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At the PC Gaming Show today, Klei showed off a gameplay trailer for Don't Starve's next expansion, Hamlet. Check that out above.
"In Don’t Starve: Hamlet, Wilson discovers a lost town of aristocratic Pigmen nestled within a foreboding tropical jungle," says Klei. "Reacquaint to city life with pig shops, houses, new items, biomes and more, or delve into the ancient pig ruins and try your hand at treasure hunting in this new single player expansion."
Find out more on the Steam DLC page. Don't Starve: Hamlet will be out December 2018.
Update: Another batch of top-shelf indies have made their way into GOG's sale, including quite a few horror games. Here are some of the best:
Original story follows. At the time of writing, all deals included in the original story are still live.
A bunch of good indie games are cheap on GOG right now. Nearest I can tell, there's no discernible pattern or schedule to these deals, but the discounts are steep and the games are great, so no complaints can be made. Here are some of the standouts:
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An extraordinary collection of indie games is currently discounted on Steam as part of developer Klei Entertainment's weekend sale. Naturally, Klei's greatest hits are all discounted, but notably so are a few games that they had a hand in or just really like. The sale runs through 10 a.m. Pacific (1 p.m Eastern) Monday, November 13.
The star of the sale is easily the Best of Klei Bundle. At 77 percent off, the $20 bundle gets you Don't Starve and both its Reign of Giants and Shipwrecked DLCs; Don't Starve Together, for which Klei is currently running the free Forge event; Mark of the Ninja and its Special Edition DLC; as well as Invisible Inc. and its Contingency Plan DLC.
They're all great, and all available individually, but the bundle discount is definitely the better deal. But if you've got a hankering for Don't Starve in particular, check out the $13 Don't Starve Mega Pack.
You'll also find a few games that aren't Klei's. Developer Brace Yourself Games' Crypt of the NecroDancer is $3 at 80 percent off, and Red Hook Studio's Darkest Dungeon is $10 at 60 percent off. Additionally, Slick Entertainment's Viking Squad is $7.50 at 50 percent off.
This has been a strong week for indie sales. Of the 500-plus games discounted in this week's Steam sale, violent indie darlings Hotline Miami and They Bleed Pixels are clear standouts. There's also publisher Degica's Steam sale, which includes RPG Maker and the criminally overlooked adventure game OneShot. Like Klei's sale, both run through Monday, November 13.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Fans of not starving will be pleased to hear that Don't Starve developer Klei Entertainment has unveiled new single-player DLC called Don't Starve: Hamlet. There's also a free content update for Don't Starve: Shipwrecked that's now in beta testing, and a series of new events for Don't Starve Together that will get underway in November with a six-player co-op challenge called The Forge.
First on the list is Don't Starve: Hamlet, in which the intrepid hero Wilson stumbles upon a lost town of aristocratic Pigmen and decides to pay a visit. "Reacquaint to city life with pig shops, houses, new items, biomes and more, or delve into the ancient pig ruins and try your hand at treasure hunting in this new single player expansion," the Steam page says. As DLC it requires the original Don't Starve, and it's expected to be out sometime in the first half of 2018.
Don't Starve Together: The Forge will be the first in a series of time-limited game modes "that create a new way to play with the cast of Don’t Starve," Klei explained. "They serve as a way to mix up the experience, allowing us to try crazy new things without breaking the core game. Events are free for everyone who owns DST to play and will be coming in November."
The Forge will feature new creatures and bosses with their own unique attack patterns, new character traits and combat bonuses, and of course new weapons, armor, items, and combat abilities. Event-specific skins will be up for grabs, and the skin system is being changed up as well: They'll drop far more frequently than they have previously, and if you end up with duplicates you'll be able to scrap them at a new trader, and then craft something else. As well as earning them in-game, players will also have the option to buy a single Warrior Skin Set for $3, or the full collection for $13. Like other skins, they're purely cosmetic, but "purchase of the Warrior Set will help us fund further content and events like this one."
"We hope that with this mechanism, we can both continue creating great free content while also supporting the development team," Klei wrote. "In addition, this method of funding allows us to provide content to all our players, instead of splitting the player community if we implemented it with a DLC paywall."
And finally, the free Don't Starve: Shipwrecked content update is available now in a separate beta branch on Steam. Instructions for switching to it are available here, the password is "shipwreckedbeta," and as always when it comes to beta stuff, bear in mind that things could go wrong so dive in at your own risk. There's no word on when it will go fully live that I can see, but here's what it does:
Most patch notes are boring. Fixed a bug that stopped a menu from opening properly. D.Va's Defense Matrix doesn't last as long. Wukong's attack speed is 10 percent slower. That's the usual stuff, chronicling important but dull balance changes across years of a game's life. And then there are patch notes like this: "Added cat butchery." "Made all undead respectful of one another." "Tigerman does not have ears."
That's the good stuff.
Those are the kinds of wonderfully crazy patch notes Dwarf Fortress has . Determined to top the absurdity of Dwarf Fortress's bizarre changelogs, I put on my deerstalker, grabbed my magnifying glass, and set out to find the strangest patch notes in the history of PC gaming. These absurdities are the result.
August 28, 2014
January 29th 2013
October 1st 2013
November 19th 2013
July 10, 2001
August 15, 2001
December 6, 2001
Last year during the PC Gaming Show E3 broadcast, Klei Entertainment revealed Oxygen Not Included, the studio's highly-scientific take on the colony sim genre. With Oxygen Not Included hitting Early Access last month, it's already time to show off something new. This year the talented Canadian developer will reveal another completely new project live on the PC Gaming Show stage at E3.
Because we live in an unjust world Don't Starve isn't getting an official movie. But, as we live on the internet now, the team at Cinesaurus figured what the hell and gave it a go anyway. I'm glad they did, because their Tim Burton-esque 'trailer' is pretty charming.
The official synopsis explains the approach to bringing Don't Starve to the little big screen. "The trailer is designed as if Tim Burton had directed the movie for the fantastic video game world. The story starts as a group of five strangers are transported into a mysterious wilderness. They must survive against a scheming magician in this dark, nightmarish landscape of magic... or starve trying."
It runs for about six minutes, and hits nearly every dramatic beat a full feature would typically have warning: spoilers for a fake movie while showcasing some clever (and clumsy) recreations of characters, creatures, and machinery from the game. Overall, it's not surprising how well Don't Starve's art directions works in a live action format.
Don't Starve superfans will especially enjoy the FX dedicated to bringing Woody the werebeaver to life, plus Abigail's ghostly sister Wendy putting in an appearance. Cinesaurus might be on to something here. Someone get Klei on the horn.
Returning to Don t Starve s world of goth survival whimsy is like slipping into a bubble bath full of piranha. You re happy, but braced for impact. The Shipwrecked DLC is currently in Early Access, so some content remains to be added and balance changes will be made based on feedback, (there s a roadmap here), but what s available now feels like a sufficiently interesting twist on the formula to make me want to spend a lot time in the tropical deathtrap that Klei Entertainment and Capybara Games have co-developed.
The key change is the setting. You wake on an island amidst the wreckage of a boat, and from there it s the familiar Don t Starve rush to gather resources, build tools, and harvest food before the onset of night, which is lethal without the protection of fire. But whereas in previous iterations you could pretty much just scout for a plum location—ideally with Beefalo and plenty of fresh veg located within walking distance—and then turtle up at your base, in Shipwrecked you re aggressively encouraged to explore.
Inevitably, the ocean life is not an easy one. Building a basic raft is easy enough, but it s fragile and slow. Soon you ll want to upgrade to a rowboat, which can be equipped with a thatch sail and even a lantern for night maneuvers. Waves vary in height, and timed right can be used for a speed boost, but there s a risk/reward payoff because if you take on too much water your items will get sodden, and ultimately you can sink.
Each procedurally-generated world is an archipelago, with different biomes spread across islands which vary wildly in size. Because certain items remain crucial to progress—like gold nuggets to build your first science machine, or spider silk to craft bug nets—there s almost no point in laying down roots until you ve secured a decent source of the most important materials. Which is going to mean heading out to sea.
Whilst sailing you ll discover coral reefs, which can be mined and then turned into limestone, plus jellyfish and seaweed to cook back in your crock pot. In about half a dozen playthroughs I ve only been attacked once on water, which was by a Sea Hound that I evaded easily enough after the initial ohshitohshit reaction. I suspect my relative safety so far is because the Tiger Shark boss has yet to be implemented. When that thing is prowling the waters, weaponising your boat with cannons will likely become a more pressing concern. Boats can also be equipped with trawl nets that will scoop up fish, mussels, useless junk, and—if you re lucky—rare items depending on what season you re in.
As ever, it s climate that s the big killer in Don t Starve. You start off in the false sense of security that is the Mild Season, when it s comparatively easy to find food and make shelter. That s followed by Hurricane Season, which is about exactly as rough as it sounds. If you haven t bothered building a lightning rod, your sweet camp will be zapped to a smouldering insurance claim within seconds of the first storm starting. Then there s to hail to contend with. You can pick up hailstones and use them as filler in crockpot recipes (much like sticks), but beware that a bug currently means that those icy nuggets left on the ground will constantly bang into any walls you ve built, eventually destroying them. The developers are working on a fix.
After the hurricanes comes Monsoon Season. Here the land will get progressively more flooded, potentially waterlogging your vital crafting machines. (Semi-pro tip: craft a chiminea early because the flames will stay sheltered from wind and rain.) Making matters worse—in Don t Starve, it s always worse—poisonous mosquitoes begin to spawn in flooded areas. Getting poisoned, which can also happen from snake and spider bites, results in a swift, panicky death unless you ve crafted some anti-venom. Unfortunately, to craft anti-venom you first need to kill one of the poisonous critters, ideally before it kills you, and hope it drops a venom gland. The mechanic is a source of complaint in the community and also on the balance to-do list.
Dry Season comes last and sees overheating become an issue. Or not, if like me you ve already lashed together a siesta lean-to and an ice making machine. Admittedly, neither of those were much help when I was overwhelmed by a pack of dogs (which are still a thing) and didn t have my ghostly twin sister around to help out. (I ve mostly been playing as Wendy— The Bereaved , whose spectral sibling is great at killing mobs, but plan to try Walani, who comes with a surfboard, soon.) As for the rest of Dry Season, it apparently features volcanic eruptions. Good luck staving off fiery rocks with a bamboo umbrella. I have to confess I haven t encountered this yet as my best save lasted around 50 days—a far cry from the 300+ marathon I managed to pull off in the vanilla game. Still, I m definitely feeling the old compulsion to keep playing.
Double screening is one of the great joys of PC gaming, and I play a lot of my favourite games while half-watching TV shows on the other monitor. But with Don t Starve I have to stick to music or, at most, a podcast, because I can t risk taking my eyes off what s happening. That s how fatal poisonings happen. There s actually almost an RTS vibe to it, because maximising the efficiency of your clicks leads to the most efficient resource haul. But the meta game is all about gearing up to survive the next season. Once you find the right groove, it s remarkable how safe Shipwrecked starts to feel. Which is usually exactly when the piranha in the bath sinks its teeth into your balls.
Shipwrecked sadly doesn t do anything to fix some of the structural problems Don t Starve has always suffered from. After a great run comes to an end, it feels onerous to have to slog through the early hours of busywork required to construct an even half-decent homestead. Also, the variation between a new world in which vital resources are initially spawned nearby and one in which you struggle to find anything useful feels way too wide. Perhaps the world-building algorithm can be tweaked so the initial RNG doesn t have quite such a big impact. Or maybe that would reduce the thrill of discovery.
Much of Don t Starve s considerable magic resides in stumbling across something you haven t found before, then working out how to benefit from it. I ve spent some time trying to work out how to farm Shipwrecked s prime apes—infuriatingly cute monkeys which steal any nearby items you drop—for their meat and manure. You can distract them with a Silly Monkey Ball, but it costs a lot of stuff to craft. In a final act of desperation I tried to burn the entire forest around them, but as I was whispering the horror, the horror , they emerged unscathed and stole my coconuts. Still, at least the weather s nice. For now.
Shipwrecked, the Don't Starve expansion that traps poor Wilson (or whichever of the other oddball characters you prefer) on a tropical archipelago, hit Steam Early Access on December 1 and has earned an overwhelmingly positive response from nearly 1400 players. There's still quite a bit more content to come, though, and so yesterday developer Klei Entertainment revealed its roadmap for the next couple of months.
There are three more characters to be added to the game, and three new big-assed bosses, including the Tiger Shark. A new biome will also be added, and there are also plans for more Shipwrecked-specific set pieces and world items. But the most impactful changes may may be made through behind-the-scenes balance changes, which will be made over the course of the coming updates.
This game takes a long time to play, and you will encounter different scenarios each time you play. Players constantly encounter situations that we never even imagined. Because of this, when we add new content to Don t Starve the initial tuning is, for the most part, our best guess on what will play well, Klei's Bryce Doig explained. Your feedback on these new systems is worth its weight in gold (how much does text on the internet weigh?) when we adjust the tuning of systems as it allows us to make much more informed decisions than we would otherwise be able to make.
The plan is to add new content through updates released every three weeks, beginning with the next one in mid-January and concluding at the end of February. After that there will be an update dedicated entirely to bug fixes and balance changes, Klei said. Of course, it should be noted that all of these times are just estimates of our schedule and may very well change. We'll have some impressions of Shipwrecked on the site next week.