1. The Witcher III: Wild Hunt ; Here's how you do an open-world game. The Witcher 3 is a densely packed, gorgeous adventure that knows when to sprawl and to be huge, and when to be small and intimate. It's a game that values story as much as it values gameplay, weaving the two together and finding ways to shift up both. It's long without overstaying its welcome. Its big without feeling empty. Everything just works. And I say all this having played it way back at release, before the numerous patches and extra DLC were released that only served to make the game that much more. The Witcher 3 makes you care about its characters and its world, and that's such a hard act to juggle that needs to be heralded at every opportunity
2. Super Mario Maker ; Right around the time people started taking down levels they'd uploaded in order to add patches, fixing aspects that had been crowd sourced by prospective players, the thought struck me - Super Mario Maker is some meta-level shit. This has gone above and beyond a standard make-your-own-level game, and become some weird microcosm of gaming. And that's mainly thanks to the sheer accessibility, both of Mario as a game and the creation tools on offer. Everything is just simple. Which conversely doesn't speak to the sheer amount of variety and intelligent creation that has been on show so far. Mario as a game feels so vanilla now. And yes, the music levels and auto-players are everywhere, but the fact that so many people could make so many versions of that is proof of just how open the game is. Mario Maker is so much more than its components, but its the endless ways in which people find to put those together that make the game such a wonder.
3. Splatoon ; Leave it up to Nintendo to make a shooter fun again. There are many reasons why Splatoon shouldn't work and yet it does. It's a game about painting for crying out loud. And yet everything just gels. It's fun and fast paced and insane. but most of all its a lesson in how to create a cohesive video game. From music, to visuals, to characters, everything just clicks together as if its been that way for years. It's Nintendo in that way that clearly years of thought went in to so many aspects, and yet on the surface you barely notice. Splatoon is a joy through and through and just makes you feel so damn good.
4. Metal Gear Solid V: The Phantom Pain ; Let me start with the negatives. MGS5's story is poop. Straight up, poop. It's characters are either tediously boring, confusingly erratic, or what surely must be a single-handed attempt to destroy all hope of having normal, female characters in the medium. But weirdly all of that just feels like window dressing. Which isn't something you think would be true of a MGS game. But strip out anything related to the story and suddenly you have something special. The game part of MGS5 is where it shines. Everything just works so well together. It's a game that allows you to do pretty much anything and ensures you have a great time doing it. And if that's where all the work went, then that's pretty much OK with me. (Also the microtransactions are poop)
5. Her Story ; I love a good indie game that comes out of nowhere. I'm pretty sure no one was talking about Her Story a month before its release and, perhaps disappointingly, people weren't really talking about it a month after. Which isn't to speak of its quality so much as its self-contained-ness. Her Story tells the story it wishes to tell, leaves a few things hanging, and that's that. No obvious route for a sequel, no bigger ramifications for this company or that. Her Story plays with the idea of a narrative, messes with what is expected of a game, and gets you to engage with it in a way that very few things do. You're not so much breaking down a story as you are human language, analysing the patterns that people speak in, and trying to work out how we structure a conversation. Her Story is a unique little thing, special because it exists way over there, quietly sitting in a corner, changing the gaming world in its own little way.
6. Until Dawn ; Well this is a weird one. Until Dawn was about as far off my radar as a game could possibly be. Horror movies are passing interests to me at best, and any game that feels like its marketed on the fact that they got Hayden Panettiere isn't going to hold my interest. So why did I end up playing this during those long summer nights? And why did I start avoiding bathroom mirrors for two weeks afterwards for fear of things jumping out? I'm still not sure. But whatever the case, I enjoyed my time a lot. There are way too many jump scares, and there are frequently times when options that cause death don't make horror movie sense, let alone logical sense, but still, the game hits its mark and more, and for a game I had zero expectations about, that's all the more to its credit.
7. Bloodborne ; I love that Bloodborne is as popular as it is. By all rights it shouldn't be. It should be some niche, forgotten title that only a fair few people wax lyrical about, while everyone else just nods at them politely. But I feel like the popularity of the Souls series (yes, Bloodborne is included in that, get over it) is testament to how beautifully crafted they all are. They make you feel good by making you feel
terrible. And Bloodborne proudly continues that tradition, only with loads more eyes on everything. It's a shame Bloodborne also happened to be the fourth Souls game I played in the space of three years, meaning that by the end the burnout started to drag proceedings down (I started to just sprint through areas because why not). But Bloodborne keeps you coming back... by murdering you hundreds of times.
8. Xenoblade Chronicles X ; There are times when I'm convinced Xenoblade doesn't actually want you to play it. It punishes you so frequently, or sets you such curiously insurmountable tasks that I frequently stopped and wondered if I was missing something. Because, to be fair, there's a hell of a lot you could potentially miss. Which is what makes the game so great. In some ways it feels like an MMO that has been capped off, so while the world is distressingly huge, and the missions are often tedious, there is some sort of end goal out there, somewhere. I hope. In spite of everything Xenoblade remains one of the games that I feel just has a lot of dedication and love poured into every ounce of it. I may begrudge some of the choices, but stuff like world design, enemy variety, storytelling and sheer amount of dialogue more than make up for it. People clearly cared for this, and I think that outshines everything else.
9. Batman: Arkham Knight ; If there was one theme that subtley played through this year it'd be current-gen sequels to well-loved games that perhaps didn't set the world on fire as much as they should have. Fallout 3, Just Cause 2 and the Batman Arkham games were some of the major hits from the last batch of consoles, and so it's strange that each had respective sequels this year that were good, great even...but that's about it. All of which is to say Arkham Knight is another great Batman game. It's a visually stunning, intelligently made, straight up fun game that is a fantastic send off to series (yeah right). I fall on the side of thinking the Batmobile is more trouble than its worth, but, hey, I stuck around and got every one of those damn Riddler trophies so it must've been doing something right.
10. Lara Croft Go ; A mobile game?! What blasphemy! But Go makes my list perhaps mostly because it is a prime example of what a mobile game should be - a perfectly distilled, refined game that knows its format's constraints while also pushing the boundaries on what you expect out of something that costs less than a cup of coffee. In the same way that something like The Room works because it feels like this small, intricate thing that you can hold in your hand, Go works as a beautiful diorama, a puzzle-based representation of those tombs good ol' Crofty likes to raid so much. It's clever, addictive, and doesn't outstay its welcome.