Here’s my top ten games played in 2016, presented in the order in which I played and/or beat them. Following each title is the developer/author, the platform I played the game on, the release year on said platform, and a little bit about why it has made this list. As with last year’s Selections, these games aren’t ranked, except for my personal Game of the Year and its runner-ups (the entries this time are a little less wordy, however). I have also added some Honorable Mentions at the beginning, since I played a lot of good stuff this year and didn’t want to overlook certain titles. Anyway, let’s get to it…
– Gurumin: A Monstrous Adventure – for its appealing main character, and being the type of “b-game” that lingers in my mind long after finishing.
– Firewatch – for its incredible sense of place, and realistic characters.
– Bravely Default – for its masterful battle and character customization systems, and outstanding art direction.
– Pokemon Blue Version – for being a deeper-than-expected foundation, and Professor Oak’s nephew, the antagonist I loved to hate more than any other this year.
– Phoenix Wright Ace Attorney: Spirit of Justice – for returning the series to form, and bringing the “Justice Trilogy” to a satisfying conclusion.
There’s also a few great games which I played this year but didn’t beat or play enough of to consider for this list: Spelunky, Project CARS, and Picross 3D Round 2.
Diablo III: Ultimate Evil Edition Blizzard Entertainment | Xbox 360 | 2014
Playing a Diablo-style action RPG on a console, with my co-op partner sitting right next to me, is a wonderful experience I wish I could have more often. What’s most remarkable is that it happened with an actual Diablo game. The story is typical Metzen Cheese™, but told within suitably epic trappings and with a satisfying loop of fight and loot. For a console version of a very PC-centric game, the controls are remarkably good as well: somewhat complex, but thought out well enough that they soon become second nature. I do wish there was more variety in the loot available in the Resurrection of Evil expansion, and there’s only so much Metzen Cheese™ one can take at a time, but if you’re looking for a solid couch co-op game, this is one which I highly recommend.
Kero Blaster / Pink Hour / Pink Heaven Studio Pixel | Windows | 2015
Pixel’s follow-up to his masterpiece Cave Story is a run-and-gun shooter with a slightly more whimsical tone. In this outing, a frog gets teleported out onto the field to complete cleanup missions for his employer, but in the meantime, a problem manifests itself in the boss’ office. Despite the switching up of genres, the action should be familiar to anyone who has played Cave Story, and even improves on it in some small, but welcome, ways. Kero Blaster is, flat-out, a joy to play, and its two free tie-in games, Pink Hour and Pink Heaven, are worth checking out as well.
NiGHTS into Dreams… / Christmas NiGHTS Sonic Team | Windows | 1995-96 (Windows port: 2012) NiGHTS is the strangest game I played all year. It’s a mascot platformer with not much use for platforms; instead, the title character flies and floats around dense dreamscapes. I found the game disorienting at first, but once I got the hang of things, it was like nothing else. It is also not as difficult as certain similar games of its era, so despite one or two frustrating bits, I was able to beat it. One of the bonus features in the PC version of NiGHTS is Christmas NiGHTS. More than just a reskin of NiGHTS‘ opening areas, it is a charming demo with a standalone story and plenty of holiday spirit.
Undertale tobyfox | Windows | 2015
I don’t know what’s left to say about Undertale at this point. The characters are marvelous and true to life, and the plot slots them into archetypal JRPG roles in interesting ways (this is particularly true of Alphys). There is humor galore, from meme-ready running gags, to more traditionally funny scenes, to a certain unexpected and hilarious parody. There is also tons of heart, in several ways. Its fandom is crazy about this game and after one playthrough, and then another, it became easy for me to see why.
Doom id Software | Windows | 1993-95 (via Doom 3: BFG Edition, 2012)
Playing Doom—and beating all of its episodes for the first time—ended up being more than just a nostalgia trip. Despite the lack of modern niceties such as aim assist, weapon customization, and jumping, it plays just as well, and is as enjoyable and engrossing, as back in ’93. The only real low point is Episode IV, first introduced in The Ultimate Doom and included here, but even that would be a solid set of maps in most any other FPS. Doom is, and always will be, just that good.
Bejeweled 3 PopCap Games | Windows | 2010
A modern classic of match-three puzzling, with a sufficient amount of strategic depth and wealth of variant modes to keep things interesting, from the frantic (Ice Storm) to the relaxing (Poker). The epic music and voice-over were unintentionally funny to me at first, but after spending many hours switching gems around, I can’t imagine the game without them. Bejeweled 3 ended up hooking me so much that it became one of a small number of PC games which I felt compelled to get all the achievements in.
Catlateral Damage Chris Chung/Fire Hose Games | Windows | 2015
If you ever need something cathartic—no pun intended—to play for a few minutes or longer, I heartily recommend Catlateral Damage. It’s a first-person cat simulator where the goal is to knock everything onto the floor. The main campaign is short, but there is a decent amount of stuff to do and see, including some nifty themed maps, unlockable cat photos and playable cats, cat toys that grant stat boosts, and special limited-time events, like low gravity and chasing laser pointer dots. Playing a misbehaving cat is, as it turns out, an enjoyable way to pass some spare time.
Third Place Pokemon GO Niantic/The Pokemon Company | iOS | 2016
Looking at this strictly in terms of mechanics, and especially when it’s compared to its primary source of inspiration, Pokemon GO may be the worst game on this list. However, for me, it has also been one of the most engaging of the past year. There is something intriguing about going out into the real world to catch Pokemon and use them to fight at gyms. The team system encourages local rivalries, and periodic updates and special events have generally made the game better since it first launched. I currently have most of the Pokedex filled, plus a pretty beefy team of gym-fighting regulars, so I’ve lapsed a bit in my playing, but for much of the summer and fall, Pokemon GO proved to be a great way to get me out of the house for some simple exercise for an hour or three. If more second-generation Pokemon get added, I’d probably continue to do the same in 2017, since I’d love to see Skarmory, Marill, and other favorites in my ‘dex.
Second Place DOOM id Software | Windows | 2016
It feels odd to place this above the original Doom, which is one of the greatest and most important games ever made. However, in terms of how much I was captivated by each game I played this year, I feel that this new one deserves its place. It is, more than anything else, bone-crunching, and also metal, and at times quite witty. As a character, the Doom Marine is stellar, a silent first-person protagonist who brims with personality through mere eyelines and hand movements. The world he inhabits is sprawling, with some (mostly) cleverly hidden secrets, and incorporates the best ideas from all the previous numbered entries in the series and then some. The gameplay, and gunplay, is exhilarating, with one of my favorite parts being an ammunition and health drop system which, amongst other things, means one no longer has to hoard BFG ammo. It is everything I have loved about Doom made modern, and might be the finest single-player FPS campaign of all time.
First Place: Game of the Year Her Story Sam Barlow | Windows | 2015
My Game of the Year was decided early on. Rarely have I come across a game narrative that’s so pulpy, with so many what the fuck moments as in Her Story. It is very, very difficult to talk about why this is without giving anything away, especially that one word I felt compelled to search for after watching a certain amount of video, that one word which means so much to the plot.
First, let’s back up a little. In Her Story, you are an unknown and unseen person who is sifting through interview clips stored on a long-neglected police database. You start with the word “MURDER”. The interviewee is the wife of the victim. To progress, searching for additional clips through keywords, piecing events together along the way, is key. However, even after seeing the clip needed to trigger the option to end the game, it’s hard not to keep going, and yet, some hard answers remain just out of reach. I’ve seen every single snippet of video in Her Story and am still not entirely sure of what has happened. This is a game tailor-made for people who enjoy theorizing over vague endings, and love mysteries in general.
If you’ve been reading this blog for awhile, you may have noticed that I’m a stickler for good storytelling in games. Some of the games on this list, particularly Undertale and DOOM, have very good stories, but nothing like this. Her Story is a must-play achievement in narrative games, one that excels in both concept and execution.
For several years, I posted “roundups” of all of the games I played in a given year. After the 2011 edition, I lapsed on this and have not written one since. Having to remember every game I played in a 20xx and write up a little something about it got to be tedious, and didn’t play well with my inherent laziness.
All that is why, when I decided to revive this feature, it was with new restrictions. This time, I will be covering only ten games: those which left the strongest impressions on me within a given year, regardless of release date. This restriction also enables me to write a bit more about each game.
So, without further ado, here’s my ten for 2015, presented in the order in which I played them. Following each title is the developer/author, the platform I played the game on, the release year on said platform, and my obligatory summary. They are not ranked, except for my personal Game of the Year and its runner-ups, which were relatively easy choices, at least for this installment.
Mighty Gunvolt Inti Creates | 3DS | 2014
Although I am not a big fan of anything that resembles Mega Man, this game charmed the pants off of me. Few “retro” style games that truly want to be “retro” ever come close to the faithfulness to the era that Mighty Gunvolt achieves: here, it really does feel like you’re playing an NES game. The art and music are lovingly crafted, as is the localization from the original Japanese, which sprinkles bits of “Engrish” throughout. The biggest aspect which feels “modern” is the difficulty, which isn’t as punishing as its predecessors, but that’s all for the better.
Octodad: Dadliest Catch Young Horses | Windows | 2014
And on the opposite end of the spectrum is Octodad, which forces the player to unlearn everything they know about controlling video game characters. The player character is a giant octopus masquerading as a human surburban father, and controlling him—through a scheme where arms and legs are affiliated with analog sticks and shoulder buttons—is as difficult as you might expect, given the circumstances. Not drawing suspicion to yourself in your everyday life is the goal of the game, a lighthearted sitcom of a tale which comes complete with a catchy theme song (but no laugh track, thankfully). Although a certain part came off as slightly unfulfilling, there’s nothing else that would cause me not to recommend this.
Gone Home The Fullbright Company | Windows | 2013
This is one of those games I put off playing for awhile due to the neverending hype and discussion surrounding it, but I finally did so this year. What it ended up being was an exploration through a massive old house that was alternately nostalgic, goofy, and suspenseful, a miniature 1990s teenage soap opera told in first-person in-between references to Bratmobile and The X-Files. That this tightly crafted, intimate little story generated as much controversy as it did is bewildering. Gone Home is—somehow, bizarrely, sadly—groundbreaking for the video game medium in its everyday mundanity and small human dramas, but it’s also good, and hopefully this sort of thing will become more commonplace in the future.
PixelJunk Eden Q-Games | Windows | 2012
I play few platformers anymore, not so much for lack of interest (Kirby burnout notwithstanding), as that there haven’t been any really good ones in awhile. I came to PixelJunk Eden not knowing much about it, but finding within it just the refreshing sort of platformer I needed. The visual style is minimalist overall, but can get pleasantly noisy sometimes in a structured Sonic Youth sort of way, and it’s accompanied by some cool electronic music and suitable sound effects. The physics are floaty but believable; the diminutive player character moves around like it’s in water. Although the paths weren’t always clear and, thus, it became way too easy to get lost in certain late-game levels, I had a really good time with PixelJunk Eden.
You Must Build a Boat EightyEightGames | Windows | 2015
This game, the follow-up to 10000000, almost didn’t make this list. It’s on here because I returned to the game again, months after first beating it, to go after more crew members and achievements. That’s when I fell back into its rhythms. With more tile types and general complexity than 10000000, my original feeling was that You Must Build a Boat was too overwhelming, and somewhat inelegant. Somehow, this doesn’t matter any longer. Its density and mechanics have their own kind of beauty and rhythm, and it has proven itself to be just as well-balanced and addictive. That, plus the new rooms and crew members that get added over the course of the game gives it more character than 10000000 ever had. That’s not to say that YMBAB is better than 10000000, but it is most definitely a worthy successor.
Roundabout No Goblin | Windows | 2014
This game is unlike anything else out there. It’s got a groovy 1970s setting complete with funk music, rounded chunky fonts, trippy drug references, and suitably toned live-action FMVs. The story centers around Georgio Manos (pictured), a silent protagonist and up-and-coming revolving limousine driver. With the support of her comrades, she ferries people all over town and deals with various bits of drama. Oh yes, and as her title implies, her limo does indeed revolve around and around while she drives, which is where the challenge comes in. It’s all very silly, a little bit difficult, rather fun (and funny), and over all too quickly.
Neko Atsume: Kitty Collector Hit-Point | iPhone | 2014
My husband and I waffled on trying this out for ages, and a patch from earlier this year which added an English-language option basically gave us little excuse. So, one day over the US Thanksgiving weekend, we each downloaded Neko Atsume from Apple’s App Store. What a great decision that was. A few times a day, after setting out food and toys, we check to see which stupidly cute, beady-eyed cats have visited us. Another aspect which has won us over: it’s free to play, with microtransactions available, but we’ve never once felt the pressure to buy any extra gold fish (the top-level in-game currency). We just take our time and enjoy these adorable digital felines at our leisure.
Third Place Hatsune Miku: Project mirai DX SEGA | 3DS | 2015
I’m afraid I might be biased when it comes to this choice: I’m a fan of Vocaloids, and Miku in particular, plus I also have a soft spot for both Nendoroid figures and tactile rhythm games. Project mirai DX features a robust selection of songs featuring music software developer Crypton’s beloved stable of Vocaloids: classics, fan favorites, and lesser-known tracks spanning a nice range of styles and BPMs, from many of the best producers in the scene. There are even a few songs with additional vocals supplied by special guest GUMI (aka Megpoid), a Vocaloid published by Internet Co. Ltd. All of the characters are represented in their chibi Nendoroid forms, thanks to a collaboration with Good Smile Company, and have a certain lively appeal to them that the blander, regularly-proportioned Project DIVA models lack.
The touchscreen-based gameplay mode is a joy to play (the button-based one isn’t too shabby either, though not as much fun), and there are several diversions—a room to decorate, character outfits, reversi and Puyo Puyo minigames, a music player, etc.—that are entertaining ways to take a break from the main rhythm section every so often. Despite the rare misstep (such as a certain pair of popular but overly repetitive songs), it’s a must-have for 3DS-owning Vocaloid fans, and probably the best rhythm game on the system overall.
Second Place Analogue: A Hate Story Love Conquers All Games | Windows | 2012
Stories with a strong sociological bent are still relatively hard to find in games. While my 2015 manga slate was filled with brilliantly humane works like Vinland Saga, My Love Story!!, and Assassination Classroom, there hasn’t been much like those on my gaming one. Analogue: A Hate Story is one of the rare exceptions. Like (the absolutely amazing, seriously it’s a masterpiece) Ōoku: The Inner Chambers, Analogue is a feminist examination of a specific period in Asian history. In this case, it’s an extremely repressive Korean society recreated on a long-lost starship, whose story is told through the logs maintained by, and the commentary of, a pair of AIs named *Hyun-ae and *Mute.
What follows from there is a dense, intertwined tale of family, hierarchy, social expectation, doomed romance, dashed expectations, and horrific violence, with the occasional bits of humor, which helps lighten the mood from time to time and rounds out the characters. It’s a gripping tale, one as fine as in any good comic or prose story I read this year, and I’m looking forward to playing its sequel, Hate Plus, in the year ahead. In fact, Analogue was all set to be my personal Game of the Year, but then something else came out…
First Place: Game of the Year The Beginner’s Guide Everything Unlimited Ltd. | Windows | 2015
I really don’t know where to start with this one without giving away what happens during a certain scene, a scene that matters so much when it comes to how this story is ultimately interpreted. When that scene happened, I understood much more, but only to a point. By the time the game ends, there’s at least two apparent large plot holes and some uncomfortable unanswered questions, which aren’t helped by the fact that the entire thing has been narrated by Davey Wreden, the creator of The Beginner’s Guide, seemingly playing himself. There’s also that cryptic dedication…
I’m going to dig further into this now, and although I won’t reference anything too specifically, there might be some parts that could be considered spoilers, so turn around if you need to.
What The Beginner’s Guide is ultimately about (or at least it seems so to me) is audiences, the great bugbear of creators everywhere, and how uncontrollable they are. It left much the same impression on me as The Wind Rises, Hayao Miyazaki’s final film, which dealt with a similar theme on multiple levels. In that film, which is based on true events, an inventor does amazing, innovative work but finds that his lofty ideals don’t line up with reality. Such is the situation in The Beginner’s Guide, where Davey takes us through a tour of the works of “Coda”, a friend who has dabbled in game development before suddenly stopping. Who Coda is and what their works really mean is beside the point. It is Davey and his presentation of Coda’s games which really matters here.
The result is a fascinating, but somewhat worrying, journey through all sorts of unfinished first-person games. There are a lot of dialogues that go nowhere, enclosed spaces, and strange surprises. Davey is not wrong to have interpretations of these creations. The wrongness that is present becomes evident later on, and, in the end, I don’t blame Coda for their actions, though perhaps they were somewhat naive in how they handled their games. It’s an interesting and ultimately heart-wrenching story about creation, interpretation, modification, and everything in between. I wonder if anyone who isn’t a creative type of some sort would get it. I wonder, like many others, if this is based on something which really happened. I do not wonder if this sort of thing continues to happen in the real world, because I know it does. It sucks, but it still happens. It happens to a lot of us, and though it might take awhile, things will be okay again.
A copy of Halo sat amongst other barely or never touched PC games—stuff like American McGee’s Alice and Half-Life—for a number of years. Early in 2010, I decided to change its status, and got around to starting it on April 17th. This decision was one that I’m still feeling the effects of.
It did so many things right: consistent world design, likable characters, unique (for a first-person shooter, anyway) music, good equipment, and great momentum. There was also the big plot twist, a moment when so much seemed to change; I believe this was also the moment when I became hooked.
It’s not like the game didn’t have any problems, as it had a streak of sameness and repetition running through its many grey corridors, but as with any flawed piece of brilliance, the magic of the rest was such that they were minor concerns.
After Master Chief and Cortana’s adventure on Installation 04 came their next one, which starts in orbit above Earth. The situation had become grave, the enemies less cartoonish, and the animations a touch less snappy. Realism and gravity—in a galaxy filled with whole races of aliens that could speak perfect English, a Forerunner civilization that rivals StarCraft‘s Xel’naga in terms of crazy conundrums, and Sergeant Avery Johnson (minor spoilers in link)—was trying to worm its way into a realm that was fun and exhilarating above all else.
Although I wasn’t sure what to make of this change of tone, with it came a closer look at the Covenant and their motives, and the introduction of a new playable character, the Arbiter. This disgraced Elite was a welcome change from the UNSC’s perfect super soldier and whatever seriousness that was imbued in the story suited him quite well.
The air may have changed, but the action didn’t. In fact, the ante was upped, with dual wielding, new equippable weapons (including the truly badass Energy Swords, which were present in the first game, but not a useable option), and frantic battles. Unfortunately, the final fight, which aimed to be the pièce de résistance, fizzled instead, thanks to a shortsighted bit of level design. The ending was a cliffhanger this time, as the “trilogy” formula had now been settled upon.
The action outdoes itself again, and there are crisper graphics this time around due to this being the first Xbox 360 outing for the series. Also still present is the gravitas, with extra emphasis on Chief and Cortana’s relationship, which takes a turn away from the first game’s buddy-movie-screwball-comedy antics to something a bit more tender and weirder, with a slight whiff of retcons.
As for the rest of the plot? Muddled and nothing to write home about, with a none-too-subtle throwback to the first game at the end and some non-closure closure.
Although I’d put up with it for three installments, here is where the formula really started to wear thin. Despite being an RTS, taking place two decades before Combat Evolved, and featuring a whole new cast of characters, a familiar three-act structure was in place. It would all be eyeroll-inducing were it not the most fun I’ve had with a game in this series since pre-final battle Halo 2.
I am and remain a PC person when it comes to first-person shooters (though, as I’ve said before, the Wii’s controls for first-person games are damned good). With Halo Wars though, I found a console RTS with a control scheme that suited my style of play fairly well. It was also, sadly, Ensemble Studios’ final game.
The second in the Not-Master-Chief non-trilogy puts the player in the role of an Operational Drop Shock Trooper during the events of Halo 3. Its emptiness, coupled with basic character animations attached to equally basic characters, brought to mind the first game, more than any of those that had been made previously, albeit with a moody touch of noir on top. The story was modest and significantly different, in terms of structure, from the ones that had come before it. Perhaps the one thing I liked the most—and this is the only time it has happened in the series—is that the main character is not only nameless, but pretty much voiceless, a true silent protagonist whose UNSC-issue boots I can easily slide into.
ODST is a wonderful game, but aside from the rare bit where it’s obvious you needed to have played Halo 3 first, its biggest frustration is representative of something that I’d noticed about the console Halos I’d played to this point: the save system, or rather, the lack thereof. One of the great things about modern PC games is they haven’t forgotten about the value and necessity of manual saves. Autosaves and “save and quit” features are all well and good, but not if one wants to go back and try a different approach, as I did with ODST when I realized that I was unraveling the plot’s core mystery in the wrong order. Redoing the previous mission over again, I found my acquired weapons gone and my checklist cleared of any real progress. This was why I deleted my save file and started the game over again. That said, it is unfortunate that certain other progress markers, namely the Xbox Live Achievements and the in-game audio file unlocks, could not be similarly wiped clean.
Bungie’s final Halo would have it come full circle: in the beginning of their Combat Evolved, we learn that the planet Reach, which had been colonized by humans, has fallen to the Covenant, and that Master Chief is the last of the Spartan II-class soldiers. This game, then, tells a story of the doomed right from the start; I knew going in that the Spartan I would play, and the others in Noble Team, would fail to save Reach and die. The story did have a few surprises left, though, including one which was badly explained in-game, and only clarified by reading some forum threads and the facsimile diary that was included in the game’s special editions (I have the Limited one).
Interestingly enough, although the nameless protagonist “Noble Six” was not silent this time, gender was both obvious and up for grabs: Six could be male or female. Even with an already solid range of good-to-great women characters in the Halo universe, and the existence of female Spartans having been established since at least Wars, that I could make Six any gender I wanted was a welcome surprise. I went with the male option, though.
Male or female, Six is your typical Halo human protagonist: if s/he’s not already a decorated and admired soldier, s/he has an impressive track record. Only Halo 2 stands apart in its presenting the player with a flawed protagonist in need of empathy and redemption, and even then, the Arbiter is only playable for half the game. On the other hand, Master Chief (and his sidekick Cortana), Sergeant Forge, the Rookie, and Noble Six are characters who had admiration and/or respect on their sides prior to their in-game adventures, and could be considered canonical Mary Sues.
Although I have enjoyed my time with all of them, I continue to love the Arbiter the most.
Epilogue: Combat Evolved Anniversary, and Four
After a month-long binge on the not-Master-Chief non-trilogy, I am done for awhile. Anniversary, a remake of the original Halo: Combat Evolved, sits in my backlog, and there it will remain for awhile longer, mainly since there are virtual worlds I want to delve into that do not involve space marines. Halo 4 will come out later this year, but unless there’s a real must-have preorder bonus, I won’t pay full price for it. I don’t go in for the multiplayer on these games, otherwise I would certainly have my order in already, and $60 for what will surely be another eight-hour (or, heaven forbid, shorter) campaign is too much.
I do plan on buying and playing it, however. Despite whatever gripes I may have, Halo still has that special something.
Shadow of the Colossus annoyed me. It was a very atmospheric game, the control scheme was inventive, and the animation was satisfyingly realistic, but there was one thing about it that broke the immersion for me: the hints given to you by the game’s god-like being, Dormin, if you happen to take awhile figuring something out. There was no way to turn them off, at least in the first playthrough (I tried), which made the whole situation worse, especially since SotC‘s excellent predecessor, ICO, didn’t drop hints at all. If there’s one thing that irks me, it’s a game that doesn’t trust its player.
Recently, though, I’ve thought about it some more and came up with a story-related explanation for these unwanted hints: the protagonist character, Wander, is a fucking moron.
Metroid Prime was really good, if a little frustrating at times. The levels, very much including the in-between hallway bits, are incredibly varied, and the puzzles are genuinely interesting. Story bits are told via computer terminals and ruins, which can be scanned with a special visor; as such, there were very few cutscenes, which I liked. A lot of backtracking is required to collect all the doodads you need (and don’t), which got a little tedious at times, and at one point, I had to run to GameFAQs in order to progress (always a Bad Thing to me, though in this case, the solution was merely a little oblique instead of ludicrously buried, *cough*). Both enemies and environments require more elaborate battle tactics as the game wears on, which not only added to the difficulty but the variety. Also, the Wii controls for this first-person game are a dream come true, though I personally would’ve put the default jump control on the Nunchuck instead of the Wii Remote, similar to the Elebits scheme. I’m looking forward to playing the other two games in the Metroid Prime Trilogy set, though probably not right away, as my backlog is nearly all JRPGs again and I need, more than ever, action games to break things up.
Captain N isn't that kind of guy.
Metroid Prime was also my first Metroid game, believe it or not. However, thanks mainly to Nintendo and fandom, the game’s protagonist was already known to me, though I was not aware of much of the minutiae of her canon. Really, there aren’t too many hardcore gamers who don’t know of the bounty hunter Samus Aran, since, along with Lara Croft, she’s the most famous and iconic video game heroine out there. An important aspect of her is that she has traditionally been a silent protagonist in the games she appears in, much like Mario, Crono, and just about every main-series Dragon Quest and Pokemon hero. In fact, the only time I’ve seen her talk is in the old Nintendo Comics System books, where she is a calm/cool/collected hunter who macks on Captain N.
Recently, Metroid: Other M came out, featuring Team Ninja’s take on the character and her universe. I hadn’t really kept up with this game, but what reviews I’ve seen have been generally favorable. The one from the Onion AV Club got me wondering, though:
It might not sound like a big deal, but Other M focuses on Samus almost to the point of being a character study. In her many internal monologues throughout beautifully rendered cutscenes, the previously strong-and-silent Samus owns up to being petulant in her time with the Galactic Federation, to having misguided, unshakeable loyalties, and to dealing with daddy issues.
That didn’t sound like the Samus I (barely) knew. Turns out it was worse for a more experienced Metroid player at G4. I first heard about Abbie Heppe’s Other M critique via GJAIF, which quoted a Boing Boing article about the piece and its accompanying backlash. In summary, Heppe did not like the characterization of Samus, and took issue with the story itself; she also wasn’t satisfied with the control scheme and overall game design.
From what it sounds like, Samus was handled badly in Other M, and not just in the sense of a silent protagonist becoming chatty: Heppe logically points out as uncharacteristic Samus’ moments of fear when facing a certain enemy that’s a mainstay of the Metroid series. However, I believe this bit is just another fault of the overall approach as well. If I’m reading this right, it seems that Samus is a character whose thoughts and personality we didn’t know at all, but only interpret through what limited information we are given (sparse storylines and cutscenes, her equipment and enemies, etc.), with the rest up to us, the player. The Samus I saw in Metroid Prime was an independent and diligent explorer who seems not to care for the company of others. There’s doubtless many more interpretations of her out there (like her being a greedy and flirtatious sort, a la the Captain N story). An immature and doubtful Samus was not one I ever thought possible, especially not at the point in the canon that Other M takes place in.
Silent protagonists, especially ones that have been that way for as long as Samus has, must be handled carefully when given a voice and thoughts. I can only think of one other instance off the top of my head where a silent protagonist was given a significant personality injection, and the results were also inadequate; the Jak of Jak II was, unlike the original in Jak and Daxter, not someone I particularly liked. Mario might qualify, as he has been given voice in the past through cartoons and comics, but his in-game persona is still largely open to interpretation; at most, his speech is limited to very basic reactions (“uh-huh”, “no”, exclamations of surprise, etc.) and Italian gibberish.
Perhaps Samus should never have been given a personality in the first place, as that, traditionally, has been left up to the players to fill in for over twenty years. That lengthy time, and all the Metroid games filling it, have created many Samus Arans in the minds of uncountable numbers of gamers. Whittling down these many Samuses to one (and an apparently strange one at that) is a very dicey proposition at best. I hope the next Metroid allows us as gamers to once again see our own personal Samuses again.
I meant to post here not long after beating StarCraft II‘s Terran campaign, and to devote an entire post to my impressions of the story and campaign structure, but I got sucked back into Dragon Quest IX so quickly again. Also, I’m a procrastinator.
Seriously, though, DQIX is incredibly addictive. I finally saw the credits roll yesterday afternoon, and though the basic meat of the plot is relatively straightforward and shouldn’t take too long to complete, thanks to all of the other things to do, my beat time was 125:27:02. And there’s still a lot more left in the postgame! However, I’m not even thinking about that stuff right now. For the time being, I’m Dragon Quested out.
"Darlin', when I squint my eyes at you, you better listen."
What else has been going on with me, gaming-wise? As I said before, I beat the StarCraft II: Wings of Liberty campaign. The missions had an incredible amount of variety compared with the original and Brood War, but in general, they also felt easier (it must be noted here that StarCraft II‘s campaign has difficulty settings; I played the entire thing on Normal). The easier, more diverse play compliments a story that, while serviceable, lacks some of the raw… je ne sais quois of the previous games. Certain things, most notably Raynor’s relationship to Kerrigan, are less ambiguous, and there is more humor and in-joking than ever before. One minor pop culture reference in particular was, while silly, somewhat anachronistic considering the setting.
Some of this can be attributed to the new structure in place for the between-mission bits. Instead of a dingy briefing room with an android adjutant, where you are a commander working with General Duke or whoever, you are an observer aboard a battlecruiser, with Raynor as your main character, a detached sort of avatar. A more human angle has been given to the story in the form of Raynor’s conversations with his shipmates and others, but in exchange, something has been lost. I’m not sure which approach I prefer.
The character models and voices are also worth mentioning. Raynor still has his smooth Southern drawl and still squints when he’s upset, but his face is no longer lean, but meaty, and he has an equally meaty build to go with it. His hair is darker as well. Kerrigan, in brief glimpses of her old human form, is more fair-skinned than I imagined her to be through StarCraft‘s crude character portraits, and I’m not too crazy about her new voice. Mengsk and Zeratul fare better, and in general, the new characters are well done.
I think I have a pretty good idea of at least some of what the next campaign, the Zerg one, might bring. It doesn’t have quite the same magic as the original (and its expansion), but StarCraft II is still damn good, and I’m looking forward to the rest.
Another thing I played recently—well, more like messed around with: Kingdom Hearts II, believe it or not. Compared to the original and even the low-key GBA spinoff Chain of Memories, KHII felt like weak sauce, dumbed down with a convoluted and contradictory story, QTE-style special attacks, and some Disney worlds that, design-wise, paled in comparison to their Kingdom Hearts equivalents. However, it did have some redeeming qualities, like the improved Gummi Ship schmup sections, a certain visually stunning minigame in the Hundred Acre Wood, and a few great worlds, like Space Paranoids, the KHII home of Tron.
My husband became curious about the upcoming movie Tron: Legacy after we saw a trailer before Inception. Neither of us had seen the original Tron, though I was familiar with its reputation as an early pioneer in the field of computer animated special effects, and so we rented it. Tron wasn’t very good story-wise, but it was a visual treat, and reminded me a lot of its appearance in Kingdom Hearts II. Wanting to show KHII‘s Tron world, Space Paranoids, to my husband, I fired up the PS2 and loaded up my starred save game. Unfortunately, I had forgotten how to travel between worlds, so I did a lot of needless backtracking before finally caving in and looking up how to do it. As I traveled through Space Paranoids—including Light Cycle and Solar Sailer rides—and recalled my experience playing through the story bits, I saw just how much of the movie had made it into the game. In this respect, Space Paranoids is no different from most other worlds in the series, but considering that I hadn’t seen Tron until now, it was neat to gain this new perspective on it.
The last couple of games on my recent agenda have been Plants vs. Zombies and Kirby Super Star. In the former, I killed lots of time in two (successful) attempts to get a couple more Steam trophies. The latter’s last and toughest minigame took me a long time and many attempts, but I finally beat it on the last day of August. I had a good time with both games, though Kirby took a little while to grow on me.
That’s about all for now. The next game I plan on starting is Metroid Prime (the Wii-enhanced version), and after that, Etrian Odyssey II. I’ve also been neglecting my Pokeymans, so I suppose I’ll have to pick up Platinum again as well. Oh, and I’ve added some more links to (where else) the Links page. On a related note, if you haven’t noticed, I’ve also made a few small cosmetic changes to the site over the past couple of months. I don’t know if I’ll do any more such tweaking, but it’s certainly not out of the question, and if you spot anything that looks out of place in the meantime, please let me know.