Coming up with a definitive top ten list for what I feel are the best video games of all time was not an easy task. How much nostalgia do I represent? Should I allow so many newer games on here? What are the rules I should be setting for myself when conjuring such a list? I racked my brain about all these things for days but in the end I felt that the list should be comprised of games that reminded me of why I love this industry.

Below is a list of my top ten favorite video games of all time. You will notice that many games are from the year 2000 and on. I don’t want to make it seem like I didn’t have a fondness for games in the 90s or that nostalgia is completely lost on me. I by no means only enjoy “newer” games. These are just the games that stood out to me in a big way. As the industry grew, so did the ability to weave incredible stories and amazing worlds to occupy. That’s what was important to me when collecting games for this list. I can only choose one game per series but besides that small rule, all bets are off. Let’s get started:

10. Final Fantasy X

I feel this Final Fantasy focuses on what is most important to my game experiences, and that is story. To me this is the best narrative in any Final Fantasy. The idea of Spira and its anti-technology, Sin fearing, magic using, summoning praising, pilgrimage taking, is a world I think about often when I reminisce about JRPGs. This game has my favorite cast of character in the series, and dwells on a touching love story between main character Tidus and Yuna.

The sphere grid was introduced in this game, which does away with the traditional leveling mechanic in turn for this customization heavy grid. You can make any character play any role that you want them to. I also love the ability to trade out characters without sacrificing a turn. Little things like this elevate a very standard turn based fighting system. I will always remember the ending of this game when thinking about best conclusions in video games. It is a powerful experience that has great pacing for this otherwise stuff genre.

9. Witcher 3: The Wild Hunt

The Witcher 3 may be in the lower part of my top ten, but it may have the best writing out of all of these games. You can easily distract yourself form the main quest of finding Ciri, and instead get absorbed into the smaller, but equally emotionally heavy narratives of the side quests. The Bloody Baron is a side quest in this game that has a better story than most games’ main quests.

This experience is cultivated by amazing writing, inspired performances, and so much content that you could spend a lifetime with this game and not see every corner or mission this game has to offer. Walking into larger cities and seeing them alive is awe inspiring, just as much as climbing a large mountain and getting a view of a large island you are occupying. This game is a visual feast and may be one of the best looking and smoothest running open world games in the biz.

8. Grand Theft Auto V

This may be the most lived in world on the list. The wider San Andreas area is mesmerizing as Blane County’s country bumpkin northern parts give way to mountains a bustling downtown metropolis with such seamlessness sometimes I swear they photo-captured it form the real world. The way the natural geography of this map is, is unlike anything else that is out there. It just feels real, so real that you could just stand on a street corner and listen to passing by NPCs as they have full blown almost unrepeated conversations with one another. The heists and gameplay mechanics are great but the real star of this game is how every moving part builds an immersive world where even staring at the trash, drifting I the wind can be an elevating experience.

7. The Elder Scrolls V: Skyrim

No world has ever drawn me in so much as Skyrim has. With its Nordic aesthetic, and strong native people, I found myself getting lost in every corner of this world. I spent nearly 300 hours in this game, and with the newer Special Edition coming out to current generation consoles, I will happily spend another 300. This game is an example of ultimate escapism, as I feel transported to this land and quickly become engrossed in its culture and lore. To me, world building isn’t done any better than how it is handled in the Elder Scrolls series.

6. Persona 4

With all of the JRPGs I have under my belt, I can easily say Persona 4 is the best of them. The series gives us a cast of amazing characters as they trouble their way through classes in high school while fighting demons at night in an alternate dimension. This game is no different, but it just does it right. The voice acting is stellar which is hardly ever the case for western released Japanese Role Playing Games. This story is more of a mystery, as it tells the personal narrative of an entire small town where everybody knows one another. As suspects begin to form, the gang uses their abilities to uncover as much as they can, while also juggling social relationships with one another, as well as taking time out to grab a bite to eat at the local diner. Persona 4 is as zany as they come.

5. Uncharted 4: A Thieves End

I’m sure I will get plenty of hate from all those Uncharted 2 loyalist out there. Heck I even thought 3 was better than the second, but I digress…Uncharted 4 is easily my favorite in the franchise. I thought the brotherly story was filled with so many emotional moments as all of the best characters come back for another adventure romp. The set pieces while not as plentiful, are jacked all the way up to 11. Speaking of 11, Chapter 11 may be one of the greatest couple hours of video games to ever exist. The controls have never felt better and it may be the most beautiful game to currently exist. The ending to Uncharted 4 has no right being as good as it is, and ending on such a high note is so hard for a series to do it seems.

4. The Legend of Zelda: Ocarina of Time

I remember riding my bike up to the local Blockbuster every week, to extend my rental on this game the day it came out. The same man checked out my order every time, and as weeks went by he noticed that I had paid for the game twice over with my rentals. He allowed me to take the game home as the new owner of what I like to think of the best Zelda game there ever was. I was totally lost in this world, and loved every second of the journey. I think the time traveling elements created a great story which leads to some of the better dungeons in the whole series. Plus those boss battles are just unforgettable. This is the first game of this caliber and size that I ever remember beating, and it will stick with me forever.

3. Mass Effect

Everybody loves to beat the drum for 2. The suicide mission was so good, how could it not be 2? Well I enjoyed 3 much more than the masses seemed to and after a while I grew to really love the endings after months of picking it apart. The first Mass effect will always be the strongest for me though. The RPG elements were the strongest in this game, and while the shooting got better, it was never bad in my opinion. I thought the story and world building in this game was so strong, and it carried the weight of setting up the entire universe on its shoulders. The game did this without flinching. It is one of the strongest examples of world building in a game that I can give.

I thought the more personal story of chasing Saren across the galaxy to stop him from causing more chaos than he already has. Of course the reveal of the universe’s big bad, the Reapers, was nothing short of spectacular. Choices mattered in a big way, and carried over into the next installment of the game, and that created a personalize narrative that you could easily be immersed in. Space Operas just don’t get better than this.

2. The Last of Us

Few games carry the emotional weight that The Last of Us does. The opening moments in the game are devastating, and that tone never lets up. In a game where truly no character is safe, I found myself constantly on the edge of my seat as I navigated my way through the Clicker filled halls, and deranged humans who occupy the desolate streets.

The story of Joel and Elly is so powerful and nuanced. Anytime Joel is reminded of his daughter by Elly, he looks at the watch his daughter gave him as a gift. Small moments like this conjure so many feelings within that I dare anybody to play through the end and proclaim they felt nothing. The ending is so satisfying but as always, the journey to get there was unlike anything I have experienced in this medium. This is easily one of the strongest narratives ever told in any form.

1. Metal Gear Solid 4: Guns of the Patriots

It would have been so easy to pick the first Metal Gear Solid here. It was the game that made me realize that amazing stories were possible in this medium. I could also go with Metal Gear Solid 2, as it is the most cerebral of the series and the one that gets the most fuss. Ultimately I had to go with 4 because in the end this game was for the longtime fans of the series. This game was filled to the brim with answers, connections, call backs, and character moments that were all building to this amazing conclusion. I have never in my life been so satisfied with an ending to anything. It was everything I could ever hoped it would be.

Guns of the Patriots is politically and emotionally charged, and the big action moments and boss fights are pinnacles of the series. Games to me just don’t get better than this. The creator, Hideo Kojima, has always been such a huge inspiration to me and while this series may not be for everyone, the people who it is for I seem to have an instant connection with. Metal Gear Solid, bringing people together since 1987.
So there ya have it. This is my very subjective top ten games of all time. This should not be taken as an example of that I do not appreciate older games, instead try thinking of it as how lucky we are to have games currently that really push the envelope forward to create a healthy an innovative industry. I like new games, hell i love them, but I do not forget my roots or where this industry came from. I may not wax nostalgia with this list, but it is an ode to how far we have come in terms of storytelling, interesting characters, and living and breathing worlds. What is your current top ten list? Sound off in the comments below!

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9.0

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REVIEW | Downward Spiral: Horus Station

by Sub-Cultured on June 17, 2018

Embark on a thought-provoking mystery in single-player or co-op deep in space with Downward Spiral: Horus Station!

It’s the game everyone’s talking about this month; the one that heralded the end of E3 and, amidst shout matches about Playstation 4 vs. Xbox One, managed to capture everyone’s attention. It roared on to the scene amidst a sea of perfect 10 reviews from reputable gaming websites and did so well in its opening weekend, it topped Man of Steel. This is The Last of Us.

I almost wish I hadn’t heard so much buzz about the game before it came out. It’s more difficult to be objective about reviewing a title when you’ve been slapped in the face with the “it’s perfect” stick so many times you’re expecting it to be mind-blowing. I popped the game into my PS3, settled down into the dark, and was crying within half an hour.

The Last of Us, first and foremost, is a game about mankind. Set aside the mechanics, graphics, environments, and sound engineering. The world has gone to hell and these people show all the signs of it. Adults who remember how it used to be and have had the hope beaten out of them by a world of danger the likes of which have never been seen. Kids who’ve been disillusioned by the harshness of life and had the opportunity of having a childhood stripped from them before they could even miss it. Those brief moments in which the learned hardness of the new humanity slips away with the glance at a watch, telling of an old story, or spotting of a new toy. And the punitive situations that remind you why being tough is the only way to survive. The Last of Us is impeccably immersive. It’s on the level of Bioshock Infinite, if not more so due to better pacing.

The immersion assault is headed by the characters and their dialogue. Naughty Dog has had a knack for very human interpersonal interaction since Uncharted and that trend continues here. The stoic and intense Joel juxtaposed against the openly emotional Ellie creates believable conversations between a frustrated master and terrified pupil. The questioning of judgment between the two senior survivors Joel and Tess show you right from the get go exactly what is at stake and the state of the world twenty years after a fungal infection decimated the population. And this is all without ever once beating the player over the head with information, rather taking the more subtle approach of having characters talk to one another and allowing the player to read between the lines and imply what they will about these people. The most amazing thing about The Last of Us is not the game, as good as it is; it’s the characters.

Another important factor to not breaking the immersion was the blurred line between cutscene and gameplay. They flowed so well into one another it was sometimes difficult to tell I was supposed to move after transitioning from cutscene to gameplay. This seamlessness works to alleviate the problem of becoming aware that you’re separate from the characters by not giving you firm “play now” or “watch now” times though the use of interactive cutscenes, very few quick time events, and revealing important plot details through not only cutscenes, but actual gameplay as well. If you’ve played Uncharted before, you’ll recognize the combat system quickly. The game revolves around encounters in which you must find a way from point A to point B by either sneaking by or killing a number of enemies. This mechanic is fairly standard by now. Crouch behind a box, sneak up behind the guy nobody is looking at, choke him to death, repeat until objective is met. The interesting thing twist in The Last of Us, however, is resource deprivation and increased vulnerability of the player.

In Uncharted, you feel like Superman. A very unlucky Superman who can’t seem to find a sturdy metal object to save his life, but you feel empowered against enemies. Charge them with guns blazing, hide and shoot from a distance, punch everyone to death — it doesn’t really matter. Generally. Drake can get out of a situation with the guns with tons of ammo or hiding and regenerating health until the next baddie can be punched out. In The Last of Us, Joel is as ill-equipped as he can possibly be, at times relying on the player to find bottles to distract enemies with sounds, or a wooden board with which to melee his opponents. This game takes place twenty years since anyone professionally produced just about anything. It’s safe to say resources are scarce. Bullets are few, enemies are great, and remaining hidden for as long as possible is your best friend.

The player must attack each new encounter with wit first and force later. Common questions are “How many bullets do I have?” “When can I attack that guy?” and “Do I have enough resources to craft a med pack?” And no, health does not regenerate. You must either find food or use med kits. The helplessness evoked by scarce resources and dramatically increased danger with encounters is only compounded by the zombies. Technically they’re not zombies, they’re just infected with some kind of spore that turns you into a mindless person looking only to eat other people.

…But basically, zombies.

These zombies are bad dudes, to put it bluntly. Remember Dead Rising? Dead Island? Hell, even Left 4 Dead? Even the bigger enemies weren’t too big a deal as long as you were fast enough and had enough bullets. In The Last of Us, there are only three types of zombies—runners which run at you and have melee attacks that can stop you for a few seconds, stalkers who are like runners with one hit kill attacks, clickers which have no eyes and require absolute silence otherwise their one hit kill attacks will have you cursing, and Bloaters who will also one hit kill you but also rip off fungus from their body to throw at you. Delicious. Notice how three of those will kill you instantly on contact? Well, the only one who doesn’t can stop you in your tracks for just long enough to allow others to catch up, and if just one of those is an instant kill zombie, game over man. Luckily, the game allows you to restart encounters instead of levels, encouraging you to experiment with your strategies by allowing you to correct your mistakes quickly and without too much of a penalty.

The game does have its problems though. The AI, for one, is horrendous at times. Your companions do their best to follow you, but I often found times in which they were in plain sight of my enemies, and were completely ignored. I think the enemy AI can only recognize the player and not the companions, but that breaks immersion for me and it happens often enough that it’s quite noticeable and definitely annoying. I also found that when pulling up items in my inventory, sometimes the texture for the zoomed in item would not show up for a few seconds, leaving me staring at a really blurry backpack until the game had time to catch up. I’m not sure why that happened, but it seemed noteworthy. Also, any time I chose to save, it always said autosaving was in progress. There was no time in which I chose to save manually that autosave was not in progress, so that’s strange. Seems like a bug to me.

Those small issues aside, this game is incredible. The immersion is hammered home by the beautiful landscapes. I’ve always had disdain for post-apocalyptic cities because they’re also so grey and drab and generally the same color (looking at you, Fallout 3 and Fallout: New Vegas). The Last of Us takes a different approach to this, having plants overgrow structures to make it look like earth is reclaiming what mankind has built. That visual is a kind of allegory for the whole story — mankind returning to its primal roots when nature reminded it of its place and showed man its hubris. Reading-far-too-much-into-landscape aside, I thought the visuals were stunning. In the same way Mayan temples are overgrown now, so too are modern buildings, streets, and cars. It’s a gorgeous sight and Naughty Dog really pulled out all the stops for the details in this game.

The sound engineering is also quite subtle. The music all follows the same sort of theme with alterations depending on the mood and scenario, but it’s rare to hear it. Mostly, the sound is taken care of by the environment and audio indicators to give you hints on what to do. For instance, instead of having a bar on the screen that showed you how visible you are to an enemy, instead a rumbling noise is heard and if it goes on long enough, you’ve been spotted. It’s a great indicator that allows for less screen clutter while still having intuitive information feedback. The weapon effects and encounter noises all sounds as intense as it looks, allowing the visceral action of combat to be that much more believable. Believability seems to be a common theme running through every stage of development of this game.

Verdict: Is The Last of Us perfect? Certainly not. Immersion was broken too often by both the companion and enemy AI for it to be perfect. But was it incredible? Absolutely. The game comes in strong with its true-to-life characters that you can relate to on a deeper level than most games and really root for them to succeed. Pair that with stunning visuals, sound engineering that gets out of your way, but really lets you feel like you’re part of the fray, and a story that’ll be difficult to top this year, and you have Naughty Dog’s latest title. It’s not often that a game can live up to the hype, but The Last of Us sincerely blew me away.

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9.0