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aodhhinsai

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Game of the Year 2021

In many ways this was the year where the chickens came home to roost. The delays that started to appear in 2020 were amplified as 2021 progressed and we ended up with tons of anticipated games that seemed to be lifted out of their release windows and punted into the future. There were plenty of great experiences but it just wasn't a year that inspired me to write about them in the moment. Don’t get me wrong-- I’m ready to wax poetic about the games that really grabbed me-- but the list is shorter than it has been in the last few years and I wrote much more of it retrospectively. I don't think it helped that even though I played more new games this year than I ever have, I bounced off of a higher percentage of them.

This glut of new games isn’t actually a bug, it’s a feature. I managed to find an Xbox Series S and subscribe to Gamepass. It’s everything that people say it is—a helluva service—and I was able to try a ton of games that I never would have risked money on. In some cases, especially with indies, I even used Gamepass to demo games I eventually got on the Switch.

It’s been great to avoid the console wars (Vomit. People who take it seriously are still the worst) and approach the positives and negatives of both ecosystems without a habit corporate loyalty. For example, I appreciate that Microsoft has focused so heavily on backwards compatibility even if the main menus and UX on the Xbox are miserable to look at and I think I prefer the Dual Shock 5 as a controller and still prefer the interface of the PS5 (despite the MASSIVE step down that Sony took from 4 to 5). Like I said, both have positives and negatives.

Outside of games my life was brighter than I would have expected considering the state of the world. I spent the year with my new baby. She’s happy and healthy which is (obviously) the only truly important thing to me, but I’m also relieved that I’ve had plenty of time to keep up with the games that help me stay centered and relaxed.

So, this year was a flaming wreck for the world, a bit mixed for games, and an undeniable joy for me personally. If that's the way 2022 continues, I can think of worse things, but I hope they all trend up.

-Aodhhinsai

List items

  • Game of the Year - #2

    In any other year Disco Elysium would have run away with the top spot in my GOTY listing. This year though, it has to settle for second. I don’t have a ton of traditional CRPG experience so I haven’t really experienced a game in which the gameplay and narrative were intertwined to this extent. To be honest, it’s been a long time since I played *any* game that grabbed me as aggressively as Disco did. Once got a taste of the core mystery, the world, and the conversational gameplay I was locked in. I don’t think I played anything else until its substantial playtime was complete.

    The conclusion was genuinely affecting and left me ready to immediately play another game that uses this system. The push and pull of having the voices in your head making suggestions was fascinating, and I loved the fact that players are forced to make judgement calls whether to trust or doubt their own skills as the story progressed— even as they rely on them more and more to provide insight. The idea that you have to recognize and learn what contexts your own skills are/aren’t reliable in was a hoot.

    I’m going to leave things there because I think people should just jump in and see what they think. There may be minor inconveniences** but I don't think they'd inhibit any of the amazing moments this game generates. Do yourself a favor and take a look.

    **some technical issues in the PS5 version (frequent crashes) were annoying but didn’t dampen my overall feelings on the experience.

  • Game of the Year - #3

    The Forgotten City had me smiling from start to finish. I always love to see a small team that can punch above their weight class and this is a prime example. The Forgotten City is perfectly scaled and finds that delicate balance between length and value-- it leaves you satisfied with what's there without overstaying its welcome. The core mysteries were all compelling thanks to rock solid characterization and 'puzzle' solutions that lean into interpersonal dynamics and snappy writing. The setting was well realized and visually dynamic, especially as the player dives deeper into the game where the art and sound design only get more interesting and, in some cases, unsettling. There’s an earned feeling of paranoia that saturates the entire experience and leads to some truly special moments. This spooky atmosphere is masterfully tuned and the dalliances into horror are effective, manageable for non-horror types, and fully skippable if desired.

    It’s rare to find games that transports you back in time to your youth, but The Forgotten City left me feeling nostalgic for Journeyman Project 3: Legacy of Time and similar late-era adventure games. The gameplay isn’t that similar, but both are soaked in atmosphere and a pervasive feeling of urgency. They’re games that beg you not to pause and walk away because the next forbidden area, clue, or answer to a question is just around the corner. With comparisons like these to a seminal game of my youth, there’s no doubt that The Forgotten City has earned a special place in my video game pantheon.

    Platinumed.

  • Game of the Year - #4

    I was so worried about this game. It’s an immersive sim from the modern masters of the genre, so despite the inherent risk of trying a new spin on the formula, that ambition wasn’t the cause of my concern. Instead, I think it was the tone and genre pastiche seen in all the trailers and preview materials. Arkane has a track record of dark worlds. They’re humorously tinged, sure, but rarely could they be described as manic, goofy, or outright funny. This lack of experience playing in Deathloop’s tonal space seemed to promise disastrous results— especially since every new trailer showed characters and situations that were off-putting at best. Ultimately these concerns weren’t justified and the game deftly balances it’s exploitation-flick trappings with a nihilistic streak that’s justified by the cosmic horror of the loop itself.

    The quiet moments on the island— and there are plenty— let the candy coated veneer of the architecture and advertising slip away. Underneath you can feel the weight of the misery that lead to the development of a get-out-of-jail-free timeloop program dedicated to the world’s wealthiest assholes. The fact that it all takes place on an island that’s home to reality bending anomalies (and what’s implied to be a connection to eldritch horror beyond space and time) is just icing on the cake.

    This tone turns out to also be a perfect complement to mechanical changes that revitalize the immersive sim. I’m a shameless save scummer so having structure that allows me to learn a location without the temptation to save/reload every 30 seconds was incredibly rewarding. The weapons felt tight enough to feel tactical and loose enough to be fun as you bolt through a level. Having the teleport options alongside a simple dash just feels nice. The progression trinkets and residuum system added a layer of inventory strategy that deepened the game without over complicating things. The voice acting was superb and left me grateful that I didn’t run out of new content until just before I finished the platinum. More personally, I really appreciated both the overall length of the game and the bite-sized session length. It was a perfect game for playing at night before feeding a baby.

    Platinumed.

  • Game of the Year - #1

    Hitman 3 is the perfect culmination of the World of Assassination trilogy. When I first came to Hitman: Blood Money in 2011 I was blown away by the world, the levels, the music, and the gameplay that seemingly anticipated every idea I had. Absolution proved to be a poor imitation, but looking back on it now it’s clear that its ideas were a stepping stone to this modern trilogy. I can’t speak highly enough of these last three games. They’ve made good on everything I thought was great about the older games with huge, lovingly detailed, maps and phenomenal opportunities for accidental (or not so accidental) violence.

    If you’re unfamiliar with the World of Assassination trilogy it might seem odd to focus so heavily on the series as a whole rather than the implementation of the final game. This is where Hitman 3 really shines because it actually *is* the whole series. Hitman 3 contains new content alongside iterative improvements that are applied to the entire series. The fact that this game contains improved versions of previous GOTY picks alongside stellar new content is an almost comical level of deck-stacking in H3’s favor. It’s truly great to see everything here.

    So what about the new content? Much like Hitman 2 the new levels initially left me a bit chilly but I grew to love them. I chalk this up to how immediately all-time levels like Sapienza took up residence in my head. The bar was set high, and I tend to compare subsequent levels to those favorites. Luckily, I’ve settled into these new levels and (again, like Hitman 2) I have new favorites amongst the bunch. The updated visuals are phenomenal and complement level design that is is still second to none.

    My view of the DLC was a bit less rosy but, like most everything with this series, I’m not particularly upset given the circumstances. IOI has had a rough go of things since 2016, so I can’t say I’m upset with the state of things. This series could have ended after every installment so having three games and a complete story arc is welcome enough. Even with my relief at seeing the games finished at all, I can’t help but think that the DLC started in a bit of a rough state. The 7 Deadly Sins DLC push wasn’t what I look for in these expansions. It was based on some minor cosmetic changes to maps that felt more like a standard escalation than fully fleshed out new content. It lacked the substantial changes that Hitman 1’s DLC had (The Patient Zero campaign and nighttime Sapienza variants are still high watermarks) or the full additional maps like Hitman 2’s phenomenal Bank and Resort levels. Of course, shortly before I started finalizing my list for this year IOI revealed a second season of DLC content that will feature new maps, storylines, and campaigns. Time after time I remember why they’re one of my favorite developers and why this series is in good hands.

    As a final note, Hitman 3 holds a special spot in my life since it’s the game I played as I held my very sleepy newborn baby. It’s silly, but earning the platinum trophy let me prove to myself that I could still take part in a hobby that helps me decompress and relax while still being an involved dad. I think that’s pretty cool.

    Platinumed.

  • Special Mention - Winner - The “Leisurewear Game of the Year” Award

    This award goes to a game that isn’t good, per se, but still is still mighty comforting.

    This game is just a pair of ratty old sweatpants. They’re ugly and uncouth, you hesitate to be seen with them, and they can be a sign that you’re not taking care of yourself but, BUT, there are times in which nothing can match the level of comfort they provide.

    Far Cry 6 is a comforting game that I know isn’t good for me. There’s a lot you have to ignore if you intend to play, including the fact that Ubisoft has once again claimed the game isn’t political— even though it starts with a literal collage depicting the island’s history of victimization by Spanish colonizers (something uncommented on and used as set dressing).

    If you can look past the studio’s repellent worldview, miserable company culture, and the series’ buck wild cultural insensitivity (I don’t fault you at all if you can’t), then you’ll find a game that is better than its immediate predecessor. It’s the same old formula and the same old mechanics but the gameplay is tighter, there’s better weapon variety and feel, and the menus and systems have been given a much needed overhaul. The story is also a bit more tolerable, skipping over some of the forced kidnapping scenes and excruciating cult content that plagued 5.

    Like I mentioned before, I wouldn’t ever recommend this game for most folks, but in the meantime, I’m enjoying it for what it is: the perfect way to finish up the year now that the major releases have finished. The holidays are a time to relax and kick back and Far Cry 6, much like the old pair of sweats, is ready to settle into.

  • Special Mention - Winner - The "Best Ongoing Game” Award

    This award goes to a previously released game that did continuing support right.

    Animal Crossing cruised to a spot on last year’s list because it was the exact thing I needed during an immensely stressful time. Over the intervening year however, it suffered from a steep drop in interest. I had expected not to return since, to be blunt, it felt like Nintendo had abandoned one of their best selling games of the generation. When the new 2.0 update and final DLC were announced it immediately grabbed my attention with the promise of new content and gameplay. Nintendo is Nintendo though, and I was still incredibly worried about their ability to stick the landing. In the end, it was better than I could have ever expected.

    There’s no simpler way to describe the DLC than a complete remedy to my issues with the core game. Your mileage may vary since these improvements come after a fair bit of progression, but I was instantly enthralled. First off, being able to design vacation houses outside of normal island operating hours was huge. I could still play the game even after everything on my own island had closed for the day. Beyond that, they finally added the ability to purchase items from the design catalog. This lets me get around my biggest complaint about New Horizons. I could never find the crafting recipes for the furniture I wanted, and I didn’t play enough to hunt it all down. Now I can purchase those items and design my home to my heart’s content.

    Couple all of this with home design gameplay that’s genuinely rewarding and fun, Nintendo’s usual attention to detail and style, and a sunny outlook that brought a smile to my face and you’ve got a wonderful endpoint for the New Horizons experience.

  • Special Mention - Winner - The “I Expected to Be Disappointed… And Was” Award

    This award goes to the game that I knew would probably disappoint me, and did, despite the low expectations.

    Camelot has made some of my favorite games of all time. Their GBA Golf and Tennis games with their RPG single player adventures are part of my personal canon. That’s why it’s a massive pain when I deal with a new entry that is vague shadow of those games’ greatness.

    Super Rush isn’t terrible, and it has more than a few excellent ideas, but it feels so hollow compared to those spunky older games. I understand that’s a real “old man yells at cloud” moment, but it doesn’t change the lack of impact that Super Rush had on me.

    Despite my low expectations I came into the adventure mode hoping that it would be the right step back towards the old days. The advertising push gave me a sliver of hope that there would be satisfying story and progression beats, but jeez. The adventure mode is serviceable but thin and the golf itself is technically competent but hardly revolutionary. Normally, I’d say that if it ain’t broke, don’t fix it, but Super Rush wastes the expected competency on yet another failure to reach the the series’ former greatness. What a bummer.

  • Special Mention - Winner - The “Best Second Date” Award

    This award goes to the game that I put down, gave a begrudging second try to, and had a wonderful experience.

    Last year I put an hour into Origami King and loved it. For some reason though I almost immediately set it aside for other games that got their hooks in and didn’t let go. Somewhere during the early drought this year I took a more holistic look at this game and it bowled me over. The puzzle battle system is still an absolute miss for me (I miss the classic Paper Mario system) and I always rushed through the fights, but the writing is so much better than you’d expect from a Mario game. I’ve never had a Mario game punch me in the gut like it did with Bobby’s death. Much has been written about the fact that Nintendo resisted the introduction of new characters and I can confirm that its weird as hell to be fighting staplers and other office supplies. These are mostly minor quibbles though, and I’m so glad that I gave this game a second chance.

  • Special Mention - Winner - The “Pat Memorial” Award for Best Styyyyle

    This award goes to the game that knows what it wants to look and sound like and successfully brings the player along for the ride.

    Nothing can touch good hand-drawn animation. Later Alligator offers a tour-de-force in traditional animation and shows how it can elevate a simple mini-game collection to something truly special. The game doesn’t do this alone through, it works in tandem with superb writing that had me cracking up and mini game design that prioritizes humor and characterization over challenge. All of this stacks up to one of my favorite experiences of the year. Do yourself a favor and just give it a go.

  • Special Mention - Winner - The “Can’t Go Home Again” Award

    This award goes to a game with plenty of nostalgic value that just didn’t connect this time.

    I have played so many flavors of Myst through the years. The first that I can remember is working through the CD-ROM original with my dad. The feeling of solitude and evocative locations really spoke to me and I’ve loved the series ever since. The series received (and still occasionally faces) a lot of backlash from the OG hardcore crowd for being accessible and low-stakes, which I think misses what makes the game special. I love the music (underrated) and the art design (unparalleled), with the puzzles themselves being the metric by which I measure most other adventure games of this ilk (for better and worse). The tone and atmosphere have rarely been replicated, even in the myriad copycat adventure games that flooded onto home computers in the following decade. Riven, Exile, Revelations, and even End of Ages and Uru all share a core DNA that fulfill the urge to wander through abandoned spaces, run my fingertips across new textures, and wallow in the mood of a place that can’t exist.

    This is why the newest entry into the increasingly bloated Myst release list is such a disappointment. Myst Remake is high fidelity, it has free movement, it’s fully animated… and it just feels like any other game. There’s a fundamental weirdness that comes across in the original releases that has been chipped away by each subsequent re-release. The colors here are just a bit too bright, the visuals are crisp but lack the surreal impressionism of the original, and the FMV jank has been replaced with soulless 3D model work. If you’ve never played the game then this is a perfectly accessible way to experience it— I’m just not sure it’s for me.

  • Special Mention - Winner - The “Play Overboard” Award

    This award goes to Overboard… Which you should play.

    There’s going to be some fascinating writing on the fact that this hazy ‘Covid, but also there are vaccines’ year just happened to see the release of so many timeloop games that explore the feeling of being stuck in an endless miasma of similar events and repeated moments. Of course they were all starting development at different times, but still, it’s apropos.

    Overboard may look like a trifle, but it’s from the developers of GOTY contender Heaven’s Vault and features a premise and gameplay loop that are so immediately interesting it’s wild that no one had tried it sooner. Wouldn’t you want to play a game where you have to figure out how use a timeloop to get away with murdering your husband on a 1930’s transatlantic voyage? I thought so.

  • Special Mention - Winner - The “Dead Behind the Eyes” Award

    This award goes to a game that might have good qualities on paper, but lacks anything resembling a charismatic connection to the player.

    Forza 7 is what it looks like when a game becomes so rotten with internal economic considerations that it becomes completely consumed by them. It’s a bleak grey mess of in game and real world currencies, DLC monetization, and opportunities for transactions. While the solid simulator is still technically here, it’s wrapped in a layer of economic grime that really turned me off the entire game.

    My favorite entry in the series is Forza 4 where the economy was straight forward— earn credits to buy parts and cars— and the number of DLC cars was reasonable and constrained to larger packs (AKA avoiding nickel and diming). In comparison Forza 7 has an arcane web of interlocking transactions both within and outside of the game. That’s on top of a user interface that is tragically underdeveloped and progression that isn’t sensical or satisfying. It all comes together into a game that feels a bit more like interacting with a car themed spreadsheet than a lovingly crafted racing sim.

  • Special Mention - Winner - The “Requisite Picross” Award

    This award goes to whatever Picross game was released by Jupiter this year. Or, in this case, the better of the two.

    I think the bit is finally wearing thin. Not the yearly Picross games, but the bit of me always being surprised that they grab me so effectively. I love picross, and they fit neatly into my life every year. They’re wonderful filler between larger games and I can enjoy a puzzle in between other life events. I’ll buy them every year and I’ll include them on my lists every year. Given how chaotic the world has been, it’s nice to know that some things are stable.

    Shoutout to Picross S Genesis and Master System for being the most interesting Picross of the year. Picross S6 was also good but something about the familiar characters and items from Sega history made solving each puzzle just a hair more compelling. Honestly though they’re all just Picross, so, just play whatever? As long as it’s genuine Jupiter brand Picross, you know it’ll hit a baseline level of quality.

  • Game of the Year - #10

    I’ve never played a game that was made up of equal parts 1) best in class design and 2) the most annoying choices possible. They come together to form a game that had some of my highest highs of the year and the absolute lowest moments as well.

    The incentives and quests that get you building are great and the NPC and room systems walk a fine line between structure and creative freedom. The way Builders handles its carrot on a stick within the context of a crafting game is brilliant, and I think sets a compelling standard for any games in the genre. The story is a predictable but inoffensive mosey and it provides ample reason to build out a variety of settlements. It turns out that the variety is vital to the formula, with the three primary maps providing interesting goals and new room types. I also want to shout out the many quality of life features that assist with the game, like ingredient numbers above quest item recipes, directional auto build, and tools that allow players greater ability to alter large swaths of terrain. These all come together to make the building process smooth and rewarding.

    Unfortunately, the entire game is plagued by a bevy of bewildering choices that pick away at the enjoyment. The excruciatingly slow unskippable text in some scenes, the fact that every alert text box seems to hang around on screen for six beats too long, the plethora of annoying busywork, and a final act that just. Keeps. Going.

    The problem with these issues is that they aren’t contained within a single section of the game or gameplay system. They’re pervasive throughout the entire experience and start to cut into the enjoyment constantly. As you’re going about your business you’re hit upside the head with some bewildering design detail that’s just a bit annoying. Amplify that over the course of a very long game and those little annoyances become untenable by the time you reach the game’s marathon final act.

    Despite these issues I’m still so glad I had the time to push through and finish the story of Dragon Quest Builders 2. I had to step away and take a breather but I’m sure I’ll be back to finish my ultimate settlement someday. If you think you can handle those quirks and annoyances then I promise that the highs will absolutely be worth it.

  • Game of the Year - #9

    Early on in sable I worried that my anticipation had ruined the experience and set me up for disappointment. The visuals, story, and gameplay all came together but it didn’t magnetically attach itself to me and cling on until I was finished. That was a shock! The art and music left me feeling ecstatic and I still didn’t just power through. It was disheartening to approach a game that I absolutely loved every component of but still felt pushed away by.

    As it turns out through, the answer was staring me in the face. Iffy optimization and playing on an Xbox Series S meant that Sable dipped down to single frames per second at points and I couldn’t get past it. Luckily, subsequent patches have remedied this and things are running smoothly.

    Once the technical issues had been fixed I was free to absorb everything Sable had to offer. I’ve spoken before in previous lists about how much I appreciate solitude in games. Sable puts on a masterclass in that feeling of serene loneliness and I’m sure I’ll return to it at any point I need a dose of time alone.

  • Game of the Year - #8

    I’ve never played the games in this series so the novelty factor is high. The rock solid gameplay and phenomenal visual fidelity are excellent on their own but it’s the superb use of the DualShock 5 that pushes Rift Apart from lovingly updated pastiche to a true next-gen showpiece. Every weapon feels quantifiably different and there’s a tactile enjoyment to using them. This innovation shines through and actually increases my hopes for future PS5 games utilizing the DS5.

    The story is sharp and pretty well written for what could have been dismissed as a “kids” game. I thought the plotting was propulsive enough to pull me from planet to planet. I also appreciated that the story wasn’t so pressing that it felt incongruous to go and hunt for collectibles between missions. I admittedly don’t know much about the series story since this is my first completed Ratchet and Clank game, but I think I could feel the weight of the series’ themes pressing in on an otherwise happy go lucky experience. That’s not a complaint, I’m just surprised by how effective the emotional beats were.

    I don’t know that I could handle a PS2 era retro platformer like this very often, but Ratchet & Clank: Rift Apart filled a gap this year for things that were new and novel while also being also warm and familiar. It may not be a desert island game (or genre) for me but it was a phenomenal palate cleanser and a great showpiece for new hardware.

    Platinumed.

  • Game of the Year - #7

    I love story-driven games that take the time to develop compelling, non-violent, gameplay loops. So many narrative-heavy games stick to simple meandering, but Heaven’s Vault uses its unique language system to pull the player through an interesting mystery and gives them the tools to build a deeper understanding of the narrative.

    I’ve always been fascinated by archaeology so this game scratches an itch that is rarely touched (for similar feel, see also; Outer wilds). Wandering through deserted gardens and abandoned shacks is a wonderful feeling in games. Being able to shuffle through the remnants of some ancient world is evocative when the world design supports it. Heaven’s Vault is best in class in this regard. There’s a logic and realism to the spaces presented that sparks the imagination. In between the sacrificial amphitheaters and hanging gardens are spaces that were obviously just used for living. Kitchens, bedrooms, and common areas are all explored as sources of knowledge and context. Heaven’s Vault is a game that values the excitement of finding an engraved spoon almost as much as finding lost palaces and hidden catacombs.

    Not everything was flawless in my playthrough. I wish that the story hadn’t just BAM ended on me. The open nature of the game means that you can find the “end” with anti-climatic speed. Fortunately the journey itself was a hoot and I appreciate the game’s willingness to let users advance at their speed rather than the main character’s (players, as always, tend to catch on faster than protagonists). Despite this unfortunate final impression, I’m sure I’ll be back to play the new game plus sometime to fill my entire dictionary.

  • Game of the Year - #6

    Back in 2018 I hadn’t played through the Mass Effect trilogy in years, and I found the time to drag my Xbox 360 out of mothballs and play through all three games and their DLC. At the time I wrote that there are a lot of games that only work because of the emotional reaction you have to them in the moment. Over time you lose the ‘right place right time’ connection to it and the game never quite clicks again. Playing through the whole trilogy had me thinking that this is the reverse situation. In the middle of the whole controversy surrounding Mass Effect 3 there was such a strong emotional maelstrom surrounding the game that (whether you liked it or disliked it) it was tough to analyze.

    This view from 2018 has only proven more accurate as I completed my playthrough of the updated Legendary Edition this year. Finishing the trilogy this time gave me a new perspective on things that is simultaneously both rosier and more realistic. I came away feeling slightly better about Mass Effect 3 and slightly worse about Mass Effect 1 & 2. This was actually pretty wonderful. The first two games are no longer some untouchable flawless experiences, and the third game isn’t just some huge disappointment — it stands on it’s own as a solid entry (although playing with all of the DLC helps).

    Despite having what I thought was a final play through three years ago, seeing all of these games updated and gussied up really hit me hard. Maybe it’s the year we all went through or the changes in my own life, but I was so so glad to revisit these old friends. I milked the trilogy dry, platinuming all three games and completing just about everything available. To be honest, there’s something transcendent about a playthrough of an old favorite in which you take your time and luxuriate in it. Sometimes when I play an old favorite I end up with such an optimized route that it feels rushed. For example, I play Link to the Past once every couple of years and fall into the same route, grabbing the same heart pieces, completing the same dungeons in the same (out of order) order. It’s enjoyable, but can feel a bit rote. Seeing this trilogy remastered gave me an excuse to slow down and enjoy things at closer to the pace I did when I was in high school, coming to Mass Effect unaware of its history or pedigree.

    I had been loosely aware of the world of games when I was a kid but was mostly focused on the GBA and early Wii (both of which I studied religiously and constantly checked reviews on Gamespot from disreputable youths Ryan, Jeff, Brad, and Alex). I was also in a Mac only household, so I was involved in that weird insular shareware ecosystem— I love that stuff, but it wasn’t exactly mainstream. Besides some illicit watching of G4 and Xplay (not allowed in my house growing up) I didn’t have much focus on non-Nintendo games until I got my first laptop as a high schooler in 2009. It was a perfect storm of having capable(ish) hardware, a bank account, a job that allowed me to spend a couple bucks without my parent’s judgement, and a decade of wonderful games going on extreme discount via Steam sales.

    I was rapidly educating myself on the heavy hitters of the previous decade, playing games like Portal, Half Life 1 & 2, Oblivion, Hitman Blood Money and more. Steam allowed me to find these greats for single dollars at a time. Somehow though I’d missed any talk of Mass Effect. A 2010 steam sale meant I was able to nab an EA double pack for $5. Ironically, I bought it for Mirror’s Edge and Mass Effect was a fun bonus. Once I had finished Mirror’s Edge (it was, fine?) I jumped into Mass Effect and it blew my mind. I can still remember getting goosebumps when the soundtrack kicks in as you explore the Citadel for the first time. I still get goosebumps thinking about it now.

    Mass Effect Legendary Edition is a capstone on the decade in which I realized that games weren’t just something I liked— they were my favorite medium. Period. It’s a reminder of the decade that’s passed since I started visiting Giant Bomb every day because I wanted to hear what they had to say about upcoming games. I’ve loved every second, and this year I loved playing through the Legendary Edition to be reminded of it all.

    Platinumed x3.

  • Game of the Year - #5

    If you were to describe the tone of the Horizon series to a newcomer it would be tough to get across what makes it special without it sounding like it was wildly off-putting (“hey bro, let’s do some sick donuts on sites of cultural importance, bro”). Once you get into a game like Forza Horizon 5 you discover that’s actually accurate, but the gameplay and setting are so sharp that you can forget, however briefly, about what you’re actually doing.

    Horizon 5 is a huge leap forward in map design over 4, with more variety in biomes and locales in Mexico then in the swampy misery of the UK. Circuits and race routes are all more compelling and have a great flow through the landscape. There’s also a greater altitude differential that helps construct beautiful vistas and whiteknuckle descents.

    The other major leap forward is the menu design. Accolades, career progress, and car customization are all easier to find and engage with— especially when compared to Horizon 4. It removes several of the roadblocks that made the direct predecessor of this game a slightly spikier experience to try and embrace.

    Alongside these changes there are efforts made to treat Mexico like the beautiful country that it is and to weave its history and geography throughout the game. Your mileage may vary though, since all of this information is smearing by at 180 miles an hour. Ultimately, I appreciate the fact that we got a game that celebrates Mexico and clears the low bar of not slapping a desaturated sepia filter over everything to make it look like a dusty hellhole.

    All of these components come together to offer a positive and relaxing experience that I needed in the final stretch of 2021. I’ll never be totally comfortable with the way the game advertises its cultural sensitivity and then burns rubber all over it, but I appreciate the effort and I’m so glad to be playing a game set in a vibrant and joyous depiction of Mexico that rarely gets its due in popular culture.
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