He's not just responsible for one of the coolest games of the year, Dishonored designer Harvey Smith is also a man with impeccable taste.

That impeccable taste is on full display in this guest essay he wrote for Penny Arcade Report about why he thinks Far Cry 2 is brilliant.

Smith shares some smart musings on the nature of embedded ("We have written this story for you") and emergent ("Woah, this story randomly happened to me!") narrative in video games, and how Dishonored was his and his co-creative director Raphael Colantonio's attempt at blending the two playstyles. (I'd say they did a pretty good job.)

Smith wraps it up thusly:

If games focused on embedded narrative are more polished, why do many of us prefer games that focus on the dynamics of emergent narrative? Is it some intuitive sense that ferrets out what is most meaningful in games? Is this a situation akin to independent film, where an audience steeped in the critical aspects of the medium wants a bare experience, uncluttered by bombast, filler or special effects, delivered in an understated or experimental way? On initial contact, Far Cry 2 was somewhat unwelcoming in that it did not invite players in; the subject matter was brutal and the game's advancement curve and difficulty tuning required patience.

The reward for those who stayed with the game was potent. Some of the most interesting game design commentary of the year orbited the game, including the Permadeath experiments conducted by Ben Abraham and others, which I take as an indication of how thought-provoking and challenging (to video game conventions) Far Cry 2 was. The game stands as the shooter title that has given me the most compelling, player-driven moments to date.

See? It's not just me and everyone else with good taste in video games who thinks Far Cry 2 is great. HARVEY SMITH AGREES, YOU GUYS. I think we can finally close the book on this once and for all.

In all seriousness, give the whole article a read, it's good.

Dishonored's Harvey Smith explains the genius of Far Cry 2 [Penny Arcade Report]

Video games are more than lasers and explosions, rules and design, music and graphics. They require input, and so they require controls. But human interface can be a dicy thing—so tough to get right, so easy to screw up.

The games of 2012 have given us some fantastic new control schemes, interesting and satisfying ways to push and pull our way around their digital worlds. Here, we'll take a look back at the best of them.

This list isn't complete—we're hoping to hear from you guys about controls you liked (or disliked) this year. But here are some standouts:

Sleeping Dogs

Sleeping Dogs may have mostly been a Grand Theft Auto clone, but it brought a number of cool twists to Rockstar's formula, particularly in how it controlled. Chase sequences played out in a neat quasi-parkour style that kept things moving while forcing players to react to the constantly changing environment. Fighting was an enjoyable take on the Arkham City formula, slower-paced and more strategic, and a great deal of fun once you mastered it. And while the driving didn't quite feel as good as some other open-world games, a number of control options made welcome changes. You could easily lean out of the window and hijack other vehicles in motion, and the ability to press a button to veer into your pursuers was one of those things I didn't know I wanted until I had it.

Halo 4

Sometimes, all you have to do to do things right is keep things the same. 343 Industries had a tough row to hoe with Halo 4, and yet the best thing that can be said of the game's controls is that it still feels like Halo. But that's not faint praise: Halo has a wonderful, smooth feel on a console controller, and the new game matches the fluidity and bounce of its predecessors.

Pid

Evan Narcisse: The first thing you'll notice about Might & Delight's platformer is how pretty it looks. But it's also got one of the most fun traversal options in any game this year. Early on in the game, Pid's hero Kurt gets bonded with an elemental energy called the Beam, which pushes him along certain vectors in the world. It's the kind of mechanic that recalls the teleporting of Portal or the grappling of Bionic Commando but updated in a sharp, modern way. Players can use the Beam on objects or enemies, too, and Pid's design throw lots of wicked physics-puzzle challenges that will force you to use the special ability creatively. It's a fresh idea that will stay in your brain long after the game is finished.

Dishonored

Not only did Dishonored feel very good to play, it featured what might be the best single new mechanic of 2012: Blink. With the press of a button, players could warp all over the map, making the game's first-person stealth and platforming seriously fun. Crucially, Blink didn't cost you blue energy unless you used it too quickly, so you could blink around the levels to your heart's content. Warping from a roof to a street-level hidey hole, then up behind a guard, then back to the roof, was one of 2012's great gaming maneuvers. And blinking from combat to appear behind your assailant was the sort of advanced maneuver that held up time and again. Blink, we salute you.

Tiger Woods PGA Tour 13

Owen Good: Tiger Woods PGA Tour 13 remade its analog stick swing this year, incorporating draw and fade (i.e. stick direction) into the swing. Working around the green takes some getting used to but it introduced some overdue determinism and challenge in your tee shots and irons.

The game also, in a title update, incorporated the option of swinging into the screen when using Kinect. Before, you had to stand parallel to the screen (so that you were looking at something other than the screen when you completed your swing.)

ZombiU

Ubisoft's Wii U launch title ZombiU wasn't easy to play—it was claustrophobic and disempowering. But that was the point—the game was a punishing, tense crawl through horribly dangerous, zombie-strewn city streets and claustrophobic interiors. Not only was it a smart, interesting horror game on its own, it integrated the Wii U's second-screen gamepad in smart ways, forcing the player to look down to pick locks and root through their backpack, often at the worst times. Via the gamepad, ZombiU conjured the panic of a zombie attack better than perhaps any game before it, and showed that in the right hands, the Wii U's big new idea can feel very big and very new, indeed.

Mark of the Ninja

Rare is the 2D platformer that feels as fleet and empowering as Mark of the Ninja. Your black-clad protagonist flitted and leapt about with the grace of a cat, sticking to walls and dropping into the shadows like a deadly arrow. While some of the prompts could get tangled in close quarters, Mark of the Ninja's predatory sense of movement made it a joy to play.

Need For Speed: Most Wanted

It's no easy feat, making a driving game work well on a game controller. But Need For Speed: Most Wanted nails it, giving players enough control to feel in charge but keeping things simple enough that the game was always approachable. Criteron has mastered the "arcade racing" sweet spot, and their game is a blast as a result.

Far Cry 3

The first thing I asked the developers of Far Cry 3 when I saw them at E3 was, "Did you guys keep the slide?" The slide in Far Cry 2 is one of my all-time favorite video game moves, and with good reason—it just feels good to sprint across a field and slide into cover. What they didn't mention, and what I found when I eventually played the game, was that they'd added all manner of other ingenious moves to make Far Cry 3 a remarkably responsive, satisfying first-person shooter. In particular, the "soft cover" mechanic is brilliant and works well—slide up to cover and Jason will automatically pull up against it; aim your weapon and he'll pop out. The unlockable takedowns are a great deal of fun, too, particularly the knife-throwing one. Far Cry 3 is a wonderfully empowering game, and the well-implemented controls are a big part of why.

Those are some control schemes and mechanics that we really liked in 2012. How about you? Tell us about the controls you really liked (or if you like, the ones you really hated) in the comments.

If the Video Game Awards are actually an awards show, and not just a keynote for promoting upcoming games, then the big news from last night was The Walking Dead: The Game. Eminently quotable analyst Michael Pachter said before the show that if this title, a downloadable self-published game, took home Game of the Year, he'd eat his hat. To his credit, Pachter later tweeted out a request for one, presumably to consume.

But the surprises don't just stop there. The Walking Dead won Game of the Year coming out of the Best Adapted Game category. Except for 2003, the first year of the VGAs, when things were very different from today, only two adapted games have even been nominated for GOTY: Batman: Arkham Asylum and Batman: Arkham City, and neither won. This is a different time in games development, with publishers looking for games whose characters and stories they fully own.

Some might look to a licensed or adapted work and consider that the game derives its significance, or at least the attention given to it, because it draws on some other franchise in popular entertainment. So it's strange that a licensed, adapted work reminds us that story, and characters, and choices, and the memorable experiences they create, matters most.

Here's another surprise nugget: The Walking Dead: The Game earned its makers five Video Game Awards. The next big winner? Journey, with three (including a nomination for Game of the Year.) Borderlands 2 also took home three awards, the best haul for a traditional boxed console game.

So if you're thinking this might have been a different Video Game Awards, in its 10th year, you're probably right. Had the show given more attention to that purpose—only a handful of these awards were actually presented in the broadcast—we might be pondering it as a landmark year. The VGAs are often accused of being an industry popularity contest, but maybe this year they acquired recognizable critical heft. We'll have to see what happens next year, and the year after.

So here are the 25 winners of the 2012 Video Game Awards, plus the Game of the Decade. Two fan-voted awards gave Character of the Year to Claptrap from Borderlands 2, and Most Anticipated Game to Grand Theft Auto V.

Game of the Year

The Walking Dead: The Game

Telltale Games

Also nominated: Assassin's Creed III, Dishonored, Journey, Mass Effect 3

Studio of the Year

Telltale Games

Also nominated: 343 Industries, Arkane Studios, Gearbox Software

Best Xbox 360 Game

Halo 4

Microsoft Studios/343 Industries

Also nominated: Assassin's Creed III, Borderlands 2, Dishonored

Best PS3 Game

Journey

Sony Computer Entertainment/thatgamecompany

Also nominated: Assassin's Creed III, Borderlands 2, Dishonored

Best Wii/Wii U Game

New Super Mario Bros. U

Nintendo

Also nominated: The Last Story, Xenoblade Chronicles, ZombiU

Best PC Game

XCOM: Enemy Unknown

2K Games/Firaxis Games

Also nominated: Diablo III, Guild Wars 2, Torchlight II

Best Shooter

Borderlands 2

2K Games/Gearbox Software

Also nominated: Call of Duty: Black Ops II, Halo 4, Max Payne 3

Best Action-Adventure Game

Dishonored

Bethesda Softworks/Arkane Studios

Also nominated: Assassin's Creed III, Darksiders II, Sleeping Dogs

Best Role-Playing Game

Mass Effect 3

Electronic Arts/BioWare

Also nominated: Diablo III, Torchlight II, Xenoblade Chronicles

Best Multiplayer Game

Borderlands 2

2K Games/Gearbox Software

Also nominated: Call of Duty: Black Ops II, Guild Wars 2, Halo 4

Best Individual Sports Game

SSX

Electronic Arts/EA Canada

Also nominated: Hot Shots Golf World Invitational, Tiger Woods PGA Tour 13, WWE '13

Best Team Sports Game

NBA 2K13

2K Sports/Visual Concepts

Also nominated: FIFA 13, Madden NFL 13, NHL 13

Best Driving Game

Need For Speed: Most Wanted

Electronic Arts/Criterion Games

Also nominated: Dirt: Showdown, F1 2012, Forza Horizon

Best Song in a Game

"Cities" (Beck) for Sound Shapes

Also nominated: "Castle of Glass" (Linkin Park for Medal of Honor: Warfighter); "I Was Born for This" (Austin Wintory for Journey); "Tears" (Health for Max Payne 3)

Best Original Score

Journey

Sony Computer Entertainment/thatgamecompany

Also nominated: Call of Duty: Black Ops II, Halo 4, Max Payne 3.

Best Graphics

Halo 4

Microsoft Studios/343 Industries

Also nominated: Assassin's Creed III, Dishonored, Journey

Best Independent Game

Journey

thatgamecompany

Also nominated: Dust: An Elysian Tail, Fez, Mark of the Ninja

Best Fighting Game

Persona 4 Arena

Atlus/Arc System Works/Atlus

Also nominated: Dead or Alive 5, Street Fighter X Tekken, Tekken Tag Tournament 2

Best Handheld/Mobile Game

Sound Shapes

Sony Computer Entertainment/Queasy Games

Also nominated: Gravity Rush, LittleBigPlanet (PS Vita), New Super Mario Bros 2

Best Performance by a Human Female

Melissa Hutchison for The Walking Dead: The Game

Also nominated: Emma Stone for Sleeping Dogs; Jen Taylor for Halo 4; Jennifer Hale for Mass Effect 3

Best Performance by a Human Male

Dameon Clark for Borderlands 2

Also nominated: Dave Fennoy for The Walking Dead: The Game; James McCaffrey for Max Payne 3; Nolan North for Spec Ops: The Line

Best Adapted Video Game

The Walking Dead: The Game

Telltale Games

Also nominated: Disney Epic Mickey 2: The Power of Two, LEGO Batman 2: DC Super Heroes, Transformers: Fall of Cybertron

Best Downloadable Content

Dawnguard for The Elder Scrolls V: Skyrim

Bethesda Softworks/Bethesda Game Studios

Also nominated: Leviathan for Mass Effect 3; Mechromancer Pack for Borderlands 2; Perpetual Testing Initiative for Portal 2

Best Downloadable Game

The Walking Dead: The Game

Telltale Games

Also nominated: Fez, Journey, Sound Shapes

Best Social Game

You Don't Know Jack

Jellyvision Games

Also nominated: Draw Something, Marvel: Avengers Alliance, SimCity Social

Game of the Decade

Half Life 2

Valve Corporation

Also nominated: Batman: Arkham City, BioShock, The Legend of Zelda: The Wind Waker, Mass Effect 2, Portal, Red Dead Redemption, Shadow of the Colossus, Wii Sports, World of Warcraft