Deus Ex: Game of the Year Edition - contact@rockpapershotgun.com (Tom Francis)

Dishonored 2: Death of the Outsider

What Works And Why is a new monthly column where Gunpoint and Heat Signature designer Tom Francis digs into the design of a game and analyses what makes it good.>

I love Deus Ex, System Shock 2, and Dishonored 2, and the name for these games is dumb: they’re ‘immersive sims’. If you asked me what I liked about them, my answer would be a phrase almost as dumb: ’emergent gameplay!’

I always used to think of these as virtually the same thing, but of course they’re not. Immersive sims usually have a whole list of traits, things like: (more…)

Half-Life - contact@rockpapershotgun.com (RPS)

best-pc-games-ever

There are more wonderful games being released on PC each month than ever before. In such a time of plenty, it’s important that you spend your time as wisely as possible. Thankfully, we’re here to help. What follows are our picks for the best PC games ever made. (more…)

Spelunky

Welcome back to the PC Gamer Q&A! Every Saturday, we ask our panel of PC Gamer writers a question about PC gaming. Tim's answer is usually 'Hearthstone'. This week: which game would you take to a desert island?

Shout out to the enjoyable podcast Final Games, which asks this very question to guests every episode (which have included PCG's Andy Kelly and Samuel Roberts in the past), allowing them to pick six games. Here, though, we've just limited the selection to one game. 

As ever, we'd love to hear your suggestions in the comments, too.

Tim Clark: The Orange Box

I've resisted the temptation to draw Samuel's ire by answering Hearthstone again, but I am going to assume the island has a working internet connection and pick The Orange Box. Between the infinite replayability, the sheer joy of Portal, and the no small matter of Episodes 1 and 2, I'm pretty sure I win on pure value. 

 

Jarred Walton: Game Maker Studio/Unity Engine

Game? How about software? Depending on how ambitious I'm feeling, I'd take either Unity Engine or Game Maker Studio. Then, as I basked in the sun waiting for rescue for the next several years, I could finally see about getting around to building my magnum opus. And let's assume I have all the necessary tools for doing graphics, sound, etc. and that infinite power is available.

The game would be something cyberpunk, but the great thing about having a software development platform is that I wouldn't need to create just one game. I could dabble in all sorts of genres and make as many games as I wanted—or at least, as many as I had time to create before I was rescued, brought back to humanity, and became an instant millionaire with my wildly successful first indie release. Don't pinch me, I'm enjoying my dreams.

Jody Macgregor: Stardew Valley

Is it weird to bring a game about growing food to an island where I'll be growing food to survive? Stardew Valley could be useful, reminding me when it's a good time to plant turnips or whatever. Plus, since I assume there's no wi-fi on this island, I'd be able to experience it properly. I came to Stardew Valley late so there was already a wiki full of advice on what gifts to give people and where they hang out at any time of day, which spoiled it a bit for me. I never had that experience of waiting outside somebody's door all day just to give them a fish they'd asked for.

Mostly I'd bring Stardew Valley because it would make me less lonely. That virtual village of people would be better substitute friends than a ball with a face on it. Spending time with them makes me genuinely happy. Just filling my dog's bowl, harvesting some crops and walking into town to check in with people lifts my spirits, straight-up sunshine injected into my heart. The only other game that improves my mood as surely as Stardew Valley is Blood Bowl, a game about football and murder, but let's gloss over that.

Andy Kelly: The Witcher 3 and all the DLC

If I'm trapped on a desert island, escapism is going to be important. So I'd take The Witcher 3 and all the DLC. That's a game you can get lost in, and it's so impossibly huge that by the time I've finished it I'll have forgotten most of it, making it feel fresh when I start all over again.

And when I've absolutely exhausted the storyline and know every quest by heart, I can just focus on getting really good at Gwent. Maybe set myself a goal like beating every single Gwent-playing NPC in the Northern Kingdoms or collecting every card. That should rinse through a few years. 

Wes Fenlon: Spelunky

I'm just going to be honest: the only way I'd ever complete a Hell run in Spelunky is if I was trapped on a desert island with nothing to do but play Spelunky. Instead of telling you again why it's incredible, I'll just refer you to its #10 ranking on this year's Top 100, and its well-deserved Game of the Year 2013 award

Chris Livingston: Crusader Kings 2

Really, even in casual dabblings with CK2, there's always something interesting happening, some curious and enjoyable little stories bubbling to the surface, some random events throwing a medieval wrench into the works, some massive battle or minor yet incredibly personal beef occupying your attention. Every session of CK2 feels completely different, even with the same starting country and scenario. If I can bring some of the full conversion mods along too, I'll never be wanting for great new stories and long-lasting memories. And I play for a few years solid with no interruptions, maybe one day I'll be so on top of things that my character won't be over their demesne limit. 

Austin Wood: Dungeons of Dredmor

I was having trouble with this one until Wes answered Spelunky. Which reminded me that, despite countless runs, I've never actually reached the bottom of Dungeons of Dredmor and killed Dredmor himself. A trip to a desert island would give me time to finish things once and for all. Plus if I can finagle mod support, or at least download the DLC, I may still never see everything the dungeon has to offer. 

Samuel Roberts: Metal Gear Solid 5: The Phantom Pain

I'm half-tempted to pick an MMO I've never had time for, like The Old Republic or Guild Wars 2, but if I'm being honest with myself, MGS5 is the one. Missions play out differently each time, and the more hours you invest, the more tools you unlock to mess around with the enemies and their surrounding environment. Reaching S-rank on every mission would consume plenty of time, and while island life would be lonely, I could always pat D-Dog if it all gets a bit much.

But what about you, kind reader? Let us know below.

Spelunky

Spelunky is a perfect videogame—the perfect videogame, perhaps. Or at least, it is if you forget that the 2012 version shipped with a deathmatch mode. Not many people talk about Spelunky deathmatch, in which up to four players brawl on a single-screen arena, using bombs and ropes and shotguns and rocks to pound the ever loving spe-lunk out of each other. It's adventure mode's weird, less-popular friend.

I think I understand why: If you dip into the mode solo using the default settings, you’re fending off three erratic AI opponents, in addition to a laser target which roams the screen smiting anyone who stays still for too long. Oh, and the ghost: the dreaded ghost from the adventure mode turns up as well, so the whole thing just feels like a frantic mess to most newcomers. You’ll likely die within three seconds of spawning (no exaggeration) and then you’ll likely quit the mode three seconds later. It’s about as bad as a first impression can get. 

But for the last two years at least, Spelunky deathmatch has been my bread and butter. I’ve played Nidhogg, Towerfall: Ascension, Sportsfriends, Videoball… and none of them are as good a couch multiplayer game. You may believe Spelunky’s finely wrought roguelike adventure mode was the modern classic, but nope: deathmatch is up there with it.

Turn off ghosts, turn off targets, turn off bots. Never, ever use bots.

The first step to enjoying Spelunky deathmatch is to ignore its default settings. They’re crap. Turn off ghosts, turn off targets, turn off bots. Never, ever use bots. Then increase the amount of lives per match to 10. Then, increase each player’s bomb amount to 10 (just do it). Now you’ve got at least one perfect deathmatch game, but you might find other settings that work better for you.

The best thing about deathmatch Spelunky is that it inherits all of the complexity of its more popular sibling, while also demanding speed and reflexes the likes of which are rarely needed in adventure mode. For example, most adventure mode players know you can whip bombs to carefully nudge them into awkward places with more accuracy, but did you know you can whip away airborne bombs that have been lobbed at you? It’s tricky, but you can and you’ll need to, because being stunned is a death sentence. 

Other tricks you might not use often in adventure mode become crucial in deathmatch, too: for example, learning to lob bombs with precision as an offensive attack, or just as a means to stun an opponent. Bombs are less tools of navigation and more automatic grenade launchers, and learning to predict their bounce patterns and trajectories is one of the first hard lessons you’ll receive—especially if your opponent has lobbed 10 at once. 

Elsewhere, ropes are surefire ways to stun opponents from below; the teleporter is a neat portable telefragging device; and learning the maps and the best positions from which to lob bombs becomes more important than mere dexterity. Meanwhile, obscure items from the main game such as the shield—only found in a single hidden area in adventure mode—become powerful tactical tools in the deathmatch setting. Lessons that couldn’t vaguely apply to adventure mode (except map learning, of course) compose the moment-to-moment stouches in deathmatch, where having the baseball gloves, a jar of sticky glue and a full inventory of bombs can prove disastrous to your opponent.

I want Spelunky deathmatch to be an esport. I want it to be on ESPN. It would make the world nicer.

Will the newly announced Spelunky 2 have a deathmatch mode? No idea, but I hope so. I wouldn’t blame creator Derek Yu and co for leaving it out, since it gained no traction in the original, but I reckon even the existing deathmatch mode could have its fate reversed just with a few tweaks to its default settings. There’s so much potential, and if it had online support that would be a dream. I want Spelunky deathmatch to be an esport. I want it to be on ESPN. It would make the world nicer.

Let’s assume for a moment that Spelunky 2 deathmatch exists: how can it improve upon the original? Aside from the obvious tweaks to its default game settings, I’d definitely include a level editor, and I’d be careful to remove items that are utterly useless in the mode (such as the parachute, as none of the maps are high enough to permit fall damage). Player spawns can also be a bit uneven and unfair, especially with four-players. Of course, we don't really know anything about Spelunky 2—its weapons, items, and so on—so apart from those elementary changes, it’s hard to guess at what else might be done.

Even Yu thought deathmatch was underrated, though he admitted he and co-creator Andy Hull were to blame. “I think it was because people just didn’t play it the way Andy and I did while we were developing it, where it was just much more tactical,” he told me last year. “We didn’t chuck bombs all over the place, we’d wait for that perfect opportunity and try to take out the person when they were vulnerable."

“I definitely don’t blame the players or anything like that," he added. "I think a lot of people do have a lot of fun with it, as a more casual thing. It may also be that adventure mode is more compelling than deathmatch mode.”

No, it’s not Derek. And while I’m at it, chucking bombs all over the place is totally a viable strategy.

Spelunky - contact@rockpapershotgun.com (Adam Smith)

spelunky2

Keep an eye on the Sony announcements during Paris Games Week, I said. Maybe From Software would pull off a remarkable double-whammy by revealing Bloodborne 2 and saying it’d be coming to PC and that a special edition of the first would be arriving on Steam tomorrow. Maybe Naughty Dog would stroll onto a stage and declare that they’d accidentally made The Last Of Us 2 in such a way that it’d only work on Linux. Anything seemed possible.

Except for an outta nowhere announcement that Spelunky 2 is in development. This is the best possible news because Spelunky is one of the greatest games ever made.

(more…)

Oct 30, 2017
Spelunky

Update: Developer Mossmouth Games (read: solo developer Derek Yu) has confirmed Spelunky 2 is coming to Steam. A release date has not yet been announced. 

Original story: 

Spelunky 2 was announced during today's PlayStation Paris Games Week livestream. As you can imagine, it was announced specifically for PlayStation 4, but given Spelunky's history and origins, the sequel is a shoo-in for PC. 

Apart from the trailer above, we don't know much about Spelunky 2. Though we do at least have one big detail: you play as the child of the protagonist of Spelunky 1. 

In any case, more Spelunky is good news. There's a reason we rated it number-one on our list of the best indie games to play right now

Spelunky - contact@rockpapershotgun.com (Matt Cox)

Spelunky Complete

Some games can be finished, completed, defeated or beaten. They have an end-point, even though they might be replayable. Others have the potential to go on forever. Whatever the case, there always comes a point when you’re done with a game, and it might be long before the credits roll, or it might be after that one update that breaks a habit that has lasted for years. Why do we stop playing?

Let s get one potential answer out of the way: when we stop having fun . While there s definitely something to that idea, it doesn t take into account temporary frustration caused by difficulty spikes, or the satisfaction – a related cousin of fun – from seeing a narrative through to its end. It s a sentiment that might work for multiplayer games, but I m not convinced it can be applied more broadly than that. With a look at Shadow of War, Spelunky and Caveblazers among others, here are some thoughts on the end of play.

(more…)

Left 4 Dead - contact@rockpapershotgun.com (RPS)

Sometimes you need a hand to hold, so we ve updated our list of the 25 best co-op games to play on PC with a headset-wearing friend or a muted stranger.

Whether solving puzzles, sneaking, shooting zombies or stabbing mythical creatures in the face, the existence of another player adds an element of unpredictability. You might synchronise your stealth takedowns and execute the perfect plan, but it’s just as likely that your co-op partner will constantly alert the guards and throw your situation into chaos. Luckily both success and failure are more compelling when you can take credit for the former and blame someone else for the latter.

(more…)

Dungeons of Dredmor

When we debuted our list of the best indie games in 2017, we said, "Consider this the beginning of a conversation, rather than the final word." We wanted the list to spark discussion among our readers and also to be something we continued thinking about. Great new indie games are arriving every month—by the time we published it Divinity: Original Sin 2 was already becoming a favorite among our writers. There were also plenty of games we voted for that narrowly missed out on the top 25, but which we thought deserved a mention regardless.

That's why we're updating our collection of the best indie games, and will continue to do so a few times a year from now on. The original 25 are still there if you page down, but at the top you'll find some personal favorites that missed out before, and the new hotness. This is supposed to be a list of the best indie games to play right now after all, and these are the games we recommend today. 

Into the Breach

Released: 2018 | Developer: Subset Games

Jody: Turn-based games don't always respect your time—opponents who take forever, entire turns where nothing happens, animations that feel like everyone's wading through stew. Into the Breach does not waste your time, which is apt because it's about time travel.

In the future giant bugs crawl out of the ground and ravage the world, and our only hope are mech pilots from an even more distant future who travel back to save us. As a band of three pilots in vehicles that would make cool toys, you're humanity's last hope. Fortunately, you can see what the bugs plan one turn ahead, and can dodge out of their way so they attack each other or dodge into their way to protect a building full of civilians they were about to demolish. It's a mech vs. monster dance-off.

And it's conveniently bite-sized. Maps are small, load fast, and only have to be protected for a few turns, so it feels worthwhile even if you've only got minutes. With hours to spare you can play a full run, save the day, then take your favorite pilot and leap back into a different timeline to do it all again.

Enter the Gungeon

Released: 2016 | Developer: Dodge Roll

Shaun: Enter the Gungeon is an arcade roguelite about shooting bullets with bullets. In other words, the enemies are ammunition. As one of four distinct characters, you'll dodge-roll, kick furniture and, most importantly, destroy bullets with bullets. There are hundreds of distinct weapons, ranging from a bow and arrow through to guns that shoot actual bees.

Enter the Gungeon exists in an absurdly busy genre: each week I write about a new roguelite. But Enter the Gungeon is special because not only does it nail the essentials (shooting, movement, sheer variety of weapons and items), but it also doesn't complicate things too much. Other arcade-centric roguelites like Flinthook and Rogue Legacy have had a good go at mixing compelling action with a simplified approach to the genre, and while each are great they end up feeling repetitive: like a jumble of the same rooms. But it's the weaponry that keeps Enter the Gungeon fresh. It's also really charming, somewhat against the odds.

Austin: I'd also like to add that there's a gun that shoots guns that shoot bullets.  

Frostpunk

Released: 2018 | Developer: 11 Bit Studios

Chris: It feels strange to play a city-builder that's not open-ended and doesn't let you tinker with your city forever. Also strange is that no matter how efficiently you design your city, your residents may kick your ass out of it due to events that take place elsewhere. But that Frostpunk does things differently is one of the things that makes it great.

Frostpunk is both grim and beautiful, a blend of survival and crisis management that leaves you facing tough choices, sometimes unthinkable ones, as you attempt to build a city that will protect your residents from a world gone cold. You're not just trying to keep them warm and fed, but keep them hopeful, and that's no simple matter when the only thing more bleak than the present is the future. In addition to building, gathering resources, and sending expeditions into the frozen world, you have to grapple with passing laws that may save your citizens' lives but at the same time may erode their freedom. There's rarely a moment that's free of tension and worry, and rarely a choice that isn't second-guessed.

Don't Starve / Don't Starve Together

Released: 2013 / 2016 | Developer: Klei

Jody: Klei's 2013 survival game is a playable Edward Gorey book where you'll probably get eaten by dogs or starve during the long winter—a possibility the name does warn you about, to be fair—while learning how the ecosystem of its unusual world works. You discover the importance of the wild beefalo herd, and the value of dealing with the Pig King. 

And then you do it again, with friends.

The survival games that followed Don't Starve filled their servers with desperate lummoxes all flailing at trees and rocks and each other. Don't Starve Together made multiplayer survival into something that's not as easy to make memes of, but a lot more fun. Sure, you can play it competitively but it's best as a co-operative village simulator where you start by pooling your rocks to make a firepit and eventually you're taking down bosses then crafting statues to commemorate your victory in the town square.

Celeste

Released: 2018 | Developer: Matt Makes Games

Shaun: Celeste is a tough 2D platformer with a 16-bit retro aesthetic. If I had a pixel for every time I’ve written about a game with those descriptors, I’d maybe have enough to render Crysis. So what makes Celeste special? The reasons are many and varied: firstly, it carries itself differently to other deliberately hard platformers like Super Meat Boy and N++. Studio Matt Makes Games wants everyone to finish this game, not just Kaizo Mario World speedrunners, so its pacing is careful and its attitude encouraging. While protagonist Madeline doesn’t have the most novel moveset in a platformer (she can grab certain walls and dash through the air), the action is precise, smooth, and unusually, you’ll actually care about her journey. 

Perhaps the variety is what really elevates Celeste: this is a game with set pieces that aren’t just saved for the boss battles, and while it is fundamentally a series of platform challenge rooms, it does feel like you’re navigating a world (in this case, the mountain Celeste). Not since Shovel Knight have we had a game that manages to cater for players who might not enjoy the irreverent, punishing veneer of most modern twitch platformers.

Rain World

Released: 2017 | Developer: Videocult

Shaun: You're going to hate Rain World if you approach it with the wrong attitude. Firstly, it looks like a platformer, but it's not: it's a punishing survival game. The first hour or so spent in the game also lacks promise: the controls are slightly fiddly because (by necessity—this is a survival game) they aren't as intuitive as most 2D games. You have to learn them (Rain World is all about learning, but you'll still sometimes get unlucky).

Once you surmount these prickly beginnings, Rain World is remarkable. You play as a slugcat one tier above the bottom of the food chain, and you must negotiate a labyrinthine and hideously broken open world in order to survive. Rain World is cryptic, uncompromising, and once given the chance one of the tensest and most atmospheric 2D games I've ever played. If you must make it easier, there have since been options added to the game to allow that. But I wouldn't if I were you. Rain World is determined to wrest empowerment from the player, determined to eschew any shred of the power fantasy so dominant in its medium. And yet it is logical, it's not "unfair", it’s not "poorly designed". It just doesn’t care about you.

Divinity: Original Sin 2

Released: 2017 | Developer: Larian Studios

Jody: My party includes a skeleton who has mastered poison magic, a dwarf pirate, and a fire-breathing lizard prince. By the end of the game, one of them will be a god. 

Plenty of developers have resurrected the bones of the isometric RPG and added modern skin to it, but only a couple of those games really work as both reminders of the old days and great RPGs worth recommending to people who don't have nostalgia goggles near at hand. 

Divinity: Original Sin 2 takes the traditional map-hopping fantasy quest structure and adds a mindbending array of abilities to fill multiple hotbars, sidequests that feel like tonal breaks from the storyline but also seem like they matter on their own, and a degree of characterization we expect from big-budget RPGs. Every party member has their own thing going on, their own plot to follow and life to live, and can replace your character if they die. They can even be selected to take the lead in conversations, although saying hi to people as the skeleton without a disguise on will raise some eyebrows.

Wes: Original Sin 2 has great writing, clever and creative quests, and strong characters with arcs that span a near-hundred hour quest, all substantial improvements over the first game, which was already a hell of an RPG. What I really love about Original Sin 2 is that anytime you ask yourself the question "Can I do this?" you probably can. Savescum to your heart's content to see what happens when you kill an NPC, or sneak somewhere you aren't supposed to be, or figure out how to jump over a wall instead of solving a puzzle. Larian built an insanely open-ended RPG that encourages you to play however the hell you want, and then had the audacity to put a great story and combat system in it, too. 

Devil Daggers

Released: 2016 | Developer: Sorath 

Jody: A one-level first-person shooter where the level is a hellish arena, and the enemies are skulls and flying snakes and other escapees from heavy metal album art. Devil Daggers takes the speed and circle-strafing of Quake and distills it into one perfect minute, or longer if you're better at it than I am. It almost takes longer to describe than it does to play—almost. 

Steamworld Dig 2

Released: 2017 | Developer: Image & Form 

Austin: SteamWorld Dig 2 is a 2D Metroidvania-style platformer about digging tunnels in a fully destructible world. You collect resources, haul them up to the surface, upgrade your gear, and dive back down. As you rack up upgrades, from your pickaxe to gadgets like the grappling hook, jackhammer and steam-powered grenade launcher, you unlock new areas to explore and new ways to explore them. 

It's this magical mix of Metroidvania exploration and the resource collecting that makes survival games so cathartic, and it works because it lets you go at your own pace. You don't just go a little deeper each time you upgrade your stuff; you get a little more adventurous. You start to experiment with different gadgets and use them in new ways, and this changes the way you dig tunnels, which act like scaffolding for getting around levels. And no matter what you do, you're always making progress. Everything feeds into everything else, so you're constantly motivated to dive deeper and discover new temples to ransack. 

Subnautica

Released: 2018 | Developer: Unknown Worlds

Jody: Depending how you feel about diving, Subnautica can be either a wonderful opportunity to explore an alien aquarium or a straight-up horrorshow. Even with the survival stuff turned off so you don't have to regularly grab fish and eat them as you swim past, its depths contain claustrophobic tunnels and beasts big enough to swallow you whole. The thing is, Subnautica works as both a tense survival game about making it day by day in a hostile alien ocean and a way to drift around meeting strange sea creatures (and eating them).

The list continues on page two.

Gone Home

Released: 2013 | Developer: Fullbright

Shaun: Video games aren’t always about mowing down aliens and nazis and trolls in fantasy/sci-fi/post-apocalyptic settings. But most of the time they are. Gone Home wasn’t the first meditative, narrative-driven game, but it arrived at a time when people were more receptive to their possibilities than ever before. Crucial to Gone Home’s success is that, rather than resting on the delivery tactics of film, Fullbright uses the more tactile nature of the videogame medium. Sure, it’s interactive in the sense that you’re wandering through a home and discovering its inhabitants’ stories, but it also asks of the player that they mull over the lives that they’re eavesdropping on. While there are plenty of “walking simulators” nowadays, Gone Home endures because the story it tells is enduringly affecting and important.

Proteus

Released: 2013 | Developer: David Kanaga

Jody: I like walking simulators, and I use the term affectionately, but sometimes I find it hard to get caught up in their stories. They can feel anticlimactic. Proteus doesn't because its story is one I tell myself. It dumps me on a procedurally generated island and lets me explore, climbing hills and chasing frogs. There is another story in it though, in the sense that there's a sequence of events that you can experience, but it's a subtle one. (I'll give you a hint: it involves the standing stones.) If you want it there's a build-up and climax there, but even without that the relaxing strolls over its islands gave me all the satisfaction I needed.

Papers, Please

Released: 2013 | Developer: Lucas Pope

Jody: Games are amazing at letting you experience someone else's life. To pick an extreme example, just like the wriggly controls of Snake Pass give you an insight into what it would be like to be a snake, the rubber stamps and bureaucracy of Papers, Please make you feel like a border guard under a totalitarian regime.Morality's a thing games don't often do well, but by letting you master increasingly complex regulations—Papers, Please has a great difficulty curve, which indie games sometimes struggle with—it gives you power over the hapless citizens who line up to present their documentation. It motivates you to judge them harshly because if you don't, the pay you need to support your family will be docked, but also because the detective work of uncovering fraud is shockingly fun. You discover a contradiction in someone's papers and feel great, then realize what that will mean for the human on the other side of the counter trying to get home and feel awful. Yeah, it's a game about paperwork, but it's so intense that when I was rewarded for my paper-pushing by being given the key to the gun cabinet I wanted to hand it back. I wanted to tell a video game I wasn't interested in its gun.

Austin: I still remember one of the many would-be citizens I turned away in Papers, Please—the old man who repeatedly submits ridiculously inaccurate papers. Sometimes his ID shows the wrong gender or expiration date, sometimes he even has a photo of someone else on ‘his’ passport. His errors get more and more obvious and egregious, but his cheery attitude never changes. Every time I turned him away, he’d just smile and say he’d be back, like I was a server at his favorite local restaurant. Papers, Please is a game about hard choices, but nothing in it made me feel guiltier than denying that old man so many times. 

N++

Released: 2016 | Developer: Metanet Software

Shaun: During my first ecstatic weeks spent with N++, I thought it might be the last platformer I’d ever need to play. The slippery, floaty physics are so expertly tuned, and the level design so varied (despite having upwards of 5,000) that I thought it could keep me busy forever. And while I’ve played probably dozens of different platformers since, N++ is the only one I feel compelled to regularly return to.

Even when you’re not winning, N++ just feels good, and its focus on precision and reflexes isn’t as potentially frustrating as it can be in, for example, Super Meat Boy. The whole game has a zen-like quality, from its austere minimalistic art style through to the experimental electronic soundtrack (one of the few, in a platformer, that I’ve never turned the volume down on). This is simply the best pure platformer you can get on PC, a museum-worthy distillation of the genre’s strengths.

West of Loathing

Released: 2017 | Developer: Asymmetric Publications

Chris: West of Loathing is just so wonderfully jam-packed with humor, clever writing, and charming characters that it's hard to stop playing even when you've finished the main story, solved all of the (sometimes quite devious) puzzles, and collected every hat (there are more than 50) in the game. Everywhere you turn there's some little bit of descriptive text that will make you smile, chuckle, or laugh, even the the settings menu. It's one of the only games that drove me to explore not for loot or experience, but for words.

Crypt of the Necrodancer

Released: 2015 | Developer: Brace Yourself Games

Bo: Crypt of the Necrodancer is a rhythm-based roguelike—a DDR-dungeon crawler, if you will. A head-scratching combination, to be sure, but that's exactly what it is. Dance your way through pixelated depths to the beat of an awesome, rhythmically complex soundtrack. Stay on beat to slay the dungeon's dancing denizens, and don't forget to spend some time with the opera-singing shopkeeper. 

Evan: Definitely give the metal version of the soundtrack by YouTuber FamilyJules (composed by Danny Baranowsky) a listen. It's right up there with the Doom 2016 soundtrack. 

Bastion

Released: 2011 | Developer: Supergiant Games

Jody: There's no game I've had better luck recommending to people than Bastion. Everybody loves its narration and its music, which would be cool independently but become truly outstanding because of how they're integrated. You think you're hearing a beautiful soundtrack and then you discover the musician in the level you're exploring. You think the narrator is a guy with a deep voice telling a story and then he reacts to how you play.

Bastion is an action RPG about a ruined sky-city that rebuilds itself under your feet, nothing beyond the screen existing until you walk toward it. Instead of playing inventory Tetris you choose two weapons from a growing catalogue, and are rewarded for choosing strange pairings with narration snippets and radically altered play. And if you don't like the combat then go into the options and pick a different control scheme. I'm not normally the kind of critic to sing the praises of an options menu but you can turn Bastion into Diablo if you want. Come on, that's awesome.

Her Story

Released: 2015 | Developer: Sam Barlow

Jody: I used to watch an English cop show called The Bill. Back when it was good they'd sometimes dedicate half an episode to an interrogation, a guest star stamping their mark on the show. That's Her Story, only instead of cops it's you, years after the recorded interview, searching through video clips by entering keywords. Her Story plays out in those videos and that search bar, but it's also played on note paper you inevitably fill with conspiracy scribbles like Charlie from It's Always Sunny in Philadelphia. I didn't bother making notes during Fez (I probably should have), but for Her Story I scrawled pages. 

It spread even further after that, into an argument with friends about what really happened which I remain convinced I'm right about. Maybe I got obsessed? It's one of a handful of games I 100-percented on Steam and I don't regret it.

Wes: In tech, skeuomorphic design—making your music player in the form of a cassette tape, for example—is now quaint and frowned upon. But it's a rarely used concept in games, and Her Story uses it to great effect. I'd go so far to say that its dusty CRT computer interface is the best marriage of aesthetic and game design in anything I've ever played. It's immersive in a subtle, well-earned way that makes Her Story enrapturing from its first few moments.

Dungeons of Dredmor

Released: 2011 | Developer: Gaslamp Games

Chris: I'm not typically one for turn-based games, and roguelike RPGs often break my heart when I'm forced to start over from scratch, but Dungeons of Dredmor immediately drew me in with its style and comedy. I've never won a game, never beat or even met Lord Dredmor, never even gotten more than a few levels deep. It's still a joy to play for its writing, humor and surprisingly deep and amusing lore.

Evan: The absurdity goes so far to soften the blows of its difficulty. You can build a Vampire Communist who wields Egyptian Magic, Fungal Arts, or Emomancy to fight hordes of weird robots, carrots, genies, and whatever the hell diggles are.

Austin: I keep coming back to Dungeons of Dredmor because it’s a gamble I don’t mind losing. I’ve never beaten Dredmor either, but generating a random character and pushing the usefulness of absurd skills like Fleshsmithing, Killer Vegan and Paranormal Investigator is always a thrill, even when I die on the first or second floor. It’s a system that rewards inventiveness. You can manually select your skills, but rolling the die and making the best of random skills is far more satisfying, and like the optional but actually totally necessary permadeath, makes every round feel genuinely different.

Lovely Planet

Released: 2014 | Developer: QuickTequila

Shaun: You don’t need blood and exploding heads in a first-person shooter. Case in point: Lovely Planet, a first-person shooter where you run increasingly complex gauntlets while shooting cute pastel shapes in a floating pastel land. But how, you ask. How can a game about shooting cute pastel shapes (that don’t bleed!) be fun? Because this is basically a platformer—a more-ish precision-oriented runner combining the fluidity of a Quake speedrun with the one-more-try quick respawn loop of Super Meat Boy. 

DEFCON

Released: 2006 | Developer: Introversion Software

Tyler: DEFCON is one of those games I could play forever. It's a simple, morbid real-time strategy game in which global nuclear war is inevitable and 'winning' means losing fewer people than everyone else. In the early stages it's about placing missile silos (which double as missile defense systems), airfields, radar stations, and fleets of submarines, battleships, and aircraft carriers. As the war turns hot, the only option is to manage losses and inflict your own genocide, to make paranoid alliances and break them with bombs—ignoring that the fallout will kill everyone anyway. The brutality is rendered with War Games-style vectors, turning cities to dots and people to casualty numbers, emulating the calculated viciousness of modern drone wars.

Oikospiel

Released: 2017 | Developer: David Kanaga

James: Oikospiel is a dog opera game about dogs making an opera game. I think. Here’s the plot synopsis according to developer, composer, everything-er David Kanaga: “The Oikospielen Opera is developing an epic global-gaming festival called THE GEOSPIEL, scheduled for the year 2100. The opera's employees, organized by the Union of Animal Workers, are trying to integrate the game dev dogs of Koch Games into their group, but these loyal pups love their jobs and boss Donkey Koch too much! Will there be Unity, or will Multiplicity prevail?” 

It’s as strange as it sounds, and it sounds strange—literally—too. With a soundtrack that mimics its frenzied landscapes, Oikospiel is a touching, psychedelic trip through videogame history with a meaningful message about labor.

The Stanley Parable

Released: 2011 / 2013 | Developer: Galactic Cafe, William Pugh, Davey Wreden

Shaun: Are you playing the game, or is the game playing you? So much of our agency in modern games is illusory, or, more gratingly, reductive and binary. Are you going to go the nice path or the bad-arse path? The Stanley Parable is a meta-critique of gaming as a medium, but it’s also a trojan horse existential crisis (and we all love having those). When we don’t take the critical path, the one prescribed to us, what could possibly go wrong? And given the actual opportunity to do so—given the opportunity to deliberately stray from what a game (or The Stanley Parable’s narrator) is telling us to do, is there any point in playing the game at all? Hmmm. Makes you think.

Jody: First time I played The Stanley Parable I did everything I was told to. Knowing it would be meta-commentary, I rebelled by not rebelling. That’s a dumb way to experience The Stanley Parable for the first time. Don’t do that. Sabotage it, go the wrong way, hide in a closet and refuse to leave. It’s a better game if you break the rules other games have taught you rather than the first rule of The Stanley Parable, which is: don’t do what you’re told.

SOMA

Released: 2015 | Developer: Frictional Games

Shaun: Survival horror too often devolves into repetitive efforts to fend off undead with unwieldy weaponry, but Soma is different. There’s no combat on this underwater research facility, and enemy encounters are few and far between. Most of the time you’re just looking at stuff, but that’s ok in the hands of studio Frictional. They manage to wring an overwhelming sense of dread and despair from a mere dark corridor, not to mention the sprawling sub-aquatic outdoor areas peppered throughout. And the ending of Soma—even if you’re usually ambivalent towards low action horror—is worth the trip alone. It may be more contemplative and less jump scare-oriented than Amnesia, but it’s all the better for it.

James: I’d even recommend those typically averse to horror give SOMA a try. Install the teasingly named “Wuss Mode” mod from the Steam Workshop to make the monsters harmless without losing much horror in the process. Sure, you won’t have to hide, but that doesn’t make their appearance and origins any less terrifying. 

Thumper

Released: 2016 | Developer: Drool

Shaun: Thumper is like an ugly, loathsome, despair-inducing industrial techno song come to life. And that's a very good thing. In our Top 100 Evan described it as "a documentary about the path you take to heaven or hell when you die" which is just about the most alluring description for a video game I've ever read. Yes, it's a tough, precision-oriented rhythm game, but it's a precision-oriented rhythm game that feels like a collaboration between Gaspar Noe and Laibach.

The list concludes over the page.

Nidhogg 2

Released: 2017 | Developer: Messhof Games

Bo: I'm a sucker for local multiplayer games, and Nidhogg is one of the best. Somewhat of a cross between fencing and tug-of-war, Nidhogg's 1v1 matches play out over the course of many brief but violent clashes, resulting in a tense back-and-forth that's every bit a battle of wits as it is one of skill. And like all good local multiplayer games, it's easy to pick up and play but has a well of strategic depth that makes it difficult to master.

The recently-released Nidhogg 2 builds on its predecessor with a new grotesque claymation art style as well as a handful of new weapon types that mix combat up just enough to make things exciting without hampering the original's simplistic greatness. The result is a fantastic fighter we keep coming back to—especially if an office bet needs to be settled. 

Fez

Released: 2012 | Developer: Polytron Corp 

Shaun: Fez accumulates more poignancy with age. It’s a puzzle platformer tightly stuck between two dimensions, and harried by each of them. The protagonist is tasked with investigating and hopefully fixing the scourge of a newly arrived third dimension in a happily two-dimensional world, and this could read, from a fairly one-dimensional point of view, as an indictment on progress, a kind of luddite’s journey. 

But as time passes—as the world becomes more overtly hostile—Fez’s innocent take on the loss of innocence rings true. As time passes, each of us will realise that certain uncomfortable truths have always lingered just out of our sight, waiting to pounce. And others will persevere, dig deeper (whether wisely or otherwise), for conspiracies and better buried secrets (and boy does Fez have secrets). Fez is a game about the hidden regions of our world that are always there, always mysterious, usually forbidding. It’s a beautiful and serene and sad game, but also, as an aside, really fun to play too. Fez is timeless in the way it can convey a wealth of emotion and contemplation through its systems alone.

Wes: After its fairly simple introductory hours, every discovery and deduction I made in Fez felt like a hard earned victory, or the unraveling of an impossibly complex puzzle. I love the sensation of "this can't possibly be the solution" in a videogame, only to discover that my crazy hypothesis was correct. That's what Fez is all about. And I love how clearly you can feel the immense amount of thought and polish that went into it; it feels every bit the intricate, perfectly tuned puzzle someone spent half a decade slotting together, piece by piece, until everything was just so.

Night in the Woods

Released: 2017 | Developer: Infinite Fall

Shaun: Some of the most noteworthy indies from the last decade have been adventure games, but it took until 2017 for one of the highlights, Night in the Woods, to emerge. As endearing feline Mae Borowski, you’re returning to the sleepy rural town of your childhood after an unsuccessful college stint. The town is on the decline, and so too, it seems, is Mae’s future. Things haven’t quite turned out the way she (or her family) had hoped, and much of Night in the Woods is about dealing with this mild disappointment. Exploring the township of Possum Springs is a joy in itself, but it’s the way Night in the Woods weaves a universal coming of age tale around an otherwise straightforward puzzle-laden adventure game that is remarkable. 

Kentucky Route Zero

Released: 2013-ongoing | Developer: Cardboard Computer

Jody: I wanted to wait. I wanted all five episodes of Kentucky Route Zero to be complete before I climbed into it and drove off. That's how I played The Walking Dead, and rumbling through that in one week contributed to its effect. I caved in and played Kentucky Route Zero though because a poet recommended it to me, and that's not something that happens every day. It’s obvious why she thought I had to try it, unfinished as it was (and still is). Kentucky Route Zero’s writing is gorgeous, ornamental but also able to get right at the meat of a thing. It's there when someone calls an office bureaucracy "the paperclip labyrinth" or describes topology as "the science of continuous space".

Kentucky Route Zero is an adventure game of the modern kind, where decisions and dialogue rather than puzzles pace your progress. It's about finding a lost highway, but it quickly buries you in a kind of American mythology where mystery roads are the least strange thing. I'd hate to spoil what you'll find, but if you get in an elevator, see a button that says "third floor (bears)" and aren't tempted to press it, then I don't even know you.

Though it feels like being in a novel, Kentucky Route Zero pays homage to games. That explanation of topology takes place in "a twisty maze of passages", a reference to the classic text game Colossal Cave Adventure. So is the fact that the first item you pick up is a lamp. Some of the earliest PC games were about manipulating words because that was all they had. Kentucky Route Zero is about manipulating words because that's a fascinating thing to do. It's hard to explain why encountering its word-hoard has such a potent effect, but I'm just a journalist. They should have sent a poet.

Stardew Valley

Released: 2016 | Developer: Eric Barone

Bo: There are few games that delight me in the way that Stardew Valley does. I grew up loving the Harvest Moon series, and Stardew takes that formula and applies it to the PC space. Stardew strips away many of Nintendo's puritanical hangups—same-sex marriage and sexual innuendo aren't taboo inclusions, for example—but maintains the charm of tilling fields, planting seeds, and growing crops. There's also a vibrant town to get to know, mines to explore, and tons and tons of fish to fish. I've spent more than 80 hours in Stardew Valley, and I'm looking forward to my next trip to the country. 

James: Do you see me now, dad? You didn’t think my mayonnaise dreams would get me anywhere and look at me now.

Jody: Thank goodness I am not the only person making bank off mayonnaise. The quality eggs provided by my hens, Chickity and Nug, are the secret of my success.

Undertale

Released: 2015 | Developer: Toby Fox

Wes: A friend and I played Undertale in a single sitting. It first inspires curiosity at its quirkiness, then determination to solve its challenging combat without taking the easy way out, then admiration for the delivery of its jokes and the tight meshing of themes and RPG mechanics twisted sideways. Comparisons to Super Nintendo RPG Earthbound, while apt, don't do Undertale justice: it's incredibly smart in how it thinks about the way we play videogames and challenges and surprises with new ideas at every step.

It's a game I genuinely think everyone should play. You'll either appreciate the humor, or the challenge, or the freedom to play through in many different ways, or the painstaking one-off moments, or the ways creator Toby Fox bent engine Game Maker to his will, or the prospect of a "true" ending to earn. It looks simple, but there's so much under the surface.

Kerbal Space Program

Released: 2015 | Developer: Squad

Chris: Whether you're seriously into the science and simulation, or just looking for some fun sending adorable astronauts into space (or watching their rockets explode before they get there), Kerbal is a near-perfect physics sandbox. One of the reasons it's such a joy to play is that there's immense satisfaction in the successes, like the first time you reach orbit, or land on the Mun, or safely bring your astronauts home from a mission, but there's also pleasure to be had (as well as lessons to be learned) from your failures.

KSP is both easy and immensely challenging: rockets can be snapped together quickly, and tweaked or rebuilt in mere moments, but conquering the solar system requires precision and know-how. Its charming looks and its detailed physics simulation make it a game for just about anyone, from casual rocket tinkerers to passionate rocket scientists.

Hollow Knight

Released: 2017 | Developer: Team Cherry

Wes: The best Metroidvania in years, perhaps because developers Team Cherry didn't explicitly set out to make a game in the image of Metroid. They were making a 2D action game, sure, set in a gorgeous hand-drawn decaying bug civilization, but they were mainly concerned with building out an intricate and interesting world, and the rest followed. "The rest," in this case, is a game that feels fantastic to play, with a character who moves exactly as you want and a weapon that hits with a fast and brutal crack. Combat and traversal stay rooted in the basics of jump, dodge, hit, never scaling too far beyond the capabilities you have from the very beginning. It always favors skill over power-ups.

Hollow Knight rarely tells you where to go or what to do, making palpable the satisfaction and wonder of discovering new parts of the world and new abilities. And it just keeps going. The world is huge, more detailed than you ever expect it to be, and suddenly you're two dozen hours deep and wondering how much you still have to find. The Super Nintendo had Super Metroid; PlayStation had Castlevania: Symphony of the Night. Hollow Knight may not be spoken of in the same breath, just yet, but before long I think its place in that lineage will be clear: the PC had Hollow Knight.

Darkest Dungeon

Released: 2016 | Developer: Red Hook Studios

Shaun: Ah, dread. It’s what you generally try to avoid in an RPG rogue-like: you want to try to mitigate dread, manage it out of existence. But dread is Darkest Dungeon’s default state. In vague terms it’s a dungeon crawler, but the dungeons aren’t miraculously swept chasms with the odd cobweb and exhumed grave—they’re dank and gross. Add to that, the need to manage your entourage’s sanity (not easy in a game that takes some small inspiration from Lovecraft) and you have an RPG that rarely offers respite. That could sound punishing, but Darkest Dungeon’s mood, and the way that you can invest your emotions in its variables, rather than just your brain and its ability to parse bigger and better numbers, makes for a gripping and bleak RPG.

Evan: I love how martial, not magical, most of the character archetypes are. Apart from the Vestal, there aren't true spellcasters—Darkest Dungeon is acted out in blood, iron, poison, bones, and crossbow bolts. That grounds the game as a whole and adds to its grittiness. The fights that play out, with the help of great 2D camera effects and sound design, feel physical and jarring as a result. It also creates good contrast with DD's monsters, a gang of blood-sucking, spore-sneezing, tentacle-having, spinal column-collecting abominations.

Spelunky

Released: 2008, 2013 | Developer: Mossmouth

Shaun: The first time I played Spelunky I deleted it off my hard drive within ten minutes. Then, later, at the behest of then-PC Gamer scribe Graham Smith’s review, I begrudgingly reinstalled it. I can still remember what hooked me this second time: I picked up a gold mask, a rumble filled the air, and then a massive boulder collapsed through the ceiling and crushed a nearby vendor to death. I laughed, it was funny, I woke my partner up. That’s when I became addicted to Spelunky. 

A lot has been written about the beauty of Spelunky’s interlocking systems, its propensity for creating stories, and its tough-but-fair difficulty. That’s all been said and written a hundred times before, and while Spelunky is still a relatively new game in the wide scheme of things, it feels like a classic. I often boot it up just to be inside of it, just to soak up its mood. It’s weird to seek the comfort of familiarity in a game that’s always throwing curveballs, but aside from the glory of its systems and stories, Spelunky is a really beautiful, heartwarming game. It also was the first to demonstrate to me, personally, that a small game that originated as freeware could contain so much: so many stories, so many events, so many countless, frankly embarrassing, hours.

Evan: I'm gonna use this opportunity to share this great cover of the Mines theme.

Wes: Even years later, Spelunky's spot on this list is well deserved. The way its hero and items and traps and enemies and random generation interact with one another is still peerless. Just as brilliant, though, is Spelunky's daily challenge, the perfect combination of old school arcade leaderboard and infinitely replayable randomized roguelike. The daily challenge added structure and permanence to a genre that prided itself on not having any, and it works; it's become a must-have feature in any similar roguelike ever since.

Spelunky

Spelunky creator Derek Yu hinted at something new a couple of weeks ago when he tweeted a screenshot of what appeared to be a new game, accompanied by the hashtag #UFO50. Right around the same time, two other indie developers, Jon Perry and Eirik Suhrke, tweeted different images using the same hashtag. What, we wondered, could it be? Today, the secret was revealed. 

"UFO 50 is a collection of 50 single and multiplayer games from the creators of Spelunky, Downwell, Time Barons, Skorpulac, and Madhouse," the website at 50games.fun explains. "Jump in and explore a variety of genres, from platformers and shoot 'em ups to puzzle games and RPGs. Our goal is to combine a familiar 8-bit aesthetic with new ideas and modern game design sensibilities." 

The concept for each game in the package comes from a single director, "but everyone on the team [Yu, Perry, Suhrke, Paul Hubans, and Ojiro Fumoto] worked on games they didn't direct and helped with art, programming, and design." Individually, they won't be quite as large as the 8-bit games from back in the day, but each one will be a full game, with estimated total playtime for the bundle running over 100 hours. All of them will have a single-player mode, and roughly a third will feature some form of multiplayer as well.   

The games aren't directly connected to one another, but UFO 50 itself is built on the story of a fictional development company from the 1980s, "obscure but ahead of its time," who created them. They also share a 32-color palette "and other restrictions we decided on to make them feel more authentic." 

UFO 50 is expected to be ready for release sometime in 2018. Pricing hasn't been set, but the developers say they "want it to be an easy purchase." Have a look at some more (appropriately lo-res) screens down below.

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