With this 2017 Top 10 list, I’ve now done these lists for five years in a row. Man, that is a long time. I’ve had a distant affection for JPOP for a long time, but I really started my deep dive into the genre in 2013. After being pulled into the world of KPOP via the thread here on Giant Bomb, I decided to finally go all in on JPOP as well. Ever since then, I’ve spent a stupid amount of time each year listening to what the genre has to offer and always like to end the year with a summation of what I liked best. I won’t say that 2017 was a bad year for Japanese music, but many of my favorite artists either didn’t put out new material or released songs that didn’t quite live up to their past releases. This year also marks the end of many great groups and artists, such as Reol’s new unit and Charisma.com. Despite these disappointments, there was still a lot to love about 2017’s JPOP offerings, and I found a number of new artists to obsess over as well. Here’s a look at my 10 favorite songs of the year. I hope you enjoy my list and I encourage any criticisms, comments, or sharing of your own favorites!

This year, for the first time, I’ve decided to add this honorable mentions section. These are the songs that were in consideration for the list but didn’t quite make the cut. As such, I wanted to give credit to: Brand New Emo by Towa Tei, Blissful Transistor by Shakalabbits, Return to Zero by Fear and Loathing in Las Vegas, On the Line by Tomggg, and All Generations by Hi-Standard. Now that that’s out of the way, let’s get to the main event!

10. Lemon - Inshow-ha

Inshow-ha, a duo of female office workers who first teamed up to make music in 2009, released their biggest album to date this year, ?. While I wouldn’t call Lemon the best Inshow-ha song, it’s a solid addition to their catalog that reminds me why I first came to like them. The vocal work is as superb as always, featuring their unique style that dances between an almost disaffected tone in the verses and a potent intensity during the chorus. Those vocals are supported by a strong, catchy guitar riff that repeats through almost the entire song. However, my favorite parts are the quieter moments where there’s only a subtle beat and the duo’s singing. The rest of the production is a bit harsh but suits the measured chaos of the song as a whole. As for the video, it’s just as weird as most of Inshow-ha’s videos. There’s some vivid use of yellow and plenty of oddly fascinating visuals. This song is an intense yet enjoyable ride.

9. Boys Seco Men - Chai

Anyone who’s followed my JPOP thread here on Giant Bomb might know that I have an affection for all-female bands. The most notable of these in 2017 for me was Chai, a fascinating new discovery dripping with their own singular style. They debuted last year but put out their first full album, PINK, in October of this year. The highlight of this album is easily Boys Seco Men, a pleasantly strange but inexplicably addictive track. It’s certainly a little abrasive at times, likely to a degree that many will find entirely off-putting. I personally love its chaotic style, though, like how the vocals shift wildly in intensity while remaining wholly confident and enjoyable. My favorite part is the chorus, a rambunctious yet supremely enticing hurrah. The instrumentation is delightfully grungy, a distorted punk-rock esque sound with an addictive flow at its core. The video is playfully bizarre as well, with tons of throwaway vignettes and an odd safety aesthetic for some reason(?). It’s made fun by the undeniable charisma of the group, fully enjoying themselves. I’m very excited to see what Chai comes up with next year.

I Also Recommend: N.E.O., Horechatta

8. Keep It One Love - Color-Code

I first heard Color-Code 3 years ago when they exploded onto the scene with I Like Dat, an in-your-face electronic song with flashy style and catchy lyrics. They returned this year in force, releasing several singles and three music videos. My favorite of the bunch was Keep It One Love, a much different song than I Like Dat but amazing nonetheless. The vocals are the strongest part of the song, particularly the punchy chorus featuring all three members at once. The verses are a little more subdued but manage to make up for it with solid delivery and plenty of ‘tude. The “main” vocalist in particular has a charismatic presence that really adds a lot to the song as a whole. There’s not much to say about the production because of its minimalist style, although it is perfectly serviceable. I do think the horn section laid under the track works strangely well, though. The video is sadly nowhere near as flashy as I Like Dat’s and includes a weird sponsorship/tie-in (?) to Lay’s for some reason. I do think it’s still an enjoyable video, mostly due to the lively performances of the girls just having fun. This track shows that Color-Code isn’t just a one-trick pony, and I’m curious to see what other styles they tackle.

7. Suga Sweet - FAKY

I’ve said this before, but I think FAKY is the most KPOP-feeling Japanese pop group out there right now. Their music constantly tries new things just like many Korean produced tracks, even using sounds not typically found in your average JPOP song. Suga Sweet is another noteworthy example of this, a relaxing song that feels to me like it fell directly out of a Korean summer lineup. The vocals are silky smooth, with each member giving a fantastic performance. The candy-themed lyrics are a tad silly, sure, but they are used sparingly and add a fair amount of catchiness to the song. Production-wise, the plain beat and synth don’t add much to the track. Together with the vocals, however, they create a comforting combination. Finally, the video is a straightforward but beautifully-shot outdoor video that again reminds me of KPOP in its style and choreography. It flawlessly suits the laid-back sound of the song. I recognize that there’s nothing truly special or unique here, but I find this song to be unbelievably charming, overcoming its simple nature through sheer charisma and style.

6. Tumblin’ - Rei

Rei was another new discovery of mine this year. She melds her lifelong love of American blues music with Japanese lyrics and creates something evocative of both cultures. Tumblin’ is her big release from 2017 and I love it. Her voice has an old-school sound to it, calling back to the swing era of music, and flows with excellent rhythm. She lightfully weaves her vocals into the song, effortlessly shifting between slower moments and the upbeat chorus. The swing style extends to the instrumentation, adding an undeniable groove to the entire track. Rei plays both an acoustic and an electric guitar at different parts in the song, each providing a different kind of sound. She even displays some impressive talent with amazing solos for each guitar. I also like the horn work, which adds a good deal of flair to the song. The video’s neat too, an enjoyable romp through a Japanese convenience store. It’s simple, even somewhat amateurish, but the lazy behavior of the girls nicely suits the song’s pleasant feel. If you’re a fan of skillful guitar play, Rei’s catalog is definitely worth a look.

5. Labyrinth - Mondo Grosso

Mondo Grosso, real name Shinichi Osawa, is an incredibly prolific Japanese producer and one of the most famous DJs in Japan. This year, he released an album titled Reborn Again and Always Starting New, featuring multiple guest vocalists on tracks he produced. Labyrinth was the first of these I heard, and it’s still my favorite. The production is absurdly good, with a killer beat from beginning to end. Oftentimes, the vocals stop and it’s just the beautiful electronic synth washing over you. Many of these quieter moments are actually the best parts of the song, especially when the gentle yet powerful piano notes are added. The vocals from guest Hikari Mitsushima aren’t always present but add the perfect amount of emotion to the song. I quite like the effect on them, creating an ethereal and echoey sound. It all goes superbly with the video, an absolutely gorgeous experience featuring Mitsushima dancing through a city. Everything is so well done: the long tracking shots, the visual depth in the more stationary shots, the almost overblown cinematography, the sublime choice of locations, and even Mitsushima’s cute outfit. It’s without a doubt the best JPOP video of the year, and a hell of a song to boot.

4. Endless Line - Reol

Last year marked the formation of Reol’s official group under a record label, comprised of herself and longtime collaborators Giga and Okiku. Unfortunately, the group broke up this past October, citing a desire to try new things on their own. We did get one final EP from the group, which includes a couple of noteworthy songs, chief among them Endless Line. Reol is on top of her game as always, demonstrating her elegant flow and fierce utaite style. It’s a robust performance that manages to even top itself at the end when it builds to a crescendo, a nearly overwhelming climax to the track. While I enjoyed last year’s Give Me A Break Stop Now enough to give it a spot on my Top 10 list, I’m glad to see her return to the style that suits her best, the one that made me like her in the first place. Giga’s production is equally excellent, utilizing tons of whimsical synth and a variety of effects that I continue to discover on every new listen. It’s rare to hear a backing track as well-produced as this, as it could easily stand on its own as an EDM track with minor changes. Sadly, there is no video for any of these newer tracks due to the group’s dissolution--although it would admittedly be hard to top last year’s absolute banger. I’m sad to see Reol’s group break up so fast, but I am eager to see what’s next for the talented artist.

I Also Recommend: New Type Tokyo

3. Audrey - Suiyoubi no Campanella

Suiyoubi no Campanella (or Wednesday Campanella, if you prefer) took the top spot of my list last year thanks to an utterly insane chain of top-tier tracks. This year, however, I personally didn’t connect as fully with many of their songs, due to their different style and focus. Audrey is the only one I felt strongly enough about to include on my list; thankfully, it’s now one of my favorite Suiyoubi tracks to date. KOM_I’s vocals are as stellar as ever, providing a irresistible hook for the entire song. Her voice slinks playfully amongst the various beats and synth lines, making it sound effortless despite her overwhelming skill. The intense rise near the end of the song is particularly amazing, an emotional climax that hits me every time. I really love the production on this track as well. It has an outstanding beat and some skillful, poppy synth work that gives it a lot of energy and catchiness. The breakdown somehow manages to bring it to another level still, delightfully popping in your ears. Regretfully, this is one of their songs that didn’t get a video this year, but there are still plenty of other Suiyoubi no Campanella videos from 2017 to check out if you’re so inclined. If you still haven’t given Suiyoubi a try, you’re really missing out on one the greatest current acts in JPOP, if not music as a whole.

I Also Recommend: Ikkyu-san, Melos, Unico

2. Choose Me - Band-Maid

Band-Maid remains my favorite JROCK band. They just keep getting better every year, and I’m always excited for their newest release. The best song of theirs this year, Choose Me, is a another demonstration of their tight cohesion and superb sound. The vocals are maybe the strongest yet, demanding your attention from minute one. This is most evident in the forceful chorus, an electrifying battle cry that assaults your ears. The verses are equally incredible, however, with a smooth rhythm that perfectly suits the instrumentation. The best section is a quiet part near the end of the song: it’s very short but it has this terrific swagger that leads into the climax of the song with panache. Every other member of the band is equally on point. There are skillful sections from each of them: the always-present-but-never-unwelcome guitar solo, a slick bass line during that quiet vocal section, and tons of great drum work. I don’t think it’s the best showcasing of any of the individual members, but I do think it’s possibly the best amalgamation of their playing to date. The music video is really the only “disappointing” part, a fairly standard video that just shows them playing in a plain room, which they’ve already done before. Its one saving grace is that it does highlight each member’s performance pretty well. Band-Maid is on a hell of a run, and I never want it to stop.

I Also Recommend: Don’t You Tell Me

1. You Don’t Listen to Rock - Aimyon

I first fell in love with Aimyon last year thanks to her wonderful release She Lived, Didn’t She?, which took my number 3 spot. Those affections have only grown this year as I slowly came to appreciate just how good she is. You Don’t Listen to Rock was the pinnacle of this captivation, a triumphant song that is my favorite JPOP song of the year. Most of this is due to her voice, which is now one of my most loved in all of music. I just adore the way it sounds, comfortable and inviting yet breathtaking and emotional. The powerful moments in this song (and her others) send chills down my spine, and the chorus is entirely mind-blowing. It could make even a mediocre song great, and it makes an already great song like this one remarkable. I think the instrumentation is terrific too: a subtle and mellow production that adds nicely to the calming tone of the vocals in the verses and a vibrantly compelling anthem during the intense chorus. I especially like how her acoustic guitar pairs with the backing electric guitar, with each taking center stage during different parts of the song. The video is equally worth praising. It has an old-school music video feel to it, complete with a retro filter for effect. Aimyon’s calm yet sharp stares and movements also feel straight out of twenty years ago but somehow fit perfectly with the song too. Her music evokes feelings in me I haven’t felt since first discovering Yasuha Kominami in 2014, and it will likely continue to be part of my life for years to come.

I Also Recommend: I Want To Convey Love

2017 marks the fifth year in a row I’ve done these lists. Boy, how the time flies. I first got into KPOP in 2013 thanks to Giant Bomb’s own KPOP thread, which exposed me to tons of exciting new artists and opened up a whole new world of music for me. Ever since then, I’ve spent a stupid amount of time each year listening to what the genre has to offer and always like to end the year with a summation of what I liked best. This was a pretty good year in Korean music, with an insanely long period early on where hit after hit came every week. It did eventually slow down but never truly stopped, as KPOP can never be stopped. Sadly, this year also marked the end of some groups, such as 2NE1 and f(x) (f(x) hasn’t officially disbanded yet but it’s probably coming soon). Despite these lost artists, 2017 had a lot to offer and I want to share my favorite 10 songs with all of you. I hope you enjoy my list and I encourage any criticisms, comments, or sharing of your own favorites!

This year, for the first time, I’ve decided to add this honorable mentions section. These are the songs that were in consideration for the list but didn’t quite make the cut. As such, I wanted to give credit to: Excuse Me by AOA, Dinosaur by AKMU, Babe by HyunA, Why Don’t You Know by Chung Ha, and Likey by Twice. Now that that’s out of the way, let’s get to the main event!

10. Kiss on the Lips - Melody Day

A constant trademark of my Top 10 lists is the inclusion of a summery song, fulfilled this year by Kiss on the Lips (despite its release in February). It’s reminiscent of last year’s Why So Lonely from Wonder Girls, which is probably why it first caught my ear. I certainly wouldn’t say it’s strong as that track, but it still manages to be a fun summery song. The verses lack energy and punch (aside from the slick rap verse), but the chorus is instantly memorable and catchy. It continues to pop into my head at times even 10 months later. Production-wise, it’s a tad simple but has some entertaining touches, such as the so-bad-it’s-good drink pouring sample complete with pantomime from the girls. The video may be where the song feels most imitative of Why So Lonely, using a similar color palette and lazy feel but lacking its style. Despite its shortcomings, it’s an entirely likeable song that I listened to quite a few times this year.

9. Fate - Jinsil (Mad Soul Child)

Somehow, these lists always end up with one “weird’ song on them, a little-known release that often feels like it only appeals to me--Fate is that song this year. Jinsil (of Mad Soul Child) gives one of the best voice performances of the year here, her uniquely throaty voice delivering an emotional experience that sends chills down my spine. There is an incredible amount of power and feeling in every last word, almost as if each line is being ripped from her throat. The production is actually decently somber during the quieter moments, but the more upbeat sections add in some hilariously “edgy” distortion guitar that feels entirely unnecessary. Thankfully, the song still sounds beautiful, despite that faux edge. The video is bizarre, as the song appears to be the theme (?) to a new Korean MMO that I’ve never heard of. The video features footage from the game intercut with shots of Jinsil singing alone, an odd amalgamation that would have been better suited going with one or the other. It’s entirely forgettable, but the song overcomes that and will live on in my head for years to come.

8. Goodbye - 2NE1

2NE1 was, at its peak, one of the biggest girl groups in Korean pop music. This made the announcement of their disbandment at the end of last year quite a disappointment. Surprisingly, we got one last song and music video from them in January of this year, Goodbye. It opens with a twangy, melancholy acoustic guitar riff that instantly establishes the sentimental tone of the track. This riff repeats constantly throughout the song, only stopping during the chorus to change to powerful chords that better suit the intensity of the vocals. This acoustic guitar is the only production for the entire song yet its simplicity remarkably suits the somber yet heartfelt vocal performances. It’s not catchy in the general sense, but I find it addictive nonetheless. The video is gorgeous, shot entirely in black and white, and showcases many video memories from 2NE1’s history. It ends on the word “Goodbye” in both Korean and English, a direct and sad end of an era.

7. Rollin’ - Brave Girls

Rollin’ was one of those mild obsessions for me this year. Ever since its release in March, I’ve found myself returning to it again and again. I wouldn’t call it a great KPOP song, yet something about it enthralled me and kept me coming back. The verses try for this sultry sound, with each of the members managing it to varying degrees of success, but it never feels fully on the level of those A-tier KPOP groups. However, the lazy flow of the verses is still quite riveting for me. The true hook for this song is the chorus, an emphatic chant that gets me every single time. There’s not a lot of substance to the production, but the smooth synth and beat under the chorus gives it extra punch. I also want to give props to the synth line that happens after the choruses, a playful little melody that provides a nice transition back into the verses. The video (rated 19+ in Korea for seemingly no reason) is pretty standard aside from some provocative yet nerve-wracking choreography where the girls dance on stools in high heels, which I’ll admit is a highlight of the video for me. I doubt anyone else will enjoy this song as much as I have, but it’s still one of my favorites for the year.

6. Drink I’m Sippin On - Yaeji

Yaeji was a new discovery of mine this year, a Korean-American New York resident who’s brought her stellar production and vocals to the genre. She put out several songs (and videos) this year, but Drink I’m Sippin On is my favorite. It’s a delightfully bassy track that takes you on a smooth ride from beginning to end. I love its lazy sound, a soporific delight that manages to be both soothing and energizing thanks to the stellar beats. Yaeji’s vocals adopt a lazy flow as well. Her voice is subdued and ethereal, taking on an almost disaffected tone. The chorus’s repetition has a hypnotic pull to it, her voice echoing in your ears. I have to mention the video’s aesthetic as well, a low-budget but beautifully shot romp through a nighttime city. It’s filled with gorgeous blends of nearly-overexposed neon and dark empty streets. Even the absurdly trying-much-too-hard-to-be-cool young adults filling the video somehow suit the song’s low-rent style and sound perfectly. I can’t wait to hear more from Yaeji, especially if she keeps blending her Korean and American roots.

I Also Recommend: Raingurl, Feel It Out

5. Colors - Stella Jang

Colors was one of the nicest surprises of the year. I was already a fan after It’s Raining a few years ago, but I wasn’t expecting a sub-two minute song filled with simple English lyrics to be my most listened-to song of the entire year. The vocals are repetitive and elementary but still manage to be remarkably catchy, likely due to Stella’s effortless flow. It’s performed with an overwhelmingly adorable enthusiasm that puts a smile on my face every time I hear this song. The production is equally plain, comprised entirely of cute sound samples like vocal “bums” and spray paint can rattles. It’s all done in a skillful a cappella style, neatly layered under the soft vocals in a way that makes it sound impressively more substantial than it actually is. In the video, Stella takes to the streets of Seoul (?) and finds scenery to match the colors she’s singing about. It’s a stunningly vibrant production that also features the singer’s adorably joyful journey in making the video. I can’t get enough of this song, no matter how saccharine it may be.

4. Adult - Choi Ye-guen Band

Choi Ye_guen Band is a new group headed by vocalist Choi Ye Guen, a talented singer who appeared on the second season of Korean reality show K-Pop Star. She placed 8th, which gave her enough cache to release a couple of singles on her own before starting this new group. Adult, their first release, is a fantastic song that makes me eager to hear more. Her impressive voice is my favorite part: fun and playful at times and powerfully soulful at others. This song in particular has an old-school sound to it, reminiscent of lounge singers of the 50s and 60s. It’s a unique style that stands out nicely in the current KPOP lineup. The band, oddly enough, doesn’t really do much. The instrumentation is exceedingly spartan, with some brief moments of flair, but it does provide the perfect backing track to the vocals. As for the video, there’s not much to say. It’s very straightforward and does nothing of note; it’s only the cute little shots of each of the members that make it remotely compelling. I don’t know what’s next for Choi Ye Guen but, I certainly want to find out.

3. ct16031 - KIRARA

KIRARA is one of the best electronic producers out there right now. It’s nice to see her popularity growing with each year, thanks to a group of dedicated fans singing her praises. I guess that’s what I’m doing now by sharing ct16031 with you. It features the same progressive build, and subsequent fall, that is used in many of my favorite songs of hers. The difference is that this is a much more “listenable” song, lacking many of the harsher effects that she typically uses in favor of more whimsical samples. While I really enjoy those weirder tracks, it makes this song much more approachable for newbies. The best part is when it builds to its peak a few minutes in, riding smoothly into an incredibly catchy beat that has me nodding my head EVERY SINGLE TIME. That’s not to say the slower parts aftewards aren’t equally fantastic, packed with lively sound effects and a delightfully thrumming synth line. The video I’ve embedded is a live performance of hers (preceded by the also excellent ct16041) complete with a neat graphical display to go along with the song. It’s superbly done and adds something extra to an already superb track. ct16031 is yet another in KIRARA’s now long line of top-tier releases, and I hope she continues to see the success she deserves.

2. Circle’s Dream - Subin

Circle’s Dream was an immediately striking song for me. From the first listen, I was captivated by its unique sound. The remarkable voice performance from Subin, an ex-Dalshabet member, has an undeniable allure. For the entire song, she has this effortless air to her vocals, evoking feelings from me at a much greater magnitude than the intensity of her words. It’s mildly infuriating but I can’t deny just how affecting her performance is. Even the somewhat repetitive and simple chorus is a marvel, managing to be my favorite part of the song despite its straightforward sound. The production matches her lack of intensity, playing light and bubbly underneath the vocals. Its only real attempts at energy come from the effect-laden voice samples from Subin that harshly punctuate the song from time to time--brief but effective. The video takes on a dreamlike quality due to its slightly fuzzy look and layered shots featuring multiple Subins. It’s the ideal video for a song as ethereal as this, complete with the piercing stares from the singer. I doubt another song just like this will ever come along, which makes Circle’s Dream something truly special.

I Also Recommend: Strawberry

1. Last Night’s Story - IU

I’ve been in love with IU’s songs for a long time now. She’s had a long-running, incredible career and keeps putting out hits. This year, she chose to focus (again) on covers of famous songs. Most notable of these is Last Night’s Story, a 1988 release from early idol group SoBangCha (which was already covered in well-known Korean show Reply 1988). While I don’t generally like covers of older songs, this is such a perfect remake that I had to include it here. IU gives the vocals a depressed sound, nailing the tone of the song’s lyrics while still managing to sound enjoyable. As the song continues, she just sounds more and more downtrodden, an impressive subtlety that speaks to her enormous talent. The production has been smartly modernized while retaining the core melody that made it popular; it skillfully evokes the 80s original while sounding comfortably in line with today’s hits. Finally, we have the video. Holy. Shit. It’s one of the best music videos I’ve ever seen and certainly takes the top slot for 2017. It’s packed to the brim with an astounding level of detail and craft. The intense devotion to the orange palette. Countless memorable little moments from IU, like her little shoulder shrugs. The subtle shifts between 4:3 and 16:9. Unforgettably adorable choreography. The way IU becomes more unraveled as her character sinks into depression. It’s a marvel of a video and one of the best covers I’ve ever seen. No other song deserves my number one spot more.

It’s that time again: time for my top 10 Japanese songs of the year! 2016 was a sluggish year for JPOP, with multiple stretches of thin releases. For awhile, I was worried I wouldn’t even be able to put together 10 songs worth talking about at the end of the year. The new releases did pick up, thankfully, and some of my favorite artists also put out some great new material this year. I think this is a pretty solid list overall, looking back at it now. If you enjoy it, maybe try checking out my JPOP thread here on Giant Bomb (sorry for the shameless plug). Also, please comment if you agree/disagree with my choices. Or, if you have some favorites from 2016 I didn’t mention, feel free to post them--I’d love to hear them!

10. Party People Alien - Up Up Girls

Party People Alien is stupid fun. The production, while simple, is remarkably efficient at what it sets out to do: hook me from beginning to end. This is most evident in the relentless “chorus”: its repetitive vocals, tight party beat, and ethereal synth line has been stuck in my head all year long. The verses are hypnotizing for some reason, with a cadence that fits neatly in sync with the beat. I love the video too: the bizarre lyrics and dance choreography is so painfully Japanese that it almost feels like parody instead of the real thing. This song is just an enjoyable time, which is why I can’t get enough of it.

Also from Up Up Girls: Tears of Youth

9. Karate - Babymetal

I like Karate because I feel that it best realizes the metal and JPOP pairing of Babymetal. The instrumentation is more subdued while still being appropriately rocking, and the vocals pull back on the cute factor by using less of the high-pitched background vocals. The result is a more restrained song that feels like each of these elements at its best, instead of at their most cliched. My favorite part of this song is the chorus, a punchy chant that sounds fun and intense without the need to overwhelm. The karate choreography, while predictable, is actually executed quite well, fitting the instrumentation intelligently. While I enjoyed the crazy intensity of Babymetal’s first album, this track represents my ideal direction for this group: a more natural melding of metal and JPOP.

Also from Babymetal: From Dusk Till Dawn

8. Neon Twilight - FEMM

I’m still in love with FEMM’s odd vocal style, a mashup of rap, pop, and electronic singing. It’s unlike anything else in the genre, especially since it’s always entirely in English. The chorus here is maybe the tightest yet for the duo, a unyielding mix of catchy lyrics and impeccably matching beats. Speaking of beats, the trotting beat this track uses gives it this fabulous momentum. The rest of the production, particularly the plopping synth, adds a playful feel that I really like. The only real problem is the video, a plain showing from a group that’s done extraordinary video work in the past. While I wouldn’t call this my favorite FEMM song, there’s a solid core here that keeps me coming back.

Also from FEMM: PoW!, L.C.S., Countdown

7. Give Me A Break Stop Now - Reol

Reol has been releasing her own music for years, but 2016 marks her debut under a major record label. Her whole album, Sigma, is fantastically intense, but Give Me a Break Stop Now shows a unique and powerful new style for the former utaite. Reol’s voice is as sharp as ever here, demonstrating her superb flow and impressive vocal range. She delivers some biting vocals that drip with attitude in a wonderfully vitriolic way. The production (done by longtime Reol partner, Giga) is smartly tuned as well, using this droning synth that easily matches the annoyance found in the vocals. I was a bit turned off by this song at first, actually, because of how atonal it sounds. It’s one that grew on me, though, and I eventually came to appreciate its harsh tone. I can’t say enough good things about the video too: it oozes flair in every shot and makes smart use of distortion effects. This song hints at an interesting new potential direction for future Reol releases.

Also from Reol: ChiruChiru, RE:

6. Flash - Perfume

Perfume remains my favorite JPOP group thanks to their immense catalog of hits and a reliably great electronic sound that is entirely their own. Flash stands out among the other songs released this year simply because of that consistent refinement that is typical of nearly every Perfume track. They have a level of craft and polish that few songs manage to match, and I can even appreciate the songs I don’t like from them for this reason. This track, however, features a driving electropop production that I enjoy hearing pound in my ears relentlessly. The vocal work is as top-notch as ever from the trio, strong and beautiful. The video is stylish and filled with graceful choreography and stellar use of lighting, especially the final minute of the song. Nothing about this track is new or surprising, but it doesn’t really have to be; it's yet another great Perfume song, which instantly elevates it among most other entries in the genre.

Also from Perfume: Miracle Worker

5. This Is How We Riot - The Winking Owl

This Is How We Riot is a supremely satisfying song for me. I adore the singer’s voice--warm, deep and undeniably pleasant. She puts a tremendous amount of feeling into her performance, both vocally and in the video, that I can’t help but admire. The instrumentation is pure pop-punk, with a style that reminds me fondly of Western groups like Paramore. The drummer kills it with his elation, his pounding drum fills propelling the intensity to another level. There’s also a guitar solo that feels so perfectly pop-punk that it hurts--I love it to death. The video clearly reflects the enthusiasm of the track, particularly during the chorus where everyone fully gives themselves over to the uplifting excitement of the music they are creating. This is a song that I find to be emphatically charming, always able to bring me out of a bad mood and brighten up my day.

Also from The Winking Owl: Bloom

4. I Don’t Really Care - Country Girls

I Don’t Really Care is an incredible homage to rockabilly music; in particular, it sounds like a modernized cover of Jailhouse Rock. Instead of being a simple copy of that song, however, it amps up the earnestness in the way only Japanese pop can. There’s a delightful energy to everything that tickles me every time I hear it. The absurdly resonant vocals are the catchiest of the year, especially the forceful yell of the chorus. The thrum of the bass and pounding beat never let up. The girls put on a heartfelt performance while dressed in adorable pastel-colored retro polka-dot dresses. It’s an entirely overwhelming song and video, an experience that I enjoy losing myself in time and time again.

Also from Country Girls: Request of Tears

3. She Lived, Didn’t She? - Aimyon

I find She Lived, Didn’t She? completely mesmerizing. The vocals resonate powerfully with me in a way that left me speechless the first time I heard them. In the verses, she flips between a free-verse style and typical singing, stylishly repeating the same line twice to transition from one to the other. It always manages to make me smile. The chorus is pure and forceful with an earworm-y refrain that I can’t get out of my head for days after hearing it. This is a remarkable ballad track, filled with emotion and delivered with a fierce strength. It slowly climbed its way into my top 3 from the bottom of the list, getting more and more under my skin as I kept returning to it. I can’t really nail how this song makes me feel in words, but I know I find it to be incredibly affecting and personal in a way that makes it one of my favorite songs of the year.

Also from Aimyon - She Lived, Didn’t She? (acoustic version)

2. The Non-Fiction Days - Band-Maid

The Non-Fiction Days opens with a resounding instrumental section that immediately demonstrates why I love this track so damn much. The ripping guitar riff, delightfully thrumming bass, and energetically thumping drums come together in a way that I find astounding. It repeats throughout the song multiple times before capping the track at the end with even more intensity and flair. I really don’t need to say anything else about this song. Despite having solid vocals and a fun guitar solo, it is solely this instrumental section that ranks this song so highly on my list. I simply cannot put into words just how fantastic it makes me feel when I hear it: it’s an utterly perfect piece of rock music.

Also from Band-Maid: Alone, YOLO

1. Suiyoubi no Campanella

For my #1 pick of 2016, I knew it would be one of Suiyoubi no Campanella’s songs. This group released SEVERAL amazing tracks throughout the year, with each just as good if not better than the last. When it came time to actually pick one, however, I couldn’t do it. Each song from this year is incredible in its own way, from the the future house breakdowns in Chupacabra to the exceptional flow from KOM_I in Colorholic. No matter what I picked, I would feel like I made a mistake; depending on the day, I’d want a different song. So I didn’t bother: Suiyoubi no Campanella itself takes the top spot. I chose to use the video for Aladdin here simply because I feel it perfectly shows KOM_I doing what she does best: performing in her charming, carefree way that no else can emulate. She shakes and slides her way through this video with an aloof confidence that I wholly adore. Suiyoubi no Campanella continues to grow and evolve, somehow becoming better each year. Knowing this, and with a year as solid as 2016 from them, I can’t even imagine what they do next year--but I know I can’t wait to hear it.

Also from Suiyoubi no Campanella: Chupacabra, Colorholic, Tsuchinoko, Kamehameha the Great

2016 is over, so what better time to talk about my top 10 Korean songs of the year? KPOP in 2016 was notably consistent, with a inexorable string of above-average releases that came for months on end. As a result, I listened to SO MUCH KPOP this year. This made it all too easy to pick 10 songs for my end-of year list. Putting them in order was shockingly simple too, everything nicely sliding into a slot on my list in a neat progression of increasing quality and impact. This is a hell of a list, maybe one of my favorite overall lists since I started doing this in 2013. If you agree, or disagree, please leave me a comment. Or if you have a favorite that I didn’t mention, feel free to post it here--I’d love to hear it!

10. Shut Up & Groove - Heize ft. Dean

Shut Up & Groove, as you might expect from the name, is a stellar groove. The production’s thumping beat and bassy tones make for a nice, gentle ride. Vocally, both Heize and Dean nail it in their own way. Heize’s low voice is pleasing to the ear, with superb flow through her verses. I also really enjoy the hypnotic rhythm she gives to the chorus. Dean’s smooth vocals are the real highlight of the track, though; his sultry voice fits this song perfectly. They compliment each other especially well, making for a playfully ethereal trip that I listened to frequently through the summer, not to mention the rest of the year.

Also from Heize: And July

9. High Heels - CLC

High Heels is the perfect example of a track that I recognize as being not great but still enjoy anyway. The production is a bit plain, but the trebely synth is surprisingly effective. Similarly, the vocals aren’t spectacular, yet there are a few truly solid moments, such as the sleek bridge and the gentle “oooh” that ends the track. What really kept me listening, however, is the deceptively catchy refrain: I had “So whatcha wanna do?” stuck in my head for MONTHS after this song came out. The video is super adorable as well, with fun outfits and a radiant use of color. This isn’t some fantastic classic, sure, but I still appreciate its upbeat energy and charm.

Also from CLC: No Oh Oh

8. Trick or Treat - Grace

I absolutely love how raw and filthy the production on Trick or Treat sounds. It manages to tread just on that edge of being annoying or unpleasant. Grace adds some splendid vocals here, mixing her pretty singing voice with tightly rapped lyrics. She transitions flawlessly between the two all while spitting attitude-laden lines like “shit or sugar.” The chorus, despite being simple and repetitive, is strangely catchy, especially with the nasty beat underneath it. I also really admire her look in this video, which showcases her stylish blue hair, flashy outfits, and confident swagger. This is a deliciously grimy track from start to finish.

7. Free Somebody - Luna

Free Somebody is a terrific showcase of Luna’s main strength: her voice. Even though it’s an electronic track, there are plenty of opportunities for her to show off her talents, especially during the gorgeous vocal runs. The production is no slouch either, using a sharp house composition with delightfully bubbly synth. The video is incredible, with some dazzling usage of color and well-framed shots. There’s even some interesting animation in the video that stylishly transitions back into reality. Luna is the best part, though, showcasing her beauty in snazzy outfits. I admit that the structure is a bit typical for the electronic pop genre, but Luna’s talents are what make it seem anything but.

Also from Luna: Breathe, Galaxy

6. Fight Day - Bolbbalgan4

I enjoy acoustic guitar in nearly any form, but I utterly adore it in Fight Song. It’s an incredibly pleasant composition that now ranks among my favorite acoustic tracks. There’s a superb flow to it, a driving throughline that gives the song its addictively steady pacing. I’m also smitten with the singer’s vocals. Her voice is unbelievably lovely: high and sweet and refreshing. She also has impressive range and uses it well throughout the song. Either of these performances would be astounding; the two of them together make up the most delightfully charming track of the year that never fails to make me smile like a moron. It’s a very simple song overall, sure, but the execution in both the vocals and instrumentation are so enchanting that I couldn’t help but fall in love with it.

Also from Bolbbalgan4: Let My Universe, Tell Me You Like Me, Hard to Love

5. Why So Lonely - Wonder Girls

From the group that brought you the wonderfully 80s-inspired I Feel You last year, we now have Why So Lonely, a remarkably chill reggae-inspired track. The whole production has this great lazy feel to it, making me just want to lounge around and do nothing. This song defined my summer this year and was on constant repeat The breathy and disinterested vocals just add to the lethargy, aside from the groovy rap verse which bites with glee. For the chorus, the song takes on a more Caribbean feel with croaky lyrics and funky instrumentation. The video is really well done as well, using a sublime color palette that nicely reflects the reggae sound. Oh, and it’s entirely crazy. No other song this year was so enticingly soporific.

4. Don’t Believe - Berry Good

Don’t Believe is an instantly striking song. The production uses a tropical-house sound, which is very distinctive for KPOP. The unique style caught my attention from the first time I heard it, especially the breakdown sections and their elegant usage of backing vocalization. The lyrics are mesmerizingly delivered, with many powerful moments of beauty and emotion. I really like the “mercy” section in particular, which I think perfectly highlights both the production and the lyrical strength of this track. The video is very dreamlike, with many moments of odd beauty and strange logic; it’s got a great oversaturated look as well. This song has a feel to it that is unlike anything else I heard this year, a strange blend of poignancy and euphoria that I find endlessly fascinating.

Also from Berry Good: Angel

3. Exquisite! - CocoSori

Exquisite! is pure saccharine energy in musical form. It feels like a mix between an upbeat JPOP song and the style of Orange Caramel, an addictive combination for a fan of both like myself. There’s a splendid driving beat that never lets up, which makes the song a relentlessly exhausting trip. As you might expect, the lyrics are sweet and catchy. The repetition is particularly effective, making for a track that is hard to forget once you’ve heard it. Tying it all together is an absurdly adorable video that makes absolutely no sense but is still a lot of fun to watch, especially the heartfelt performances from the duo. It’s one of those stupidly fun songs, and it fills me with joy every time I hear it.

Also from CocoSori: Dark Circle

2. Need to Feel Needed - Amber

f(x)’s Amber is, without a doubt, my favorite KPOP artist. Not only is she extraordinarily talented and incredibly beautiful, my time watching interviews with her have shown that she’s a great person too: truly, she is a gift to KPOP and I love her to death. Need to Feel Needed is maybe not her most creative or personal solo release, but it’s a warm track that I find entirely pleasurable. There’s a soothing sound to both the vocals and the production that is relaxing and endearing. Amber kills it vocally as she always does, delivering a sublimely emotional performance that is still upbeat enough to remain fun. The video is excellent, with a simple concept: Amber filming herself and her friends being silly and enjoying each other’s company. It’s a video that feels remarkably human and feels all too perfect for this song. Need to Feel Needed is one of those songs that I hate finishing, simply because I don’t want to leave the content place it brings me to.

Also from Amber: Borders

1. All Mine - f(x)

f(x) has been on an unreal streak for the past few years, with three incredible albums in three years. Despite their past success, they managed to top themselves yet again in 2016 with stellar solo releases from both Amber and Luna and the breathtakingly amazing All Mine. The production is delightful, sounding happy and fun and stunning all at the same time. It only gets better during the breakdown sections, climbing in intensity and adding in a strikingly cheery synth line. The vocals are astounding as well. Each member nails it during their verses, and the group comes together gracefully for the chorus. I particularly enjoy Amber’s tight “rap” verse, which leads into the final powerful minute of the song--complete with even more energy and an impressive key change. The video was conceived and directed by Amber. Each member went off individually to film her part, giving each section its own feel and style. They all give adorable performances, looking utterly captivating and clearly having a lot of fun. It may be clearly faked for everyone but Amber, but the tight camera angles still give the video a more intimate feeling that I adore, especially Amber’s backstage shenanigans as she bumps into fellow KPOP artists like Henry. All Mine is an utter marvel in every facet of its creation. It’s also completely and utterly my favorite KPOP song of 2016.

2015 is over, so it’s time to talk about my favorite Korean songs of the year! While these lists don’t get a lot of attention each year, I still have a great deal of fun remembering the songs that I heard, tracking down my favorites, and figuring out just why they stuck with me; it is seriously the most rewarding work I do all year. There have been some fantastic trends this year: songs willing to go outside the typical pop structure, a continuing focus on retro sounds (particularly groove/funk this year), catchy bangers, and positively killer production across the board. Nailing down my top 10 list wasn’t too hard, but ordering it was a bit complicated, forcing me to decide between songs I appreciated creatively and songs that just sounded great. Still, I managed to finally distill my year down into these ten tracks, the ones I plan to keep listening to well into 2016.

If you love (or hate) a track, please post telling me what you think--or maybe even take the time to post some of your favorite Korean songs of 2015!

10. Awoo - Lim Kim

I’m a big fan of Lim Kim. Her debut in 2013 was an instant favorite of mine, with songs like Goodbye 20 and All Right showing off her smooth, skilled voice. When Awoo first released, I was eager to experience her newest song. My first listen left me cold, but I eventually came to appreciate the track for its creativity. This is not your typical Korean pop song: the beat is much too slow, the production is almost abrasive, and you can’t really call it catchy. It’s because it’s so atypical that I like it, an attempt to do something new in the genre. The song, and video, are both very striking, displaying a confident style. My only complaint is that it doesn’t quite show off Lim Kim’s vocal strengths, shackling her range a bit. Despite that issue, this is still one of the most memorable songs of the year, if only for its bravado in going outside the box..

Also from Lim Kim: Stay Ever

9. OMG - Risso

I keep a fairly large list of music on hand. Whenever I find something I like, I write down its name or bookmark it on Youtube. This lets me go back and remember the tracks I enjoyed throughout the year (and helps make creating these lists more manageable!). Sometimes, as was the case for OMG, it can bring about new appreciation for a song I had entirely forgotten existed. The production on this track is superb, bubbly and bassy in a way that reminds me of the disco era. I particularly enjoy the way the sounds fall and rise again just before the chorus, giving it an exciting burst of energy. The vocals are gorgeous, adding a lot of personality and flair to the track. Sadly, I feel like their true strength is hidden a bit behind the noisy production; despite that, the vocal track is easily my favorite part of the song. All in all, this track is just plain fun.

Also from Risso: Feels Like You

8. Springirls - Sunwoo Jung-A

Korean music tends to use a lot of things you might not expect in its pop songs, such as the genre’s huge focus on horns. It also likes to revisit old styles, finding ways to expertly meld them with modern pop to make something new. Springirls is a track with a definite retro groove sound to it, hearkening back to a style from the 50s and 60s. I particularly enjoy the sparing but excellent usage of both guitar and bass, each adding different elements of sound to the song. Tying the production together are the various voice samples, such as the remarkably catchy humming refrain. The delicate lyrics work perfectly with the instrumentation, creating an aural wave that’s all too easy to get swept up in. The style of the video is worth mentioning as well--bright and colorful depictions of several different women, each with their own style. Few songs this year manage to have so much flair, let alone are so enjoyable to listen to.

7. Comes and Goes - hyukoh

I really enjoy music with an easygoing sound. Oftentimes, this means a track with an acoustic guitar, one of which was on each of my last two years’ lists. While Comes and Goes isn’t one of these tracks, I still think it fits that laid-back style. This song is one of the most relaxing songs I heard all year. The verses are slow-paced, mellow and contemplative. Whenever a chorus kicks in, the instrumentation picks up in pace but still manages to retain the lazy feel. It’s a sublime sound, incredibly pleasant and appealing. I also can’t say enough good things about the vocalist on this track. He fills his lyrics with emotion, especially during a lovely bit of vocalization near the end of the song. This song just feels human to me, not produced for the sake of making money but to express something meaningful.

6. Twenty-three - IU

The most notable thing about Twenty-three is how it almost seems to be a step back from IU’s more mature album in 2011, with a video that has her acting childish and girly. Looking at the lyrics, however, I think it’s clear that she wanted to try and capture that feeling of straddling the line between immaturity and maturity, the challenges of growing up and becoming an adult. I feel like the song does a good job of speaking to this, utilizing a balance between her early girly pop and the more mature sounds from 2011’s album. Above all, however, it’s just a damn catchy song. The production is surprisingly addictive for being so simple, and IU’s vocal work is just as superb as ever, especially during the memorable chorus. It’s one of those songs I suddenly find myself humming under my breath, even months after I first heard it.

Also from IU: Red Queen

5. Hello - Primary ft. Lena Park

I feel like I ran into Primary EVERYWHERE this year, a popular Korean producer who lends his talents to various pop artists (including my #10 pick). While I enjoyed nearly everything I heard from him in 2015, it was his solo stuff that impressed me the most. Hello released during the tail end of summer and was an absolute perfect cap to the season. The production is delightfully languorous, mimicking that drowsy desire to do nothing when it’s too hot to go outside. The bass in particular is phenomenal, a constant thrum that lulls you into the rest of the song. Combine this with an instantly memorable chorus from guest vocalist Lena Park and you have a perfect summer song. The video is equally great, a silly story that is drenched with style and fun acting. This would be THE song of 2015’s summer releases if not for another song on my list...

Also from Primary: Don't Be Shy

4. 4 Walls - f(x)

This year, f(x) went from five members down to four with the loss of Sulli, who decided to focus on acting instead of music. While this change was slightly worrying at the time, f(x)’s album this year is just as excellent as I’d hoped it would be, their third killer release in as many years. 4 Walls is deep house music at its best, a chill production that never aims to build and break but instead keep steady pace until the end. I really love the main throughline of this song, a subtly throbbing synth line and beat that weaves perfectly with the chorus. Each of the members brings a fantastic vocal performance, especially Amber’s rap verses. This song, like the rest of the album, marks a steady progression into a more EDM style with less pop overtones. While I really enjoy some of f(x)’s early pop work, the direction of this new material makes me eager to see what comes next from one of the most talented groups in KPOP today.

Also from f(x): Deja Vu

3. Brave New World - Brown Eyed Girls

Brown Eyed Girls is one of the most consistently interesting groups I can name in KPOP. They only put out an album every other year or so, but they are always entirely unique while still managing to be enjoyable to listen to. Brave New World is a very experimental pop song, utilizing a sound and style that feels like a mesh of 70s/80s throwback and modern electronic music. It’s a wonderfully bassy song, with a funky vibe that runs throughout the entire length. Add in the mesmerizing backing track and you have one of the coolest productions I’ve heard in pop music all year. The vocals are as stellar as always, with each member performing their own typical sections and coming together for the powerful chorus. I adore the video as well, a remarkably colorful and psychedelic trip (complete with Ga-In writhing in glitter!). You’d be hard pressed to find anything more unique this year, especially in mainstream pop.

Also from Brown Eyed Girls: Warm Hole

2. Shit - KIRARA

I can’t thank resident artist/music aficionado @aurahack enough for exposing me to KIRARA in the Top 10 Albums of 2014 list. KIRARA is an independent electronic music producer from Korea, and her work is some of the most effervescent music you’ll find in the genre. My favorite track of hers from 2015, Shit, is a perfect example of her style. She loves to use sounds and samples that are maybe a bit harsh yet work astoundingly well under her guiding hand. Most of her songs, this one included, also feature a steady build, adding in new elements slowly until it finally reaches a crescendo where everything is firing at once in a thrillingly overwhelming cacophony; that moment in Shit is one of my favorite moments in music for 2015, a onset of paralyzing electronic beats. While each of KIRARA’s tracks is entirely its own thing, nearly any of them shows why I love her work so much: a clear enjoyment for the art of music creation. Despite that fact, I do still hold Shit as one of her best creations.

Also from KIRARA: ct14072, Buy My Music

1. Shake It - Sistar

Shake It was the song of the summer for me. Hell, it’s the definitive summer song for me--this song is my new summer anthem. It’s an exceptionally addictive track, so much so that I can actually manage to half sing-along for the entire track, despite not knowing a word of Korean. The instrumentation is deceptively well-crafted, the beat is absolutely stellar, and the chorus practically hums with energy. The video is worth praising as well, a vibrantly colorful showing that drips with style and a healthy appreciation for the female butt. While it feels almost offensive to put a typical Korean pop song on the top of my list, despite the array of creative songs featured therein, I just can’t help myself. Shake It may not be the most important song of 2015 or the most impressive song, but I don’t really care. No other song this year stuck with me like this one did. It’s a track I’ve heard countless times already and will gladly listen to again and again for some time to come.

I’m back again to share my top 10 Japanese songs of the year! While interest in my past lists has never been anything special, I still enjoy going back through a year’s worth of music and remembering what it contained. It’s been an interesting year, with some exciting new trends and creative artists I can’t wait to hear more of. My list is a bit more diverse than last year’s as a result, featuring a broader look at the varying types of music coming out of modern Japan. I was extraordinarily lucky to discover these artists, and I feel incredibly delighted knowing I get to share some of them with other people. This list was difficult to put together--and even harder to put in order--but I think I’ve managed to find the ten releases that had the greatest impact on me this year.

I also kept up with my JPOP appreciation thread here on Giant Bomb all year, posting new songs I enjoyed as frequently as I was able. While I still think my ability to accurately describe why I enjoy a song is lacking, I do feel like I came to better understand those things that draw me in, as well as obtained a greater appreciation for the pieces making up any given track. I plan to continue exploring my connection with music into 2016, hopefully coming to learn more about musical composition. Maybe I can eventually reach the point where my words can come even close to describing how a song makes me feel when I hear it. Feel free to stop by and give me some pointers.

Please let me know what you think about my choices if you have the time--or maybe even share some of the Japanese songs that you thought were the absolute best of 2015!

10. I Luv Mary Jane - NOPPAL

I was fascinated with I Luv Mary Jane from the first time I encountered it, having rarely seen drug culture and Japan mix. I found myself going back again and again, addicted to the easygoing sound it had. This song can easily lull you into a trance, its mellow and calming melody enveloping you. It has a unconcerned lazy pace as well, never feeling the need to pick up the speed or change things up. My favorite part is the talkbox-infused chorus, a totally surreal addition to the hazy sounds of the rest of the track. I can’t honestly say that this track has any noteworthy features, but I also can’t deny how totally relaxing I find it; it’s the perfect song to just zone out to, letting the refreshing sounds wash over me.

9. Friday Night Butterfly - BOMI

NOTE: This track doesn’t actually appear online anywhere that I can find. As such, the best I can do is link to the album on iTunes HERE and encourage you to at least listen to the sample. Below is a link to a video of another track from the same album, Monday Melancholy, instead.

Until very recently, I actually forgot Friday Night Butterfly (and the album it’s a part of) even came out this year. I bought it back in January and really enjoyed it but didn’t originally consider it for this list because I thought of it as a 2014 release; lucky for everyone reading this list, that wasn’t the case! I adore the main melody, a simple yet fun guitar riff that hum wonderfully throughout the song. Combined with the pulsating beat and electronic drum fills, it makes for a unique mix of pop and electronic styles. My favorite parts are the two builds--one at the beginning and another near the end--where the instruments slowly come in and layer on top of each other, finally blasting your eardrums with cheerful energy. BOMI’s vocals tie the track together, powerful and impossible to ignore. This is a fantastic, and underappreciated, track.

8. Animation - Young Juvenile Youth

As I’ve gotten deeper into music these past few years, I’ve begun to better understand my musical tastes. One such appreciation is for songs that utilize a minimalist sound: light instrumentation, bare production, and subtle vocals. Animation is a superb example of this style, striking me with both its sound and its music video. Even at its most complex, the composition of this song is very simple: a combination of digital pops, electronic drums, and glitchy distortions. What’s impressive to me is how much the composer does with these sounds, layering them together to create more depth than you might expect. The vocals are excellent as well, haunting and echoey in a way that meshes uncomfortably with the eerie tone. Combine the sounds with the striking--and often incredibly creepy--video and it’s easy to see why this track made an impact on me.

7. Thrill - Band-Maid

It’s a great time to be a rock/metal fan in Japan. There has been a surge of band-focused groups focusing on a sound much more akin to Western styles than the typical visual-kei fare. Out of these groups, Band-Maid is my favorite. Their best track, Thrill, is an enticing promise for the future of this group. Each of the members is clearly skilled in their respective instruments, with catchy guitar riffs, thumping bass lines, and energetic drum fills. Even the vocalist stands out, as she manages to not just sound like a JPOP singer thrown into a group with instruments; her voice really fits in with the music. This song is my favorite of their releases simply because I like its sound the best, particularly the solid bass and guitar solos. I cannot wait to see more of this group in 2016.

Also from Band-Maid: Real Existence, Don't Let Me Down

6. Swallow Maze Paraguay - Koutei Camera Girl

I’m fully aware that I sometimes pick songs for these lists that no one but me understands. Every so often, I just run into something that completely infatuates me, despite its flaws. Swallow Maze Paraguay is a perfect example of this, a track I truly love but one that may not appeal to anyone else. The beat is absolutely fantastic, a remarkably effective trance thrum that made this song one of my immediate favorites. It was this beat that brought me back time and time again, likely making it one of my most-played songs of the whole year. The vocals aren’t the draw, yet they are worth mentioning; the vocalists are clearly amateurs, but their respectable flow and commitment to the style is still endearing. This is a stellar trance track, one that I’m more than happy to draw some attention to.

5. Relax in the City - Perfume

2014 was an off year for Perfume, as far as I was concerned. None of their tracks were particularly memorable. Thankfully, this year was a return to form, with two great releases. My favorite of the two is unquestionably Relax in the City, a overwhelmingly enjoyable track. While I typically enjoy the upbeat songs from Perfume, this track’s soothing sounds are a true delight. It’s the most pleasant song I’ve heard in quite some time, impeccably designed to trigger all of my dopamine receptors. The pure sounds of the chorus always make me smile, no matter how many times I’ve heard the song. The video is a treat as well: gorgeous locations and sets, sweeping cinematography, and heart-achingly adorable performances from the three members. No other song this year made me this uncontrollably happy.

Also from Perfume: Pick Me Up

4. ShibuyaK - Daoko

Daoko is an up-and-coming artist, still only 18 years old but remarkably talented. Her 2013 album Gravity is a master-class of Japanese hip-hop, featuring excellent production and rapping that rivals even Charisma.com’s MC Itsuka. Her newest release, ShibuyaK, is a wild departure from that style, a more mainstream direction that I almost feel bad for liking so much. Holy shit do I love the production on this song. It reminds me of a DDR track from the 90s: a trebely synth line, addictive beats, and pounding industrial sounds at its most intense moments. Daoko’s subtle vocals almost feel out of place at first, not matching the energy of the rest of the track. After a few verses, however, you can see just how superb they are: expertly paced and shockingly faithful to her style, despite the seemingly mismatched tones. After the strength of this song, I can’t wait to see what else she can do.

Also from Daoko: Kakete ageru

3. Medusa - Suiyoubi no Campanella

Resident artist/music aficionado @aurahack is easily the biggest fan of Suiyoubi no Campanella I know, mentioning them (her?) constantly everywhere I turn. I’ve tried each of their releases but could never quite manage to enjoy them. Somewhat ironically, it took the poppiest of their tracks, Medusa, to finally pull me in. This song has a fun, almost playful sound to it, with cheerful pops and voice samples interspersed throughout. KOM_I’s (the vocalist’s) performance is equally enjoyable. Her actions in the video reflect the carefree nature of the song, breaking into a building and dancing around adorably with no guilt for her actions. The vocals are just as spirited, particularly the catchy repetition in the chorus. My favorite part is the final vocal section, where her lyrics layer back over themselves in a mind-blowing conclusion. It’s a sensational track, showing off the strengths of this group while still remaining approachable.

Also from Suiyoubi no Campanella: Napoleon

2. Sainanda Wa - Wata Megumi

It’s electrifying finding complete unknowns in music. Nothing is more exciting than discovering a brand new artist or song you’ve never heard of and building that new adoration. Just as I felt with Yasuha Kominami last year, I was enthralled with Sainanda Wa when I first heard it. This song is chill in a way that I absolutely love. The whole thing has this inescapable tide to it, carrying you along on a wave of delightful bliss. It uses a variety of sounds to great effect, such as the almost xylophone-esque tones that punctuate various parts of the song. Most impressive is how it builds smartly on its production throughout, never quite going back to the same place as you’d expect, like in the somehow even mellower finale. The sharp vocals of the singer fit perfectly as well, flowing masterfully from verse to verse (also, she’s too damn adorable!). This track is unlike anything else from this year, and more people should get to hear it.

1. Luv Pandemic - Towa Tei

Ever since I saw the video for Luv Pandemic, I knew it was going to be at the top of my list come the end of the year. Nothing else managed to leave such an indelible impression on me. This song, and video, are an utterly astounding marvel. Every second of the music video drips with style: the slight fuzziness of the picture, the outfits, the poses of the woman, EVERYTHING. You can practically pause the video at any moment and get an image worth framing and hanging in your house. The song itself is Tei’s finest work to date. The production fits his traditional style but transcends anything he’s created before. It’s put together with the touch of a master creator, using tricks such as the slight distortion on the sound to add to the aesthetic. Add in the catchiest lyrics of the year and you have a song that I can’t call anything other than the best Japanese song of 2015. It’s a stunning example of both electronic music and music video creation.

If you’re a fan of horror games, you’ve probably heard the name Pathologic brought up at least once or twice. Like many of the genre’s more obscure releases (Rule of Rose, Haunting Ground, etc.), this title has something of a cult following. Those who had the patience to deal with the irregular experience found something worthy of more attention than it initially got . Most noteworthy among these fans was Rock Paper Shotgun’s Quintin Smith, who wrote a brilliant three-part series about his time with the game that is quite well-known, even for those who have never played the game. Ever since I first read this series, I knew I had to see Pathologic for myself, even if I might regret the actual “playing it” part of the process. It’s taken me several years to find the time and energy, but I’ve finally done it: I have finished one (of three) playthroughs. Here are my impressions of the game; they certainly won’t be to the caliber of Butchering Pathologic, but I'll do my best to give some reasons to play, or not play, Pathologic.

In Pathologic, you find yourself in a small village on the eve of a vicious outbreak. Each of the three playable characters--the Butcher, the Haruspex, and the Devotress--are there for different reasons, but all three must contend with the Sand Plague as they struggle to survive over the course of twelve days. You have multiple status bars to manage in order to keep breathing: health, hunger, exhaustion, and infection. While exhaustion can be easily fixed with a bed and some time, the other three stats require items to replenish or bolster. You must buy these items from shops around town, with prices skyrocketing as the plague steadily gets worse, or steal them from the bodies/houses of others--beware the effects theft and murder can have on your reputation, though. Every day brings a new main objective for your character to complete, a task which is required to progress in the story. There are also many side quests to be found from residents of the town, offering valuable money and resources as rewards. Every day is a struggle to survive, pushing through the various infected districts around the village in order to scrounge up necessary supplies or reach your objectives in one piece.

I found Pathologic to be brutally effective because of its complete devotion to its ideas, despite the rough edges that clearly appeared during development. The village, for example, is absolutely huge, with varying district types--residential, industrial, slums, etc.--and important NPCs scattered about believably. While this landmass is impressively dense, it’s also a bit too big, especially considering your lethargic movement speed. Making your way from one end of town to another can take nearly 10 minutes, especially once infected districts begin to spread and you’re forced down alternate paths for safety. To make matters worse, quests like sending you through chains of NPC interactions to progress, many of whom are on opposite sides of the village. Things can certainly happen as you’re walking around, but more often than not, you’ll just be walking down empty street after empty street just to see a bit more character interaction or story.

Combat also features some unevenness. Melee combat was clearly designed with a focus on darting in and out of an enemy’s reach while landing hits of your own, the Muhammed Ali school of fighting. For the most part, this system works: I made it through many encounters, even against multiple enemies, without ever taking a hit, thanks to constant backpedaling and patiently timing my strikes. There is, however, a bit of inconsistency to characters’ reach and animation speed. Many times, I found myself missing an enemy from close range or taking a hit that seemed entirely impossible, forcing me into a situation that necessitated a reload. Ranged combat also features some quirkiness. A gun’s accuracy is supposed to be based on its condition, a stat that decreases with every shot fired. I found that even guns with 100% condition would frequently miss at anything other than close range, even the rifle intended for longer shots. At the same time, firearms are extremely powerful, so you definitely want to use them--even if it means a bit of trial and error through save scumming until a hit actually lands. These systems work on a basic level, but each suffers from a lack of polish, leading to some potential frustration.

Despite its flaws, there are numerous elements of Pathologic that make it a powerfully memorable experience. For example, you choose one of three characters when starting the game. In a clever idea that I haven’t seen elsewhere, the other two characters don’t just vanish; they actually appear in the game as NPCs with their own goals. These other two characters follow the paths that they would if you were actively playing them, despite often being to the detriment of the actual player-controlled character. Even without player agency, each of the three playable characters feel like more than NPCs: each has their own beliefs, morals, and goals during the outbreak and do what they feel is necessary. At its best moments, those other characters feel like real players, people who have no qualms about stepping over you on their way to the endgame.

The world of Pathologic is unlike any other I’ve seen. Both character models and environments are clearly dated by today’s standards, but this actually managed to work in the game’s favor for me: the grotesque proportions and strange designs gave my experience a dreamlike quality, fitting in perfectly with the feel of the game. Creepy, uncomfortable characters like the Dogheads, children wearing the “skin” of stuffed animals on their head, demonstrate that something was clearly wrong with this village even before the plague. In infected districts, the outside walls of houses drip with red pustules and malefic disease clouds relentlessly attempt to infect you. Hanging over the city is the Polyhedron, a physically impossible building splashed with bizarre geometric designs. These elements come together to form a world that is truly singular in my mind, a unsettlingly well-realized place..

Most impressive of all is the story of the game. It starts simply, with your character pursuing the objective that brought him or her to village in the first place. You meet the assorted players around town and are exposed to the basic themes of metaphysics and the unexplainable that persist through the rest of the game. As the plague begins to spread, a focus on fighting back in that character’s own way is added, while also dealing with the interpersonal relationships of the varied parties around town. As the game passes the halfway point, however, things start to get even stranger. Characters you think you know and understand make odd decisions with powerful consequences. Buildings previously unaccessible become available, painting a more horrifying picture of the true nature of the village. Everything culminates in a fascinating series of events that I was entirely not expecting--and that I certainly won’t spoil here. All I can say is that it instantly made all the pain and suffering of the gameplay absolutely worth enduring to see how it turned out.

Sadly, Pathologic’s greatest strength is held back by its greatest weakness: the translation. This game was made by a Russian team, with the translation into English being done out-of-house. Early on, this isn’t a huge problem: basic ideas are understandable, even if the grammar is a bit shaky, and conversations are still simple enough to follow through the ungainly writing. As things become more complicated--more active characters, new locations, deeper plot points--the translation just can’t keep up. Combine this with the fact that there is a LOT of text to be found and you’ll likely have a hard time keeping everything straight or even remaining invested in what’s going on. This unfortunately strips a lot of the impact of the story away, subtle nuances and subtext being impossible to discern in the rough imitation of the original script. Objectives can be a bit unclear at times as well, making it difficult to understand why, for example, the person you are supposed to meet isn’t at the location you were originally told. The translation certainly doesn’t ruin the game, and it’s perfectly playable/understandable with a bit of patience, but it does hold it back from its true potential.

Pathologic is absolutely a flawed game, featuring quirky design and dated elements. Many of its gameplay systems don’t stand up well today, making for a frustrating experience for any modern-minded gamers wishing to revisit it. Having the patience and desire to make it through just one character’s playthrough is tough; all three is practically unheard of. At the same time, the strength of the game’s world and ideas do manage to sometimes overcome its lack of polish. As I mentioned above, Pathologic is a game that isn’t afraid to go for it, utilizing systems that may not be entirely fun but are certainly commendable for what they attempt to do. During its best moments, it wouldn’t feel out of place in today’s landscape of thought-provoking narratives and characters. Still, it’s a hard game to recommend to just anyone: only those with the patience for older game design and an appreciation for cerebral horror will likely enjoy the experience.

While this should be a cause for disappointment, there is some hope on the horizon. Ice PIck Lodge, the developer of Pathologic, is preparing both a remaster of the original title and a brand-new reimagining (funded by Kickstarter). While the reimagining isn’t due out until at least next year, the remaster of the original game is likely going to be released by the end of October. Better yet, this new version will be complete with a redone translation to fix the original game’s script--among other fixes such as new graphical options. A fresh coat of paint and retranslated text aren’t enough to fix every problem I had with Pathologic, but it might just be enough to push it from a hesitant recommendation to a must-play title. For now, I suggest waiting until reception for the remaster hits; a new translation and some bugfixes may be worth the wait.

Half-Minute Hero is now one of my favorite twists on a game genre. If you’ve never played or even heard of the game, let me give you the basic idea. You play as a typical JRPG hero who only has 30 seconds in any given level to reach the boss and defeat him. As such, everything about the game moves at a blistering pace: combat proceeds with no input from the player, a dash button allows you to move around the map faster than you can even reliably control, and massive amounts of gold and experience come from every encounter. There’s not always enough time to do everything in a level before the 30 seconds elapse, so the avaricious Time Goddess can be bribed to turn back the clock. Every level is a frantic scramble to learn where the useful items and gear can be bought, plan an efficient path the boss’ castle, and level up enough to take him/her out in time.

While nearly every level in the game follows this same pattern, it manages to never get old. The developers do a fantastic job creating differing scenarios that limit your movement and ability to earn money/XP or have tricky puzzles to overcome to reach the castle in time. The writing is sharp as well, often parodying the more ridiculous aspects of JRPGs and alternating between on-the-nose homages and expectation-defying plot points. In addition, many levels have branching paths that send you to entirely different levels, an enticing way to get you to replay stages. I was flat-out addicted to this game for a few days, particularly due to the speed of its gameplay. It was impossible to not just roll from one level into the next without pause, knowing that I wouldn’t spend more than a couple minutes finishing it too. Unlocking all the extra paths and finding all the gear in each stage had me gladly playing some stages multiple times to see every last bit of content. It’s a brilliantly-designed, addictive experience that left me wanting more when I reached the end.

I really wish I could end this post here and just demand you go out and buy this game right now. Sadly, I can’t do that. There is one glaring flaw with Half-Minute Hero that nearly ruined the entire thing for me: the additional gameplay modes. What I described above is the bulk of the game’s content, titled Hero 30. There are also three other modes (along with a few shorter bonus modes) to choose from: Evil Lord 30, a simplistic RTS-style game where you summon creatures; Princess 30, an on-rails twin-stick shooter; and Knight 30, a basic action game where you protect a helpless NPC. While you can ignore these other modes at first, they must be completed to unlock the conclusion of the Hero storyline - Hero 300. As someone who really enjoyed that mode, I obviously wanted to see it to its conclusion and did everything I could to reach it. That was maybe a mistake.

Each of the other modes of gameplay are bland and boring, especially when compared to the brilliant design of Hero 30. They all have their own unique problems. Evil Lord 30 doesn’t give you enough control over your summoned forces, making the harder levels that require finesse a bit too touchy. Princess 30 is actually TOO fast for its own good. As the level scrolls, I found it difficult to hit enemies without getting hit myself. Knight 30 is just frustrating, for various reasons. The controls are awkward, as one button is used for multiple important actions. Enemies can’t be killed in this mode, only stunned temporarily. Finally, you have a limited amount of stamina to guide your NPC around, making levels with aggressive enemies a complete nightmare. All of these modes are disappointing, especially after experiencing Hero 30 from beginning to end. While I really wanted to see the last stages of Hero 30, in retrospect, I can’t say that the effort was worth the payoff; these other modes are just too hard to stomach when compared to such a solid main gameplay experience.

I also have one other small nitpick, this one (possibly?) unique to the Steam version of the Half-Minute Hero. After each stage, your time is automatically uploaded to leaderboard servers, so you can compare your time with friends. While this is a fine idea in concept, it slows down the pace of moving from level to level far too much, as you must wait a few additional seconds for the upload. To make matters worse, I had one evening of play where the servers weren’t working at all. This made the end of each level take over a minute as it tried to push data over the Internet and eventually failed. Consider the irony that some of the levels could be completed more quickly than a minute and you’ll see the problem. For a game where speed is so key to its identity, this was absolutely intolerable. I had to stop playing that night just because the waiting felt so antithetical to the experience I really wish that there had been an option to turn off the automatic leaderboard submissions, since the ability to bounce from level to level is so critical to the spirit of this game.

Half-Minute Hero is one of those games that I feel ashamed for not playing earlier. It’s been enticing to me ever since I first saw the Quick Look for the original PSP version, but I just never got around to playing it before now. If I had, I would have been convincing people to try it out far before now. Hero 30 features one of the most novel gameplay systems I’ve seen in a game in quite some time, parodying the tendencies of JRPGs to drag on and on by being as hasty as possible. It’s backed up by solid writing and a fantastic variety of scenarios to puzzle out and overcome. Thankfully, its worst elements--the other gameplay modes--can be entirely avoided if one just sticks to the Hero 30 mode. Even without being able to reach its conclusion, there’s still a great deal of enjoyment to be had. If you’ve never played Half-Minute Hero, I urge you to give it a shot. You don’t know what you’re missing!

I try to write reviews of most of the games I’ve played and post them here on Giant Bomb. While it’s likely that few people will ever read them, I still enjoy the act of compiling my thoughts on a game and drawing conclusions about why I did or didn’t like it. If I can help even one person to make a good purchasing decision, it’s worth it in my book. Lately, I’ve gotten a bit bored with the way I write reviews. Most of them use a simple outline that makes them easy to write but (I assume) boring to read: story setup, discussion of the story, gameplay explanation, gameplay discussion, graphics/music (if applicable), conclusion. It’s an effective formula but one I’ve grown tired of using time and time again.

As such, I wanted to try something a bit different: a smaller blog post about a game that doesn’t stick to a rigid structure. This will not only allow me to talk a bit more freely about things I’ve played, but it will help alleviate my writing backlog of games I’ve already finished but have yet to write about. Hopefully, this means I can keep my thoughts short and to the point, although I make no guarantees. I may experiment with different styles, but the purpose will always be the same: note what I think worked and didn’t work for any given game. In the end, I’ll give my verdict on whether the game is worth playing or not. I’ll see how this experiment goes before I commit to any regularity with my posts, but I do have a few games ready to be talked about in mind. Let’s start with the 2014 reboot of the Thief series, titled only Thief.

I have no prior experience with the Thief series. Before playing this reboot, the only knowledge I had of the series came from Kieron Gillen’s famously-excellent piece on Thief: Deadly Shadows’ horror-themed Cradle level. This piece was enticing enough to get me to purchase the game on a random Steam sale many years ago, but I could never make it deep enough into the game to see that level. The Thief series is one that has always fallen squarely into the category of “fascinating yet too mechanically dated to keep my attention” games for me, making it hard to give it a fair shot amidst all the other games I want to play. While I knew the reboot was poorly received, I still wanted to give it a go, thinking that it might be an easy way to introduce myself to the series before going back to the older games. What I found was a game that does have some substantial problems but is not entirely without merit.

Thief’s first and biggest problem is its claustrophobic level design. Each story mission or side mission takes place it its own unique area. Unlike as in games like Dishonored and Deus Ex: Human Revolution, these instanced areas do not feel realistic in any way. Instead, they feel like video game levels, designed to funnel the player from one end to the other without any real semblance of place. Even when optional paths and ways to complete objectives do appear, the way they are so plainly laid out for the player ruins any sense of discovery or pride one might feel for taking them. One level in particular does manage to create a great sense of space and realism, but the rest of the game’s levels offer little to no incentive to explore these areas more fully.

The “open” hub city between missions is even more flawed in design. Instead of being a singular open world that you can explore from end-to-end, the city is instead divided into several smaller areas separated by lengthy loading screens. This stilted traversal is made more annoying by a lack of any fast-travel and the fact that certain important NPCs are often all the way on the other side of the city from your next objective, requiring a prolonged yet boring trek across town. The optional houses you can plunder around the city are also worth mentioning. These areas are laughably small in size yet require loading both into and out of through a lengthy window-opening animation. I quickly grew tired of the animation and opted to simply avoid going into any of these areas, even though the rewards were often useful. Because of this constrictive design, the world of Thief feels even more like a video game, sectioned off and entirely unconnected. I’m sure this design is due to memory issues of a game that had to be cross-generational and wasn’t intentional, but the end result is still too awkward to forgive.

I also think the story is really awful. The characters are instantly forgettable and poorly acted/written. The plot starts with an interesting twist before subsequently taking much too long to reveal information that is plainly obvious and entirely boring. Most baffling of all is the odd framing and pacing to all of the game’s cutscenes; the camera never seems to focus on the parts of a scene that matter and jumps from character to character with no sense of flow. All of these missteps come together to form a plot that manages to rob any dramatic moments of their tension and remain completely baffling throughout. Having played the game only a month ago now, I cannot come up with a single moment from the game’s plot, something I feel speaks to the complete void this game’s story leaves in its wake.

While I don’t think Thief manages to create an interesting world to explore, it did manage to incentivize my exploration in another way. As you might expect, there are countless things for you to pilfer in the game world. Each item adds to your wallet, giving you currency to spend on upgrades and skill points. In addition, the specific mission areas all have a set amount of things to steal, with a percentage tracked and a bonus given to those who manage to track everything down. There was something immensely satisfying about knowing I had picked an area clean of all its valuables, particularly if I did it while being unseen and unheard. I loved picking locks, opening safes, and finding hidden switches in bookcases, even if the actions of doing so were somewhat repetitious. It was an addiction, causing me to backtrack and dawdle around areas looking for that last pair of earrings to get my total to 100% for the level. I did eventually burn out and give up on doing every level in this way, especially since some of the later levels don’t easily facilitate backtracking, but my desire to plunder helped me get through a game I might not otherwise have finished.

My favorite part of the game is a level that comes about midway through the story. This level is an obvious loving homage to the Cradle level I mentioned above: a creepy trek through an abandoned orphanage. It starts slow as you climb up to the decrepit building, find a way inside, and start to push deeper into the various wards. There’s a fantastic amount of tension that builds slowly and surely as you explore the rooms and try to learn what you came for. Over the course of this build, the game stops playing on typical horror expectations and starts doing things that are truly creepy. Most impressive are the moments that actually defy expectations of what is possible in the game engine, many of which managed to get a jump out of me.

It’s a shockingly good level, keeping me on edge for nearly an hour of gameplay with its intense sound effects and general sense of unease and dread. The level falls apart at the end when it makes the things creeping at the edges of your vision manifest in a lame way, but the build-up is still phenomenally well done. Even though this sequence is so obviously imitative of its predecessor, down to the setting being exactly the same, I felt nothing but respect for it in the end. In a game as rough and unpolished as this one, the amount of care the developers put into this sequence makes it stand out brightly. It is the best part of the game without question and even manages to rival some pure horror games in the effect it had on me.

All in all, I came out of playing Thief just barely appreciating my time spent with it. Its flaws are severe, making for a tedious gameplay experience that will likely appeal to very few gamers. I’m glad I spend time playing it, if only for its few interesting moments, but I can’t ever see myself playing it again. As much as I liked the asylum level, I cannot recommend playing through an otherwise banal game to get to that point. If you want to see this section for yourself, I suggest catching a video of it on Youtube instead; it won’t have the same effect, I’m sure, but you can still appreciate its subversion of a game that otherwise has nothing to do with horror.

My final verdict: NOT WORTH YOUR TIME

I played a lot of games in 2014. My intent was to make a dent in my massive backlog, tackling game after game in hopes of bringing the list down to a more manageable size. As a result, I finished over 80 games (most of them in the first half of the year, even) and dabbled in nearly twice that. While I wrote reviews for some of these completed games, I didn’t have the time to say my piece on all of them, even though a few were some of my favorite gaming experiences of the year. So, I thought I’d do so here. I’m going to highlight my 5 favorite games I played in 2014 that didn’t originally release in 2014 (and were therefore exempt from my Top 10 list) and let you know why you should give them a shot. Maybe you’ll enjoy them as much as I did.

Ghost Trick: Phantom Detective (finished on April 7)

I missed the original fervor that followed in the wake of Ghost Trick’s release. It seemed like a neat game, based off the Quick Look for it, but it wasn’t something that grabbed my interest enough for a purchase. It sat on my to-play list for years before I received it as a gift at Christmas 2013. I didn’t get around to playing it until next April, but it was well worth the 8-10 hours it took me to finish. Ghost Trick is a puzzle game that revolves around shifting between objects in the environment and “tricking” to manipulate them in a variety of ways. You maneuver between and affect these items in hopes of preventing the untimely death of one of the game’s characters in each level. This usually means puzzling out, and enacting, a Rube Goldberg-esque sequence of events that finally pushes that person out of the way of harm or drops something on an impending murderer. These puzzles are a great deal of fun to figure out, tasking you to test each of the objects in the environment and how they interact with one another before finding the optimal path to a key item.

Later on, Ghost Trick introduces another entity that you can switch to with different types of powers, making the puzzles that much trickier. The brainteasers managed to never get old and always stumped me just long enough that I felt smart and not frustrated; it’s a master class in puzzle design. All of this gameplay is paired with a dense, twisting story that goes to some crazy places you likely won’t anticipate. The game is quite a looker as well, with gorgeous high-detail art and rotoscoped animation that is so smooth it has to be seen to be believed. Ghost Trick is a fantastic package, mixing sharp puzzles and amazing graphics to create something unexpected. Thankfully, it’s been available on iOS for some time, making it easy to experience now!

I Have No Mouth and I Must Scream (finished on May 5)

I Have No Mouth and I Must Scream was one of those games that I almost felt ashamed to have missed out on for so long. Once it was out on GoG, and once I owned it, I really had no excuse to hesitate any longer. Last May, I decided enough was enough. I installed the game, grabbed a glass of water, and sat down to get started. It only took me two (lengthy, admittedly) sittings to play through the entire thing--I was transfixed. The level of thought and care poured into the story and characters is astounding, an accomplishment that can be attributed to the producers of the game, which includes the writer of the original short story, Harlan Ellison. Each of the five main characters’ individual stories revolves around a huge character flaw that he or she has, giving humanity-hating supercomputer AM the fuel it needs to drain the last drops of resolve from those characters.

What makes these stories even more impressive is how mature the themes they deal with are. Ellen must come to terms with memories of her rapist in order to fight back against AM, repulsed by the yellow he wore that seems to hang from every wall. Ted struggles through a castle filled with untrustworthy characters that fuel his paranoia at every turn. Nimdok, an elderly Nazi scientist, lives his past again and again in a seemingly pointless quest designed only to remind him of his transgressions. It’s some of the best writing--and voice acting--I’ve seen in a game in quite some time, packed with moral reflection and responsibility that still aren’t commonplace in mature games today. If you haven’t experienced I Have No Mouth and I Must Scream yet, you owe it to yourself to check it out.

Miasmata (finished on May 17)

I’ll let you in on a little secret: Miasmata was the impetus behind this entire post. No game surprised me as much as Miasmata did last year, a unique experience that was shockingly enjoyable. I had been intrigued ever since seeing it on the Quick Look, but I wasn’t exactly excited to start playing it. In fact, I used a random number generator to pick this game by chance; what a lucky happenstance that was! Miasmata’s gameplay revolves around two major gameplay elements: exploration and cartography. You come to an island looking for a cure to the disease running inside your veins. Originally, a group of researchers established outposts on the island with the hopes of creating a cure to the same disease. You spend most of the game walking around the sizeable landmass, looking for the various outposts and the journals they contain, complete with clues on what is needed to synthesize a cure for your illness. That illness often leaves you weak and prone to injury.

To make matters worse, you have to be careful navigating the world due to Miasmata’s momentum-based movement: one step too many can give your character kinetic energy that easily carries him over an incline and sends him tumbling head-over-heels, nearly dead from the exertion. It’s a tricky system to manage, making even a simple walk down a steep slope a dangerous endeavor, but it also lends an enjoyable puzzle-like element to simple navigation of the environment. To keep track of your progress, you are expected to engage in some basic cartography. This system has you marking down big visual landmarks from two separate locations in order to cross-reference your position and expand your map. You need to do this constantly to keep from getting painfully lost, as the map does not update automatically. The cartography is a bit finicky, with certain landmarks refusing to trigger, but it adds the same level of responsibility to your exploration as the movement; without some leg-work, you will have a hard time finding out where to go or even keeping track of where you are. Together, these systems make for gameplay that is somehow rewarding and fun despite being little other than exploration. Miasmata is a singular vision from a team of just two brothers, content to be what it is and unashamed of its flaws borne from ambition.

Freedom Fighters (finished on June 18)

Freedom Fighters is another one of those games I really wish I had played sooner. Time and time again, I heard people mention it as one of the great PS2/Xbox/GC era games, melding shooting and squad mechanics skillfully together. Now that I’ve finally played it, I have to agree. The shooting mechanics haven’t held up well over the last decade, using an awkward scheme with a strange button configuration and loose aiming controls. If Freedom Fighters only had its shooting, it would be nearly unplayable today. Thankfully, it also has some of the slickest squad mechanics I’ve seen in a game outside of an RTS. You recruit several soldiers to your cause (with the number of maximum soldiers increasing as you progress) and command them to hold positions, attack targets, and essentially be bullet shields for your weak player character. By the time you reach the end of the game, nearly all of your fighting will be done through these proxy AI characters, leaving you to strategize each encounter instead of struggling to kill a handful of enemies yourself.

The mission structure is surprisingly open, giving you multiple levels with targets to attack and offering a choice in which order to take them out. Tired of that pesky air support hounding you? Go to the helipad and bomb the helicopters. Too many soldiers defending an important base? Take the barracks and limit the number of potential reinforcements. This level of freedom still isn’t commonly found in games today, making Freedom Fighters that much more impressive. I won’t say I wasn’t frustrated with the game on numerous occasions, as a mass of your own soldiers and some trial-and-error are almost required in order to claim victory in later levels, but the gameplay ideas here are a lot of fun. Now, I’m lending my voice to those who demand a sequel: just imagine what it could be on current-gen consoles!

Final Fantasy XII (finished on July 12)

2014 was a sort of vision quest for me, in regards to Final Fantasy. Since I was already trying my hardest to knock out some backlog games, I figured I should also fill out some of the gaps in my knowledge and at least attempt to play each Final Fantasy game I had never tried. This led to me playing, and finishing, 5 (!) entire Final Fantasy games in 2014, ending with Final Fantasy XII in July. XII is an odd Final Fantasy game, coming out at a time when MMO games were newly popular (thanks to World of Warcraft). As such, the developers crafted a combat system that feels like a melding between a traditional FF system and MMO combat. The result is a largely automated game that revolves around Gambits, predetermined if-then statements that you setup on each of your characters. These allow you to tell the computer to do things like attack the nearest enemy, cast Cure when an ally is weak, and use specific types of magic on enemies that are weak to them. It’s like programming your party to fight for you, sitting back and watching the fights happen on their own.

While this combat system has been demonized by many fans of the series for its hands-off nature, I absolutely loved it. Similar to XIII’s Paradigm system, it shifts the focus of combat from rote menu navigation through pointless battle after pointless battle to active strategizing and adaptation to the creatures of an area. Once I set up my Gambits for a new zone, I could simply walk from group to group and let the AI handle the boring parts of random encounters. When I wanted to grind, a few adjustments to my Gambits made it fun, something I can’t say about grinding in many other games. I can certainly understand those who criticize the autonomous nature of XII’s combat, as it can feel as if the game is playing itself at times, but it’s such a clever system that I couldn’t help but be impressed. Furthermore, it keeps the combat from turning into endless chains of hammering on the confirm button, only relying on the player to move from encounter to encounter once the proper Gambits have been established. As someone who often finds combat to be the most tedious and annoying part of any JRPG, I found the ability to simplify the ordeal incredibly smart. There are certainly things to hate about Final Fantasy XII--namely the boring story filled with awful characters--but it has become one of my top 3 in the series. Now, if Square would only bring out the IZJS (International Zodiac Job System) in the US...