More Pontificating on Games, now with 200% More Lists
Hello to all my new LJ friends! Normally I do reviews a lot, but not right now-- at least not until Bioshock 2 and Dante's Inferno come out XD
It's not a big secret that I love games and I've really wanted to go into detail about the games that have shaped my perspective as a gamer and amateur reviewer, so what better time to do that then my 23rd birthday...I... guess?
Oh fuck it-- anyway, while I normally do Top Ten lists, but since there were a lot that I love for different reasons that I didn't want to forget, I decided to expand it into a Top Twenty list so for all of you who wanted to know but were afraid to ask (or more likely, don't give a fuck and are already hitting the Back button), here's the first half of my favorite games ever.
#20-- Dead Space (PS3, Xbox 360)
Yes, it's not very original, if at all-- basically just a playable "Event Horizon" meets "Alien" with Resident Evil 4 gameplay, but once you accept this Dead Space actually has quite a bit to offer. While the RE4 comparison is often the first thing to come up, upon looking closer, the adventures of Isaac Clarke aboard the infested Ishimura has very little in common with survival horror; health is dispersed just enough to make you nervous but rarely a real issue, the controls are tight and accurate, and ammo/weapons are common enough that filling up your inventory is a bigger concern than your next encounter.
In some ways, Dead Space is closer to the 3rd-Person Shooter we all thought Metroid Prime was going to be at first, drenched in detailed (if quite gruesome) art direction and oppressive atmosphere. And while there is a representation of standard-issue firearms available, you won't even bother with it unless you're incredibly boring (who wants a rifle when you can cut up monsters with a sawblade launcher or a blowtorch?), not that it'll do you much good against creatures who can't be put down by pumping a few bullets in them as opposed to careful and strategic...um, 'strategic dismemberment.'
Speaking of monsters, the 'necromorphs' of Dead Space are a real sight to behold, and while the cheap horrorhouse scares don't hold much effect on multiple playthroughs some of these horribly perverted pseudo-human forms never cease to be unnerving. And for treading such old ground, the story manages to be told well enough that it sucks you in and keeps you eager to see things through to the conclusion. Dead Space isn't the most original game in the world, but the things it does well it does IMPRESSIVELY well.
#19-- Psychonauts (PC, PS2, Xbox)
A brilliant game that did poorly due to both being something different and coming out during a point when it got buried under flashier, bigger-name titles, Psychonauts is often cited as the poster child for Underappreciated Games of The Modern Generation, which often get lost in the shuffle only to resurface years later to moderate success. Better late than never, I suppose.
Being a Tim Shafer game, the actual gameplay on display in Psychonauts is a bit average, but what makes it special is its imaginative art direction, great characters and... well, it's really funny. And when I say that I mean as in it's actually WELL-WRITTEN, with clever set-ups and asides and a dry delivery that works incredibly well given its fantastical imagery and nature. And it takes advantage of its slick conceit (the titular Psychonauts enter people's minds and fight off inner demons to solve crimes and restore mental health... by force) to deliver some truly striking environments-- you'll go everywhere from a haunted opera house to a topsy-turvy cross between Norman Rockwellville and the X-Files, a living black-velvet painting and a totally f**ked up circus (even by the standards of... well, actual circuses). While the action-platformer aspect doesn't hold up any more today than it did in 2005, there's easily enough cleverness, wit and charm here that odds are you won't even care.
#18-- Infamous (PS3)
Definitely another new kid on the block, but hey, some games are just that impressive.
Sure, the Spider-Man games tried the whole superhero-sandbox thing first, but Infamous is one of the few to pull it off WITHOUT the help of an established franchise's name-grabbing attention, and to do it so well. I've talked before about what makes Infamous special so I'm just going to run over it here-- basically what makes it stand out is the way the character and the world (or city, whatever) are tied together. Spidey has New York, Batman has Gotham, and bizarre crossovers aside one without the other just feels wrong somewhat. And that's what Cole has with Empire City-- even ravaged by a devastating attack, it's still a lively, organic place and your lightning-based powers fit into the ecology of the world naturally. Want to get around fast? Ride the power lines, electricity crackling in your wake. The ability to negate impact via shock absorbtion liberates you to climb as high as you want without fear of a misstep. And when you need to recharge your powers, just find the nearest electrical box/car motor/lightpole/pretty much anything in real life that uses electricity and sap it dry.
What you get is a superhero who feels like a natural part of the world he's in, and despite a somewhat-but-not-overwhelmingly dark tone, someone who feels like he got ripped straight from the pages of Golden Age comic books. Whether you play it as a true hero or join the dark side, there are few games that get this kind of thing right and Infamous is definitely one of them.
#17-- Prince of Persia (PS3, Xbox 360)
A story can have astounding special effects and epic battles and astounding art direction all it wants, but unless you care about the characters it's pretty much all for naught. And while Prince of Persia doesn't have mind-blowing gameplay or a particularly unique story, it does have one of the best couples in video game history. Yeah, you heard me.
You rarely get to see a relationship unfold naturally in games, and that's exactly what The Prince and Elika have-- believable, natural chemistry. Oh things start out predictably enough-- barely-masked hostility, sarcasm and so forth... but as you progress through the game, little cues start to pop in from tone in conversations to body language and even easy-to-miss one-liners that make it clear these to care about each other. Not by BIG ELABORATE signs of affection but by taking its time, and that alone is enough to warrant a reccomendation.
Of course, as an actual game PoP holds up quite well too-- its simple mechanics for platforming/combat drew a great deal of criticism from fans of the previous games, but I'd argue that getting to parkour across precarious ledges like some kind of graceful chimpanzee in scarves here is less about precision platforming and more about a fun, natural way to get around. And while a definite shift from the clusterfuck combat of the Sands of Time trilogy, the duel format feels more unique and intimate, which really is the best way to sum up this particular game as a whole. For all its epic fantasy touches, it's isolated in a very comfortable sort of way.
Oh, and it's really pretty. Seriously, this is probably one of the few games to utilize the cel-shading look well in part because it doesn't skimp on details-- it simply helps to add more vibrance and life, making it feel less like you're playing a game as manipulating an interactive, lavishly-painted storybook.
#16-- Metroid Fusion (Game Boy Advance)
While classics like Metroid Prime and Super Metroid do indeed hold a special place in my heart, out of all the adventures of bounty hunter Samus Aran (though really isn't she more a highly-particular soldier of fortune?) this one for the Game Boy Advance is probably my overall favorite in part because of the very reason it was shunned by so many of the series' devoted fans-- the sacrifice of the 'go anywhere whenever' flexibility in exchange for a solid narrative that, while fairly basic, endears itself to me the most because it's one of the few instances in which we see Samus AS AN ACTUAL CHARACTER.
Sure it's pretty much all regulated to text since this was the GBA and voicework for something like that would've been nearly impossible, but in "Fusion" we get to see more of Samus reacting to events instead of JUST shooting shit, along with an actual conveyance of her sense of justice and even a few moments of relatability. The storytelling here works well enough and honestly the free-range feel of the other Metroids is fairly exchanged for gameplay with some welcome tweaks (THANK GOD for being able to shoot while climbing) and some tense moments thanks to a powerful Samus clone that-- like Nemesis from RE3-- will often show up without much warning thusly prompting you to either hide or run your ass off before getting turned into space giblets... at least, at FIRST.
While not as unrestricted as other games of its namesake, Metroid Fusion offers rich atmosphere, beautiful 2D sprites, and a very human glimpse of everyone's favorite bounty hunter... and all on a handheld. Huh.
#15-- Batman: Arkham Asylum (PC, PS3, Xbox 360)
Arkham Asylum has the paradox of being both good enough to stand on its own merits AND wouldn't have come together nearly quite as well without being able to draw from the rich Batman mythology. Setting out on the daunting task of making you feel like the Caped Crusader and pulling it off with style, Rocksteady's made the hands-down best single player game of the year, bringing Gotham City's infamous insane asylum to life with topnotch art direction somewhere between Mazzucelli, Miller and the Animated Series and packing it with secrets to find and anonymous goons to beat up with a variety of fun gadgets and a beautifully-animated fighting system. And with some standout voice-acting (by B:TAS veterans Kevin Conroy and Mark Hamill especially) sealing the deal, you can't do much better than Batman: Arkham Asylum even if you're not the biggest fan. Like "Dark Knight" did a year ago, Arkham Asylum will make a believer out of you.
#14-- The Legend of Zelda: The Wind Waker (Gamecube)
Regardless of whether the average Zelda fan thinks that Ocarina of Time or Link to the Past or Twilight Princess is the Best Zelda Game Evar, most seem to agree that Wind Waker, Link's first outing on the Gamecube, is the weakest entry in the franchise (with the possible exception of Link's Awakening, and the CD-i things don't count anyway). Which I suppose makes me some kind of weirdo, since Wind Waker is my hands-down favorite Zelda game, even more so than Majora's Mask, in part because the two biggest 'complaints' about it-- the art direction and the sailing-- are integral to what makes it work for me.
From a purely visual perspective I'd argue that there's never been a Zelda game that looks half as beautiful as this one; not only is the cel-shaded cartoon look perfectly in line with the game's tone (yet never detracts from it when shit gets serious) but it simply looks like nothing else out there. The color scheme is rich and vibrant and in some ways the complete defiance of any attempt at 'realism' helps draw you into its fairy-tale universe all the more. And while I enjoyed crossing Hyrule in every other Zelda game, walking around on foot until you were arbitrarily given your horsey back was rather tedious and while the sailing in WW isn't necessarily LESS so, it feels a bit grander when you're cutting a swath across the vast open sea, fighting giant floating squid on the way as the music swells triumphantly and gulls glide alongside your little red boat as opposed to... um... jogging across an open field. Not to mention there's an undeniable sense of discovery when you sail off into uncharted waters and a little speck in the horizon slowly grows into a little island just waiting to have its riches plundered-- to an extent, I have to wonder if this is how classical explorers felt upon reaching the New World, although admittedly they'd have felt something less like glee and more like OH JESUS FINALLY OFF THIS ROTTING WOODEN DISEASE CASKET.
And in any case, the story here is probably one of the most enjoyable in the series, seeing as it actually does some new things instead of just retreading old ground. Not only does Zelda actually spend a significant amount of the game actually doing shit (though she's in disguise or whatever, and as Shiek taught us we all know how that goes after she goes back to Classic Zelda), there's an interesting concept concerning Hyrule's ultimate fate, easily the most epic Ganon duel ever, and Link actually approaches something resembling a character! SERIOUSLY! Oh sure, he's still the mute we all know and get frustrated with love, but the guy ACTUALLY HAS EXPRESSIONS AND A FAMILY FOR ONCE-- i.e. a PERSONAL reason for saving the world! In fact, for the majority of the game he's not in it for some grand higher purpose, he's just there to save his sister! And when you think about it, the story-- about Ganon trying to resurrect Hyrule so he can claim it as king again but the real king of Hyrule sacrificing himself to let it be lost forever and give the new world an actual FUTURE-- is actually a surprisingly thoughtful contemplation on moving away from the past to embrace an uncertain but brighter world... which the fans responded to enthusiastically by bitching about how it wasn't super-realistic and dark like ZELDA SHOULD BE and ultimately lead to Twilight Princess basically just being Ocarina of Time again but with a more interesting support character! ...Gee, thanks guys!
Well okay, Twilight Princess isn't BAD of course and Nintendo obviously loved the Wakerverse enough to continue it via the two DS games, so it's not a total loss. But as it is no other Zelda game quite clicked with me the same way as Wind Waker did, and it's not likely another one will.
#13-- Portal (PC, Xbox 360, PS3 as part of The Orange Box, which is also pretty damn good)
Okay, yes, the cake is/was a lie. Now that we've all got that out of our system...
It's a shame that for all the excellent writing in this short but sweet testament to gameplay and storytelling rolled into one, THAT'S the line everyone remembers, which isn't even a line at all but whatever. The point is that Portal has more to offer than an internet-meme catchphrase-- there's the brain-bending, ingenious puzzle design; the brilliant performance of Ellen McClain's GlaDOS, a robot after HAL 9000's heart if there ever was one; the simpler-is-better design aesthetic and hell, even the 'holy fuck let's do that again' feel of your first momentum-driven Portal Jump that makes this little game so damn fantastic.
Not much to say that, you know, everyone else already has, other than it's smart and satisfying and most of all, good plain fun. Oh, and of course has the greatest end-credits song in the history of ever.
#12-- Persona 4 (PS2)
Say what you will about JRPGs, but if they have a set pattern the Persona games certainly don't stick to them. Part dating sim and part turn-based RPG, they're normally a tad (okay, a lot) pretentious, imaginative and while the 'combat' system is pretty much what you'd expect from this genre, there are a few tweaks and enough strategy required that you actually have to THINK through them. Persona 3 is probably the weakest of the bunch, what with the intense grinding, the absurd amount of work you have to do to raise your Relationship stats, party members who-- in a bizarre rejection of what EVERY RPG HAS ALLOWED YOU TO DO SINCE FUCKING DRAGON WARRIOR II IN THE FUCKING LATE 80'S-- are not controllable, and of course basically grinding ONE GIANT DUNGEON with no difference between the samey floors besides a few color swaps. Fortunately, it seems that Atlus actually decided to improve themselves for their later installment, as Persona 4 basically corrects all of these issues to deliver a more streamlined experience that feels more like fun and less like pulling teeth.
In fact, the dungeon design is a big part of what makes Persona 4 special-- you basically play a variant on "Psychonauts" here as you enter the psyches of various individuals, ranging from burlesque shows drenched in oversaturated flourescent colors to a Greco-Roman cloud-heavy interpretation of Heaven and even an 8-bit-esque dungeon with a few tips-of-the-hat to the adventure games of old and a looping MIDI-theme.
It also helps that the characters here are all genuinely likeable and it's actually worthwhile to get to know them; even if your endgame isn't to bone anyone, following a relationship through leads to perks in combat like tag-team moves and even makes your Robo-Pokemon-thngs called Personas evolve, and even getting closer to people who aren't in your available party means you can gain access to more powerful Personas over time. And while dungeon grinding is still a requirement, it's certainly less so than in other games of this type; hell I didn't have to start level-grinding until the fourth major boss battle and I wasn't even combing every room, and that's pretty damn uprecedented.
Odds are Persona 4 isn't going to change your mind if JRPGs aren't your thing, but it's certainly different and fresh enough that I feel pretty confident in saying that the traditional JRPG probably won't get much better than this.
#11-- Bayonetta (PS3, Xbox 360)
...Okay yeah, it's only been a month since it came out but SHUT UP-- you find another game that completely fucking breaks the stylish action game better and I'll shut up about it, alright?
In all seriousness, despite being fairly new to the field Bayonetta essentially embodies the refinement of some of the genre's heavy hitters-- Devil May Cry, God Hand, Viewtiful Joe-- into a highly intuitive, punishing, glorious master's thesis. In addition to having a vast but easy to handle combo system, it oozes so much style and charm and ironic fun that even while it's kicking your ass the first time (and it WILL) you'll finish with a smile on your face and come back for more. And that's really where the magic of Bayonetta lies, if you'll forgive the pun; it's a game that's made to be played multiple times not simply for the frankly embarrassing amount of hidden characters/weapons/difficulties/levels to unlock, but because going back to a trouble spot on your second time around and showing it who's boss is incredibly satisfying as you slowly but surely get a grasp of the game itself. It helps to create a feel not unlike a fighting game-- the gradual mastery of a control scheme and watching it pay off in spades-- only with less character spamming.
And Bayonetta herself is such a fun, refreshing character that it's hard not to get into it for her alone, even if you're just watching someone else go through the craziness themselves.