Tag: game of the year

1800: Pondering Some Games of the Year

It’s getting to that time of year where it’s time for everyone to start considering their own personal “Games of the Year”, as if someone declaring something their Game of the Year is in any way meaningful or impactful on the experiences of others. Regardless, many of us still do it, if only as a means of celebrating the experiences we’ve found the most memorable over the course of the last twelve months.

This year I don’t really have a single Game of the Year as such, but there are a number of titles I feel are worth making specific mention of. So I’m going to mention them right now.

Steins;Gate

Previously, I knew Steins;Gate was a well-respected visual novel and anime series, but little else about it. When visual novel specialist JAST USA picked it up for localisation and publishing, however, I knew that I should probably to play it, if only to know what it was all about.

I wasn’t disappointed.

Spinning an interesting, exciting but plausible sci-fi tale, Steins;Gate is an unconventional time-travel/parallel dimensions story featuring an extremely memorable cast of characters, a very well-realised setting (Akihabara and the surrounding area in Tokyo) and a compelling story that, although lengthy, certainly didn’t outstay its welcome.

Steins;Gate will likely prove frustrating to some due to its pure visual novel nature, and the fact that the choices you make throughout are handled in a somewhat odd manner by interacting with the protagonist’s phone. If you treat it as a multi-path story rather than a “game” as such, however, you’re in for an absolute treat: it’s one of the most exciting, thrilling and thought-provoking sci-fi stories I’ve had the pleasure of experiencing for quite some time.

To say too much more would be spoileriffic, but suffice it to say that Steins;Gate blends fantasy and (obviously well-researched) reality together to create a very coherent, solid whole that is eminently worth your time.

Final Fantasy XIV: A Realm Reborn

This one doesn’t really count as it came out last year, though I have been continually playing it since last summer, which is noteworthy in itself. Moreover, it’s seen four major content patches since its original release, expanding the content on offer to players to nearly twice as much what was in there at launch. Pretty impressive stuff.

The reason why I’m still enamoured with Final Fantasy XIV is the promise for the future. The next major patch promises to wrap up the 2.0 storyline with some sort of Exciting Happenings, then after that it’s into the expansion Heavensward (teased above), which promises all manner of new things going on — most noteworthy among them being whole new zones to explore, because although Final Fantasy XIV’s patches have greatly expanded the number of dungeons and boss fights available for players to take on, the game’s rather small world (by MMO standards, anyway — it’s still pretty sprawling if you go around on foot) has remained the same size throughout, with only the town of Revenant’s Toll in the Mor Dhona region undergoing noticeably significant renovations over time.

It’s been interesting to play a game such as this at high level for such a long period of time. I feel I know the game very well by now, but there are still things I am learning, and the most challenging stuff in the game — we’re currently working through the raid dungeon The Second Coil of Bahamut — is still genuinely challenging, even with high-level gear and a party of players that knows the encounter at least reasonably well. I’m looking forward to seeing what the future holds for Eorzea and its surrounding lands.

Hyperdimension Neptunia Re;Birth1

Regular readers will know all about my love for the Hyperdimension Neptunia series, despite its numerous flaws. Re;Birth1 is, to date, the best game in the series, bringing in the solid gameplay of Hyperdimension Neptunia Victory and coupling it with a retelling of the first game’s story.

Neptunia’s core appeal for me is twofold: firstly, it’s simply fun to play. The battle system is hugely enjoyable — if occasionally unbalanced — and it’s that rare thing: an RPG where it’s a pleasure to grind.

The second core appeal element is to do with its cast of characters, all of whom I absolutely adore. Neptune’s hyperactive, childish nature is wonderfully contrasted with the tsundere personality of Noire, the quiet-but-occasionally-prone-to-rage Blanc, the “older sister” Vert and the other supporting characters, and the story, while silly fluff for the most part, is told in such a charming manner — featuring frequent fourth-wall breaking to bring the player into the experience alongside these cute girls — that it’s difficult not to sit there with a huge smile on your face while playing through it.

I’m reliably informed that Re;Birth2 and Re;Birth3 are even better, so I can’t wait to try them for myself: Re;Birth2 is coming West very soon indeed, and Re;Birth3 hit Japan recently, so we can expect it over here sometime soon-ish, hopefully!

Senran Kagura

I first encountered the Senran Kagura series early this year, and I’m absolutely hooked. Burst brought me an updated version of a game genre I’ve always been fond of — the 2D side-scrolling Streets of Rage-style brawler — and combined it with cute anime girls and a surprisingly strong story. Subsequent installment Senran Kagura Shinovi Versus — which also made it out this year — brought the gameplay into 3D fully intact, from what I can tell so far, and has cemented my love of the series. And as for Bon Appetit… well. All I can say is “L-lewd!”

The core appeal of Senran Kagura for me is not the fact that its cast is exclusively attractive women with massive knockers — although I’m certainly not complaining about this. (Aside: I actually rather like the fact that Senran Kagura’s cast is, on the whole, somewhat on the more “curvy” side than many other video game and anime characters — and not just in the boob area.) Rather, it’s about the fact that these characters are actually all very well-defined personalities, and the game explores them in great depth over the course of its unfolding narrative.

Knowing nothing about the game before playing it, I was very surprised to discover numerous levels opening not with short cutscenes then getting straight into the action, but with half-hour-plus visual novel sequences narrated from the perspectives of various different characters. By presenting the story in this manner, the player gets a uniquely personal perspective on the unfolding events as well as the opportunity to “hear” what they’re thinking as well as saying. Normally in visual novels, we only get to hear the innermost thoughts of the protagonist character — normally, though not always, intended to be a self-insert for the player and consequently deliberately rather bland. Here, conversely, we’re not playing “as” the girls; we’re getting the opportunity to learn about them by effectively riding along inside their head as they come to terms with growing up as young shinobi, often on different sides to their friends.

My experiences with the three Senran Kagura games I’ve had the pleasure of playing to date means that this series is now right up there with Hyperdimension Neptunia in terms of games I’ll happily rush out and buy without a second thought the moment they’re released. Not bad for a game best known for T&A.

—

These are just a few of the games I’ve had the pleasure of playing this year. They’re mostly games I played recently, I’m aware, so over the next couple of days I’m going to rack my brains a bit and think about some of the other games I’ve played that are particularly noteworthy, and share the joy with you lot a little bit.

That and frantically wrapping presents. It’s nearly Christmas, after all.

1428: …Of the Year

2013 is coming to a close, and with it, most people’s thoughts turn to the “best [x] of the year”. Gamers this year have a double-dip in the form of also being able to indulge in some “best of the generation” talk, even despite the fact that the PS3/360 generation is clearly far from over. (That said, I anticipate a quick death for the 360; the PS3, which is where all the Japanese developers are, is likely to cling on for a lot longer due to Japanese devs’ propensity to continue with old tech rather than immediately embrace the latest and greatest.)

Looking back on the year, it’s hard to pick out exactly what, if anything, was my absolute favouritest gaming experience I’ve had. Thinking about it, I have fond memories of pretty much everything I’ve played.

My feelings on Hyperdimension Neptunia Victory are well documented, for example, but I also had a lot of fun with Time and Eternity and Tales of Xillia. Final Fantasy XIV also proved to be an immensely pleasant surprise — and with a significant new content update coming tomorrow, I’m looking forward to seeing how that game’s going to continue developing over the coming year.

Then there’s smaller experiences that I’ve had, not all of which actually came out this year. Sweet Fuse, which I’m yet to clear all the paths on, was a particular highlight, as was Corpse Party: Book of Shadows, though the latter was left frustratingly unresolved with no word on if or when we’ll get an English version of the sequel. 999, too, was absolutely fantastic, and I’m currently really enjoying its sequel Virtue’s Last Reward, which is shaping up to be a real mind-bender.

And then there’s last minute entries like Bravely Default, which is looking rather marvellous so far. Really looking forward to spending lots of time with that — I’m going to be reviewing it for USgamer in February, but since the game came out over here in Europe well before the North American version, I have the rare opportunity to get a significant head start and play it well ahead of having to review it, rather than being obliged to rush through.

One thing I’ve been particularly conscious of this year, though, is that a great game is always a great game, regardless of how long ago it came out. There’s an immensely frustrating, irritating trend in today’s games industry to brand something a “success” or “failure” on nothing but its opening week — but taking just me as an example, I think there are maybe one or two things in the whole year that I’ve bought in launch week, the rest of which I’ve purchased down the road when they’re either significantly discounted, or when I know I’ve got time to play them. Does me buying a game well after release not “count” or something? Apparently not, at least in the eyes of the “analysts”. Grr. Fuck analysts.

Anyway, I’m getting a bit distracted by Andie having a video call on her phone in the other room — there’s no way of doing those quietly. As such, I’m going to sign off for now, and stick my head into a good video game for the remainder of the evening, I think.