1. Bloodborne ; My first "Souls" game. Although I fully expected to like this game going in, I wasn't prepared to fall in love with it the way that I did.
Bloodborne is a master class in game design, level design, art design, combat and progression. It's a game that had its hooks in me from the start, and managed to occupy my thoughts for nearly every second that I
wasn't playing the game. At work the day after failing the same boss fight 20 straight times? There I was, sitting around thinking about what to do differently the next chance I'd get to face him. In the middle of a five hour drive to go visit family?
"I've got, like, six possible paths I can explore at this point in Bloodborne. When I get back home, what order should I tackle these in?" When I was playing it, I wanted to keep playing it. If I wasn't playing it, I wished that I was. Bloodborne is maybe the closest any video game has gotten to being an addictive drug for me. I found progressing through the game to be immensely rewarding and satisfying, and I couldn't get enough of it. It kept me coming back for more in a way that very few games do.
(From Software, PS4)
2. Metal Gear Solid V: The Phantom Pain ; The Metal Gear franchise peaked on the Playstation 2, with the batshit insanity of
Sons of Liberty and sheer brilliance of
Snake Eater. Since then, the series has been on the decline, and I wasn't sure what to expect going into
The Phantom Pain. As it turns out, it's the series strongest entry since those PS2 days, though I didn't reach that conclusion until after I'd run the gamut of emotions towards MGSV. It's a true "anti-Kojima" game, the sort of gameplay juggernaut with an understated narrative that I'd expect out of a Nintendo, but never from KojiPro. And through the first chapter, with all of the new systems that were constantly unlocking and the variety of ways to tackle each mission, I was a believer in this potentially being both the ultimate Metal Gear, and the ultimate stealth game. And then Ch. 2 happened. It was clear that, regardless of whose fault it was -- Kojima's? Konami's? Both? -- this was an unfinished product, and the haphazardly thrown-together "conclusion" left me feeling sour towards the game. But I returned to it, replaying the missions over and over, figuring out how to get S-ranks on each of them. And in this sort of second look, I discovered the real heart of the game, something that I had been missing earlier:
you are Big Boss, the world's best espionage operative, leader of the Diamond Dogs. In the same way that carrying out the perfect assassination as Agent 47 feels awesome, figuring out how to successfully complete each mission quickly and efficiently (not necessarily quietly!) made me feel like peak Snake for the first time. None of this would have been possible if MGSV wasn't the best-playing game of 2015. It drove me to sink over 200 hours into getting the platinum trophy. For all of its flaws, and there are plenty, this is by far the game I spent the most time playing this year. And in his (likely) final go-round with the series, Kojima went out on a high note with his third great Metal Gear.
(Kojima Productions, PS4)
3. The Witcher III: Wild Hunt ; If it were its own game, Gwent would have been a contender to make this list. Okay...maybe that's a
little bit of hyperbole. But as one small part of a 100+ hour RPG, the excellence of Gwent is a microcosm of everything
The Witcher 3 achieves on a much grander scale. I'm talking about the level of care that is put into every single piece of content in an incredibly content-rich videogame. Because as someone who has developed open-world fatigue over the last few years, I wasn't sure if I would like this game. Especially early on, as it became clear that this game was a staunch follower of modern open-world design -- no towers to climb here, but bulletin boards serve the same purpose of cluttering the map with "---> **GO HERE THIS IS IMPORTANT** <---" icons. So, what's different about The Witcher 3? Why is it one of the best games of 2015? It's because out of all of the things there are to see and do in this game -- and there's a ton of it -- very little felt like a throwaway. And that's what separates The Witcher 3 from the bulk of open-world games, which often fill the world with shallow, repetitive busywork. Here, even the most insignificant of quests has a worthwhile story associated with it. Main quests, side quests and everything in between often intertwine and overlap, establishing a world that truly feels real and lived-in. Consequently, I did everything that I could do in this game, because if I didn't, I'd have felt like I was missing out on something that was worth my time. Within the constraints of a traditional open-world structure, The Witcher 3: Wild Hunt puts forth an impressive display of writing and world-building that runs laps around its peers. It has set the bar for all story-driven, open-world games going forward.
(CD Projekt RED, PS4)
4. Soma ; If not for the underwhelming monster encounters (especially compared with last year's stellar
Alien: Isolation), this may have been my game of the year. That's because
SOMA is a tremendous achievement in video game storytelling, pacing, and creating suspense. And by bringing all of these elements together in a well-crafted and believable world, SOMA succeeds in being one of the most atmospheric games I've ever played. It strikes a really nice balance between quiet, serene moments, and the slow building-up of tension to the occasional terrifying, thrilling moment. It's not an overly scary game, but delivers when that's what it goes for. Design-wise, it rarely holds your hand, leaving it mostly up to the player to explore and figure out where to go, what to do, and how to piece the story together. It offers a thought-provoking narrative where choices are less about how in-game events will play out, and hits more on a personal level about whether or not these choices line up with what you'd consider moral or ethical. Despite most of these decisions having no real far-reaching effects on the game's story, I still found myself questioning my actions well after finishing the game. Now
that's effective storytelling.
(Frictional Games, PS4)
5. The Talos Principle ; A first-person puzzler that expects a lot out of you as a player,
Talos admirably fills the void left by the lack of
Portal since 2011. Figuring out the solution for each puzzle, and then further exploring each world for hidden secrets, was tremendously engaging and fun. It's clever and challenging and offers a lot of things to think about, both in terms of its puzzles
and its better-than-expected story.
(Croteam, PS4)
6. Yoshi's Woolly World ; Deceptively-challenging and bringing something unique to each level,
Yoshi's Woolly World is the second-best 2D platformer on the Wii U behind
Tropical Freeze, and it represents the developers' best work since
Wario Land: Shake It! It's the most charming game I've played all year.
(Good-Feel, Wii U)
7. Fallout 4 ; In a year that featured a lot of big open-world games, I've come to really appreciate how no one makes them quite like Bethesda does. I've sunk dozens and dozens of hours into
Fallout 4 already, and I've barely even scratched the surface of the story. The post-apocalyptic Massachusetts setting that they've crafted has been an absolute joy to explore thus far, by virtue of how richly-detailed and content-dense it is. There's so much to see and do within walking distance of virtually every spot on the map, and so I've spent the bulk of my time just roaming around, looking to uncover the next new location. The story is obviously this game's big shortcoming. Because of the built-in backstory, there's this persistent nagging feeling in the back of my mind that I shouldn't be doing all of the things that I've been having fun doing in the game. There seems to be a disconnect between the story they're telling and the story that this style of game should have. The new gameplay additions to the Bethesda open-world formula are also very hit-or-miss, and there are many other aspects of the game's design that leave a lot to be desired, but I can't deny how much fun I've had just wandering from place to place.
(Bethesda Game Studios, PS4)
8. Ori and the Blind Forest ; Ori is one of the prettiest-looking games I've ever played. But there's far more to it than just how beautiful it looks and sounds; it's a really great Metroidvania that doubles as a very tightly-designed and
very challenging 2D platformer.
(Moon Studios, XBO)
9. Undertale ; I was an N64 kid, and as such, I don't have the same sort of reverence for 16-bit-era JRPGs that players that grew up with those games do. So going into
Undertale, I didn't really have any expectations. A lot of people were raving about it, and at some point I felt I needed to see what all of the fuss was about. And at the halfway point of the game, I still wasn't sure. I was liking it overall, but the gameplay was uninteresting and repetitive, and the humor was very hit or miss; I cringed at the jokes about as often as I laughed at them. But the game's final act was something to behold - a delightful combination of thoughtful storytelling and a willingness to engage and surprise, and within the only medium where such a story could be told. By the time it concluded, I felt a genuine sense of empathy and compassion for the enemy characters that I've mercilessly and thoughtlessly massacred in 99% of all video games. It resonated with me in a way that I never expected, and that's why it's on the list.
(tobyfox, PC)
10. Until Dawn ; Until Dawn is a David Cage-style game that's
actually good. It follows the same basic concept, where a series of split-second (and often heart-pounding!) choices moves the story along one of many different branches. But the difference here is dialogue that happens to be both well-written
and well-acted, and because it's all so well-executed, they end up nailing the "teen horror" experience they were going for with this game. It's every bit the video game equivalent of a B-horror/slasher film, complete with all the cheap jump scares and cheesy dialogue you could ever ask for. The result is one of the most genuinely entertaining games I've played all year. Beyond that, I was impressed with its chops as a horror game and its ability to subvert genre expectations. I'm looking forward to playing through it again next Halloween.
(Supermassive Games, PS4)
x. Rise of the Tomb Raider ; As with the 2013 reboot, this is still not the Tomb Raider that I want. But it's a markedly better game than its predecessor in every respect, striking a better balance between exploration, crafting and combat. It's also one of the most impressive-looking games I played in 2015. Sure, there's still
not nearly enough tomb raiding for a game in which you star as "The Tomb Raider", but most of my time spent playing this game was worthwhile and fun. And in the end, that's really not such a bad thing, is it?
(Crystal Dynamics, XBO)
x. Grow Home ; I'm glad that this game can exist in 2015, and from Ubisoft, no less! It takes N64/Gamecube-era 3D platforming in a direction that I've always wanted to see it go.
(Ubisoft Reflections, PS4)