So I'm fighting this giant eyeball.
I don't know why it's an eyeball—I guess it's a demon or something, but I don't know why it takes the shape of a giant eyeball—or why it's surrounded by colored tiles, or why it keeps emitting clouds of fog. All I know is that it's in front of me, and I have to beat it, and in order to do that I have to spend around 20, 30, maybe even 45 minutes directing my characters to attack, heal, and boost their defense with the right abilities at the right times.
Once I defeat this eyeball, I'll be rewarded with some dialogue. A cut-scene, maybe. More of the story, and more dungeons to plow through. More things to do.
So I keep fighting.
We've been conditioned to accept a lot of absurd things in video games—weapons clipping through walls, NPCs repeating the same lines every time you talk to them, nobody batting an eyelash as you steal from their dressers—but none are as absurd as the JRPG boss fight.
Take Kefka, for example. At the end of Final Fantasy VI, the game's demonic clown antagonist turns into a half-naked angel that hovers over a tower of three other bosses. As you beat each boss, the screen shifts to reveal the next one. Their bizarre visages and contortions (see: image to the left) are never quite explained, nor is Kefka's sudden divinity.
We fight Kefka and his goddess lackeys because we're at the end of the game, and he's the Big Bad Antagonist, and in a game where most of what you do is fight monsters, it makes sense that you'd end your journey by fighting the most powerful monster. You have to fight him, and defeat him, and kill him, because that's the only way to save the world and reach some level of catharsis.
This has become something of a genre tradition. Is there a single JRPG without a boss battle of some sort? Sometimes those boss battles are kind of gimmicky, like the final fight in Earthbound, during which you beat the alien (or maybe aborted fetus?) Giygas not with all the attacks you've been powering up for 40-something hours, but with an ability called Pray, which you probably tried once and then never looked at again because it's pretty useless in general.
But even in Japanese RPGs that don't have *traditional* final battles, there are always tough fights. There are always bosses, always tricky battles against winged demons and nasty squid monsters and giant eyeballs that need killing. Speed bumps. Obstacles to hurdle on your way to saving the world.
So what's the point? Why have these oft-absurd boss fights become such an integral part of a JRPG's structure? Why do we feel like every dungeon has to end with a powerful enemy encounter? Why do boss fights matter?
Let's try to answer that.
There's something undeniably satisfying about beating a tough boss.
Say there are two types of JRPGs: those where challenges are based on a character's ability, and those where challenges are based on a player's ability. In the first group, you'll succeed or fail based on the game's internal math. Is your hero a high enough level? Does he have the right level of fire spell? Is his strength stat competent enough?
In the second type of JRPG, you'll succeed or fail based on how fast you can pull a trigger. Are your instincts honed enough to dodge at the perfect time? Can you figure out the best way to shoot down that tank without getting your shocktroopers killed?
Either way, you'll spend most of your time fighting regular battles as you adventure through fields and dungeons. You'll hit the attack button, slash some orcs, whatever. Then you run into a boss: maybe a marauding kraken that attacks your ship mid-journey, or an undead warrior at the end of a haunted catacomb. It's a tougher encounter than the ones you're used to fighting, and it usually takes more thought than your average battle. Higher levels. More dodging.
When you beat that boss, if it's a well-designed, challenging boss, you'll feel a jolt of relief. Hey, I did it. No more struggling. No more grinding. At this point, the best JRPGs will throw in some awesome death animation that makes the moment even more satisfying. Sometimes you'll want to fist pump. Don't fist pump. That's embarrassing.
But whether you're smacking down former friends or giant eyeballs, it's hard to deny that brief moment of satisfaction that hits you just as they start to disintegrate. It's an invigorating experience.
We want to take down the big bad monster.
We as human beings are conditioned to root for the underdog. We want David to win, not Goliath. And when we watch our man-sized JRPG hero take on a monstrous, fifty-foot snake—and win!—we feel a certain sort of empathy. Not just because we're playing as that hero. Because we're stoked for the little guy. We want the odds defeated.
One of the biggest draws of the Suikoden games is that they tell stories about groups of people who overcome obstacles that should be insurmountable. People who take on massive empires and live to tell the tale. Underdogs finding victory.
So maybe that's why Final Fantasy IX could never really end with Zidane taking on Kuja: there needed to be some sort of giant divine hellbeast to come out and pose a real challenge. Maybe that's why Kefka needs to turn into a god. For us to empathize, the playing field can't be equal. We need something bigger.
Sometimes you've just gotta shake things up.
For all of its merits, the traditional JRPG is undeniably repetitive. Monster sprites are often re-used, menu-based battles sometimes feel like tests of how many times you can press the same button without killing yourself, and even the most interesting dungeons can start to drag after a floor or three.
Boss battles, in many ways, are a paradox: they are simultaneously obstacles and rewards. Congratulations, you slogged through this ten-floor tower: now you get to see what the boss looks like! Without a boss fight, what would you have?
Some have argued that boss battles are an unnecessary convention that JRPG creators only stick with out of some misguided sense of tradition. Some say that bosses are obsolete, that the things you do in a game should be interesting enough that the designers don't need to shake things up.
But I say bring on the giant eyeballs. And when I die after 45 minutes of fighting, when I scream and curse and resolve to spend another two hours grinding for levels just so I don't have to go through that shit again, well... that just makes victory all the more satisfying.
Random Encounters is a weekly column dedicated to all things JRPG. It runs every Friday at 3pm ET.
They might have lost Kirk Hamilton and Stephen Totilo, but every day eight million other people still hop online to water their virtual crops in Zynga's social farming sequel, FarmVille 2. According to the first FarmVille 2 Almanac infographic, 17 of those players are playing from the Vatican. I suspect something more sinister afoot.
Are there really 17 people clicking on cows in the Catholic Church's seat of power, or is there just one incredibly powerful man with 17 different accounts accepting his own help requests? I am not inferring that his holiness turns to fake livestock when he turns in his magical wizard hat for the day. I'm just having a great time imagining it.
The FarmVille 2 Almanac is filled with thought-provoking, imagination-striking facts. For instance, did you realize that an average of 350 million crops are harvested in the game each day? Do you realize how many starving people that could help keep starving because they aren't real crops? The mind boggles. While it's boggling, note that the game's campaign with Water.org did bring lifetime access to clean water to nearly 18,000 people that otherwise would have gone without. Bet you feel bad about laughing at my virtual crops now. Nah, go ahead, they're pretty funny.
Click the image below for the full infographic.
Some people might tell you that Donkey Kong 64 is an awful game. According to 10 year old me (my age the last time I played that game), they'd be wrong. But, hopefully everyone can agree that the Donkey Kong rap is fantastic?
Now, take that catchy tune, and add the Left 4 Dead zombies. What do you get? This amazing thing by YouTube user EdbotnikThe's.
Keep an eye on the witch.
L4DK Rap [EdbotnikThe's]
Miss any big deals during the Steam holiday sale that's been going on for the past couple of weeks? No worries. Valve's got you covered.
This weekend, you'll get a second shot at some of the bigger deals that have gone down this December/January. Here's Valve:
Gamers will have a final opportunity to get their favorite games on Steam. A select number of the most sought-after titles from the Steam Holiday Sale will reprise their biggest discounts for two additional days. The Encore Weekend begins at 10am PST on January 5th (Saturday) and runs until 10am PST on January 7th (Monday).
So go forth and shop. Or maybe don't. Maybe just worry about the games you already have.
Last year was supposed to be the year I got a beast of a PC set up in my tiny apartment. It didn't end up being that year. 2013 will be, though, PC gods willing.
So even though I missed out on games that looked right up my alley—like Hotline Miami or Natural Selection 2 (which I've actually played a little bit of and loved)—I still found plenty to play that kept me more than happily occupied. These are my favorite games of 2012, in no particular order.
The game with psychotic personalities and more weapons than I could ever dream of. I loved the first Borderlands. It was the perfect cooperative game. Borderlands 2 took everything that first title made great—loot and silliness—and added even better writing, better characters, and more creative weapons. And on top of all that, Gearbox has been busting their butts to deliver us timely DLC that keeps on delivering. It's one of the few games that has come out this year that I keep going back to.
Virtual tourism at its best. Exploring the open world of Hong Kong was not only gorgeous, but it was also full of life that gave a real depth to the game. The story kept me compelled, driving (and perhaps more so, hijacking other cars to drive) felt wonderful, and the hand-to-hand combat is some of the best I've experienced.
I've talked this one to death, especially considering it's my personal nomination for Game of the Year. Suffice it to say that it was the most emotional game I played through this year, with some really powerful characters and, more importantly, relationships. This game can teach you something about yourself.
I only go half-stealthy in most stealth games. Mainly because most stealth games let you get away with doing so. But Mark of the Ninja's practically perfect design puts stealth at the forefront, making it not only manageable and comfortable to play stealthily throughout the entire game, but also incredibly fun to a degree that feels rewarding.
Journey is an adorable game. It makes you want to reach out to someone, help them and rely on them for help. Journey teaches you that you don't need words to communicate with people, and that encouraged people to work together to survive. And that ending? That ending was almost unbearably heartwarming. Even if it was somewhat somber for me, when I'd lost my companion just when we'd reached safety after everything we had been through together. In a way I almost preferred that ending, because it reinforced what Journey showed me: that cooperation is a beautiful thing.
I'm a puzzle person. Fez is an all at once a smart and terribly confusing puzzle game. So much so that the Internet had to come together to compare notes to solve some of the game's tougher puzzles. And beyond that, there were even more secrets to uncover. A challenging puzzle game would normally be enough for me. But the bright and pretty colors and an adorably pudgy Fez made this puzzle game an absolute joy to play through, too.
Being a dedicated fan of Bungie's Halo, I was a little nervous for Halo 4, the first title to be developed instead by 343. But the second I hopped in and started killing the Covies with my battle rifle, I felt at ease. And then 343 pulled a fast one on me and turned the singleplayer story into something of a romance, and a personal story of what it takes to be Master Chief. Even after the campaign is over—and after you've played it through on multiple difficulty levels, cause c'mon—there's plenty of fun times to be had in multiplayer. I must have played thousands of rounds of Flood and Oddball and straight Team Slayer.
It took me a while to finally find the time to get around to playing this one, but once I sunk a few hours in I was hooked. I love driving around the island, pulling over quickly because I spotted a tiger whose skin I really need before continuing on to my mission. I even love scaling those radio towers, including the more frustrating ones that took me a few day/night cycles to complete. But my favorite parts of Far Cry 3—something I wish the game had more of—were the trippy scenes Jason experienced after lots of drug and whatever liquid taking. Scenery morphed, he battled weird enemies, and he faced his fears. I wasn't too sold on the strength of the storyline otherwise. Some average tourist all of a sudden turning into a badass assassin and being welcomed into tribes of warriors who inexplicably can't do anything on their own? Well thank god Jason came along, eh? It felt a little too unbelievable. But I accepted the storyline. Because the game—or perhaps really my skills with using the tools and tatau given to me that helped me wipe out entire camps of soldiers—convinced me just fine otherwise.
Here's my "wtf" entry. Jumping Finn Turbo is an iOS game. I rarely love mobile games. I enjoy some, but I'll toss them aside almost as easily as I pick them up. Super Hexagon is one that came close, but nothing kept my attention like Jumping Finn Turbo. Maybe it's the Adventure Time hook that got me. Or maybe it was the competition to beat high scores (try to beat mine!) and reach the actual "end" of the game. Ultimately? I think it was how simple and yet addictive the game was. Addictive because you knew if you pushed on just a little farther, you could unlock that next ability. Get to that next level that once felt so far away but is now in your reachable grasp. And yet, like most mobile games that come my way, I don't play this one anymore. But I played it longer than most others.
Remember: this game came out in 2012! I'm a blood and gore kind of girl. The more guts I get to spill the merrier, I say. The Darkness II fed into my taste perfectly, and supplied me with two extra arms to multiply the effect. I absolutely loved multitasking between ripping enemy spines out and shooting other people in the head. I've killed a lot of virtual bad guys in my time, but rarely have I done so with such eviscerating enthusiasm as The Darkness II allows.
After consoles and PCs emerged from the collapse of arcades as dominant gaming platforms, a contract existed between the gamer and developer: you give me $60 and I give you about 20 hours of fun in a box. This treaty lasted for over 25 years and through seven generations of consoles, taking the video game industry to new highs and pop culture relevance.
The contract has been broken.
With the rise of free2play, instead of paying up front for fun, games are miserable hamster wheels. You grind and grind to get nowhere, or pay a few bucks to make the wheel spin faster. You're never going to get anywhere, but that's by design. It's all about maximizing the user's Lifetime Value. This may not sound fun, but hamster wheels aren't powered by fun, they run on compulsion.
This is horrifying to a generation raised on paid games. These are gamers born between 1965 and 1990—stretching through Generation X and Y. They are the Greatest Generation of gamers, as I call them. We who are in that generation complain about free2play games all over the web—but the fact is we are declining in number. Every year more of us die, making way for the next wave of gamers.
For this upcoming group: social, mobile, and free2play browser games are their formative experiences. Instead of an NES they had Club Penguin—instead of a PlayStation they had Kongregate. They believe games should be free just as we now think music is.
The lure of free is irresistible. In Dan Ariely's book, "Predictably Irrational," he details how persuasive free is with a simple experiment. The author set up a candy stand that sold expensive Lindt truffles for a mere 15 cents and mundane Hershey Kisses for 1 cent. With this pricing, 73% chose the Lindt truffles. When the truffle was offered for 14 cents and the Hershey Kiss for free, 69% chose the highly inferior free chocolate.
If you compare an excellently crafted single player high-end console game such as BioShock to a Lindt Truffle and a grindy freemium hamster wheel to a Hershey Kiss you might see the problem. Even if premium games provide a "better" experience, having to pay $60 up front for it is a nearly insurmountable amount of friction in the face of free entertainment.
Disruption is a force of nature—fighting it is like fighting earthquakes. Resistance is futile.
The old guard isn't going down easy. EA has made many attempts from buying Playfish in 2009 to Mass Effect 3 multiplayer and the success of Simpsons: Tapped out on iOS. Yet, digital revenue has not been able to reverse a stock slide that had EA removed from the NASDAQ 100. THQ's future is uncertain. Activision has held up better than most—with Call of Duty being a victor in the winner-take-all AAA market. This has encouraged a cautious approach to new business models. Activision's aggressive attack of the iOS f2p market with Skylanders: Battlegrounds shows they are getting serious.
This is particularly frightening for console manufacturers. By this time next year, we'll be basking in the glow of at least one new 8th generation console. It's hard to get people to pay $60 for a game—now try to get them to also pay $300 for a new box to play it on.
Old-school game developers complain about how free2play games are shameless monetization engines. Yet, many tropes of fun-based games such as lives, scores, continues, and even screenshot-worthy graphics are monetization techniques of the old guard. Mixing monetization and game design is nothing new. Although having monetization be a fundamental responsibility of the game designers instead of strictly management and marketing departments is.
Freemium isn't evil, and not all freemium games are pure compulsion loops. In fact, competitive games such as Riot's League of Legends and Valve's Team Fortress 2 prove that you can build a profitable business out of free2play titles that celebrate mechanics, mastery, and fun.
It remains to be seen how this will work for single player narratives. This is largely a matter of economics. In a f2p game, 5% of your users pay to subsidize the 95% that don't spend a dime. With premium console games this is inverted. The 95% of your customers who never come close to finishing the game subsidize the creation of content that only 5% of the users ever see.
What's the solution?
Current f2p game designs are too primitive to work in a single player narrative experience. The last thing we need is a dialog popping up asking to buy soul crystals before harvesting a Little One.
Perhaps the legacy of The Greatest Generation is to make sure fun in games lives on in the era of f2p economies. Or else, Cow Clickers shall inherit the Earth.
Ralph Barbagallo is a game designer, programmer, consultant, entrepreneur and donut enthusiast. Follow him @flarb, find his other ramblings at ralphbarbagallo.com or have him and his crew make you stuff at flarb.com.
As ChefVille's newest focus is on eating healthy, we've been given a new Healthy Eating Station with plenty of healthy cooking options for our virtual customers. Now, have a new set of three "The New Healthy" quests to complete from Ginger. While the Healthy Eating Station does have a lot of healthy options, we already have plenty of healthy dishes in our other appliances. These quests will see you interact with those dishes, and earn new prizes along the way.
The Key to a New You!
• Cook 10 Healthy Dishes in the Salad or Soup Station
• Ask your friends for 7 Multi-Vitamins
• Cook Grilled Salmon 2 Times
First things first, the Multi-Vitamins are earned by posting general requests to your news feed and clicking your friends' posts as they work on their own. As for the Grilled Salmon, this healthy dish is cooked on the Grill using four Salmon and five Lemons each. The dish takes 12 hours, so you'll need to either cook it on two separate Grills (which is possible), or cook the dish and then immediately cancel the cooking and start it again to complete this task fast.
Finally, there are three healthy dishes in the Soup Station: Chilly Gazpacho, Pho Noodle Soup, and Cozy Chicken Noodle Soup. In the Salad Station, you have many options from Capreze Salad to Springtime Spring Rolls and more. If you have the Carrots, the Springtime Spring Rolls are an awesome option, since they only take two minutes to cook and many likely haven't mastered it anyhow. When you complete this quest, you'll receive five Tofu, 10 XP and will unlock the "New Year's Apple" floor tile pattern in the store. It costs two Reputation Hearts per piece to purchase.
What Goes In
• Serve Caprese Salad 6 Times
• Cook Veggie Kebab 15 Times
• Ask for 6 Water Bottles
The Water Bottles are earned by posting another general news request, while the Caprese Salad is cooked inside the Salad Station. A single batch of Caprese Salad requires five Tomatoes, one Mozzarella and two Peppers to cook, taking five minutes. Unfortunately, you can't cook and immediately cancel this dish six times, as you'll need to serve the dish to make progress. As for the Veggie Kebabs, you'll need Tomatoes for those as well. A single batch requires two Tomatoes and two Mushrooms to prepare. But as you probably remember, they only take 30 seconds to whip up in bulk, especially if you cook a batch on both of your Grills at the same time. These quests will only be available for a period of three days, but stick with us and we'll help you push through to the end.
• Tower of Powder Quests Guide
• A Healthy Start Quests Guide
• Fit for the New Year Quests Guide
What do you think of this massive healthy eating event in ChefVille? Do you think you'll be able to complete all three themed quest series before the event ends in a week? Sound off in the Games.com comments!
Republished with permission from:
Brandy Shaul is an editor at Games.com
For the seventh straight year, I'm publishing a list of all the games I started playing in the past year and all the ones I finished.
My totals have dropped yet again. I started 139 games, finished 23 of them.
When I started keeping track of this, back in 2006, the idea of finishing games was more relevant to me. I always liked playing games. I love trying new ones. But the concept of finishing them—which I've always indicated means simply reaching the game's storyline conclusion and/or the end of its standard levels—was something I cared more about. I have long preferred single-player games, and I've favored narrative or progression-based games over those that can be played more as a test of skill. I've preferred gaming's books over its sports, as it were. I grew up on Nintendo and favored Metroid and Zelda over Mario Kart or Street Fighter II. It mattered to me to reach the ends of games, because I wanted to see what developers put there. I wanted to see games through.
These days, I care more about playing the best, and so finishing games has decreased in importance. Plus, life's too short, right?
What follows is a list of all the games I started on various platforms this year. Some of the games that I started I only played for an hour. Others, like Far Cry 3 or The Walking Dead, I'm many, many hours into playing.
I bolded the games I finished. As always, I've excluded games I only played out at trade shows (i.e. the games I played while on the job). I play most of my games at home in my spare time or during commutes.
The numbers below confirm a number of notions I've had in my head about my habits this year: I've dabbled more with Facebook games, enjoyed the easy access to new games on iOS and diminished my playtime with the Xbox 360. I've also shifted to playing lots of the blockbuster games on PC instead of console. I could use a few more games to play on Wii U! And PS3 is still a platform where I like finishing games.
Enough set-up...on with the list!
The final 2012 tally is: 139 games played; 23 finished
That compares to:
2011...161 played; 28 finished
2010... 195 played; 52 finished
2009... 165 played; 48 finished
2008… 135 played; 37 finished
2007… 118 played; 35 finished
2006…102 games played; 21 finished
So... what did I miss this past year?
I want to go fast — faster than modern day street vehicles are capable of travelling. I've felt the need for ground-based speed since I was a small-ish boy, so games like F-Zero, Wipeout and Extreme-G (remember Extreme-G?) have always been a passion. Plenty of mobile developers have attempted to capture the power and energy of the futuristic racer. Not many have come close. Pixelbite's Repulze is nearly there.
Where other mobile futuristic racers on the iPhone (and Android, for that matter) have failed to deliver a smooth and speedy experience, Repulze succeeds. It's not choppy. It doesn't feel clumsy. As the player races they pass a series of red and green gates, part of Repulze's boost system. The hovercraft starts off highlighted with one of those two colors. Passing through gates of the same hue three times switches polarities and gives the racer access to a temporary speed boost. Pass through the wrong gate and they slow down considerably. The controls, both virtual buttons and tilt, required some fine-tuning before I really got into the swing of things, but once I found the sweet spot I was impressed.
The only problem is this isn't technically a racer, at least not in the competitive sense. It's just your hovercraft against the clock, with Game Center leaderboards the only real multiplayer aspect. Each track features three goals to achieve, the badges earning from achieving them unlocking additional rides and tracks. There are nine tracks in total and six cars, though Pixelbite does have at least two major content updates in the works to flesh out the content. It's definitely worth picking up at the special $.99 introductory price — consider it an investment in the future.
In a perfect run I hit all three colored gates in a row and activate my boost on a straightaway. The acceleration is so powerful I lean back in my chair, body reacting to imaginary g-forces. That'll do.
Repulze — $.99 [iTunes]
Earlier today, our own Luke Plunkett nominated Crusader Kings II for Kotaku 2012 game of the year, writing that it's "the only game on this list that's about sex and politics."
Sounds like a man who hasn't played Super Hexagon, right?
Or. Actually. No. Super Hexagon (iOS, Steam) isn't about sex and politics. It's not about zombies or wandering across the sand with strangers. It's about spinning a little triangle around and through a contracting, swirling, psychedelic bathtub drain of a maze and hoping to not have it crash into the walls of that maze for... my goodness... can you survive for 15 seconds? 30 seconds? Can you manage an entire minute?
I know that Super Hexagon isn't all that profound. Does this game tell you anything about its creator's life or about the human condition? Not really. Does it pull at the heartstrings and evoke genuine emotion? Well, yes. It sure does. Those emotions being the exhilaration of survival, the pride of successfully applying what you've learned, the despair of defeat. You know, the stuff that movies and books can't do. The stuff games can do so well.
That's right, people. Super Hexagon puts the game back in "game." Those who don't vote for this perfect combination of sights, sounds and controls probably also have a terrific explanation for why Tetris shouldn't have been game of the year back when it came out.
Several years ago, I angered friends and allies when I declared Desktop Tower Defense as Game of the Year over some game called BioShock. I liked BioShock and its brainy first-person underwater shooting a lot, but DTD was the game I couldn't stop playing. It was the game I was late to a party for on the day I discovered it and the game I had to proselytize to everyone I met. It's the game that obsessed me and, importantly, it was a game that was just about flawless. It was a simple and vexing. It encouraged the player to tinker and test its limits. It was easy to start, easy to re-start and tough to stop playing. Still, some folks told me I was wrong to pick it. DTD was a free browser game! It was just a trifle, a little amusement! Wasn't rewarding it as GOTY over BioShock the equivalent of declaring an amusing street sign as the Best Thing I Read In 2007? Such is the plight of big games and little games, all vying for the same praise as the Kotaku Game of the Year.
The fact is that movies and TV have more in common with each other than many modern video games do. If we were, say, putting Super Hexagon in a GOTY deathmatch with Mass Effect 3 (hey, at least I could get to ME3's ending!) we'd be comparing a game I played by touching a piece of glass that I was carrying on the subway to a game I played with a controller in my hands while sitting on my living room couch; a game that has no characters vs. one that does; a game about spinning in a circle and a game about choosing the fate of the galaxy. Just about the only things they have in common are that a) we call them both video games and b) they have great lead female voice acting.
Yes, we live in a world in which small gamey games compete against story-filled virtual-tourism epics. Some years, I like to praise the latter and lose my mind with joy over the Assassin's Creed: Brotherhoods of the world. Some years, I find a nice hybrid like Portal 2. And some years, like 2012, I think back to what I played and I decide: I'm going with the thing that put playing it first, the thing that made me want to dive into its system of rules and have a go at it again and again.
Here, have a look at Super Hexagon and tell me you're not having fun just watching it.
Did you watch that? Are you still here? You resisted the urge to fire up the game?
Look, let's take a look at the true yardstick for video game quality, the classic GamePro ratings scale:
Graphics - No doubt about it, Super Hexagon is mesmerizing. Not only does it have good graphics full of great color combos, but I dare say it has the best possible graphics it needs or could have. It maxes out its graphics potential. It wears its clothes well. It's drop-dead gorgeous. And it spins!
Sound - Was there a better bit of voice-acting in 2012 than Jenn Frank's recitation of the shape names of the various levels of Super Hexagon? Sure: There was Jenn Frank's just-encouraging-enough "Begin" at the beginning of a new round of this stupidly hard game. There was also her sorry-you-kinda-messed-up-there-but-you-can-do-better-I'm-sure-of-it "Game over" each time you failed. Yes, yes, The Walking Dead had some amazing voice acting, too. But I'm not kidding when I say that I consider Frank's as the most successfully-implemented voice acting of the year. If you're not a GOTY voter who cares about voice acting, I submit the Super Hexagon soundtrack, and I defy you to be unmotivated to twirl through Super Hexagon again as soon as you hear it. It hits all the right notes (do they have notes in techno? Yes?) to drive you forward, to add even more drama to a game that feels plenty dramatic as is.
Control - Yep. We've got a winner here. The press-the-screen-to-rotate-but-don't-press-too-long-or-you'll-over-rotate-the-screen are the best controls not just for a touch-screen game this year, but I think for any game this year. What other 2012 game consistently feels so good to play?
Fun Factor - Insert the most possible excited GamePro face right here. That's the one on the right:
I do appreciate that smaller games have an advantage. Tiny games have a better shot of getting it all right. Which is why... they never win big Game of the Year awards. Weird, no?
Sometimes—often—it's nice to celebrate the bigger, necessarily sloppier works of video game creators. The people who made Far Cry 3 sure did try a lot more things than Super Hexagon creator Terry Cavanagh did in his. Looking back, Advance Wars on the Game Boy Advance is a nearly perfect video game in a way that Skyrim is not on the PC in part because the scale of its makers' ambitions was smaller and therefore more capable of being turned into a real thing we could play.
I am nevertheless struck by how right Super Hexagon is in any way I could measure it. To play it, listen to it, look at it, and think about it reminds me how wonderful it is. It lingers in my memory. It summons me to play it again and again. It continues to delight. It's great to play. It's a tiny thing, sure. It's a gem.
It's my game of the year.
Also, Super Hexagon was Apple's runner-up for Game of the Year 2012. Who doesn't like telling Apple that they're kind of dumb? The best way to do that is to say that it was no runner-up, but that it's the winner!
Look, even the New York Times loves the game. (Um, it's not like I wrote that blurb or anything.)
And if I haven't convinced you yet, please just stare at this animated GIF.
Think of nothing else....
You are getting sleepy...
You will vote for Super Hexagon, fellow Kotaku editors, for Game of the Year. And you will only wake up when I snap my fingers.
The writers of Kotaku are nominating nine games for 2012 Game of the Year. The nominations will be posted throughout the first week of January. The winner of our staff vote being announced on the Monday following and that game will be our 2012 GOTY, shifting 2011 GOTY Portal 2 a little further down our imaginary trophy shelf. Read all of our 2012 nominations, as they're posted.