Games Of The Year 2010 #2

Yesterday I offered you the first handful of games that stood out to me throughout 2010 and talked about the elements of them that I'd like to see pursued in the future. Today I give you the rest.

Limbo

Of all the games to feature on my list, this is probably the hardest one to describe and to articulate my thoughts with. Like Flower from 2009, Limbo left a strong and important mark on my gaming career, but for reasons of which I’m not entirely sure.

It’s a beautiful game, the silhouette, shadowy art direction being a pleasure to see in screenshots and an absolute wonder in motion. Its use of silence was particularly endearing, both because so few games use silence effectively and because it enhanced the imagery on screen to create an experience that is unique. It’s brutal; communicates a sense of longing and bravery; and what you discover is at once terrifying and ominous, yet it’s these factors that make progress through the game so compelling and rewarding. It’s also short, sweet, and surprisingly emotional: the very example of the potential downloadable games have as well as what amazing things can be achieved within the indie space. Despite some claims that the farther it goes along, the sillier it gets, nothing in Limbo feels out of place and all of it feels like it was included for a reason. The obligatory discussion about whether it’s an example of art or not is, in my mind, irrelevant -- what Limbo is, is an experience like no other, and a game that deserves to be played regardless of whether you end up liking it or not. It takes an aesthetic, simplicity in its presentation yet complexity in its design, and contends with themes that don’t exist anywhere else, combines them, and creates a game that is just a sheer delight to experience. And, perhaps, it is that last word that explains why it features on this list: it’s not just another game and when you are done, it will stay in your mind rather than be forgotten. If that’s not the sign of something worth attempting again in the future, nothing is.

Minecraft

Indie darling, breakout hit and my personal addiction, Minecraft surprised everybody when it became a phenomenon, including the game’s creator Notch who was suddenly a millionaire. But, when you look at what Minecraft provides and the kind of game it delivers, it’s not as surprising as it initially seems.

A true sandbox title, Minecraft’s best asset is you, the player. The reason for that is simple: Minecraft is what you make of it. Much has been said about the game’s creative side, reminding people of Lego due to its blocky worlds and the enjoyment people have had making insane creations such as replicas of various real life constructs, interpretations of fantasy locations and the demonstrations of ingenuity, particularly using Red Stone. Others again have focused on the kind of experience Minecraft delivers, discussing its survival horror elements thanks to the need to find shelter at night to defend (read: hide) from the game’s enemies; its breed of fantasy born out of ‘waking up’ in a strange new land, uncertain of what you may find; and even on the platforming elements that come from climbing the game’s many mountains and caverns. That last one is a bit of a stretch but such is the imagination that Minecraft inspires in people and the dreaming they can’t help but do when it comes to the game’s world, crucial due to the way in which it is procedurally generated and unique to each individual who plays. So far, I’ve focused on my own feelings that I’ve had during the game, and the subtle but effective ways in which it can tell a story, despite not having a predetermined narrative (yet). There’s plenty more I want to talk about in the near future so I won’t go into detail here, but needless to say, Minecraft is on this list because it caters to a variety of play-styles and player desires, puts us in a world that is at once fascinating and entirely our own, and contains an insane amount of complexity hidden behind its simple art direction and accessible mechanics. It’s popular for a reason, amazing for so much more, and is the perfect example of how to captivate an audience and keep them interested through regular additions and, more importantly, through their own, personally defined goals. This is emergent gameplay at its purest and definitely a game other developers, indie or otherwise, should look to as they chase the ever elusive emergent gameplay prize. Amusingly, the game isn’t even finished yet and as we play, we’re all helping to develop it into something that should be even more special. Based on what we have already, the future is incredibly exciting for not just the game, but the impact it will have on the medium as well.

F1 2010

It is pretty obvious by now that I’m absolutely in love with this game, my praise shortly after release coming thick and fast, and the role-playing series that followed demonstrating a desire to not only experiment with my writing and approach to games, but to inhabit the world of Formula 1 and see what comes of it. Whether that series has been successful or not is up to you but as far as the game itself is concerned, it is the best F1 game to come out in a long time and does everything a licensed game should.

F1 2010 is more than just the tracks, the drivers and the cars; it’s about the lifestyle, the spectacle and the celebration of speed, technology and engineering (sound familiar?) as well. It’s about the ability to go as fast as possible around a track, as smoothly as possible and with a skill and finesse that isn’t just tricky to master, but something that can’t be replicated anywhere else. It’s about the highs and lows that come with each race, the drama and the emotion that result from it, and the desire to work harder than before to overcome and ultimately master any issues that may arise, be it from performance, mechanical components of the car, or the constant need to improve one’s driving style. It’s about entertaining the fans whilst satisfying the team, and meeting your own personal expectations, whatever they may be. In other words, it’s about the sport of Formula 1 and as such, it delivers the life and passion of motorsport as well as the brand and culture, culminating in a game that transcends its genre (and thus, competititon), elevates a sport that’s sometimes hidden behind the celebrities and controversy, and puts people on the track instead of behind the (virtual) wheel. The fact it was Codemasters’ first attempt, while impressive, is irrelevant; that it goes above and beyond what it means to utilize a license effectively highlights not only what can be done, but why it should be in the first place.

Which begs the question: when’s F1 2011 coming out…? ;)

Heavy Rain

Something has to be said for a game’s quality if it has the power to whisk someone obsessed with another title -- which we’ll get to in a minute -- away and obtain their full attention through sheer amazement over what was just experienced. Heavy Rain did this for me, and even now, months after release and after a series of posts discussing the game, I’m still not sure I can explain why.

Ever since it was announced and I heard what Quantic Dream were attempting with Heavy Rain, combined with my enthusiasm for their previous game Fahrenheit, I was hooked and couldn’t wait to see what the final product would bring. Despite devouring any morsel of information I could find, the end result still surprised me and, like Alan Wake, I think it is purely because of the story and its characters. Unlike Alan Wake, however, Heavy Rain’s narrative was about as real as you can get in games today, focusing on themes that have never been explored (in a serious way, at least) previously, and centering the entire game around a father’s love for his children, and the lengths he would go to ensure their safety and wellbeing. Its mechanics may be a mixed bag of success and frustration; some of its characters may have not met their potential or were exploited in an unnecessary, silly way; and the eventual outcome and reveal of the Origami Killer may be disappointing -- both because it may have not been who you were expecting or wanted it to be, and because no matter how your personal story pans out, the person is the same -- but Heavy Rain delivered on its promise of a realistic narrative which ensures its position here. Its characters -- like it or not -- get under your skin, and that’s something few other games can achieve. To say Heavy Rain had to happen would be an understatement; to be thankful that it did would be to appreciate what it did manage to achieve, as well as highlight to the industry that this sort of thing -- regardless of how successful or not it happens to be -- needs to be explored further if we’re to truly obtain legitimacy as a creative, artistic medium, if not the dominant one.

BioShock 2

Surprise, surprise, a BioShock game is on the list. Come on though, as if it wouldn’t be -- you are reading a blog whose name was inspired by the franchise.

Personal bias aside, however, BioShock 2 would have made the list anyway because, quite frankly, it was just so damn good. It isn’t easy releasing a sequel to a game that has gone on to become one of the medium’s best, and one that is constantly referred to when discussing important subjects. Not since Grand Theft Auto III have we had a game (and now franchise) that has inspired such reverence and discussion (Portal aside), and as such any follow up would be scrutinized. And BioShock 2 was, copping criticism by people who were strangely (in my opinion at least) sick of Rapture; who didn’t enjoy the gameplay a second time around; and who wanted it to be, perhaps unrealistically, better than the first game. The thing is it was better than the first game, maybe not in terms of the awe and beauty that the original displayed but certainly in terms of refinement of the game’s mechanics and definitely in the way in which it framed the hallowed, empty halls of Rapture in a new light. And it is this last point that is the most important: the new perspective BioShock 2 brought to Rapture didn’t just show us another side of the city, it changed it from being Andrew Ryan’s baby to being everyone’s, through its emphasis on highlighting the people rather than the power. The areas we visited in the first game were created for Rapture’s dignitaries and people of importance, as well as designed to showcase the unique personality and extreme attitudes that Andrew Ryan so incessantly portrayed, further exacerbated by the opposition struggle led by Fontaine. BioShock 2’s version of Rapture, on the other hand, doesn’t just showcase the areas in which the ‘common-folk’ live, it showcases why they’re just as important, if not more so, than the big-shot personalities found in the likes of the Medical Pavilion and Fort Frolic. By doing so, it provides insight into the inner workings of the city as a whole and illuminates the emotion, morals and resolve that its inhabitants have -- whether Ryan or Fontaine recognised it or not. It may have introduced a new power, of sorts, with Sophia Lamb, and the importance of family -- particularly as far as the Little Sisters are concerned -- certainly played an integral role, but it was this new perspective with which to view Rapture that elevated BioShock 2 beyond sequel status and into the history books as a game worthy of attention, perhaps more so than its predecessor.

Throw in the astonishing and incredible downloadable add-on Minerva’s Den, which further defined the city through yet another perspective and demonstrated so easily just how many stories are still yet to be told within those walls deep in the depths of the ocean, and you have a game that doesn’t just improve on what’s come before, but reinvents it and boasts to the world that anything you can do, can be done better. It is this mantra, whether you believe it fits the game or not, that needs to be acknowledged in the wider industry and, with any luck, is one that will become a motivation in the years to come. Best of all, for someone like me? Rapture may be dead as far its production and celebration of the self is concerned, but it has never been more alive when it comes to its potential and what can be discovered amongst its walls. All we have to do is visit it and explore it, the rest will happen naturally.

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So there you have it, my choices for 2010’s best games. Like all of you no doubt, I didn’t get to play everything that I wanted to during the year -- and I’m frustrated with myself for not being able to play games that were particularly high on my anticipation list -- but what I did experience was amazing and certainly suggests to me that gaming hasn’t just evolved, but that it is well on its way to a bigger, brighter and important future. Personally, the ability to inhabit brave new worlds whilst experiencing fascinating stories -- if not creating them ourselves -- was a really strong thing to take away from 2010, as was the celebration of the old, new and the processes in which they are made. Game spaces, stories and new perspectives were all important to me and, I have no doubt, will continue to be as we turn our attention to 2011. Based on the games I'm already chomping on the bit to play, it looks like this year will certainly give the last a run for its money -- no mean feat when you recall just how packed it was, and just what it brought to the table. Don't you just love videogames?

Games Of The Year 2010 #1

I was flicking through an older issue of EDGE recently when it dawned on me that, despite only being just over a year old, 2009’s games feel like a long time ago and in some ways, from a different period. They aren’t, obviously, but I suppose it’s the sheer quantity of games that came out in the past year that leaves the impression that the likes of Left 4 Dead 2, Modern Warfare 2 and Uncharted 2 all came out ages ago. Right from the get go 2010 started with a bang, three games coming out that sought attention instantly -- perhaps due to the satisfaction that there were actually things to play after Christmas, instead of the usual dull period everyone is accustomed to. Bayonetta, Darksiders and Mass Effect 2 all came out in January, opening a year that, seemingly, had big-name titles in every single month that followed. It was an incredibly packed year -- we knew it would be as we approached it in 2009 -- and while a lot of titles were probably a let-down in the end, there’s no denying that the general quality we saw in 2010 didn’t just raise the bar for the medium as a whole, it exhibited a shift in the way games were perceived in general -- a step in the right direction. It gets said every time we see GOTY awards but I think it would be fair to say that 2010 was the best year for videogames yet, due to many reasons, so going forward it will be interesting to see how long it is until the bar is raised again. There seems to be a pattern where every three years or so the standard increases with 2001, 2004 and 2007 being sublime examples. Anyway, despite always hesitating with these things I’m here once again with my own nominations for last year’s best games. Unlike most other outlets however, I decide to go ahead with my picks for Games Of The Year because of two reasons: it highlights the games I’m interested in to you guys, allowing you to get to know me a little better; and it lets me explain why I’d like certain elements of these games to be pursued in the future, for better or for worse. It’s an approach that I find interesting simply because I can revisit my thoughts at any time and see if other developers have taken on board some of the great things that were demonstrated in 2010’s games, and it is one that I hope you will enjoy as well. Last year I celebrated Forza 3’s comprehensive dedication to car culture; Uncharted 2’s creation of characters that seemed like friends or companions rather than AI constructs; and Flower’s wonderful, serene combination of emotion, wonder and discovery. This year, I have even more games to look at, starting with the first handful below.

Mass Effect 2

Of all the games I had to pass up on last year -- including titles that were important to me such as Metroid: Other M and Mafia II -- Mass Effect 2 was the one that I deeply regretted. I loved the first game but for some reason forgot just how much, meaning I was interested in the sequel but believed I could ignore it -- a big mistake. I knew ME2 was a quality game due to the critical and commercial acclaim it received, but I still felt comfortable casting it aside until hype started to surround the release of the PS3 version. I played the game’s demo and was instantly reminded of a world that is exactly my kind of thing: a game set in space featuring cool planets, aliens and science fiction. Suddenly, I had Mass Effect fever and since I did actually own the game thanks to a friend who purchased it on my behalf, I immediately requested that he send it to me so I could finally play it. I wasn’t disappointed.

Where the original Mass Effect introduced us to the universe of this new and wonderful franchise, allowing us to learn about its species, planets, politics and personality, Mass Effect 2 allowed us to finally inhabit it. This distinction is small in comparison to the refinement and iteration the game received -- particularly in its mechanics -- but is still crucial in explaining why Mass Effect 2 is so damn compelling. By letting us exist within the universe rather than merely see and hear it, the game does what so many other recent titles have done so well: take us to places we can’t physically visit in reality. When you boil it down the world of BioWare’s space opera is nothing but an illusion -- just as every other game is -- and its characters, locations and general fiction don’t exist, but when you play Mass Effect 2 you truly feel like you’re traversing the galaxy, interacting with these still new and foreign -- but now wonderfully familiar -- species and ultimately learning about a universe that is not only worlds apart (literally) from Earth, but is characterized by a scope and scale that humanity’s home planet just cannot compare to. In the end it may just be a game, but the way in which it puts us in a setting that we’ve only seen and heard of before makes it one of 2010’s best, if not one of the best ever. Incidentally, I'll have more in depth coverage of BioWare's two games in the near future.

Red Dead Redemption

This belongs on the list for so many reasons that have already been discussed elsewhere and, of all the games to have come out in the past year, is easily the one that stands out the most. However, despite its amazing quality it didn’t make as much of an impact on me as I was perhaps expecting and as such, it doesn’t compare to some of the other games you’ll find in my choices. My overall impression of the game could be hindered by the way in which I always feel like I am fighting to enjoy it -- mostly due to outside elements such as a massive spoiler which turned me off the game for a while and my inexperience with the Western genre -- but, whatever the cause, it’s worth mentioning here.

Having said that, I have thoroughly enjoyed Rockstar’s latest and still find surprising new things each time I play, so it’s definitely deserving of a nod here as well as the adoration and respect it’s receiving elsewhere. Red Dead Redemption, I think it would be fair to say, blew everyone away in terms of how effectively it translated a common genre from another medium into our very own, its production values and ability to capture the Western feel being unparalleled in the industry. If anyone was going to achieve such a feat though it was going to be Rockstar, so while its extreme quality was a surprise, the achievement is not. What is a surprise is just how real it all feels while playing. Like Mass Effect 2 the best thing about RDR for me is its ability to not just show us a Western game, but to put us in one and allow us to experience what that is actually like. We’re not observing as John Marston hunts, rides into the sunset or pursues Bill Williamson, we are doing those things and, no doubt, having an absolute blast along the way. We’re not being shown the likes of Armadillo, Blackwater or Mexico, we are visiting those places ourselves, existing within those spaces just as much as -- if not more so -- than the people who actually live there. It’s a distinction that, once again, not only separates RDR from everything else but elevates it to a level that few games can match and is my main reason, I believe, for loving the game as much as I do. I appreciate the things attempted with the narrative (well, what I’ve experienced of it so far anyway) and the advances and refinement demonstrated by the mechanics, but it is Red Dead Redemption’s space and my ability to exist inside it that makes the game one of the best to have come out of last year.

Gran Turismo 5

I find it slightly amusing that now Polyphony Digital’s latest is finally out, everyone has forgotten just how long it took to come. For so long -- years even -- people whined that Gran Turismo 5 was taking too long and jokingly stated that it would be the racing genre’s very own Duke Nukem Forever (and, on that note, look how that turned out…) but now that it is here no one cares and the game has, mostly, been put behind in favour of others. This could be down to the general disappointment that Gran Turismo 5 became, being nothing more than a refined, high definition version of what has come before, or it could be as a result of the always looking forward mentality that gamers and the industry so easily portray, but whatever the reason it’s as amusing as it is ironic and interesting to observe. Personally and not surprisingly given who I am, Gran Turismo 5 hasn’t been forgotten and in fact is a game constantly on my mind despite having not played it in a while. Its release brings about so many intriguing things to consider, not least of which is its dedication to the passion for and celebration of the automotive industry.

More than anything else, Gran Turismo has always been about the cars: the speed, the technology, the thrill, and the engineering. This is evident in Gran Turismo 5, too, right from the opening clip. You can have your racing and celebrity drivers; in Gran Turismo, the cars take center stage and nothing else. Whether it’s a small, slow and agile car like the Mazda MX-5 or a supercar like the Pagani Zonda, each car has the chance to shine in Gran Turismo and each car is worth a drive. The original game brought with it the moniker of ‘The Real Driving Simulator’, a phrase that implied that no other game gave you a realistic simulation of what it was like to drive these cars, fast, around the various circuits. With Gran Turismo 5, that definition changes and instead represents what it means to simply drive: nothing more, nothing less. Sure, the driving is still done on the track and the game is still structured the same as it ever was, but after GT’s competition stepped up and, in some instances, overtook the successes of Polyphony’s famous franchise, the ethos changed and, upon doing so, changed the series -- a move that was necessary, and one that separates the game from anything else. It may go unnoticed when the game’s graphics, quantity of cars and tracks, and new additions such as NASCAR, WRC and weather effects take up all the attention, but the difference is there, subtly, and defines Gran Turismo 5 as a shift in the franchise. Whether this change proves to be successful remains to be seen, but it is this passion and celebration of cars that puts Gran Turismo 5 on my list, and makes me excited to not only revel in such adulation in the months to come, but excited for what the next installment will bring too.

Alan Wake

When I previewed this game, I made sure to be clear on just how important its emphasis on telling a good, mature story was to me. Now that I’ve played it and can reflect on my thoughts, I’m delighted to see that it delivered on my expectations.

Alan Wake was a disappointment to a lot of people. Its long and arduous development period, combined with exaggerated hype, ensured that people wanted more from the game than it was probably capable of delivering, ending up in a fair bit of criticism as it fell short. That’s not to say Alan Wake is a bad game -- far from it in fact -- it’s just, people expected one thing and ultimately got another, and this left a lot of people feeling unsatisfied. From its somewhat strange collectibles to the linear level design -- a direct conflict to the open-ended structure it was originally revealed to have -- what we got with Alan Wake wasn’t what we thought it would be, and yet, somehow, it was at the same time. Right from the start Alan Wake promised to tell a decent, mature story, featuring characters that we could relate to and a setting that was both awe-inspiring and natural. The final product delivered on all these fronts, telling a tale that while not new in other mediums was certainly new territory for games; using characters who, despite the supernatural elements of the game, were grounded in reality; and gave us a small, quaint town in Bright Falls in which we could inhabit, get to know the locals and, in my case, ultimately fall in love with. On this last point, the game dropped the ball a little by focusing so much on the light/dark mechanic, setting most of the game at night and ensuring that I couldn’t fully enjoy the beauty of Bright Falls, but this point is minor and I still came away satisfied with my visit. Even more enjoyable was the story, its realism -- even if inaccurate in terms of its depiction of a writer -- resonating with me where so many other games fail. Instead of flair and spectacle, Alan Wake had a sense of elegance and poignancy to it, something that was enhanced by the subdued nature of its tale of a couple trying to get away from their everyday life for a break, and by the laidback, happy attitudes of Bright Falls’ residents. Sure it has a strong element of supernatural, perhaps horrifying spectacle, but despite its prominence in the overall story -- particularly in the later stages of the adventure -- it can be overlooked when considering the realities demonstrated in the game, and what they mean for games going forward. It wasn’t the best story in gaming and the ways in which it was told were inconsistent, but the fact that it was telling a story in the first place makes it a game that I didn’t just enjoy, but one I hope is considered in the future as more and more developers shift their focus away from the bombast and flamboyance, and towards the potential of interactive storytelling.

Donkey Kong Country Returns

How do you take a series of games that, while fondly remembered, hasn’t been relevant for well over a decade and whose genre has moved on in a multitude of ways since? Donkey Kong Country Returns is how, and Retro’s latest game is a demonstration of how to take a quality product of years ago and give it the modern sensibilities necessary to make it successful today.

The Donkey Kong Country trilogy was an amazing series of platformers that gave Mario a run for his money more often than not, if not in design than certainly in personality. They took a character that, while well-known, didn’t have the popularity the Italian plumber did, changed his perception from antagonist to lovable brute, and set him forth on adventures of bananas, evil crocodiles and the constant need to spell his (last) name. What followed was a fanbase and, as the years progressed nostalgia, leaving anyone who tried to revive the franchise with a lofty reputation to live up to. If you were going to choose anyone to give it a try it would be Retro Studios and, fast forward to the game’s release, you have a product that doesn’t just allow people to indulge in the familiarity of a series that they hold dear, but one that brings it to the modern era and establishes it amongst its more recent peers. And it is that word, modern, that summarises everything that’s good about Donkey Kong Country Returns: you’re still playing on a mostly 2D plane, going from left to right, collecting bananas and coins and jumping on the heads of your foes, but you’re doing it with better graphics and sound, and with level design that has had years of refinement and experimentation, rather than levels that emulate from one source. It’s a reinterpretation of what it means to be a Donkey Kong Country game, whilst still being a Donkey Kong Country game and as such it gave everybody what they wanted: it brought the franchise into the current times and made it relevant again, pleasing Nintendo; it let people relive their childhood whilst also experiencing a new direction for the series, pleasing the fanbase; and put the series -- and thus, Retro’s talent -- on par with its peers of today, pleasing the Texas based studio. It is everything you could want from a reboot and the example of how it should be done should any other developer, and any other franchise, decide to attempt a similar thing in the future.

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So, the possibility to visit places that we can’t in reality, a loving nod to and respect for all things automotive, and a demonstration of how to make something from the past important in the present (and, I hope, the future). An interesting, if eclectic, mix of games then, all worth playing and worth considering. You may have noted that I have been fairly quiet about these titles despite expressing my love for them. This will change in the near future as I have a lot to say on each of them, and will be posting those thoughts up as soon as I can.

Stay tuned for part two tomorrow.

Games Of The Year 2009: Uncharted 2: Among Thieves

Not too long into the first act of Uncharted 2: Among Thieves, Nathan and Chloe bump into a familiar face in the form of Elena Fisher from the first game. In the introductory moments between Chloe and Elena, Elena makes the remark that she is "last year's model" -- while intended to be humourous, the remark sums up precisely how Elena feels about seeing a new woman alongside Nathan Drake, as well as her thoughts on the abnormal situation they all find themselves in. Furthermore, it also sums up the entire game by demonstrating the subtle nuances that make up the game's brilliantly written dialogue, and the characterisation that occurs for each of the characters in Uncharted 2: Among Thieves.

Put simply, the characters matter in this game. Despite the sometimes insane situations they find themselves in, each event, moment and conversation these characters have contributes to the overall experience. You're not just here to observe their story and be an audience to it, you're here to join them as the insane situations are dealt with on the fly, improvisations are made and unbelievable outcomes occur. They aren't your typical videogame characters, they are your friends. The end result is an adventure you care about, and a gaming experience that you do not want to end and certainly will not forget. Add on top of that the iterative and remarkable improvements upon an already strong introduction to the series, and you have a game that is truly one of the best of 2009, if not the decade or all time. Last year's model indeed.
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That wraps up my little Games Of The Year series. In hindsight, I didn't play enough of the year's games to gain a proper idea of the year's best, but even so, by doing this series I was able to think about the games that impacted upon me the most, as well as show you which games I'd like developers to aspire to in the future. There were of course some other games I enjoyed in 2009, such as Race Pro and Grand Theft Auto: Chinatown Wars, but mostly the year was about playing the onslaught of titles I purchased in 2008, and catching up with other games I may have missed. With games like Batman: Arkham Asylum, Dragon Age: Origins, inFamous and Demon's Souls out there, it looks like this year will be similar. Considering the incredible amount of potentially awesome games coming this year, I'm actually content with the idea of looking backwards instead of forwards. It might prevent me from participating in the conversations these games will no doubt inspire, but I'll certainly appreciate not being so overwhelmed by it all as well. Onwards and upwards.

Games Of The Year 2009: Flower

Communication is an interesting component of the human condition. Not only does it allow us to converse in our day-to-day environment, it also defines our interactions and our understanding of them.

Flower communicated with me. It spoke with me on a level that I'm unlikely ever going to be able to articulate, but what I do know is that it goes beyond the mere mechanics that make up the game; beyond the intentionally evocative experience it provides; and beyond the sheer joy and awe as I experiment, explore and discover within its suitably small yet entirely effective spaces.

It was a game unlike anything else I have played before and one I suspect I won't see replicated in the future. It was truly unique, and while some were skeptical about the developers' intentions -- thatgamecompany constantly discussed pre and post-release about how they were trying to instill emotions in the players that they were unlikely to find in other games -- the end result, for me, was a game that demonstrated crystal clear just why I play videogames, why I will continue to play them, and why I am blessed to be able to see the medium meet its potential as it continues to expand, evolve and establish itself alongside the other entertainment mediums we all know and love. The fact it achieved all that, and much much more, through simplicity and a theme that almost everyone would understand immediately, is just the icing on the already amazing cake. Pure, epic, natural, fun.

Games Of The Year 2009: Assassin's Creed II

Above: How not to play Catch-And-Kiss.

I almost didn't include Assassin's Creed II in my list this year by virtue of the fact that I have only just finished it and that I was still in the process of writing about it, but there's no denying that it doesn't deserve a nod.

Assassin's Creed II is a game rife with quality, with every aspect of it created with the overall experience in mind: The story of Ezio is fleshed out more cohesively than that of Altair's, making his desires for revenge more interesting and compelling; the fluidity of movement is more refined, allowing subtle yet effective maneuvers throughout the streets and rooftops that make up the game's cities; secondary quests and collectibles are tied into the main narrative, making them more fun to do or find, and less like a chore as a direct result of blatant attempts to extend gameplay; and the sense of place -- be it where you are within it, or the awe that stems from the beauty of the Italian Renaissance setting -- is a lot more fun to just be in, the discoveries leading to unexpected and fulfilling rewards.

To put it simply it's hard to fault, making it a remarkable improvement on the original, but the praise stops there because, while it's impressive, it's also exactly what the first game should have been. I liked the original Assassin's Creed, loved it even, but it did have its flaws. Assassin's Creed II fixes them, shows how enjoyable and fun the franchise can be, and not much more. As it stands, that's a good thing, but it's not the ideal thing. If it took Ubisoft two games to get their formula right, then let's hope it only takes one more to completely blow us away; to meet the incredible potential the franchise has; and to elevate the repution of the Assassin's Creed name to the level that the likes of Grand Theft Auto, World Of Warcraft, BioShock and Metal Gear Solid all share -- the absolute cream of the crop. That's what I would like to see. That is what I believe would be ideal.

Games Of The Year 2009: Trials HD

2009 was quite the year for games on downloadable services. Whether your platform of choice was the consoles or the PC, there were definitely some games worth playing, worth thinking about and worth discussing. As far as console titles are concerned, the two big ones were probably Shadow Complex and Flower -- both of which did some interesting things in the digital distribution space and gave way to some fascinating discussion -- but for my money there was another title that was as good, if not better, than those two.

Trials HD may have originated from the indie development scene on the PC, causing some people to scoff at the positive reception the Xbox Live Arcade release was receiving, but regardless of that there is no denying that the game was exactly the kind of thing digital distribution is perfect for, and I am definitely glad that I got the chance to play it. The best thing about Trials HD is definitely its accessibility: here is a game that is extremely easy because it uses just three buttons -- one for acceleration, braking and controlling the rider's balance -- allowing the physics to take care of the rest. Anyone can play this game and enjoy it instantly, its experience similar to dirt-biking or performing stunts on two wheels but distilled to its most basic level. The beauty lies in the progression of the game's levels: the initial levels being easy affairs that demonstrate precisely why the game is fun while the harder levels contain puzzles that are absolutely mind-boggling, making failure a common occurrence and ensuring that you will be retrying over and over again. Despite the repetition the game is never frustrating, the player usually at fault for any mistakes, making way for that elusive "just one more go" mentality that a lot of games strive for but unfortunately don't successfully manage. All in all, it is a game that joins the likes of Geometry Wars and Peggle as one that I play randomly but consistently, and besides, like it isn't cool being able to double-flip off a massive jump and crash into an explosive barrel.

Games Of The Year 2009: Forza Motorsport 3

[My apologies for the slight delay with this one. An unexpected interstate trip meant I had little time to get online. Thank you for your patience.]

I suppose it's no surprise for anyone who has been reading this blog for a while to see this game as one of my choices. In the short time that I have been blogging about videogames, I have intentionally tried to establish myself as someone willing to give the racing genre a more critical eye. For whatever reason, the genre doesn't garner the amount of attention or discussion that others do, despite the fact that it is one of the more prolific (in terms of releases) genres out there and generally one that people play for fun when they have a break from the next big FPS, RPG or blockbuster title. It's like the sports genre -- no surprise considering that, depending on which game you're talking about, racing is a sport -- in that, a huge amount of people play these games but rarely do they ever speak about them. It's a little puzzling to me as I've discussed here before -- Surely these games are just as ripe for discussion and analysis as your BioShocks and Fallouts? Apparently not... so far at least.

Anyway, Forza Motorsport 3 is quite simply the best installment in the franchise yet, iterating on everything the previous two games did whilst adding enough new features to not only justify the sequel, but open it up to more players as well. The biggest selling point for the game is how accessible it is now: despite being a simulation racing game at its heart, there's enough driving aids, options and mechanics (such as the rewind feature) to allow players of any skill level to enjoy Forza Motorsport 3. Such additions might be irrelevant to people like me, hardcore racing enthusiasts who eat these types of games for breakfast, but in terms of mass appeal they're worthy additions and as such, are notable inclusions to the formula. Some new and welcome tracks, the obligatory graphical upgrade, refinement of the game's already superb handling physics system and a fostering of a passion for car culture through its online community, tuning and painting options are just added bonuses for a game and franchise that has established itself as one of the best simulation experiences available on consoles. Whether it's the definitive racer -- the description overused throughout the pre-release hyperbole -- on consoles is up to you, but it certainly is the most comprehensive one. Car enthusiasts the world over can't wish for much more than that.

I'll have much more detailed thoughts and discussion on Forza Motorsport 3 soon.

2009's Best

Every year a multitude of publications post their Games Of The Year. In 2009, a lot of them are also reflecting back on the decade that was, reminding us what has come out within that time frame and demonstrating, even if unintentionally, just how far videogames as a medium have come. Ten years ago, the phenomenon that is Guitar Hero and Rock Band didn't exist; Nintendo's Wii and its dominance was unthinkable, as the company was the joke of the industry -- to some people at least -- thanks to the GameCube's clear and unfortunate last place in the console wars; Big name franchises such as Grand Theft Auto, Halo and Call Of Duty didn't exist, or were nowhere near as popular as they are today; and a little something called World Of Warcraft was nowhere to be seen.

Reading these nominations, reflections and opinions of a year and decade gone by has been amusing, while choosing my own games has been a struggle. Basically, I always thought the process was pointless -- the choices were always going to be subjective for one, and for two, no one's going to remember once the new year's games distract us with their flashy graphics, fancy mechanics and general splendor -- and beyond that, I could never choose anyway. Last year I thoroughly enjoyed the likes of Fallout 3, Burnout Paradise and Grand Theft Auto IV -- among others -- while in 2007 it was BioShock, Forza 2, Portal and The Darkness; How, just how, can one choose a favourite title amongst that lot? I always figured the answer was simple: one can't.

This year has been a relatively similar process, but then I started to think about it some more. I realised that my point of view has always been that of a gamer or consumer: someone who devours the games that pique the interest, enjoys them for what they are and then moves on, forgetting their relevance to the overall medium as soon as the next big thing becomes available. Meanwhile, the past two years, but particularly 2009, has seen my perspective evolve from just your average gamer to one who thinks about the medium: someone who contemplates the meanings of the games they play, who enjoys reading and discussing videogames in any manner you can think of and, obviously, someone who enjoys writing about them too. This blog wouldn't exist without this newer perspective of mine, but it does and now that I've established my little corner of the blogosphere, I thought it was time to change my previous way of doing things and offer my own games of the year. In doing so, I can reflect on the year that was, but more importantly, I can also offer a little insight for my readers by showing them the games I thought were relevant, important or interesting in 2009.

So, starting tomorrow, I will be posting the games that I believe were the year's best, and that I hope future games in development aspire to.