The year of 2020 was one filled with remakes and remasters, from huge titles like Final Fantasy VII and Demon’s Souls to more surprising games like Destroy All Humans. But for me there was only one remake that I could pick, the one that has brought the most nostalgic joy to my wizened and bitter heart. Ladies and gentlemen, Tony Hawk’s Pro Skater 1+2 was fucking amazing.
In some ways it feels wrong to pick a game that so few people got to play. There’s no denying, though, that Half-Life: Alyx was the best PC exclusive I played this year, and the best VR game by a mile. VR remains an incredibly immersive and fascinating […]
What other game than Cyberpunk 2077 could possibly have won this illustrous award that hundreds of developers clamor over to claim? Well, truthfully, Assassin’s Creed: Valhalla almost took the crown due to being a buggy mess and the fact that I still can’t actually finish the game to this day. But then Cyberpunk 2077 stomped in, struck a T-pose, gliding across the floor and stole the crown right out from under Eivor’s hooded gaze.
Launched back in March, Ori & the Will of the Wisps received a lot of glowing reviews but was damaged by performance issues. But since I only got around to finally playing it last week those issues have been resolved and new, shiny Xbox Series X and Series enhancements came out. In other words, I played Ori & the Will of the Wisps in its best form, blissfully unaware of any launch woes it might have suffered from. And I’m so glad I stumbled upon it this way, because it’s a glorious, playful, vibrant, wonderful game and feels like it has been vastly overlooked and underappreciated, despite it being on Games Pass.
Spider-Man: Miles Morales was a strong contender for the best Playstation game of 2020, delivering another slice of outstanding web-slinging combined with a fun story. But Miles Morales was a known quantity – after the success of Marvel’s Spider-Man in 2018, it seemed a safe bet that a follow-up would be terrific. But Ghost of Tsushima was an unknown element. Yes, Sucker Punch have a rich and successful history, but Ghost of Tsushima was a brand-new IP that didn’t actually have much hype and marketing prior to hitting store shelves, and wound up launching right next to the biggest Playstation title of the year, The Last of Us Part 2. That’s a daunting thought for any developer. And yet Sucker Punch didn’t need to be worried because of Ghost of Tsushima ended up being the perfect antidote to The Last of Us 2’s relentless assault of dark themes and violence. The Last of Us Part 2 is beautiful from a technical perspective, but Ghost of Tsushima is beautiful in the truest sense. I constantly abused the photo-mode, taking dozens and dozens of pictures of Tsushima’s awe-inspiring landscapes.
In terms of games Microsoft hasn’t exactly had a great year. While Sony pushed out multiple exclusive games that have garnered incredible critic scores and huge sales numbers, Microsoft have had very little to get excited about. Of course, their planned acquisition of Zenimax could change all of that in the future, but for now Microsoft haven’t had much to offer their players. It’s also a little tricky to pick a game for this category because so many of Microsoft’s games aren’t actually exclusive to their console, typically appearing on PC as well. In fact, the game that I would have selected actually popped up on Nintendo Switch, too, disqualifying it. Don’t worry, though, that game will be appearing later on. So, for this award, I’m including Xbox games that are available on PC, too.
Admittedly, at my advanced age of 29, it doesn’t take much to make me feel like an idiot these days. These young ‘uns and their complex games full of buttons and icons are so damn hard to keep up with. But one game released in 2020 in particuilar made my brain hurt, made me agonize over every little chance, made me question my every move. And it was a game that was a surprise, a sequel that arrived years and years after the last entry. Yes, Desperados 3 takes hom the highly coveted, hugely sought after award for The Best Game of 2020 That Made Me Feel Stupid.
Dying in a videogame has never felt as good as it does in Hades, the latest game from Supergiant. Falling foul of one of the many minions or bosses that inhabit Hades is a chance to visit with friends, hand out gifts of Ambrosia, maybe buy some stuff to spruce the place up and decide which weapon to take for a spin next. Sure, death and failure are staples of rogue-likes, but few of them manage to weave dying so completely into the experience that it feels seamless.
Christmas is nearly a wrap here in the UK, and I wanted to take a minute to wish all of you a wicked awesome Christmas. It has been a tough year, and I know that many of you amazing people out there might not have been able to […]
Immortals: Fenyx Rising shares a lot of DNA with Ubisoft’s own Assassin’s Creed: Odyssey, like its use of Greek mythology and its open-world packed with distractions. But it’s more like a streamlined Odyssey – a smaller, tighter world that tempts you with wonderful views and things to explore. It’s a tale of Gods and Monsters, of action and comedy. And it’s the best thing Ubisoft have put out in a while, possibly even enticing folk who have gotten soured by the repeated Ubisoft template. There’s a little dash of Zelda, too, which is great if you don’t own a Nintendo platform but want to feel what Breath of the Wild is all about, and if you squint there’s even a little bit of Darksiders. This might just be one of the year’s sleeper hits.