Since I covered the announcement of The Last Of Us Remastered… Remastered last year, I’ve left the project alone. I’m flat-out not interested in a game that’s been remastered or reworked for the second time in just nine short years, especially when the PlayStation 4 version is perfectly playable. I don’t seek out projects that I don’t like with the intention of crapping all over them; there’s more than enough negativity in gaming communities online that I don’t want to add to it.
But a widely-reported remark from a developer/animator (whose name I won’t share to avoid piling on) really pushed me over the edge. The Last Of Us Remastered… Remastered (or whatever it’s going to be called) is a cash-grab. It’s the second remake of a game that was released in 2013 at the tail end of the PlayStation 3’s life, and it’s being resurrected for the second time entirely as a cheap cash-grab by Sony.
After sharing my initial thoughts back when the announcement was made, I was content to ignore this new remaster. I have no plans to buy it – especially not with a ridiculous £70 price tag (or close to £100 for the deluxe version) – so that was that. Comment made, time to move on. But for one of the senior developers to have the audacity to speak about the game in such a brazen and dishonest way… I just couldn’t let it lie.
The Last Of Us is a good game. It was a great way to close out the PlayStation 3 era for Sony, and it was the game that convinced me to buy my first ever PlayStation console. I consider it one of the best games of the 2010s, and even though its sequel struggled under the weight of a clumsy narrative that tried to be too smart for its own good, the original game hasn’t been sullied by that controversy and remains one of the best examples of narrative, linear, single-player adventures.
But this second attempt to “update” The Last Of Us for a new console generation is motivated purely by profit. Sony is cheaping out; recycling a game that they already have rather than investing in something new. By reusing things like recorded dialogue and motion-capture performances, and by not having to pay a team of writers to come up with a new story, the project can cut costs compared to making a new game from scratch.
There are remasters and remakes that are absolutely worth your time. Resident Evil 2, for example, was remade a couple of years ago from the ground up, and updating a title from 1998 to bring it into the modern-day with a new engine, new voice acting, and so on was absolutely worth doing. It introduced the title to a crowd of new fans who didn’t play it the first time around – and for whom going back to a clunky PlayStation 1 title would be offputting.
The Last Of Us doesn’t have that excuse. Not only is the PlayStation 3 version still perfectly playable in its own right, the PlayStation 4 remaster is an iterative improvement, bringing sharper graphics and ensuring that the game can be played on both PlayStation 4 and new PlayStation 5 consoles. As I said when the project was announced last year, I can’t imagine it would be worthwhile to resurrect the game for a second time – not so soon after the first two versions were released.
New video game generations have offered diminishing returns over the years. There was a huge difference between games from 1980 to 1990, and from 1990 to 2000. But even by the turn of the millennium, things were slowing down. The difference in graphical fidelity between a game from 2000 and one from 2010 was less noticeable than it had been in previous decades, and the difference between a game from ten years ago compared to a brand-new game released today can be so small that it’s difficult to spot.
Grand Theft Auto V is the same game fundamentally as it was when it was released in 2013 – the same year as The Last Of Us – and it’s still going strong. There have been tweaks as the game was brought to new consoles, but those changes have been criticised for being incredibly minor. Skyrim, The Witcher 3, and many other games from the past decade likewise hold up incredibly well and are still a ton of fun to play.
The only reason for a project like The Last Of Us Remastered… Remastered to exist is to be a cash-grab. That’s why it was dreamt up and that’s all it will ever be. It might be a good cash-grab – and with a game as good as The Last Of Us at its core it should be, provided the new team doesn’t screw it up – but it’s still a cash-grab. And I don’t want to claim that the people working on it aren’t working hard – I’m sure that they are. I’m sure a lot of energy and passion has gone into this cash-grab from the developers. As someone who worked in the games industry, I know how passionate developers can be, and even when a game isn’t great, good developers will still give it their all. That’s commendable.
But that doesn’t excuse trying to present a project like this as something it’s not. The Last Of Us Remastered… Remastered may end up being decent with pretty graphics and neat animation work that talented developers put a lot of time, effort, and passion into making. But that doesn’t make it any less of a cash-grab. I genuinely hope that it will be good – because I don’t want the reputation of The Last Of Us tainted by being associated with a sub-par remaster. But this isn’t a fundamentally new or even different experience; anyone who’s played the original game won’t need to play this version.
And that’s what makes it a cash-grab. It’s an attempt by Sony to, well, grab as much cash as possible for as little investment as possible. Without spending the big bucks that would be needed to create The Last Of Us Part 3, or any other brand-new game, Sony hopes to grind out a remaster that will save them some money but still rake in the cash from fans of the original game. And that strategy will probably succeed, if past experience is anything to go by.
Buy The Last Of Us Remastered… Remastered if you want. Or don’t. If you haven’t played the game yet, it might even be worth waiting for the new remaster to get the most up-to-date and visually polished experience. It’s definitely a game worth playing… but I’m not convinced that this version will be, at least not for me – nor for most folks who’ve already played it.
But whether it’s good, bad, or mediocre, and regardless of how hard individual developers have worked on it, The Last Of Us Remastered… Remastered is a cash-grab. Trying to pretend otherwise is either pure and selfish dishonesty or abject self-delusion.
The Last Of Us Part 1 will be released for PlayStation 5 on the 2nd of September 2022, and for PC at an unspecified later date. The Last Of Us is the copyright of Naughty Dog and Sony Interactive Entertainment. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There may be minor spoilers ahead for the Star Trek franchise.
I was blindsided by the recent announcement of Star Trek: Resurgence – a brand new video game set in the Star Trek galaxy. Though there have been a couple of crappy mobile games and the ever-present Star Trek Online, it’s been almost a decade since the last single-player video game in the Star Trek franchise… and that didn’t go too well!
On the whole, Star Trek as a franchise hasn’t been especially well-served in the video game realm, despite the fact that there’s always been a significant crossover between Trekkies and gamers. When compared to the Star Wars franchise, which boasts some truly excellent games, Star Trek titles have never really managed to cut through, and with only a couple of exceptions even the best Star Trek games have mostly been the preserve of existing fans.
Here’s hoping that Resurgence can change that! Early indications are actually pretty good: the game’s announcement came at the Game Awards, one of the biggest industry events outside of E3. Resurgence has been picked up by a number of gaming publications and websites, featuring on several lists of the “best announcements” made at the event. Because it’s been a while since there was a Star Trek game, I think that might actually work in Resurgence’s favour to an extent!
One of the main things that seems to have piqued the curiosity of many players is the pedigree of the developer: new studio Dramatic Labs. Dramatic Labs is a studio comprised of former writers and developers at Telltale Games, the studio behind titles like the incredibly well-received The Walking Dead, The Wolf Among Us, and the Batman adaptation. Many Telltale titles were exceptionally popular, with fans praising the quality of the writing and the unique branching stories that led to multiple narrative paths and several different endings.
I played through Telltale’s Batman game a few years ago and it was an enjoyable experience that was something different from many other titles. These narrative adventure games put storytelling and dialogue front-and-centre, allowing players to choose what to say at key moments and to influence the direction of the story through the choices they make. When I played through Batman it felt almost like an interactive film: a deep story, well-animated cut-scenes and sequences, but with many different moments at which I could choose what happened and which way the story would proceed.
The choices in games like these aren’t always obvious. In games like Mass Effect or Fallout, for example, there’s usually a “good guy” choice and a “bad guy” choice, sometimes with a neutral option thrown in for good measure. In Mass Effect you can, for example, choose to punch a news reporter or answer her questions, and in Fallout 3 you can choose to defuse a bomb or arm it and blow up a settlement. Both examples show how players can influence the story and shake up the game world, but in both cases it’s clearly telegraphed which are “good” and “bad” options. Telltale/Dramatic Labs titles don’t always make it so obvious!
For example, in the Batman game I mentioned, there are several points at which you have to make decisions that can have ramifications for the rest of the game but where the choice isn’t obvious. Choosing whether to save one character or another can end up creating a new villain to fight, or choosing to attend an event in costume as Batman can lead to a wholly different outcome than if Bruce Wayne attended without his disguise. These are just examples of the kind of branching narrative choices that Dramatic Labs is teasing us with in Resurgence.
We’re also promised third-person action sequences throughout Resurgence, and we saw examples of this in the trailer too. The official announcement also lists “shuttle piloting, phaser fights, tricorder scanning, stealth, and micro-gameplay mechanics” as things we’ll be able to do in the game. I’m not sure what “micro-gameplay mechanics” means in this instance; it sounds like it could be mini-games, and things like picking locks or computer hacking spring to mind as examples from other franchises. But it all sounds like a ton of fun!
From the trailer we got a glimpse of some of these systems in effect. There was a sequence with a character wearing an EV suit on what looked like the outer hull of a starship firing their phaser, a tricorder scanning sequence that looked like a lot of fun, and some sneaking around that was potentially representative of one of the stealth sections.
The idea of having two playable characters is fun, too, and we’ve seen a number of recent games do this to great effect. While we don’t know much at all about either of the playable characters, the fact that one is a senior bridge officer and the other is a non-commissioned engineer should mean we get to see two very different perspectives on the same story. Both characters should be approaching the situation from very different starting places, and that already sounds like something that could be a lot of fun. Aside from Chief O’Brien, we haven’t spent a lot of time with enlisted personnel before, and Resurgence might actually be the first time we’ve seen an enlisted crewperson as a playable video game character.
It was so great to see Spock in the trailer, and I felt that the voice actor did a creditable job at imitating Leonard Nimoy’s iconic performance. Whether Spock will have a major role to play in the story isn’t clear at this stage, but as one of Star Trek’s most legendary characters his presence should be interesting at the very least. Dramatic Labs has also teased that there may be other “fan-favourite” characters included in the game, but no details yet on who those characters could be.
Dramatic Labs promise that players will “make those similar tough choices that iconic Star Trek heroes have been forced to contend with.” This is emphasising the narrative choice aspect of the game, and reinforces what I said earlier about the difficulty of some of the choices in games of this nature. The story seems to involve two alien races “on the brink of war” – I didn’t recognise either of the alien races seen in the trailer. Resurgence sounds enthralling, and I’m really excited to get stuck in.
We need to set appropriate expectations, though, no matter how exciting it may be to finally get a new Star Trek game after such a long time! This isn’t going to be a sprawling adventure on the scale of something like Mass Effect, nor will it be an open-world title like Cyberpunk 2077. It’s a narrative adventure game, and that (hopefully) means that we’ll get a very strong and engaging story with a good degree of choice over how it proceeds. The third-person adventure elements look fun too, and I’m excited to try out things like phaser combat and tricorder scanning.
So keep an eye out for Resurgence when it arrives in the spring. Given the developers’ pedigree, I think Resurgence has the potential to appeal to fans of narrative titles and Telltale Games as well as Star Trek fans, and as long as the game is released in a bug-free state it has a lot of potential. Star Trek feels like a natural fit for a narrative adventure title, and it reminds me in some ways of games like Deep Space Nine: Harbinger and Hidden Evil from the late 1990s/early 2000s.
I’m trying not to get over-excited! I’ve been hoping for a new single-player Star Trek game for years, and hopefully Resurgence will be the first of many as the franchise continues to grow and expand. Regardless, I’m eagerly awaiting its Spring 2022 release! I hope you’ll come back when Resurgence is out for a full review.
Star Trek: Resurgence will be released for PC, PlayStation 4, PlayStation 5, Xbox One, and Xbox Series S/X in Spring 2022. Star Trek: Resurgence is the copyright of Dramatic Labs and ViacomCBS Consumer Products. The Star Trek franchise is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are spoilers ahead for Kena: Bridge of Spirits.
Kena: Bridge of Spirits has been out for three weeks now, and I finally got around to finishing the game the other day. I like to take my time with a game I’m enjoying, so I didn’t blitz through it at lightning speed! I’d been looking forward to Kena: Bridge of Spirits for months, and my first impressions of the game were fantastic. I already knew that I’d found something special in Kena: Bridge of Spirits, but having gone through the full experience I can now say with certainty that this is by far the best game I’ve played in all of 2021.
Kena: Bridge of Spirits is a rare offering: a visually beautiful game taking advantage of the best of modern graphics combined with an older style of gameplay that feels intuitive and uncomplicated. As silly as it may sound, Kena: Bridge of Spirits is unapologetically a video game – it doesn’t pretend to be an interactive movie. It also ignores many of the tropes of modern gaming: no “expansive open world,” no cluttered heads-up display with arrows pointing exactly where to go, no pop-up tips telling you precisely what combination of buttons to press to solve a puzzle. The game plays, in some respects, like a 3D action-platformer from the Nintendo 64 or PlayStation 1 era – and I’m absolutely there for that kind of classic gameplay style!
There are three main “levels” plus a brief tutorial, and with each stage the titular heroine Kena learns a new power that helps her navigate the game world, solve puzzles, and engage in some occasionally complex platforming. Each of the three sections is dedicated to helping track down relics and memories necessary to help a wayward spirit so that Kena can ultimately make her way to the mountain shrine. The story is mostly contained within cut-scenes that are seamlessly woven into gameplay, with Kena triggering a cut-scene upon beating a major boss or discovering a memory.
At first three levels broken down into a few different parts might not seem like a lot, and Kena: Bridge of Spirits isn’t the world’s longest game by any stretch. My playthrough, in which I completed the game and found as many hidden items and unlockables as reasonably possible, clocked in at 11 hours and 43 minutes. Anywhere from 9-12 hours seems to be a good guide based on online sources. For £30-35 (approx. $40) I felt that the game offered excellent value at that length.
Speaking of unlockables and collectibles, Kena: Bridge of Spirits didn’t go overboard in the way some titles do. Collecting the Rot – Kena’s adorable little companions – didn’t only feel like a natural part of gameplay, but having more Rot on your team allowed for more attacks and more powerful attacks which gave Kena an advantage particularly during boss fights. This made looking for hidden Rot feel worthwhile, and not just like typical open-world busywork in the way collect-a-thons in many modern games can.
There were also gems to collect, which were found hidden in chests, barrels, pots, and the like across the map. Gems can be spent on Rot hats, and while these aesthetic elements don’t have a gameplay impact, it was a lot of fun to collect the various hats and give different Rot different looks. By the end of the game, my 80+ Rot had dozens of different styles, including absolutely adorable ones like a dinosaur hat, a baseball cap, and even a cowboy hat. Anyone who loves animals or cute things will have a blast with the Rot and their hats, that’s for sure!
The Rot added a lot to gameplay as well. Kena could use the Rot to heal herself in combat, and the limited number of Rot Actions meant that timing became a consideration, particularly during long boss battles. Figuring out when to use the Rot and in what way added a much-needed extra dimension to combat. Otherwise, Kena had a light and heavy melee attack, a light and heavy ranged attack, and eventually a bomb as well. Each of these could be upgraded to deal more damage or to give Kena extra ammunition, and each could also be upgraded to give a Rot-powered attack.
The choice in some combat encounters was often between using a powerful Rot attack or using the Rot to heal, and it wasn’t always an easy decision to make! My personal favourite was the Rot-upgraded ranged attack, known in-game as the Rot Arrow, as this powerful attack was effective against many different enemies.
Kena was also equipped with a shield, which could also be upgraded, and a dodge/roll ability. By the end of the game she had also learned one final power: dash. In some boss fights, keeping out of range of a powerful boss who could do a huge amount of damage meant hitting the dodge button repeatedly! As the game progressed and Kena encountered a number of different enemy types, combat encounters became more varied. There were flying enemies, ghostly enemies that needed to be made corporeal before any attacks would harm them, and a range of different melee and ranged enemies, and they would appear in different combinations during combat.
If I were to make one criticism of the combat it would be that there were a couple of random difficulty spikes. At a relatively early point in the game I encountered a boss who, even on the easiest difficulty setting, could kill Kena in three hits. After he’d struck once, Kena was sent flying through the air and before she could recover had been hit a second time. This boss fight took a few attempts to complete, and while I admit I’m by no means the world’s best gamer, I felt that this spike in difficulty was noticeable. The boss was so much more difficult to defeat than any enemy before him, yet after beating him the game seemed to return to normal. It was odd – and frustrating!
Aside from those couple of particularly difficult boss encounters, combat in Kena: Bridge of Spirits was outstanding. The relative simplicity of giving Kena one weapon – her magical staff – but allowing it to be used in three very different ways was interesting and fun. It also kept things uncomplicated, and I never felt like I had “forgotten” about some powerful attack or spell! Some games which offer a huge variety of weapons in a player’s arsenal can be overwhelming, and when the majority of players only use a handful of attacks at the most, there’s something to be said for keeping the options simple.
Despite that, there was still plenty of variety. Kena had light and heavy options for both melee attacks and ranged attacks, as well as a bomb – and then there were the aforementioned Rot-upgraded attacks that dealt more damage. There were enough options that I felt I had a choice of how to take out enemies and bosses, but not so many options that I felt overwhelmed or that combat was too complicated.
Kena’s magical staff and its different abilities also played a major role in traversing the game world. Arrows could be fired at targets that pulled Kena across long distances, and bombs could be used on certain highlighted areas to create new platforms for Kena to jump across. Arrows could also be fired to rotate platforms into the correct alignment, and later in the game Kena could use her dash ability to cross through portals and even jump across gaps too wide for her standard jump or double jump. Combining different powers and abilities led to plenty of variety when it came to exploring the game’s stunningly beautiful world.
There was a lot of platforming in Kena: Bridge of Spirits, and I loved that. When handled well, 3D platforming can be a huge amount of fun and offers incredibly rewarding gameplay, and Kena: Bridge of Spirits absolutely nailed that aspect of gameplay. Puzzles were complicated enough to not be incredibly obvious, yet simple enough that I never once needed to look up a solution online. I was always able to figure out what to do, where to go, and how to solve the platforming puzzles that the game presented based on what I’d learned through gameplay, and that’s a difficult balance for a game to get right!
Kena: Bridge of Spirits doesn’t hold your hand, though. After introducing you to a new power or attack that Kena can use, the game drops you into a new section of the map where that power can be used to its full effect. But there are no other hints pushing you in the right direction nor telling you how to solve a puzzle. It’s up to the player to use what they’ve learned and figure out how to get from point A to point B to keep the story moving, and I like that the game is bold enough not to offer too much help.
Many modern games across practically every genre hold players hands the whole time. I’ve played racing games that literally have an on-screen arrow the entire time, pointing exactly where to go, telling you when to slow down, speed up, etc. And games like Skyrim started the fad of having on-screen pointers guiding you to your precise destination. I’m a huge believer in accessibility features for disabled gamers, as I’m disabled myself, but even I consider that some of these features go too far for my personal taste. Kena: Bridge of Spirits was delightfully old-fashioned in that regard. It doesn’t drag you along the path it wants you to take, instead setting you down with all of the skills you need to walk the path alone and leaving you to do so.
Fun combat and great platforming wouldn’t have been anywhere near as enjoyable, though, if Kena: Bridge of Spirits didn’t have an interesting and engaging story holding it all together. I was very keen during my playthrough to avoid spoilers, and the game was definitely much more enjoyable for experiencing the highs and lows of Kena’s journey first-hand.
Kena’s quest to reach the mountain shrine is motivated by the loss of her father, and this aspect of the story was quite emotional. Seeing Kena as a young child at one point really hammered home how this quest has been years in the making for her. At the same time, though, Kena was incredibly empathetic to the spirits she met along the way – even those she had to do battle with. Defeating one of the game’s three big bosses didn’t kill them – instead Kena, as a spirit guide, helped them overcome whatever was keeping them trapped in this world and make the transition to the spirit realm. She showed genuine empathy to everyone she encountered, and while she was on a mission of her own, she showed no hesitation when it came to getting side-tracked to help others.
At the same time, going off in different directions didn’t feel like Kena was being sent on some disconnected side-mission. Helping Taro, the game’s first spirit, and Adira, the second spirit, were both presented as the next step to reaching the mountain shrine, and Kena was happy to help both of those spirits along with helping herself and moving her quest forward. The story thus flowed smoothly from point to point with nothing feeling unnecessary or like time-wasting fluff.
The third spirit Kena had to help was Toshi, and he was directly in the way of Kena’s progress to the mountain shrine, so once again this felt like a natural progression of the story.
That being said, I think the way the game was structured meant that coming to the aid of three spirits was probably the maximum the story could’ve gotten away with. Adding in any more might well have made them feel like unnecessary hurdles, and the fact that each spirit had three relics to collect before engaging in a boss fight would have risked becoming repetitive had it been repeated many more times. Three spirits was a good number, then, based on the way the game chose to handle each of them.
As well as learning of Kena’s father, the game had a number of emotional moments. Each of the spirits genuinely wanted to help their families or the people of their village, and letting go of what was anchoring them made all three cut-scenes after the big boss battles feel genuinely emotional. I may have shed a tear on more than one occasion!
Toward the end of the game, having collected many Rot (and many Rot hats) in different places and in different ways, Toshi stole all of the Rot from Kena after the first of two epic climactic battles. Seeing her lose her companions was heart-breaking – and definitely got me riled up for the next phase of the fight! After saving the Rot and defeating Toshi, allowing his spirit to achieve peace, the Rot were transformed back into their true form, a form which resembled a giant panther or cat. As a cat lover myself, this was an incredibly sweet moment; the high point of the game’s final story.
Kena: Bridge of Spirits does seem to have left things open-ended, though. We didn’t get to see what happened after Kena achieved her goal and meditated at the mountain shrine, with the credits rolling after she settled down to meditate having saved and restored the Rot. Did she find her father, or information about him? Did she find something else that she didn’t know she was seeking?
Perhaps the game is teasing an expansion or sequel in future, and if that’s the case I’m absolutely going to be there! As it is, though, after the emotional loss of the Rot, the big battle to save them, and ultimately letting them go to restore their true form and bring balance back to the forest, for Kena to just plop down and close her eyes risks feeling like a bit of an anticlimactic ending. We saw her reach the goal she’d been working towards for the entire game, but we didn’t get to see what, if anything, that moment meant to her.
This could certainly be setting up a continuation of Kena’s story, and I’m okay with that. As things sit, her story doesn’t yet feel complete. I’m wondering what the future might hold for her! At the same time, developers Ember Lab did such a fantastic job on what is their debut game that I’d love to see them tackle a different project in future. Kena: Bridge of Spirits has been a huge success, topping the charts here in the UK and elsewhere, so the studio has the world at its feet. Should they simply move on to a sequel right away, or might they want to turn their attention to other projects?
Overall, I had a wonderful time playing Kena: Bridge of Spirits. It’s by far the best game I’ve played all year, and I don’t think it will be surpassed in the next couple of months before 2022 rolls around! It was one of those games where I didn’t want to rush through it too quickly; I wanted to preserve this moment in time and keep enjoying it for as long as I possibly could.
Kena: Bridge of Spirits is a visual masterpiece, a uniquely-styled game pushing modern-day graphics to their limit. It’s also a wonderful return to a style of gameplay that has fallen out of favour in recent years. Every element has clearly been lovingly crafted and honed to near-perfection, and I cannot recommend it highly enough.
Kena: Bridge of Spirits is out now for PlayStation 4, PlayStation 5, and PC. Kena: Bridge of Spirits is the copyright of Ember Lab. Some promotional artwork courtesy of Ember Lab. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Having said all I wanted to about Cyberpunk 2077 both before and after its release, I was content to sit back, wait for the patches and updates to be rolled out, and not discuss the game again until I’d played it for myself – something I still hope to do some time next year. But out of nowhere came a truly shocking piece of news and I just had to add my two cents to the conversation. If you somehow missed it, here’s the lowdown: Sony has removed Cyberpunk 2077 from sale on the PlayStation Store and is offering a refund to every single PlayStation player who picked up the game.
People throw around words very easily these days, so forgive me for emphasising this point: this action is unprecedented. Sure, some games do get removed from sale from time to time, sometimes for rights or licensing reasons, sometimes for copyright, sometimes because they were literally cobbled together from pre-bought assets and barely function. And of course Nintendo has its “forced scarcity” business model that we’re seeing with Super Mario 3D All-Stars, which will be pulled from sale in March.
But in all the years I’ve been involved with the games industry, I have never seen such a major release as Cyberpunk 2077 being removed from sale. Never. Nintendo and their anti-consumer practices aside, the only games that tend to get pulled from shelves are the non-functional pre-bought asset “games” that have been put together by amateurs. A major release on this scale has, as far as I know, never been unceremoniously de-listed in this way. It is wholly without precedent.
On the one hand, I actually sympathise with CD Projekt Red (the developers behind Cyberpunk 2077). There is a process involved in getting a game onto the PlayStation Store in the first place – as indeed there is for any digital shop. Part of the process requires approval from Sony, who will have been given pre-release access to the game to test for themselves. So from CD Projekt Red’s perspective, they may feel that Sony acted unfairly, and that if they didn’t want to sell the game they could have denied it access to their platform weeks ago.
However, as with everything to do with major corporations, it’s more complicated than that! In a competitive market, with Sony up against Microsoft both with the Xbox One/Xbox Series X and PC gaming, they could hardly be the only place Cyberpunk 2077 wasn’t available. In short, if there was going to be a prohibition of the game’s sale due to bugs and glitches, if Xbox didn’t follow suit it would hugely disadvantage Sony in the short-term. Secondly, I have no doubt that CD Projekt Red wooed Sony with promises of day-one updates and patches to some of the major issues that they surely uncovered during their own tests.
But most importantly there’s a legal component to what’s happened. CD Projekt Red initially offered refunds to anyone disappointed with Cyberpunk 2077 on their platform of choice. Sony, by some accounts, had difficulty processing those refunds when players requested them. In order to avoid legal action from players who had been promised a refund, or from players who may claim the game was not as advertised, Sony have stepped in and used the proverbial “nuclear option” as a last resort.
When I first saw this news break I thought the individual writing about it must have got confused or been exaggerating for clicks. It simply did not seem possible that a major game from a huge company would be pulled from sale entirely on the PlayStation. After all, Cyberpunk 2077 has hardly been abandoned; patches, hot-fixes, and updates have already been rolled out and more are already scheduled. Even if the game is buggy at launch, improvements are on the horizon. I was stunned to learn it was true, and it’s even been covered by mainstream news outlets here in the UK.
It’s hardly the first time a major game has arrived with bugs and glitches. Fallout 76 a couple of years ago was truly awful on that front (in addition to being just an awful game all around) yet it remained on sale. As did the likes of Skyrim, Aliens: Colonial Marines, and Assassin’s Creed Unity. Despite having incredibly buggy launches, none were pulled from sale in the way Cyberpunk 2077 has been. And this must surely irk CD Projekt Red.
Despite what I said a moment ago about feeling a pang of sympathy, let’s not overdo it. This is entirely CD Projekt Red’s own fault. Despite having been willing to delay the game twice, they ultimately decided to force a release before the title was ready – if indeed it ever can be ready on current-gen consoles given its obvious PC and next-gen focus. There are two reasons I can see why they chose not to delay the game into 2021 – a desire to get the game out in time for the Christmas season (also known as the E.T. problem) and perhaps because the board game upon which Cyberpunk 2077 is based is called Cyberpunk 2020, and there was a clear desire to release the game in this calendar year.
When I wrote about Cyberpunk 2077′s first delay all the way back in January, I said that “the response from the [gaming] community when any game is delayed is almost always overwhelmingly positive.” That is a universal truth. There are a handful of troublemakers and brain-dead idiots who get upset and say stupid things – such as making death threats – when a title is delayed, but everyone else understands. We would rather play a good game in six months than a broken one now.
In the case of Cyberpunk 2077, the hype bubble got out of control. Partly what’s happened is a result of CD Projekt Red trading on past success and their good reputation; they hadn’t released a new game since 2015, and it’s easy to seem like a good, pro-consumer company when you aren’t in the trenches. Perhaps the insane hype that grew around the game is why the company chose not to shift their focus entirely to next-gen hardware and higher-end PCs. That would be a difficult pill for many players to swallow, but had such a decision been made a year or more ago, by the time the game finally made it to its launch date practically all of that would have abated.
So the question now is: what happens next? CD Projekt Red have completely botched this launch. Many players found the game so bad it was unplayable, and by now the plot and even the side-missions have all been spoiled for a lot of people. The excitement of playing the game for the first time has gone, and for players who had a disappointing experience, even if it’s patched and fixed over the next few months, they can never get that back.
Given that the PC version is generally more stable, I can’t imagine the big PC gaming shops like Steam and Epic Games will be willing to follow suit and refund everyone who bought it. Microsoft might, though, and it’s possible in the coming days (or even hours) we’ll see Xbox make a similar announcement.
I’m still shocked. Even though I could tell the hype bubble around Cyberpunk 2077 was completely out of control, and I expected at least some players to find the game underwhelming, I had no idea what was coming. CD Projekt Red have gone from one of the best-loved games companies to one of the most criticised in a matter of days, and it’s not unfair to say that the hype bubble has completely burst. Cyberpunk 2077 is not the amazing, barrier-breaking, genre-redefining interactive experience that fans hoped for. As I predicted, it’s just a game. A bug-riddled game that’s so “unplayable” for many that Sony had to step in, refund everyone who bought it, and pull it from sale. Absolutely extraordinary.
Cyberpunk 2077 is out now for PC and Xbox One. The Xbox One version is compatible with the Xbox Series X. Cyberpunk 2077 is the copyright of CD Projekt Red. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are minor spoilers ahead for the titles on this list.
The launch of the Xbox Series X earlier today marked the beginning of a new console generation – and thus the end of one too. That generation began in November 2012 with the release of the Wii U, and saw both the Xbox One and PlayStation 4 arrive a year later. I’ve been incredibly fortunate over the last eight years to have played a number of different games across all four major consoles, and while I need to say for the record that there are still plenty of big titles I haven’t got my hands on, there’s certainly enough to put together a list like this.
As we say goodbye to the current generation of consoles and jump headfirst into next-gen, let’s take a few minutes to look back at some of the best gaming experiences of the generation… in my subjective opinion!
But before we dive into the list, here’s a short recap of each of the major consoles. The Wii U came first, but was blighted by horrible marketing (even months after release, many gamers were confused as to what the Wii U even was, with many believing its clunky plastic controller to be nothing more than an accessory for the Wii). Nintendo began making losses during this period, and even laid off a number of staff. The console saw some very fun games, but I was one of less than fifteen million people who bought the machine – which in 2012 was clearly not good enough to cover Nintendo’s costs – making the console an expensive failure. For the sake of comparison, the original Wii sold over 100 million consoles, and the Switch is currently sitting at over 60 million a mere three years after release.
Next came the PlayStation 4. Only a few months earlier I’d bought a PlayStation 3, the first Sony machine I’d ever owned. I’d done so solely to play The Last Of Us, and I wasn’t disappointed! After the Xbox One suffered a rocky run-up to launch (we’ll come to that in a moment) PlayStation seized the chance to convert gamers to their platform after running behind for the entirety of the previous generation. And many folks who had previously been invested in Xbox made the switch – PlayStation 4 has almost certainly sold twice as many units as Xbox One, and that couldn’t have happened without Xbox 360 players jumping ship. PlayStation 4 has also had by far the better crop of exclusive games, and that’s another huge factor in its success this generation.
Xbox One arrived only a week after the launch of the PlayStation 4, but it was not a smooth road for Microsoft’s console. From the moment the console was announced it attracted the ire of gamers. First was its complicated always-online nature, which Microsoft had to backtrack on. Next was the issue of trading in games or sharing them with friends, with Xbox initially seeming to “lock” each disc to a specific user account. This was also something Microsoft U-turned on. Those fiascos were bad enough, but next came Kinect. Bundled with the system – and with no way to opt out – Kinect bumped up the price of the Xbox One at launch, making it $100 more than PlayStation 4. Looking back over several console generations, the cheaper machine usually sells better, and so it proved again. Xbox One also struggled with a lack of decent exclusive games to compete with those available on the PlayStation 4. Despite all of that, however, Xbox Game Pass (a paid subscription service which gives players access to over a hundred titles) definitely found a foothold as the generation drew to a close.
Finally, 2017 saw the launch of the Nintendo Switch. Where the Wii U had been Nintendo’s attempt to recapture the “hardcore gamer” market, the Switch saw Nintendo realise that its success with consoles like the Wii and the handheld DS and 3DS lineup was due to their appeal to casual players. A console deliberately less powerful than its two competitors, the Switch retained the motion controls that had proven popular on the Wii alongside a new gimmick: the console is a hybrid that can either be played as a handheld device or connected to a screen. After the disappointment of the Wii U, the Switch proved a success from day one, and eclipsed the Wii U’s total lifetime sales in a matter of months.
So those were this generation’s consoles. Now let’s look at some games!
This list is in three parts. The first part consists of titles that I consider to be incredibly important to the overall gaming landscape of the generation, even if they weren’t “my thing” and/or I don’t have much personal experience with them. The second part of the list contains a handful of titles that failed hard, and whose failures had an impact on gaming in some way. And finally the third part of the list is what you’re all here for – my personal top ten games of the generation.
Without any further ado, let’s get started!
As stated above, this section of the list consists of a few titles that, for whatever reason, weren’t necessarily something I enjoyed or bought into, yet were landmarks in gaming this generation. No “games of the generation” list would be complete without their inclusion.
Number 1: PlayerUnknown’s Battlegrounds (2017)
PlayerUnknown’s Battlegrounds – or “Pub-G” as some insist on calling it – was the first truly successful battle royale game. There’s debate over the origins of battle royale, and at one point PlayerUnknown’s Battlegrounds attempted to patent the format, but there can be no denying that this is the game that brought it to mainstream attention. By doing so it revolutionised online multiplayer gaming, and for a while was the most-played game in the world.
Considering how big battle royale titles still are, no end-of-the-generation list would be complete without PlayerUnknown’s Battlegrounds. Though the game is still being played, it has arguably been eclipsed by some other titles in the genre it spawned – most notably Fortnite. In that sense it’s one of the most influential games of the generation… even if it isn’t one that’s enjoyed as much ongoing success.
Number 2: Fortnite (2018)
If PlayerUnknown’s Battlegrounds kicked off the battle royale craze, Fortnite took it to the next level. This title became a powerhouse in the gaming world; a phenomenon the industry hadn’t seen since Minecraft. And it’s a free-to-play game. Many of Fortnite’s biggest fans have never paid a penny despite spending hours and hours playing it, yet it’s managed to become one of the biggest and most financially successful titles in gaming. Ever.
Fortnite isn’t innovative with its gameplay, nor is it innovative in being free; mobile games in particular have used a free-to-play model for years. But Fortnite has taken the world by storm by refining those things and putting them with a fun, cartoony aesthetic that has widespread appeal, especially to younger players. For many kids, Fortnite has been their ticket into a brand-new hobby, and the importance of expanding gaming beyond where it was even a few years ago is immeasurable.
As with any successful title, other games have tried to imitate Fortnite’s success, and in some ways we can assign some degree of blame to Fortnite for making lootboxes and microtransactions more acceptable. However, it isn’t only this game’s fault that companies continue to pursue in-game monetisation!
Number 3: The Witcher 3 (2015)
With so much focus on multiplayer this generation, The Witcher 3 really stands out as a comparative rarity. It demonstrated clearly and unequivocally that there is a market for well-made, expansive single-player games at a time when many companies seemed to be abandoning them. It’s widely considered one of the best games of all-time, not just of the generation, and the success of The Witcher 3 did much to demonstrate to the industry that single-player games could still be critically and financially successful.
As I mentioned when I took a look at a few great games that I haven’t played, The Witcher 3 is on my list and I hope to eventually get to it. Single-player fantasy role-playing games are exactly my kind of thing, but I haven’t got around to this one yet! As a standout title that really boosted the medium, though, I can appreciate The Witcher 3′s success from afar.
Number 4: Grand Theft Auto V – online mode (2013)
Grand Theft Auto V has been a juggernaut this generation, having initially been released on the previous generation’s Xbox 360 and PlayStation 3. For the last seven years it has seldom dropped out of the top ten bestselling games, which is an incredible achievement. The success is largely due to its online mode, which has made developers Rockstar an insane amount of money.
Competitive online gaming really isn’t my thing, but no list appreciating the generation’s finest should ignore Grand Theft Auto V’s multiplayer mode. Taking the beautifully-crafted world of Los Santos and opening it up to players for jobs and heists together has been a masterstroke on Rockstar’s part.
I was, however, a little disappointed to see that Rockstar simply plan on porting the game to the Xbox Series X and PlayStation 5. I get that it’s been a phenomenally successful title this generation – but I had hoped for a new entry in the series (or a new title altogether) as the gaming world moves on. They see things differently, however, and given Grand Theft Auto V’s success and bustling online scene, maybe they’re right.
Number 5: Undertale (2015) and the whole indie scene
I chose Undertale as an example because it has been widely praised, but this entry also stands to represent titles like Dead Cells, Cuphead, Untitled Goose Game, Donut County, Shovel Knight, and many more indie titles that have wowed audiences this generation. Making a game as an independent developer is a difficult and often expensive undertaking, yet many of these titles – including Undertale – have been fantastic and received critical acclaim.
There’s a perception that all indie games are pixel-art 2D platformers, and while there certainly are titles which fit that description there’s also much more going on in the indie scene. Some of these games go on to inspire whole sub-genres, and as we go into the new generation its a great thing that there are so many independent, smaller developers out there. It keeps the games scene interesting!
Disappointments and Disasters
This section looks at a handful of controversial, disappointing, or outright bad games which nevertheless impacted the games industry this generation. Not every innovation or change to the way games are made comes from success, and some titles may be better-remembered for serving as bad examples than good games.
Number 1: Star Citizen (Unreleased)
How can a game that hasn’t even been released be one of the biggest disasters of the generation? Simple: it’s become the textbook example of how crowdfunding can go wrong in the gaming realm. StarCitizen’s troubled development began way back in 2012, before any of the current-gen systems launched. And it raked in millions of dollars in crowdfunding from eager gamers – only to miss release window after release window, while continuing to beg and scrounge money out of its remaining loyal fans.
At this point, in late 2020, the team behind Star Citizen have raised – and mostly spent – over $300 million. That’s an utterly insane amount of money for any video game, and if reports and rumours are to be believed, it’s still nowhere near complete. What happened with Star Citizen is basically this: a developer had a decent idea for a game, put together a small team, and began work. But as the crowdfunding campaign took off the developers began to promise more and more features, leading to more development time. More development time in turn meant they needed more money, which meant more crowdfunding, which meant more features were promised, and the whole thing has spiralled out of control to the point where the game is an overhyped undeliverable mess.
Star Citizen isn’t a “scam,” because I firmly believe there were good intentions behind it. But the developers needed someone competent to manage the project before it got unwieldy, and someone in charge to prevent it from ever getting so out of control. The idea of selling in-game content for an unreleased game is already pretty shady, but when some of that content can cost thousands of dollars I think someone has to step in and say that it isn’t acceptable. It’s still possible the game will see a release – one day – but even if it does it’s hard to imagine it will be anything less than underwhelming in the extreme for fans who’ve waited years and hyped it to oblivion.
Number 2: Star Wars Battlefront II (2017)
Battlefront II saw the bubbling lootbox controversy boil over. Though it’s been over three years since its 2017 launch, the ramifications of that are still being felt as jurisdictions across the world move to regulate or ban in-game gambling. Electronic Arts has, for years, pushed the envelope for what gamers will tolerate in terms of in-game monetisation. And with Battlefront II they finally pushed too hard and too far.
The game itself is perfectly playable today, but only because EA ripped out as much of the gambling as they could before it hit shelves. Battlefront II also had poor timing, causing controversy in the Star Wars fandom at a time when The Last Jedi was already proving hugely divisive. The combination of the poorly-received game and film meant that Star Wars was in a dark place going into 2018.
Number 3: Mass Effect: Andromeda (2017) and Anthem (2019)
Oh, Bioware. How heroes fall! For a number of reasons that boil down to project mismanagement, both Mass Effect: Andromeda and Anthem were rush jobs, put together in months instead of years. And it showed. Andromeda was memed to death, and even though the worst of its bugs and visual glitches were fixed within days of launch by patches, the damage was done and the game’s reputation never recovered.
Anthem overpromised based on a trailer at E3 that was entirely fake. Players who did buy into the game found a half-finished and underwhelming live service experience, and promises of updates and more content weren’t enough to convince more than a few to stick around. As of late 2020, Anthem’s “roadmap” for further updates has been cancelled, and the game is essentially dead.
For a studio like Bioware, these failures feel so much worse because we know that they’re capable of producing some incredible games. Knights of the Old Republic, Jade Empire, and the first two parts of the Mass Effect trilogy are among my favourite role-playing games of all time, so to see the buggy overblown side-mission that was Andromeda and the live service failure that was Anthem is nothing less than a colossal disappointment. There may be light at the end of the tunnel for this once-great developer, however, with a Mass Effect trilogy remaster having been announced a couple of days ago.
Number 4: Fallout 76 (2018)
As above, a developer once revered for its amazing experiences churned out a buggy, underwhelming online multiplayer title. Fallout 76 came after years of declining quality of Bethesda’s own titles, which included port after port of Skyrim and little else. I could never get past the fact that this was a Fallout game with absolutely no non-player characters. The heart of any game like this is its story, and a story needs characters. Fallout 76 thus contained little more than a moderately pretty environment – one built on an ageing engine meaning even the game’s visuals were hardly spectacular.
After walking around, checking out the scenery, and battling a few monsters, there was literally nothing to do. The gunplay was also mediocre to poor, something the Fallout series’ VATS system had masked in previous titles built on the same engine. But with multiplayer there was no way to implement VATS properly, meaning the game’s shooting had to stand on its own… and it fell down.
The first of these points – the missing NPCs – was eventually addressed in an update. But Fallout 76 has been own goal after own goal from Bethesda, including crappy product tie-ins that got recalled, a $100 premium membership, and more besides. The game was a bug-riddled disappointment.
Number 5: Shenmue III (2019)
Shenmue III is one of the biggest disappointments to me personally. Other titles in this section have their problems, but when it comes to my most-anticipated games ever, Shenmue III had been at the top of the list since 2001. After a dedicated group of hardcore fans raised an incredible $7 million through a crowdfunding campaign, the only thing I expected from Shenmue III was that it would finally finish Ryo Hazuki’s story.
In 2001, Shenmue II ended on a cliffhanger, with Ryo’s quest for revenge incomplete – and having just taken an interesting turn. But the failure of the Dreamcast – and the game’s lacklustre sales – meant no sequel was forthcoming. Yu Suzuki, the game’s creator, had always said that the Shenmue saga was an ambitious project, and that’s to be commended, but while I can’t claim to speak for every Shenmue fan, really my only expectation going into Shenmue III was that it would bring the story to a conclusion. If there was too much story to tell in a project this size, then someone had to come in and make cuts to all of the unnecessary fluff to make it fit. For some inexplicable reason, that didn’t happen. Fans raised millions of dollars to end on another cliffhanger. Does Yu Suzuki seriously think he’ll raise millions more to make Shenmue IV and Shenmue V to keep telling this story?
And that’s why it’s such a disappointment. It had one objective as far as I was concerned: finish the story. Fans donated their own money to make that dream a reality, but the developers blew it. This was a once-in-a-lifetime chance for a dead, failed series to come back to life and finish its ambitious story. I can’t get over the truly awful decision-making that meant it didn’t happen.
Games of the Generation
Now we come to my personal top ten. I played and loved all of these games this generation, and while there are many more that could have made the list, when I whittled it down these are the titles which made the final cut. These titles are not in any particular order, so this isn’t a ranked list. All ten titles are very different, and thus they’re all my Games of the Generation!
Number 1: Mario Kart 8 (2014)
Originally released for the Wii U in 2014, Mario Kart 8 has since reappeared – in “deluxe” form – on the Nintendo Switch. It isn’t particularly ground-breaking, simply refining and polishing the Mario Kart experience for the high-definition screens that became commonplace over the last decade. But that’s absolutely fine, because Mario Kart doesn’t need a radical overhaul; what keeps players coming back for race after race is that it’s pick-up-and-play fun.
The Switch version bundles the original game with its two DLC packs and adds a few new characters to the roster too. And that’s the way most players have experienced Mario Kart 8, since so few people owned a Wii U! It’s a shame that Nintendo chose to paywall its originally-free online multiplayer, and that decision deserves criticism as it’s awful to implement paid online features to a game that once enjoyed those same features for free.
Regardless, Mario Kart 8 is a lot of fun. Some will argue that the fun is best shared with friends, and though you could certainly make that claim I still find myself picking up the game for a quick race or two against the AI.
Number 2: Star Wars Jedi: Fallen Order (2019)
I played through Jedi: Fallen Order earlier this year, and I had a wonderful time. In fact, I’d go so far as to call the game the best Star Wars experience I’ve had in a long time, far surpassing some recent film and television attempts from that franchise! Cal’s journey from the shipbreaking yards of Bracca to, well, spoilers, was truly exciting.
This kind of linear, story-focused game has fallen out of favour with many of the bigger games publishers this generation. The rush to make every game an online experience (with recurring monetisation) has unfortunately seen less of a focus on titles like Jedi: Fallen Order; the Star Wars brand saw only the two Battlefront games in the years before its release. However, the success of this title both critically and commercially has already led to a sequel being developed – and hopefully demonstrated once again that there’s life in these kind of games!
Though I did encounter a few bugs and other issues during my playthrough nothing spoilt the experience. There were some great voice acting performances, interesting and varied planets to visit, a couple of neat cameos by characters from the films, and truly beautiful visuals that really brought the setting to life and truly immersed me in a galaxy far, far away.
Number 3: South Park: The Stick of Truth (2014)
I’m not the world’s biggest fan of South Park. Its social commentary can be biting and funny, but sometimes it goes over-the-top to say the least! However, while I haven’t been a regular viewer of the series since I lived in the United States in the mid-2000s, the game South Park: The Stick of Truth managed to catch my attention early in the generation. I gave it a shot, and I’m glad I did!
The game’s visual style is practically identical to the television series, and that alone makes it interesting. Animated shows have been adapted as games many times, but rarely is the appearance so remarkably similar. I think that’s what first captured my attention, but what I found when I played the game for myself was a surprisingly fun role-playing experience.
Not every joke landed, and a few moments in The Stick of Truth were just plain silly. But as an authentic South Park experience that really feels like playing through an extended episode of the television series it’s something unique – or it was until a sequel, South Park: The Fractured But Whole, was released in 2017.
Number 4: Ori and the Blind Forest (2015)
Ori and the Blind Forest never pretends to be a AAA blockbuster. It’s relatively short, with an average playthough lasting around eight hours, but those hours are spent in a beautiful, artistic world. The levels are diverse, and are interesting and challenging in equal measure as protagonists Ori and Sein bid to save their forest home.
Words like “masterpiece” and “beautiful” are thrown around all too easily these days, but I genuinely feel that both apply to Ori and the Blind Forest. For a game about spirits and sprites it’s surprisingly emotional too.
In a generation where Microsoft and Xbox lagged well behind Sony in terms of the quality of their exclusive games, Ori and the Blind Forest was a rare win. It’s since been followed up by Ori and the Will of the Wisps, a sequel which builds on everything the first game got right. Both titles are available on Xbox Game Pass, and are well worth a play for anyone who likes 2D platformers.
Number 5: Uncharted 4: A Thief’s End (2016)
As with Jedi: Fallen Order above, Uncharted 4 is a linear, story-focused game. This generation has been dominated by sequels, and Uncharted 4 brings to a close the tale of Nathan Drake which began on the PlayStation 3 in 2007. What I love about the series is that it feels like a combination of Tomb Raider and Indiana Jones, setting up a mythical-historical mystery for Drake and his comrades to uncover.
The first three games in the series were fantastic, but Uncharted 4 was a step up. Truly stunning visuals that pushed the PlayStation 4 to its limit really helped with immersion, and the swashbuckling story was perfectly-paced and well executed. Naughty Dog is a fine studio, and they refined this style of gameplay to perfection by the time of Uncharted 4‘s release.
The PlayStation 4 has had some amazing exclusive games this generation. Whether Uncharted 4 is the best of them will always be a matter of debate, but for me it has to be at or near the top of any such list.
Number 6: Minecraft (2011)
This one is a total cheat since Minecraft was released a full two years before any of the current-gen consoles. But it isn’t unfair to say that the game has enjoyed continued success this generation, which culminated in parent company Mojang being acquired by Microsoft in a deal reportedly worth $2.5 billion. That’s a lot of money for a game I initially dismissed as a scruffy-looking pixel graphics mud hut-builder!
Minecraft became the best-selling game of all-time, and a phenomenon that took the world by storm. It introduced the gaming hobby to millions of new players, including many children, and its ubiquity on practically every platform helped that immeasurably. Even nine years after its initial release the game is still being played and replayed over and over. The Minecraft brand has also been expanded upon, with titles like Minecraft: Story Mode and Minecraft Dungeons set in the same fictional world.
Where I had the most fun with Minecraft is in multiplayer with friends, starting from scratch and building whatever we wanted. I wouldn’t like to guess how many hours were lost digging tunnels, mining resources, and planning how to build a castle with a lava moat or a city in the sky.
Number 7: Middle-Earth: Shadow of Mordor (2014)
The world of Middle-Earth has been ripe for video game adaptations ever since The Lord of the Rings trilogy hit cinemas in the early 2000s, and Middle-Earth: Shadow of Mordor follows some truly outstanding games from years past. It took a step back from the books’ familiar characters, introducing players to Talion, an Aragorn-esque Ranger, as he takes the fight to Sauron.
What made Shadow of Mordor stand out mechanically as a video game was its revolutionary “nemesis” system. The game’s AI would track which Uruk commanders that Talion battled – and there were many! Those Uruk could not only become more powerful by killing the player, but defeating them was a key part of the gameplay experience. Orcs and Uruk could be promoted within Sauron’s army, and the aim of the game was to encounter and defeat them. Even now this gameplay mechanic is innovative, and it makes Shadow of Mordor a game with plenty of replay value.
Unfortunately the series was tainted somewhat by the in-game monetisation forced into its sequel, Middle-Earth: Shadow of War. While most of that has since been removed, the reputation of both games suffered. It’s a shame, because Shadow of Mordor is one of the best and most immersive experiences set in Tolkien’s world, and is still worth playing today.
Number 8: Super Mario Odyssey (2017)
Super Mario Odyssey took everything that had been great about 3D Mario games and condensed it into one phenomenal title. It dropped gimmicks from Mario Sunshine and Mario Galaxy and returned the series to a style much closer to the beloved Super Mario 64, which remains to this day one of my favourite games of all-time.
The level design was brilliant and incredibly varied, with water levels, desert levels, and even a voyage to the moon all on Mario’s agenda as he races to – once again – save Princess Peach from the clutches of Bowser. Hardly an innovative premise, you may say, but the fun of Super Mario Odyssey is in the gameplay rather than the story. There are very, very few titles about which I’d say something like that – so that should show you just how outstanding this game really is.
Despite being brand-new, Super Mario Odyssey gave me a hit of nostalgia and took me back to the mid-1990s when I played Super Mario 64 for the first time. It really does feel like an updated version of that classic game.
Number 9: Fall Guys (2020)
Fall Guys came out of nowhere this summer and surprised me! From the moment I heard the concept – jelly bean-like characters running obstacle courses in a video game homage to the likes of Total Wipeout – I knew I had to give it a try. And despite my general dislike of online multiplayer titles, what I found was a truly fun experience.
Fall Guys makes it easy to jump into game after game, and because each round is so short, even losing doesn’t feel that bad. The different ways in which people play makes every round unique, and while it certainly has its frustrating moments the core gameplay is plenty of fun. A cheating problem plagued the PC version for a while, but an update brought in anti-cheat software and that issue has now all but died out, restoring the fun!
If you’d asked me at the start of the year – or even in June – what my top ten games of the generation were likely to be, Fall Guys wouldn’t have even been on my radar. And when I was putting this list together I was wondering if including it would seem like recency bias; ignoring older games in favour of one I picked up just a few weeks ago. But looking at it on merit, I had a lot of fun with Fall Guys, and I’m happy to include this fun, casual title as one of my top games of this generation.
Number 10: Subnautica (2018)
In the wake of Minecraft’s success many games attempted to recreate its survival and building/crafting features. Many of these so-called “Minecraft clones” were crap, but one survival game that took the genre to wholly new places was Subnautica. The game has an interesting story as players find themselves crash-landing on a watery planet and must explore, collect resources, and build their way to freedom.
Subnautica is one of the few games even in modern times to really get its underwater world feeling right. Many games are notorious for bad underwater sections or levels, and when the whole game is based around swimming and moving underwater, this was something Subnautica couldn’t afford to screw up! The skill and attention to detail that went into this aspect of the game really is incredible.
The underwater setting also made the game feel like something genuinely different in a survival genre that was full of samey titles. Subnautica managed to be something unique as well as plenty of fun, and that combination is greatly appreciated.
So that’s it. A few of the best games of the generation – in my opinion, at least. There are many, many titles that could have made this list, including games I’ve played but forgotten all about, and games that I didn’t get around to yet.
This generation has offered up some truly amazing experiences, and even as we begin the transition to new consoles, there will be more to come. Cyberpunk 2077 and Halo Infinite are both due in the next few months, and there will be a number of other titles released before production fully shifts to the new machines over the next couple of years.
On a personal note, this has been a generation where, for a number of reasons, I found myself playing fewer games than I had in the past. A combination of health, ageing, work, and other factors are to blame – if indeed blame needs to be assigned. Despite that, I had fun with all four of this generation’s major home consoles, something I can say for the first time as a generation comes to a close!
I have no immediate plans to purchase an Xbox Series X or PlayStation 5, so there won’t be new console reviews coming on the website any time soon. But I can save you the trouble: both machines will be iterative improvements on their predecessors, offering things like faster load times, better controller battery life, and so on. It will be several years before we see any significant improvement in game design or graphics, simply because most upcoming titles are cross-generation and will continue to be limited by the requirements of this generation’s hardware.
Hopefully this has been a fun and interesting look back at some of the highs (and lows) of this generation on the day we mark the official beginning of the next one.
All titles listed above are the copyright of their respective studios, developers, and/or publishers. Some screenshots and promotional artwork courtesy of IGDB. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
I’m not usually an online multiplayer guy, and Fall Guys – also known as Fall Guys: Ultimate Knockout – is the kind of massively-multiplayer game that I’d ordinarily overlook. The last online games that I played with strangers were Mario Kart 8 and Rocket League, and it’s been a while since I played those. But after hearing great things about its fun, silly gameplay I decided to take a look for myself, and for £16 on Steam it wasn’t a huge risk despite Fall Guys being a new title.
To be up front, Fall Guys currently has some issues with its server capacity; this is something that’s being worked on. High demand for the game seems to have caught developer Mediatonic and publisher Devolver Digital a little wrong-footed, but I’m confident that, with the game reviewing well and being popular, those problems will be fixed before too long. It is, however, understandably frustrating to get disconnected or to have to wait a long time to join a game. But part of the fun of Fall Guys is that its levels are very short – a couple of minutes or so at a time – so it’s easy enough to jump back in, and losing or getting disconnected doesn’t end up causing a huge amount of lost progress. If you’re on the fence about buying the game, though, it’s worth being aware of this server problem. It may be prudent to wait a couple of weeks to see how quickly it can be fixed if you’re really worried about it.
The first time I tried to play Fall Guys after installing it, I was hit with this server problem. Despite waiting almost half an hour I wasn’t able to join a game. It was only when I came back to try again several hours later that I was actually able to successfully play. Although the server problems made for a poor first impression, Fall Guys is a ton of fun!
The game is a cross between a competitive “battle royale” and television game shows like It’s A Knockout and Total Wipeout. For some reason, it also reminds me of late-90s kids’ show 50/50. Fall Guys’ levels are designed to look like they’re taken from such shows, deliberately using the aesthetic of soft foam rubber obstacles. In fact, many of the levels are designed like obstacle courses! An indoor children’s play area would be another good comparison when considering the look of the levels.
The other side of Fall Guys’ aesthetic is the incredibly cute character design. It’s hard to say exactly what these little guys look like – personally I feel like they’re somewhere between Oompa-Loompas and marshmallows – but they’re absolutely adorable. There are customisation options, some of which can be unlocked simply by playing enough rounds of the game. Other character customisation options are, however, paid for with in-game microtransactions. Because Fall Guys has a very child-friendly atmosphere, it’s worth making sure your parental controls are up-to-date if you plan to get the game for your little ones to play. Obviously I’d prefer a game that had no microtransactions at all, but this is the realm of online multiplayer – and these days, in-game monetisation comes with the territory. If Fall Guys were charging more than its £16 asking price I’d be annoyed at their inclusion, but considering that there are some cosmetic items that can be acquired in-game, and taking into account the relatively low up front cost, I think the microtransactions are okay. They’re easily avoided for those who don’t want to participate.
So Fall Guys is a battle royale/game show? How the heck does that work? Glad you asked! 60 players compete in a variety of events, including races, challenges, and some team events, to be the last one standing. Though it’s possible to play the game in such a way as to sabotage someone else’s chances of progressing, for the most part – at least in the early rounds – it’s easier to focus on one’s own character or team. Navigating the obstacles – like see-saws, spinning platforms, and windmills – to win a race or to make it to the next stage is great fun. And the team challenges borrow from the likes of Rocket League – there’s even a football-themed one!
I’m not great at games in general, let alone competitive multiplayer titles. Yet despite my limitations, I had a lot fun. I was able to progress to the latter rounds on several occasions, and the times where I lost in round one or two it usually only took a few seconds to load up a new game and try again. Fall Guys isn’t something you can be great at on your first attempt, even if you’re a regular online gamer. However, with each round lasting only a couple of minutes or so, losing doesn’t feel so bad.
Each round whittles down the number of players until only a few remain. The first round is supposed to begin with 60 players (though I’ve seen anywhere from 49-60 in practice), and of those, perhaps 40 will qualify for the second round. The game continues in this way until it reaches a final round, with the survivor crowned champion. Though I haven’t won (yet?) I’d reckon playing a full session from the preliminary round to the finale is only going to take maybe quarter of an hour at most. And as I keep saying, any time you’re eliminated, getting into a new game doesn’t take all that long.
There’s a “roadmap” of updates planned for Fall Guys, promising more content, more cosmetic items, and new levels. Though I’m generally sceptical of this kind of business model, the current version of the game has a lot to offer and doesn’t feel like it’s missing anything major. If you play for a while you do start to see the same levels repeat – there are 24 levels at time of writing, including three “final rounds” – but again, each one only takes a couple of minutes, and they’re chosen at random. If you discover a burning hatred for a specific one, I guess it might be annoying to keep encountering it, but Fall Guys is the type of game where even something like that doesn’t have to be a big deal.
It’s been a while since I played through a game that’s as apologetically fun as Fall Guys. There’s no story, there’s no background or explanation given for why these weird little characters are taking part in a game show, and there doesn’t need to be. It’s just simple, casual, pick-up-and-play fun. I had a smile on my face practically the whole time, and making it to the end of a challenging level when it looked like I wasn’t going to manage in time has been legitimately thrilling.
A lot of care and effort has gone into crafting what could be one of the sleeper hits of 2020. Though the server issue is definitely frustrating, it’s something that will hopefully be resolved in the coming days, and aside from that I encountered no bugs or glitches during my time playing. I’m looking forward to jumping back in!
So this has been my initial first impression of the game after spending a couple of hours with it today. I may write another piece in the coming weeks if I find that I have more to say after spending longer with Fall Guys. But for now, what I’d say to anyone on the fence is that Fall Guys is great fun, and the kind of game that practically anyone could pick up easily. The server issues are a problem, but when I got into the game on my second attempt I didn’t experience too many disconnections and was able to load up a new game every time without having to wait too long. However, it may be worth checking back in a few days or a couple of weeks to see if that’s still an issue if you’re concerned. For £16, though, I can’t really fault the game for the way it plays. If you’re a subscriber to PlayStation Plus, you’ll get Fall Guys for free this month – and if you’re in that category you have no excuse for not trying it out immediately!
Fall Guys is available now for PC and PlayStation 4. Fall Guys is the copyright of Mediatonic and Devolver Digital. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
With the Xbox Series X and PlayStation 5 set to launch in just a few months, I thought it would be interesting to look back on the current offerings from Microsoft and Sony and see which was better – subjectively speaking, of course. This has been the second console generation with what I called a “two-plus-one” set of home consoles: Xbox and PlayStation fishing in the same pond, and Nintendo doing its own thing off to one side. This began last generation, when Nintendo stopped competing directly with Xbox and PlayStation and began to reposition itself as a family-friendly, casual-gamer brand. As Nintendo’s consoles have been different, gimmicky, and have a focus on unusual and unique ways to play, I’m setting them aside and just looking a Xbox and PlayStation in this article.
Although exact sales numbers have been hard to come by, PlayStation has been by far the biggest seller this generation. The various PlayStation 4 versions – including the PlayStation 4 Pro – have easily outsold the Xbox One by two-to-one or more, and it isn’t unfair to say they’ve been absolutely dominant. The previous cycle – where the Xbox 360 faced down the PlayStation 3 – couldn’t have been more different. Xbox was dominant then, and it just goes to show how quickly things can change in a fast-moving industry, not to mention how a poor launch can scupper a console’s chances.
The Xbox One’s launch in 2013 could hardly have gone worse for Microsoft. The biggest problem was the always-online nature of the console, which was incredibly controversial and offputting for many gamers. It wasn’t simply a case of always needing to be connected to the internet – which for many people even today is difficult in many regions – but that basic things like lending a game to a friend was incredibly complicated. The initial suggestion was that the Xbox One would need to register every game a player used, and it was unclear at first if two people who each had a separate Xbox account on a single shared console would need two separate copies of the game in order to play. Microsoft talked about a system where players could nominate someone from their friend list to share the disc with, but this raised the spectre of Xbox gamers being unable to trade in old games. The whole thing was a horrible mess, and Sony made a funny video in response, pretending to show in detail how game-sharing would work on PlayStation 4: one person hands the disc to another, and that was the end of the video.
As an aside, most of the big games companies have been looking for ways undermine game trade-ins for a long time. When a shop like Game in the UK or Gamestop in the US buys and then re-sells a title, none of that money goes back to games companies, and they have long felt that the practice cuts into their sales and profits. With physical game shops almost certainly on the way out as gaming moves to an all-digital future, they won’t have that problem any more. For people on low incomes, including younger people, being able to buy games more cheaply second-hand can be a lifeline, and even if most of us are okay with the switch to digital games, a lot of people are going to lose out. But we’ve drifted off-topic!
The Xbox One was initially bundled with the now-abandoned Kinect device, and those first Xbox One consoles required Kinect to be connected at all times. Not only did this have the effect of raising the price of the Xbox One – $499 in the US or £429 in the UK – but there were also pretty serious privacy concerns, especially from some parents’ groups. The Kinect had a front-facing camera, and some people were uncomfortable at the idea of an always-connected, always-online camera in their living room 24/7.
The price issue was huge, though. By tying itself to Kinect – and refusing to release a no-Kinect option – the Xbox One’s price was inflated. The PlayStation 4 was able to come in a hundred dollars cheaper and massively undercut Microsoft – in a similar way to what the Xbox 360 did to the PlayStation 3 in the previous generation. The PlayStation 4 was initially priced at $399 in the US and £349 in the UK; a pretty substantial saving.
Microsoft did later backtrack on some of the internet requirements, but even at launch the Xbox One still required a one-time internet connection in order to complete its setup procedure. It was a climbdown from the always-online requirement, but Microsoft still managed to force internet connectivity in there somehow!
I’ve been lucky this generation to have played on both the Xbox One and the PlayStation 4. I even bought an Xbox One at launch – despite the issues mentioned above. However, I didn’t have a particularly good time with the machine. While I did have a few games- including at least one exclusive, Ryse: Son of Rome – the console ended up getting used more for watching DVDs and streaming. And I guess that sums up Xbox this generation in a way, as Microsoft aimed to make the console less of a gaming powerhouse and more of an all-in-one multimedia centre.
The lack of decent exclusives has harmed Xbox immeasurably this generation. A number of PlayStation 4 exclusives are regarded among the best games of the last few years: titles like God of War, Uncharted 4, Marvel’s Spider-Man, Horizon Zero Dawn, The Last Guardian, Bloodborne, and even remasters like The Last of Us, Shadow of the Colossus, and Uncharted 1-3. Xbox simply has very little in response to these outstanding games. The few Xbox exclusives that there have been this generation – and there haven’t been many memorable ones – were average at best. Titles like Sea of Thieves and even the venerable Halo series didn’t come close to accomplishing for the system what Sony’s lineup did for the PlayStation 4.
Before this console generation kicked off in 2013, I’d only played a handful of games on any PlayStation system. Throughout the life of PlayStation as a brand, I’d always had a different console. When the first PlayStation debuted I had a Nintendo 64. When the PlayStation 2 was out in the early 2000s I had a Sega Dreamcast and then an original Xbox. And in the PlayStation 3 days I was an Xbox 360 and Wii owner. It was only when I really wanted to play The Last of Us in 2013 that I treated myself to a PlayStation 3 – the first console in the PlayStation family that I ever owned. I only played a handful of PlayStation 3 games, though, because the current generation of consoles launched a few months later.
Nowadays my primary gaming platform is PC, and that’s been the case for a while actually. Digital distribution via platforms like Steam and the Epic Games Store is just so convenient, and while it’s possible to buy console games as a download too, I like having a powerful, customisable machine that isn’t just useful for gaming. But a couple of years ago I picked up a PlayStation 4, hoping to play some of its tantalising lineup of exclusives. While in terms of the way the consoles work and the graphics put out the PlayStation 4 and Xbox One are almost inseparable, in terms of gaming experiences I enjoyed what PlayStation had to offer way more. I no longer own my Xbox One, having given it away several years ago.
Though I’m not a VR gamer, it’s worth adding that PlayStation tried very hard to make virtual reality mainstream this generation. The PlayStation 4’s VR kit is by far the most successful VR platform at the moment, and has helped take what was a niche idea much further than anyone thought possible.
Both in terms of my personal experience with these two consoles, as well as in terms of objective sales data, the PlayStation 4 has been by far the better and more successful offering this generation. And as I mentioned a few days ago, with Xbox looking set to repeat some key mistakes this time around, especially in terms of exclusive games, I don’t see that changing when the next generation of consoles launch either.
The Xbox brand is the copyright of Microsoft, and the PlayStation brand is the copyright of Sony. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.