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That old fool can bloody well tie his own shoelaces for once in his life, damnit, and there is nothing he can do to stop me. But as Graham's just said, 80 Days is a game full of 'missed connections', which is precisely what makes it such a delicious and enticing trip every time I come to play it.
This is one virtual holiday I never grow tired of, and there is no greater feeling in the world than returning to your favourite forks in the road and seeing where the paths less travelled might take you next. Aw shit, here we go again. It's still the shiniest modern-day urban sandbox around, though Rockstar have since outdone themselves in ye olden days with Red Dead Redemption 2 and all its simulated heat-reactive horse scrotums.
It has increasingly absurd multiplayer crimes galore in the GTA Online mode too. Alice Bee: I never got into GTA Online, which shocking success will probably keep everyone at Rockstar employed for the next 20 years, but the singleplayer is still an absolute banger. I'll ignore the extremely low ball parody aspects it's not like making fun of LA is fruit you have to reach particularly high for, after all in favour of talking about how that version of LA feels so genuinely alive.
It seems that the whole city will function entirely without any input from you. That farm will keep farmin'. That minimum wage fast food server will keep servin'. You can sit and watch the whole world go by. It's enforced by how, when you switch between the three protagonists, the won't be where you last left them - they go about their business paying no nevermind to you.
Alice0: I did get into GTA Online, slowly building my own crime empire upon heists, drugs, guns, and even a nightclub. I like to pop on a podcast and ride my BMX around, pulling sikk tricks through traffic and nudging the simulation. And yes, I spend a lot of time and money on playing dress-up.
Disclosure: I have pals who work at Rockstar. And the online definitely wasn't Getting run over and dragged through a car wash on my way to get my impounded car was not, as the kids say, the one. But the single player? I've completed it several times now. I also love the colour palette, which is surprisingly brighter and more saturated than the often-muddy fare of open world environments.
I do hope I get to spend more time admiring it, along with my old pal Gerald of Rivendell, before too long. Decades of sneaking and monologuing climax in the final Metal Gear from Kojima Productions. Sin: MGS5 called my bluff. And skip the cut scenes, obviously. And oh god here I go. The semi-structured stealth sandbox stabfest finally lets us loose to play with those clever details and just-complex-enough systems, even if you just want to play the same bit 20 times in a row to see how many ways you can do it.
Messing with hapless guards has never been so entertaining and I fear it never will again. At times it has the wonderful old mix of earnestly mixing the politics of war with full-on daftness but these moments are few and far between.
Metal Gear Solid is at its best when earnest, serious, and ludicrous. The story is an unfinished mess and has some truly ghastly, hateful parts but I do like parts and just wish it had the more balanced and complete Metal Gear personality. Well, if you want Metal Gear stealth sandbox with less of the plotsprawl, mate, try Ground Zeroes. The standalone prequel is a small, focused, and more challenging murderbox that will reward you for learning the area well as it returns again and again for new missions.
I like Quiet as a pal in the field, mind. And synchronised stealth takedowns with her feel oh so cool. Graham: A game in which you can hide inside a box? A game in which you can pin a poster of a woman to the front of that box and prompt all the guards in a base to come ogle and applaud at said woman, before you pop out and slow motion shoot them all in the head with a silenced pistol? Video Matthew: I should probably disclose that I appeared in a Metal Gear documentary that came with the game.
But was I asked to also star in Death Stranding? Of all the games on this list, Undertale may be the only one to have inspired a wrestler's ring entrance. In fact, Toby Fox's gloomy cutey of an RPG has burrowed into pop-culture consciousness in a unique way. Perhaps it's the way combat becomes a mixture of a text puzzle and a bullet-hell, perhaps it's the cast of weird monsters, perhaps it's that you can go on a date with a skeleton.
Whatever the reason, Undertale left an impression. Alice Bee: As observed by many, Megalovania is a fucking jam. But that aside, what I remember most from playing Undertale is thinking it was very clever. It seemed, even then, to be destined to be a game extremely loved in an extremely online way.
Not memes, exactly, but a lot of texts posts starting "Here's the thing you need to know about Undyne. But I liked it most when it was being funny or sweet. See: that date with the skeleton, in a date outfit that is a crop t-shirt saying Cool Dude. Undertale has empathy. It has empathy in a way very few works of fiction do, and it's up front about it. It's not trying to trick you into be empathetic, it just wants you to be a nice person.
But at the end of the game you discover those stand for Execution Points and Level of Violence. You're not supposed to kill anyone, you're supposed to figure out the other options, because duh. My surrogate parent monster at the start of the game refused to get out of my way, so I killed her.
But then I immediately regretted it, and reloaded. But the game still knew. It knew what I did. Skylines lets us plant cities, seeding asphalt and concrete to watch them grow and buzz with life. The city will largely take care of itself, but you can make weed and fertilise with policies and plans to make it truly shine.
Or in this case, the chain of office. One spring night in , Cities: Skylines rode in off the steppe, marched into the campaign yurt of old Mayor SimCity, and beasted off his head with one pleasingly-curved swing of his asphalt broadsword. Also, this is a very funny sketch. Graham: It's all about the roads, isn't it? SimCity offered an always off-balance set of scales, where adding a little more houses over here required a little more industry over there and so on, till the map was full.
Cities: Skylines grabs that system wholesale, but really it's the roads that hold my attention, from trying to design the perfect road network before placing a single building, to endlessly tweaking junctions and off-ramps for hours to try to reduce those downtown traffic jams.
There is always more to do, and watching your ants scurry around your ant farm more efficiently is its own reward. Alice L: God, I love Cities. I just can't seem to deal with my trash effciently, and I always build so many roads to try and keep all the pollution away from my townsfolk that I just run out of money. And to that I say: sandbox! Conduct industrial espionage for fun and profit in this turn-based tactical stealth game from the makers of Mark Of The Ninja.
Blessed with generous knowledge of enemy movements, try to thread the needle as your agents move through facilities and dodge guards as the security response escalates. Build and upgrade a stable of agents, steal new gear, and try not to lose them by getting greedy.
But a shiny new crimetool is just the other side of this locked door Graham: Invisible, Inc. You know not only where the guards are, but where they're going to walk to. Every route and vision cone is visible on the UI. It should be easy, then, to sneak into its proc gen office floors and make off with the goods, right?
Ha ha, you fool. Perfect information doesn't make you perfect. You're going to make mistakes. In part because the game delights in tempting you. Sure, you can get what you need and leave, but push on into another room or two and you might find a new tool, a new character, or rescue the character you got captured on the last mission.
The more you push, the more guards will start wandering the floor in search of intruders, the more you'll find yourself having to make sacrifices of your characters. That's tough because the character design here is great, both in terms of the unique skills your crew each have, and in their visual design. Invisible, Inc. If your favourite bit of any XCOM fight is the moment before all hell breaks loose - or if you really liked the recent Mutant: Year Zero - give this a try next.
It's a tighter game, but its reduced scope brings clarity of purpose and design. Arkane created a world of political intrigue and class struggle, where everyone is betraying everyone else, and then let you be an assassin in it. An assassin with magic powers. The sequel, though the PC build was initially plagued with performance issues on release, goes further than the original in creating an exquisite playground for you to exploit.
Hack a clockwork robot here, flood an entire building with knockout gas there, and decide the fate of a nation. Alice Bee: How do I love thee, Dishonored? Let me count the ways. Not literally, though, or we'll be here all day. I was being poetic, like. I think Dishonored 2 is probably the perfect form of Dishonored much as I also enjoy Death Of The Outsider, and its portrayal of a world caught in the moment between past and future, between the old ways and the new.
Because you're given the option of playing as Emily or Corvo, you get two entirely different ways to play the game, even on top of the lethal vs. Christ, though, Dishonored 2 is just so fucking stylish. It's the sexiest game to ever feature no shagging. Mission four is the Clockwork Mansion, where you have to break into the home of big science weirdo Kirin Jindosh.
He's really gone hard and gone home, transforming his mansion into a weird collection of moving parts, guarded by hideous clockwork automata. And yet, you can outsmart him. You can sneak into the walls. You can burrow into his little nest. You can be as a ghost. The whole game is like that. It is well oiled machine, and you can become a cog in it, an unknown, unseen presence that spins this way, then that, subtly changing the workings. Or you can be a big stabby murder girl.
Up to you, isn't it? Katharine: How do I love thee, Clockwork Mansion? It was, what, five hours I spent crawling around inside your walls, dodging your hulking great clockwork soldiers and trying desperately avoid your network of surveillance bots? Or was it eight? Or nine? Whatever number it was, I'd do it all again in an instant. In truth, I needn't have spent that long slipping through the cracks of this single, but fiendishly brilliant Dishonored 2 level.
This burden I brought upon myself. Having played and adored the first Dishonored but also wholly misunderstanding how its chaos system worked, I made a solemn vow upon starting Dishonored 2 that not only was I going to finish the game with Low Chaos this time, thereby getting the 'good' ending, but I was also going to do it completely unseen and without shedding a single drop of blood - and my Shadow and Clean Hands achievements remain two of my greatest gaming accomplishments to this day.
Yes, it involved a lot of quick saves and quick reloads. Yes, it probably took twice as long to play as it perhaps should have done, but it was worth it reader, because Dishonored 2 is a masterpiece of design, ingenuity and general splendidness. Karnaca is a city that twists, turns and loops back in on itself without ever losing its sense of place or structure. It's Jindosh's Clockwork Mansion writ large across an entire urban sprawl, and for me its warren of plague-ridden shops, murderous alleyways and lived-in apartment blocks are far more treacherous and enticing destinations than their Dunwall equivalents ever were.
As you pick through the aftermath of the city's devastating Bloodfly invasion, you too start to feel like some sort of disease that's rippling through its corrupted streets, dismantling its upper echelons from the inside out before leaving without a trace.
There are so many secrets to uncover and so many paths you can take to try and get there, yet all the while it's a city that adheres to the strict tick-tick-tick of its clockwork logic. The Clockwork Mansion may leave an indelible mark on the early hours of Dishonored 2, but this is by no means a game that peaks early. Beyond Jindosh's mansion, his spirit comes back to bite you in the ass when you encounter his devilish Jindosh Lock, and moments later you're being dazzled once again by the time-travelling puzzle box that is Aramis Stilton's decaying manor house.
Finally, it all culminates in the sweetest, most delicious serving of hot revenge I've ever seen in a video game. It is, in a word, perfect, and my ultimate game of the decade by a blinking country mile. After a decade lain fallow, uncertain of its place in the modern FPS scene, the game that made Id Software returned in a shower of guts. The reborn Doom is fast, it is nimble, it is loud, and it rewards you for tearing demons apart with your bare hands. Dave: The moment I knew that the revamped Doom was something special was when the Doom Slayer pumped his shotgun in time with the music.
Doom has a vibe, you see - a 90s power fantasy unashamed of how much cheese is heaped on. After all, do we not order entire boards of cheese at restaurants? Cheese is great! And Doom gets this. For you see, Doom wants you to slay demons in the most barbaric way possible. Glory Kills give you health pickups, while chopping things with the chainsaw makes the enemy cadaver spew ammunition like a fountain. This means less time is spent running away to recover and replenish, and more time is spent killing things!
Explore all the thrills, chills, responsibilities, and mundanities of building a colony on another world in this survival management game. Your plans may be big and your blueprints impressive but can be all too easily undone by shortages, spoilage, raiders, aliens, fires, your own mistakes, or the quiet ticking time bomb of a colonist who is so sick of people clomping around at night that they snap. A bit like Dwarf Fortress, in space, with menus to click and pictures to look at. Nate: One of the worst names of the decade, for one of the best games.
But for everyone else, and especially for those people whose sense of humour focuses entirely on hooting like delighted chimps whenever they spot someone using a word that also has a Sex Meaning, RimWorld sounded like a themepark based on the concept of licking arseholes.
For just a few examples of the tales you can set up with RimWorld, I defer to that cool guy Nate, who listed five of his favourites here. RimWorld is both an answer to that and its own distinct idea. Its mix of base building, survival, and life sim is just about right, and its famous harshness easy to mitigate for those who just want to have a good time, or bump up for those who relish a cascading disaster sim.
Its mostly optional darkness - slavery, organ harvesting, cannibalism - is counteracted by its pleasant atmosphere and the warm glow of pemmican on the fire, or feeding a flock of fluffy chicks, or getting all your potatoes into storage after the harvest.
And you can be a nomad too. Oh my god. Stay standing for as long as you can in this simple arena FPS. Run around this empty oval arena and shoot skulls with your one gun while a timer counts up. Good luck. And my god, it looks and sounds like nothing else.
Alice0: I was taken with Devil Daggers at first sight. I adore the old 3D style of unfiltered textures and jittering vertices applied to skulls, skulls, skulls - a torrent of skulls more complex and numerous than was possible in I especially like when it breaks out of this look, with the intense colour wash and neon pinkbluepinkbluepinkblue daggerhand coming as we level up, spitting a torrent of knives.
Then I heard Devil Daggers. Jesus christ. What a sound. Grinding teeth, chuckles, groans, roars, and screams build into a rich soundscape overfilling my ears with menace. It does not sound like a video game from our world. Then I played Devil Daggers. I surely died within 20 seconds. And again. Then a bit more. A bit more. Even passing one minute felt like a triumph. It took hours to reach five minutes, egged on by rivalries with pals on the leaderboards.
Waves keep on spawning, spawners keep spawning more, bigger and tougher enemies arrive, the escalation constricts the battlefield, and it all seems such a challenge. Then you learn a bit more and survive a bit longer and realise that, actually, one wave you once found murderous was trying to feed you power-ups. You find yourself clearing waves before the next spawns. It feels chuffing great to reach the point of dancing between clouds of skulls and under the coils of a skullsnake, my knifehand flashing with power and so many awful noises in my ears.
Over this, my hand is wibble-wobble-warbling as it spits knives and will soon power up to full-on screaming. I adore this full-body experience. Graham: We named Devil Daggers as the best game of , and I've never felt more estranged from a comments section.
The recurring refrain was, "Well, it's fine, but it doesn't have a lot of content though, does it? Its dozens of classes are clear characters, with their own colourful personalities and backstories. Nate: For the most part, I like sluggish, top-down games about organising things and increasing their complexity. And most of my favourite games are that sort of thing. Alice L: I got really really into Overwatch for about a year. I even, embarrassingly, have a D. Va bumper sticker on my car.
Alice Bee: Ignore Graham. I played loads of TF2 in the bad old days, and Overwatch may be asking you to squint and pretend you've not seen a bunch of these ideas before, but it's so much more fun than Valve's competitive shooter attached to a hat economy. Especially if you like playing support characters which, obviously, should be called "the best class, you ungrateful bastards" and enjoying yourself at the same time.
The speed. The joy. You know how it starts in building games plopping us down alone in hostile place: first, you must knock down a tree. In Factorio, rather than starting you down the path of crafting increasingly tough axes, this tree fuels what will soon be a sprawling web of drills, conveyor belts, assemblers, generators, batteries, defenses, construction robots, and laboratories, a vast mechanism of machines building machines to build better machines.
Just the deep, brutal, chemical satisfaction of starting with nothing, and building it into a sprawling mass of ordered complexity. The difference between Factorio and other system-building games say, the Anno series, or other citybuilders where things process other things is an absolute chasm. Because Factorio guides you into its monstrous grandeur through steps so slight you never even know your feet are moving.
Play is essentially a voluntary fugue state, full of decisions so small you make them without really thinking, but adding up to works of monolithic scale. Sin: Efficiency is like salt. A little is vital. A little more in the right place at the right moment is delightful. But the salting of things is not a worthy or interesting goal to me. Instead, I enjoy elaborate looping constructs that make a kind of sense but only for that machine, only for that world, only to me.
This machinery has a history, and even when parts of it are taken up and recombined, that history belongs here. I am an archivist factorian, constructing systems based on the changing whims and inputs of time. You might value efficiency. You might value symmetry, or environmentalism, or deep pools of backup resources. Your machine will be your own, and you will make it and know it and love it like nobody else could. Though your co-op partner might disagree about how to continue, and the game plans for disagreements.
How very complex and clever. I only mention this because it completely worked. And if a game can leave you with a sense of wonder at a time like that, and even make you feel nostalgic for the day you left your last parent in a hole forever, then it must be bloody well written. I say written, but damn near everything about the game is layered with craft, from the sweeping, atmospheric score, to the voice acting, to the elemental combat system. What a treat, to not only recapture the feeling of playing something you loved for the first time, but to exceed it.
And with a playable lizard man, too. And you know what? The most obvious, and spoiler free, response to the title is "a big weird house", because that's what you explore as you unravel the strange stories of the strange deaths of a strange family. They all lived together somewhere in Washington state, and as you unlock each bedroom you get another piece of the puzzle that was their lives.
The vignettes you see are inventive, and take full advantage of how games can tell stories in a unique way. And everyone remembers the one with the fish, don't they? Alice0: I am so grateful to Edith Finch for building this place for me to explore. What a treat of a house. Alice Bee: All the little stories in Edith Finch are about death, but very very few of them are actually sad, even if the deaths themselves are tragic. The way you experience them is usually joyful, beautiful, hopeful, and not sad at all.
Even what is perhaps the most tragic death of all becomes a lovely game where bath toys dance together like something out of Fantasia. It's a really wonderful video game. Katharine: The bath bit almost destroyed me, but as Alice Bee just mentioned, most of the tragedies that haunt this jumbled old mansion are more joyful than sad. The bit with the swing, for example, is truly awful if you stop and think about it for a minute, but it's also one of the most peaceful and uplifting ends to a Finch story the game has.
And oh, the bit with the fish-chopping! What an absolute masterpiece. Graham: "They fuck you up, your mum and dad," wrote Philip Larkin. Which, yes, fine , but kids fuck up their mum and dad, too. Example: I used to be able to play things like Edith Finch and remain unaffected, but not anymore.
It is one of my favourite games ever, but the bath scene reduced me to such a burbling mess that I can't ever play it again. Maybe when my kid is grown. This roguelikelike deck-building card game sends us up a strange fantasy tower to slay its beating heart and free ourselves from the Sisyphean cycle.
Collecting cards and artefacts along a run from friends and foes, the different classes can develop wild decks and combos as we face ever stranger and more powerful enemies. Through all this, combat remains clear and predictable, something to plan not wing. Nate: When it comes to card games, Hearthstone is my thing. Or at least it was, until I had a slurp on this Slay the Soup.
And what a broth it was. Oh, how wrong I was. Like any good roguelike usual disclaimers apply about the use of the term, etc, etc , you can only really get a feeling for Slay The Spire after beefing it on hundreds of attempts. A mathematician friend once tried and failed to explain to me how there are multiple types of infinities. Alice0: Slay The Spire is plain and simple. Cards have easy numbers and clear consequences, and enemies telegraph their moves.
Draw, cast, bish bash bosh. This magical tower is a colourful place with interesting enemies and a fun tone. The building blocks are simple but allow complex constructions. Luck plays a part, of course. Such is the roguelikelike. Slay The Spire gives a satisfying amount of space to influence this. Each level we can plot our path through encounters, shops, and treasures. We get a pick of several rewards each time too, several options to shape or support our run. And as a recovering Magic: The Gathering rat, I like the space it gives me to optimise and hone runs, stripping cards back to build a lean engine of death.
The character classes are great too. I like how well card abilities, art, and names come together in decks that feel like playing as a knight with unholy brawn, a swift rogue whose dodges and rolls slip in a subtle blow or dagger, a robotic battle mage conjuring elements and upgrading itself, and a monk chain moves between stances. What a fine cast of magical murderers. Check into the hotel opened in the mansion of an acclaimed jazz musician with this first-person explore-o-adventure game.
This is the follow-up to Off-Peak, set outside the city and beyond its strange train station. And it seems only natural that giant artworks cover every surface and fill every corner. This hotel is so loud, so vivid, so unsubtle, so clashing, that every oddity is perfectly at home.
Everything is a surprise and a treat, nothing is weird. It is an excellent place to explore, and its guests are in interesting bunch. Some are musicians seeking inspiration or education. Some are making a pilgrimage to pay homage to a great. Some are leeching from the legacy to bolster their status.
Some see it just as a branding opportunity. Some have even come to remember Norwood as a friend and collaborator. Norwood Suite explores the varied and complex relationships people have with music, how it can touch and ruin lives or become just another commodity. After being lost at sea, the Obra Dinn drifts back to civilisation with not a soul left but plenty of corpses.
Wielding a magical pocketwatch, we can see the moments of their death, exploring scenes of tragedy frozen in time. But who are all these corpses? How did everyone die? Alice Bee: More than one person I have lived with has remarked that I am, in some respects, the stereotype of a little old lady.
I sit on the sofa, with a fluffy pink blanket over my legs, drink a lot of tea, and watch episodes of Miss Marple and Hercule Poirot. I have read all the books, and I know the culprits already, so occasionally I'll throw a Midsomer Murders in to spice things up. What I am saying is, I love a mystery. Specifically, I love the mysteries where you have a chance of figuring out whodunnit yourself: the murderer has been introduced to you, in the pack of suspects, and then shuffled back amongst them.
I have, I'm sure, said many times before that Return Of The Obra Dinn is probably the only game where I have felt like I am actually detecting things - figuring them out myself, using logic, and being rewarded for it. Rewarded with the solution. And that is enough for a good detective. And my god, some of the surprises floored me. Even frozen in time, I felt unsafe. Katharine: I, too, was a fervent shoe enthusiast in my approach to Obra Dinn, but the best thing about it was comparing notes with Matthew.
He never once looked at a shoe during his first playthrough and ended up discovering an entirely different way of figuring out what's effectively the world's most obtuse version of Guess Who? So many possibilities exist in this game, and seeing friends and relatives arrive at the same conclusion via so many different methods made me appreciate its ingenuity even more.
A true masterpiece. Video Matthew: I replayed this recently - left it long enough to forget the most vital clues - and was dazzled afresh by its cleverness and the sheer horror of the thing. That art style, that music, that mystery. But I still did it. Look, ma. Alice0: An open-world RPG set in small city spaces dense with detail where I can thunk punks with a bicycle sounds just grand to me. What makes me so adore Yakuza so much more is the melodramatic tone.
It commits fully to both. Yakuza 0 is a crime melodrama focused on an backalley lot in Tokyo. Who owns this lot? How far does this web of intrigue spread and how high does it go? And why is everyone trying to kill us? With our steely resolve, our strong moral code, our dramatic shouting, and our raw strength, we might just settle the matter.
Yakuza 0 is a melodramatic family comedy about a wacky mobster who loves food, has a childlike wonder, is nervous around women, and wants to help every downtrodden person in the world. Reunite families! Teach children kindness and self-confidence when you join a slot car racing league! Help a kid get back his stolen video game, and teach a valuable lesson in parenting to his dad! Help a floundering dominatrix believe in herself!
Befriend a weird dude who hangs around in his pants yelling about porn! Befriend Michael Jackson! Hire a chicken to be a property manager at your real estate business! Kiryu and Majima are quite different and both absolutely delightful. What good boys. What excellent thugs. Kiryu slamming thugs with bicycles and boxing blows, Majima whirling around with a baseball bat and breakdancing moves. Never not melodramatic. I forgive its few mastubatory missteps. Its cities are bustling and full of fun diversions that make me digitally live there.
Ah, I want to stop writing this now and go hang out with the nice crimeboys again. In this space RPG, the galaxy is your sandbox. Faction conflicts, business, and personal interests run the simulation, the universe changing around you as you build your crew, ship, reputation, and fortune. What sort of spaceman do you want to be? Sin: Star Traders Colon Frontiers lets you do what you want.
You can hire a new crew, kicking out those bounty hunters you trained, and replacing them with diplomats and spies instead. Star Traders is brimming with hidden people and events. Its encounters are driven by local and regional politics, most of which you can influence if you ferret out the hidden faction contacts who jostle for influence as they make everything move. Your terrifying-but-fair pirate might become a key diplomat in an era-defining trial. Your unassuming spy might double as a merchant, your scavenger pivot to hunting aliens.
And who knows, that swordsman you recruited might have potential as a field medic, and become one of your favourite officers after a hasty field promotion. The work the Trese Brothers put into supporting their game is truly phenomenal too.
Creep around, disguise yourself, and learn the many possible ways to kill people as Ian Hitman returns for new targets and opportunities. Graham: A point-and-click adventure where instead of sticking tape to a fence to make a moustache from cat hair, you're putting a bomb in a toilet and poison on a fish to make a man do an explosive poo.
Hitman 2 which contains all the levels from 's also excellent Hitman offers a series of elaborate Rube Goldberg devices where you need to work out which domino to place and push to make a person die at the end of the chain. This turns out to be disturbingly satisfying. All the parts are laid out and waiting for you, but it still tricks you into feeling clever for manipulating them as required.
And Hitman 2 contains levels so vast and surprising that I think I'd be happy if IO just followed this template forever, releasing 5 or 6 new murder playgrounds every couple of years. Monsters have risen from the depths of the Earth to ravage the remains of humanity, and only a timeline-tripping squad of mech pilots can stop them. The second game from the makers of FTL sends us out to mash the monsters in short turn-based tactical battles focused on manipulating enemy movement.
Blessed with certainty, we become master manipulators shuffling enemies around the battlefield, nudging attacks onto different targets, and setting up clever chains. Which is why I absolutely loved Into The Breach, until I realised it was just a series of Pacific-Rim-styled chess puzzles, and quit in a cloud of my own prejudices.
It feels like a classic turn-based tactics game. Not just planning; a game about packing for a caravan holiday could be about planning. This is a game about being able to mentally simulate the future interaction of known quantities, and plan a series of actions that takes advantage of all those interactions to achieve your own goals. About being so clever you can see into the future, essentially.
I like my tactics with a side order of chaos and improvisation. I prefer to react, rather than to act. Big robots shoving big insectoid monsters into each other, into skyscrapers, into lakes. You do this in order to warp those enemy's intended next turn. They're going to shove your mate, so you shove them first so that their shove actually shoves their mate. Take that, shovetoids!
Do this successfully enough and you can preempt the enemy's every attempted attack, leaving you with a squad at full health, and a saved city in awe of your genius. Battles are almost an afterthought in this strategy game which focuses on the finance and intrigue behind army-building. Even the greatest plans can be undone by the flesh, one torn ligament taking down your linchpin soldier.
Graham: Football is about stories: long-running rivalries, last-minute comebacks, underdogs rising up and legends on the fall. That's what makes it more than just an impressive simulation, and that's why people write Football Manager fan fiction. It is an impressive simulation, though. You can talk about dwarves getting sad that their cat died, but Football Manager isn't far off Dwarf Fortress when it comes to attention to detail.
Aside from the 40 or so visible and invisible stats which determine a player's performance on the pitch, there's also a representation of their personality, morale, and more. You can poke at these things via conversations with players, working to get the best out of your players by amping them up before a big game, or compelling them to sign a new contract by appealing to their ego. Many of these systems are deliberately opaque, which means they're often unrewarding to tinker with, but there's rarely a situation where the game just rolls a die.
Even the in-game weather is simulated, so that doing it on a rainy Sunday in Watford is the result of an actual weather front rolling across town, affecting any other games being played nearby. For me, it's the summer breaks I'm addicted to. I live for finding young players - fictional regens, ideally - and turning them into superstars through training and a gradual introduction to the first team. This is better than levelling characters in any other RPG.
Note that we've not picked any particular entry in the series to hold this spot on the list. Football Manager long ago invented the wheel and has since settled down into a steady routine of adding automatic doozits and more cup-holders. If you're going to play any in the series, it should probably be the most recent - and they remove the old entries from sale so you have no little choice in the matter, anyway.
At the end of an era, civilisation has long-since fallen into tragedy and ruin, haunted by remnants of what once was. Still, you get to stab a lot of people. This fantasy action-RPG has a reputation for being murderously tough mostly because it requires you to pause, think, and learn.
Die, respawn, take a deep breath, parry, counter-attack and away you go. These are indeed all great. Adam and I ruffled some feathers when we semi-cheekily declared or I remember it was chiefly us two agitating for it?
I stand by it. Dark Souls very much is a roleplaying game. It has choices and it has consequences. You can form friendships and alliances. You can save people and you can can betray them. You can find hidden quests and stories. But, wonderfully, very little of this is presented in standard RPG ways. To roleplay, you need to know that you have this choice - and forces driving the plot would very much prefer you did not have ideas of your own. Perhaps you also like helping other players and always drop a summon sign to be drawn in and fight alongside them, maybe joining a covenant dedicated to helping.
Leaving misleading messages for other players is a classic dick move. Maybe you even joined the soulstealing cult deemed so dangerous that a whole city was drowned to stop them, because you wanted to invade and kill other players. And what does it say about someone who joins a group dedicated to fighting invaders? Between the admittedly few NPC stories, multiplayer interactions, and the covenants, Dark Souls offers a generous and fascinating space for roleplaying.
It just requires a wee jolt to your logic to realise this, because it flows backwards to the norm. Rather than decide what sort of character you want to play then make decisions around that, in Dark Souls the game offers no direction then your character is only clear in retrospect or with introspection. What you do as the player is who your character is, even if the game never notes these decisions in a quest log or morality gauge.
You might never realise this. One of us had to succeed eventually. I know on my first go I saw the final boss fall, noticed a button prompt pop up, and instantly smashed it. Are you an agent of light reaching out to help a real person beat a boss you know could have been trouncing them for hours? Or have you come to gleefully stab them in the back? Dave: I went in to Dark Souls with the optimism and confidence of someone who had never played Demon Souls.
This, as you can imagine, did not initially end well for me. But I persevered. I began to learn the precise timing needed to parry an attack, and got as far as beating the grim half-a-naked-woman-fused-to-a-spider witch Quelaag. Some absolutely classic FromSoftware monster design for you, there. Coming back to the remastered version of Dark Souls years later was like visiting an old friend,and one who'd had a tasteful facelift.
Each fight is like the climactic scene in every action film. A final test of skill based on all your years of training. After making countless games about building and programming machines, Zachtronics took a left turn with a visual novel about the consequences of technology, focused on an AI counselling program named Eliza. Nobody notices how much the anxious young artist Maya is struggling to like herself.
Nobody running the Seattle tech business behind the titular counselling AI has noticed how hopelessly inadequate it is for most clients. Nobody - not even the player - could possibly have noticed what was happening to the pleasant old woman who never really talks about anything important.
Eliza understands that far, far too many people are suffering, alone, mostly because of systems enforced by a few people at the expense of everyone else. Every twenty minutes, the sun goes supernova and your solar system is annihilated. What will you do with these moments in this sandbox first-person exploration game? Where will you go with your spaceship, and what will you find? A great many wonderful sights and mysteries. Alice Bee: It's amazing what you can find in 20 minutes in such a small universe.
VidBud Matthew pointed out that Outer Wilds is really just another detective game, and he's right. I can't even begin to imagine how the mysteries of Outer Wilds were created. The planets have actual gravity that act upon each other. There's are messages in a long dead language.
There's a planet-sized thorn with weird dimensions. There are so many interlocking things, breadcrumbs trails that you follow across other breadcrumb trails, and so many beautiful little details. It's like being an archaeologist trapped in a Groundhog Day with a lovely puzzle box.
And I knew from the first few moments that it was a world I wanted to get lost in and explore. What an absolutely incredible game. But fuck those fish. Much like real space, I guess. Nate I played Plunkbat for a good while last year, because a good friend who lived a long way away played a lot of it, and it was our best option for being able to hang out and chat together.
This says an awful lot about how much my friend means to me, because I fucken loathe plunkbat. But still, I found the fun in it. If only my friend had gotten into Apex Legends. It was big and colourful and fun and fast, and I really liked the zipline robot fella. This is a top down beat 'em up where is an ape. It is not in. You have pulled walls from doors, splatted body armoured men into tiny red puddles, picked up their limbs and thrown those limbs at the next armoured man.
You have done this all to a procedural jazz drum soundtrack. You have never felt so alive. I don't think I can think of another game that has such clarity of purpose, and executes that purpose to such singular success.
You ever seen a toddler advancing on a wall, with a crayon in their hand and a determined expression on their face? That is the sense of purpose that Ape Out has. Except in this analogy the toddler is about to execute a bitchin' drum solo. From that point on, I knew I had to play it myself. Ape Out's intense colours are striking throughout, but it is perhaps at its most stylish at the start of a new level.
The titles are modelled after the covers of LPs, and the name of the level splashes on screen in time to yet more cymbal crashes. Great stuff. Graham: A lot of games attempted to follow in Hotline Miami's footsteps by aping a pun, that its neon art and heavy beats. Only Ape Out has the correct idea, however, by instead lending its ultraviolence a fresh rhythm by pairing it with an entirely different genre of music.
Jazz still has the propulsive tempo to drive you forward in your efforts to smash squishy humans into bits, but the feelings it evokes are different. This is not a grim video nasty. Ape Out is an improvisational jam session with literal body-popping cymbal crashes, and it's a joy. So that's it!
The greatest games of the s, officially ranked. And because we know at least one person will say the decade isn't over until the end of no, you are wrong. The decade started in , which is year one. The decade ends at the end of Each member of staff got the same number of points to distribute amongst the games that came out over the last ten years.
You'll note, though, that this list is in roughly chronological order, and not in order of the points they got. They're all very good games, after all. If we were doing it on points, the winner would be Dota 2, because Matt whacked 10 points into it. Second on points was Dishonored 2 which Katharine sacrificed 5 of her points for , followed closely by Portal 2 and 80 Days, which were tied for third place. Most games on this list had at least two or three members of staff vote for them, with only a few getting points from just one person.
The game that received votes from the most individual members of staff was 80 Days. We managed, completely by accident, to include six games each from , , , and , so props to both us and this decade for being so consistent! Once again, your favourite game was 51st, and you are encouraged to make an impassioned speech about it in the comments!
How The Impossible Bottle makes text adventuring accessible. This Kindle e-reader feature is like Dark Souls. It is probably not possible to compile a complete list of all the eSports on which you can try to bet. However, we can certainly remember which ones are the most popular and preferred by the public and players: Esorts Betting Tips Betting on eSports is not complicated. Indeed, it is very easy. This is also why we like it so much!
It's a lot of fun and a bit different than traditional sports betting. It is not surprising at all that so many people are crazy about esports. The eSports betting market already has a value of over million euros per year and shows no sign of stopping. The growing interest in this type of betting is only in part because of their simplicity. Many start betting because it is easy and fun, but many others also recognize that it is a good chance to earn a little something.
They are right because eSports are actually a great way to make money. If this is the goal, however, things get a little complicated. Bets on esports are very simple if made for fun, but there is a LOT to learn if you want to turn them into a profitable business. The good news is that you don't have to learn everything at a time. In fact, the best strategy at the beginning is to focus on the basics.
Adding the more advanced aspects at the moment would only create confusion. It makes no sense to complicate your life more than necessary and we recommend that you get your bones a little earlier. The important thing is to understand the fundamental aspects well and internalize good habits. The tips on this page will help you get off to a good start in the world of esports betting. In this article we have tried to avoid any form of confusion, also trying to express ourselves in the simplest possible way.
Our advice will not be enough to achieve easy and immediate success, but they will put you on the right path and provide a solid basis from which to improve more and more. Esports betting Nowadays there is a boom in the esports industry where all esports games in every league have betting odds where every punter can bet with any bookmaker or sportsbook of his choice. These esports games that have betting odds vary from League of legends LoL , Counter Strike , Dota 2 , Fortnite world cup, and other multiplayer online battle arena tournaments.
We offer all the available betting tips with the best bookmakers and sportsbooks. We offer either Tip of 1 which the home team will win or 2 which means the away team will win. All esports bets can be seen above with all the betting tips, statistical analysis and suggested odds and best bookmaker available.
Feedinco now is becoming one of the best esports betting tipster which have gone full out after the boom in esports popularity and the amount of esports fans there are that follow varies esports tournaments, esports events and esports title.
Some of the esports tournaments, esports events and esports title are found below. Esports Tournaments esports tournaments and pro league multiplayer online battle arena like esl pro league are booming with the amount of money making and increasing esports fans around the world. That is why now feedinco is in the field of esports betting tips and esports predictions which also offer a varied esports betting sites which you can choose the best odds and get a bonus on subscription upon registration.
What games are played in esports? The world of competitive video games has been continuously growing since the birth of the internet. In recent decades, world tournaments have been organized for many strategy games, such as the famous Starcraft by Blizzard, but also fighting games such as the famous Tekken, Street Fighter or Mortal Kombat.
The sector of eSports Betting then evolved with the advent of ADSL leading to the spread of video games in cooperation, team against team. Will Esports be in the Olympics? Due to the Covid pandemic and lockdown many sports where cancelled but not eSports. The Olympic committee did discuss if eSports will be in the Olympics.
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