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project343

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  • Oozing with style, scale and sex, Bayonetta 2 is the purest incarnation of joyous spectacle. Bayonetta 2 feels manipulative as fuck: every button press is returns that physical investment back tenfold with audiovisual splendor. No game this year is as 'fun' or 'entertaining' as Bayonetta 2.

  • Weaving tried-and-true Ubiverse mechanics with truly novel, emergent gameplay systems, Shadow of Mordor transcends the 'generic AAA blockbuster.' It may take inspiration from this ilk, but it displays significantly more soul and craft.

  • Draenor is not only World of Warcraft's return to form, but is also a proclamation that the old dog still has plenty of life still left in its formula. It would require a short novel of space to talk about the myriad of ways Draenor has improved the formula while retaining its heart. Suffice it to say that World of Warcraft has never been better, and has never felt this distinctly 'Warcraft.’

  • I'll go ahead and say that Advanced Warfare is the best that Call of Duty has been since 2007. The singleplayer experience is the a fucking solid Michael Bay-directed rollercoaster; the multiplayer is inventive, and filled with a newfound sense of player agency and creativity brought on by the wealth of new tools available. It feels fresh in a way that a yearly release should never feel.

  • The quintessential surprise of the year. Tales was supposed to be a throwaway grab at a popular franchise; Tales turned out to be a brilliantly-told set of intertwined stories that displayed a true reverence for the best parts of its source material. This might be the best premiere Telltale has put out.

  • I grew up playing some of the earlier Tony Hawk games on N64, trying my very best to nail the physics-defying tricks. Sunset takes that, mashes it with the most in-your-face punk-rock attitude, then sets it in the context of a post-apocalyptic shooter. My list is filled with a lot of well established franchises, mechanics, and sensibilities; Sunset Overdrive, by contrast, is one of the most refreshing breaths of fresh air that I've seen in quite some time.

  • The dreary and oppressive world of Dark Souls was just as much of a turn-off as its idiosyncratic design decisions. Dark Souls II may have lost some of its own charm by remedying these issues, but they've gained a convert in the process. Count me in for all things Hidetaka Miyazaki from this point forward.

  • Original Sin feels like everything I loved about older Bioware experiences, but wrapped in (mostly) modern packaging. It's a labour of love for an aging genre, and it deserves nothing but the highest respect for that.

  • This is my art game. Mechanically speaking, Transistor is a neat amalgamation of creative, unrefined, and problematic design decisions. Artistically speaking, it is a writer, an artist, and a designer going to town without limitation. You can't help but admire the pure, unmediated 'indieness' of Transistor.

  • The Talos Principle is the pinnacle of the 'Portal-likes' (see: Q.U.B.E., Antichamber, Quantum Conundrum, etc.). It has incredible puzzle design, it has a compelling world filled with intrigue, and it has some genuinely novel ideas--something often missing from this ilk. Some later puzzle mechanics and narrative devices knock this title down to the bottom of the list, but it is otherwise an incredible experience that all first-person puzzle fans have to dive into.
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