puts a smile on my face.

Dragon Quest Builders takes everything that makes Minecraft great (building stuff and complete freedom in how you do it, a world that has a sense of vastness and randomness and mystery) and adds structure and characters with unique personalities and desires into the mix. I love that everything I build has a distinct purpose: this is my smithy, this is my Inn, this is that person’s bedroom. What’s brilliant is that while the story doesn’t take place entirely in your head like it does in Minecraft, you not only still have the potential to bring in your own creativity, you’re very much encouraged to do so.

What I mean is this: even though I don’t technically have to, I feel much more inclined to decorate a private bedroom according to the owner’s personality than I normally would be if I were just building it for myself. The game never asked me to put a cute little table in Pippa’s room, I just thought it would suit her. This gets to the point where you design your entire town with its residents in mind, and it’s an element that is sorely lacking from other building-type games.

The game is very smartly designed in that it frequently shifts between vastly different tasks that not only satisfy a lot of different urges, but also take great advantage of the existing mechanics. Often, you’re simply asked to raise the level of your town by building whatever you desire in it, and I had the bar well maxed out halfway through the first chapter (every chapter is its own story and long enough to be a full game). Sometimes, the game will give you rough outlines, saying that the structure you’re about to build must meet certain conditions (this many tables, this many chests, a window, etc.), but besides those you’re given free reign in how to approach your creations. Other times, you’re handed exact blueprints telling you what to build, the challenge being more about gathering the necessary materials, which results in frequent and satisfying bouts of exploration.

These portions of Dragon Quest Builders aren’t all that special on the surface, there isn’t much to combat, and yet the fact that I can dig into the world at any point, how huge and imposing everything feels, how varied and fun the enemies are, how resources are limited and that you need to pay attention to hunger and health at all times… it creates such a great sense of adventure that makes me yearn even more for Breath of the Wild than I already am. I love the sense of immediacy you get from finding little caves and dungeons, how every treasure you find feels real and earned (the fact that the game doesn’t shove a mini cutscene down my throat every time I open a chest and presents its spoils at face value is something I really appreciate) and just how idyllic it feels to mine the earth and gather resources as you watch the sun go up and down, its reflection drifting softly along the calm water.

It’s also incredibly refreshing to see Dragon Quest Builders making crafty changes to Minecraft’s formula when necessary: placing blocks below and above you is so much easier thanks to the use of the shoulder buttons, you can smoothly draw entire lines of walls without any hassle, and I love how you can essentially upgrade the materials of any structure you’ve already built after the fact (you can craft an item that lets you change a wooden wall into a brick one, for example).

This game is simply incredibly, and I really urge anyone to try it, even if it doesn’t look like your kind of thing initially. It wasn’t on my radar at all before, and yet here I am, proudly declaring it as my favorite game of 2016.

#goty 2016 #favorite games of 2016

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