Since its release in the summer of 1999, Deus Ex has become one of the most beloved games on PC. Set in a bleak cyberpunk future, Ion Storm’s ambitious first-person RPG, which was directed by Warren Spector, features deep systems, sprawling levels, emergent play, and a thrilling, conspiracy-laden plot. But one afternoon in Austin, Texas, where the game was developed, designer Harvey Smith and other members of the team were convinced that the game they’d been working on for years was destined for failure. 

“We brought in Caroline Spector, Warren’s wife, and she was the first person outside of the team to play it,” says Smith. “She got off the boat at the dock and she picked up a box and threw it into the water. She got into the water and swam around. She tried to interact with a seagull. Then she tried to float on top of the crate.” 

It’s worth noting that, in 1999, being able to manipulate physics objects like this in a realistic, simulated world was more of a novelty. And so this experimentation continued for 20 minutes as Harvey and the others watched over her shoulder, suddenly filled with dread. “We were gnashing our teeth,” remembers Smith. “We were like ‘God, we’ve fucking failed. She’s not even starting the mission! She’s just screwing around on the dock with all the stuff I put on there’.” 

But then, suddenly, she turned to the anxious developers and told them in no uncertain terms that this was the most fun she’d ever had playing a game. “We were like ‘Holy shit! She enjoyed that?’. So we just doubled down on these quiet moments in the levels and the object physics. We already believed in these things ourselves, but it was very validating to hear it from someone else.” 

Liberty Island, where New York City’s famous Statue of Liberty is perched, is the first level in Deus Ex. It’s a trial by fire, thrusting newly minted anti-terror agent JC Denton into the middle of a terrorist occupation of the island. It’s also the perfect introduction to Deus Ex’s unsurpassed freedom of play, with multiple ways to infiltrate the complex and deal with the terrorists holed up there. 

“Warren had grown up in New York and he wanted to feature locations like Battery Park and Liberty Island,” says Smith, who was behind much of the design of Liberty Island and other locations in Deus Ex. “And honestly, as a kid from Texas, I had no idea about these places and had never even visited them. But I still ended up inheriting a bunch of those maps, and it was Liberty Island that excited me the most because it was this big, open space. 

“I’d seen corridors, streets, and alleys before in games. But what I really wanted to do was make a wide open space with something big in the middle that you could go left or right around. I could put tunnels under it, I could make it multi-tiered so you could climb to the top. That felt really different and exciting. 

“When we shipped the game, Liberty Island ran at five frames per second on some machines. We’d see the frame rate nosedive because we had too many characters and the sight lines were too long. But we were making these huge, open levels because that’s the kind of game we wanted to make. A go anywhere game.”

Going underground

Once Denton has successfully dealt with the terrorist attack he returns to his headquarters for a debriefing—which, conveniently enough, is also located on Liberty Island. The underground UNATCO base, one of Deus Ex’s most memorable locations, is stuffed with characters to meet, secrets to discover, and world-building to ingest. But, Smith reveals, the game wasn’t always structured this way. 

“The original idea was that you turn up for your first day of work, get briefed, and meet your colleagues,” says Smith. The first Ultima Underworld, one of Smith’s favourite games, begins with the player in a hostile environment. The sequel, which he found wildly disappointing, starts with you hanging out in a castle chatting to people. “So rather than open Deus Ex with Denton turning up at the office, we started with the mission instead. 

“It was one of those epiphanies that comes mid-stream. By reversing this one thing, it changed everything. What if the terrorist attack was happening on your first day at work? It’s completely ludicrous and implausible, of course. But nonetheless, it was fun. You were immediately solving problems and doing shit.” 

This way, getting into UNATCO—the entrance to which is tantalisingly locked when you first encounter it—is a reward for completing the mission. “It also gave us the chance to reflect on how you played,” says Smith. “Which direction you took, what objectives you completed, who you met, and whether you behaved ethically.” 

An example of this is killing the unarmed terrorist leader you find at the top of the statue—do so and you’ll be harshly reprimanded. On the other hand, if you knock the terrorists out rather than kill them you’ll be commended for it. By some characters, anyway—the UNATCO grunts are not impressed by your pacifist methodology. This kind of granular reactivity defines Deus Ex, and was made possible by the limitations of the technology the game was built on. 

“Because the fidelity was so low, this wasn’t that hard to do,” says Smith. “That’s the problem with games now—the fidelity is so high that to support something you have to do it well. That’s a lot of work, which means you can only support so many things. But in Deus Ex we could just throw you a datalink or have some guy flapping his muppet mouth at you. We actually had this simple tech that would analyse audio files so NPCs’ mouths kinda matched what was being said. 

“We could also change the text in an email at the last minute or even easily re-record a line of dialogue because the guy who voiced JC [Jay Anthony Franke] worked in Dallas at Ion Storm. We tried to do the same in Dishonored, to account for everything a player would do, but it was much heavier lifting in that game.”

Liberty Island is a difficult level, especially if it’s your first time playing the game. If Deus Ex was made today it would likely be laden with tutorials, pop-up hints, and other hand- holding. “It’s almost like a test,” says Smith. “All the systems are in place in that level. But we did backtrack and add some things to ease you in.” This included JC’s brother, Paul Denton, meeting you on the south dock and offering you a selection of weapons to suit different play styles.

“I’ve always said that if you make your game super streamlined then you try to add depth later, that’s a hard road to walk,” says Smith.

“But if you make it as deep, emergent, and layered as possible, but then you figure out how to ease people into that, the end result is much better. Liberty Island was us testing that theory.”

But making design decisions like this was never easy at Ion Storm. Although Smith enjoyed working there, things were often made difficult by conflicting opinions about what Deus Ex should be. “The team was a weird combination of tech nerds and pen-and-paper nerds coming together,” he says.

“A more narrow slice of society than we have in game dev now. The industry is definitely more interesting and a lot more diverse now. That said, I loved Ion Storm, and I learned a lot from every single person I worked with there. But there was a schism. Three different factions were at odds, and that often involved trying to convince Warren that we were making one kind of game and not another. One part of the team, some of whom had come from shooter backgrounds, wanted to make an FPS like GoldenEye. Another group came from Origin and wanted to make an Origin-style role-playing game, but from a first-person perspective. Another was in love with Looking Glass, specifically Ultima Underworld and System Shock.”

This led to fights and compromises. One team would feel bad that they lost, another would be delighted that their values won out, and vice versa. “Some of us wanted the speed, movement, and precision of a modern first-person shooter,” says Smith. “Others wanted the world-building and atmosphere of a Looking Glass game. Then, over time, these elements began to overlap.”

Free rein

Liberty Island was a source of conflict, particularly when it came to determining how much freedom the player should be afforded at this early stage of the game. “We had people on the team who thought the first level should be about using one set of powers, then the next should be about another set,” says Smith. “A lot of classic games are structured like that, but another group of us thought that everything in Deus Ex should be possible all the time. It should be your decisions as a player that drive you, not the game itself.” 

Some people also thought that each style of play should be clearly delineated: a branching hallway, for instance, would lead to a stealth path and a combat path. “But we thought there should be the potential for stealth and combat in each hallway,” says Smith. “If you do that wrong it gets messy and doesn’t have any identity. But we developed rules about encounter spaces, like having a negative space between them to give the player contrast. That’s why there are empty areas on Liberty Island, to give you quiet, reflective moments.” 

About halfway through the development of Deus Ex it was decided that every level should support stealth, combat, and hacking. “You can have other stuff too, like maybe a bribery path,” says Smith. “Giving a guard some money to turn the other way, something like that. But overall those three styles had to be fluidly supported. 

“One thing that really helped us, and I don’t think this gets enough attention, is that during the development of Deus Ex, System Shock 2, one of the Thief games, and Half-Life came out,” adds Smith. “So we had the opportunity to play these games and take things away from them. That really helped Deus Ex.” 

While Deus Ex was a team effort created by many talented people, the nature of game development at the turn of the millennium meant that Smith was able to get much more hands-on than he can today, even down to designing individual props for the levels. “To get anything into a game these days, even a chair, you need a massive army of people, sometimes using external dev partners,” he says. “So everything has to be super documented and thought about. It goes out, it comes back, you make adjustments. It’s a huge undertaking. 

“But when we were making Deus Ex I spent one day in Unreal vertex-manipulating various pieces of furniture. I made tables, chairs, beds, everything. Then I made a separate level on the network that was just called ‘furniture’ or whatever, and it was full of them for people to use. This isn’t a humble brag. It’s just that, back then, one person could jam out of a lot of stuff. Now we have an environment team, an architecture team, and a level design team.”

Almost 20 years later, people are still playing Deus Ex, evidence of the depth and quality of its design, not to mention the talent and vision of the people who designed it. It’s amazing that from such a conflicted studio emerged a game that has so firmly stood the test of time. It may look uglier with every passing year, but Deus Ex remains an eminently playable game. Liberty Island is one of the greatest opening gambits in PC gaming and the lessons Smith learned making it have served him well over the years, notably in the wonderful Dishonored series, which he directed. “Along with Dishonored,” he says. “Deus Ex is one of the few times in my career where I’ve just non-stop played a game I’ve been working on and it hasn’t felt like a chore.”

In the era of old games made new, there's hardly a classic game out there that isn't being remastered or recreated. For those that don't have official new versions, modders have begun making their own remasters using machine learning to create higher resolution versions of a game's original textures. 

Below we've cataloged all the AI upscaling mods we know of so far with notes on how far textures have been upscaled from the originals, the machine learning framework used to create the new images, and of course a link to download and try them yourself. 

Some mods are complete overhauls, while others only replace background images, UI elements, or characters. We've given a quick overview for each on what you can expect them to handle.

Deus Ex: New Vision 2.0

Download here | Tech not listed | Resolution not listed

New Vision 2.0 is an experimental, alternate version to New Vision 1.5 by the same creators. While the original New Vision version is a project that replaces the majority of Deus Ex's textures with new versions created by artists, New Vision 2.0 instead uses AI upscaling. The creators say that while both versions will remain available as options, New Vision 2.0 is "much better suited to those who prefer the original art style and want as close to the 'classic' look and feel as possible."

Doom: Doom Neural Upscale

Download here | NVidia GameWorks Super Resolution & Topaz AI | 2x Original

Doom's neural upscale is an interesting case in which the creator originally upscaled Doom's textures to 8x the original resolution than then downscaled back to 2x in order to regain the pixelated look of the original game. The creator also provides the 8x and 6x original files created by the AI before being retouched for others to experiment with.

Dark Souls Remastered: ESGRAN Upscaled UI

Download here | ESRGAN | Resolution not listed

So far, this upscale mod for Dark Souls Remastered only upscales UI icons. The creator mentions in the comments that they are also attempting to upscale environment textures but have so far not had luck importing the new textures in either the Prepare to Die or Remastered versions of Dark Souls. 

The Elder Scrolls III Morrowind: Morrowind Enhanced Textures

Download here | ESRGAN | 4x Original

The Morrowind Enhanced Textures mod replaces 100-percent of Morrowind's game textures. If you're looking to return to Morrowind with a fresh face before the Skywind project comes out, this is a good way to do it.

Final Fantasy VII: Remako Mod

Download here | Gigapixel AI | 4x Original

The Remako mod for FFVII upscales background textures, battle textures, and even the full-motion videos for the game. The detail added especially in FFVII's backgrounds is particularly impressive, though the process needed to properly upscale its full-motion videos is worth noting as well. 

"The Steam version of FF7 might have had Full Motions Videos (FMVs) with a resolution of 1280x896, in reality, these were actually 320x224 videos blown up to a larger resolution. So I had to go through all of the game's 100+ FMVs, scale them down to their actual size before upscaling them again with my AI-powered upscaling tool. Now they actually have a HD resolution of 1280x896."

Final Fantasy IX: Moguri Mod

Download here | Tech not listed | Resolution not listed

Like Remako for FFVII, the most noticeable difference in the Moguri mod for FFIX is the background textures. The amount of detail added by AI is particularly impressive in all the natural, green environments. The Moguri mod only works with the Steam version of FFIX. It does a bit more than textures though, also adding in 15 new soundtracks by Pontus Hultgren. 

GTA: Vice City: AI Enhanced Textures for Vice City

Download here | Tech not listed | 4x Original 

This upscale mod for Vice City replaces most of the game's textures. Interestingly, not all original textures come from the PC version of Vice City. Some textures from the Xbox, PS2, and mobile versions of Vice City were used as they had higher resolution than the native PC counterparts. In order to use the upscaled textures for the Steam version of Vice City, you'll have to downgrade your game version to 1.0, which the modder explains just a bit on their page.

Half-Life: Half-Life Textures Upscaled

Download here | ESRGAN| Resolution not listed

This upscale for Half-Life isn't super well-documented but it appears that the uploader has replaced all of the environment and character model textures in its latest version. You can find a link to download the files from a Google Drive space in the description for the video above. 

Hexen: Hexen Neuro x4 Textures

Download here | Gigapixel AI & ESRGAN | 4x Original 

Hexen's original art style seems to play really well with upscaling by Gigapixel AI and ESRGAN in this upscale mod. According to its description, this mod upscales more than 3500 textures for Hexen. 

Knights of the Old Republic I & II: Complete Character Overhaul

KOTOR I & KOTOR II | ESRGAN | 2048x2048 resolution

Modder Red11by has created two different mods, one for Knights of the Old Republic and its sequel. Both should upscale textures for all NPCs in each game and all armors. 

Max Payne: Max Payne Remastered

Download here | ESRGAN | 8x Original 

This Max Payne mod replaces what the uploader estimates as 95% of the game's textures. As with other upscale mods increasing detail on human faces, it's a bit eerie seeing higher resolution faces on lower polycount character models. 

Resident Evil HD Remaster: REupscale project

Download here | Gigapixel AI |  Resolution not listed

This mod for the Resident Evil HD Remaster replaces almost all of the textures in the new version of Resident Evil with upscaled and then manually corrected versions. However it doesn't replace rooms that were created in 3D for the remaster. In the future, modder Shiryu64 is planning to update the game's UI, background textures, and cutscenes as well.

Red Faction: Red Faction AI Upscaled Textures

Download here | Gigapixel AI| 4x Original  

The Gigapixel AI upscaled mod for Red Faction is supposedly complete, including upscaled versions for all of the game's textures.

Star Wars Jedi Knight: Dark Forces II: Jedi Knight Neural Upscale

Download here | ESRGAN | Resolution not listed

This upscale mod for Jedi Knight: Dark Forces II is usable as-is though modder "TreeMarmot" cautions that they have not been retouched to correct and visual oddities. They intend for this mod to be used as a jumping-off point for other modders to create their own high resolution versions with corrections and touchups.

Sonic Adventure 2: Sonic Adventure 2 Neuro-AI

Download here | Gigapixel AI | 4x/8x Original

This mod for Sonic Adventure Battle 2 upscales level textures by 4x original resolution and skybox textures by 8x. According to the modder, this mod "does not include Weapons Bed, Eternal Engine, Egg Quarters, Lost Colony, Cosmic Wall, Chao Neutral Garden, Boss Levels (except Big Foot) or in-game cut-scenes except the first two in Hero story." They are planning to include those areas in subsequent releases of the mode.

Turok 2: HD Textures (ESRGAN AI upscaled)

Download here | ESRGAN | 4x Original 

This mod for upscaling Turok 2 isn't well-documented but claims to include textures for the entire game.

Everyone's got alien fever—and not the kind that turns the veins in your face black and makes you vomit and die. Recently, the idea of banding together to storm Area 51 to finally meet the aliens housed there has taken hold on the brave and the bored alike. The plan was hatched by a Facebook event scheduled for September 20 and nearly two million people agreed to it.

And today is the day! People (not two million of them, though) are actually in the desert near Area 51.

Luckily, we don't actually need to storm Area 51 because video games have already done it. Repeatedly! Not to mention, loads of new games have been slapped together based on the Storm Area 51 event. Here's everything we know about storming Area 51 without having to actually do it ourselves, as predicted by video games.

We might not find aliens in there

I know, I know. The idea of storming Area 51 and not actually finding aliens sounds ridiculous! But there is a very, very slim chance that there are no aliens in Area 51 at all. It's possible that super intelligent alien beings may never have flown an impossibly advanced spacecraft across the entire universe, then suddenly forgot how the brakes worked and crashed in New Mexico back in 1947. It's also possible (though highly unlikely!) that after 70 solid years of people constantly yelling about how there are definitely aliens at Area 51, the government may have relocated them to, I don't know, literally anywhere else. Far-fetched, yes! But it's possible.

This weird, silly theory that you can stroll into Area 51 and not find aliens is held up by GTA: San Andreas. CJ gets a mission to Area 69, which is based on Area 51. (Fun fact: the '69' isn't just a random number! It's a reference to a sex act in which partners perform oral sex on each other simultaneously. Oh, Rockstar.)

After CJ breaks into Area 69, all he finds is a jetpack. Not that jetpacks aren't cool! They're just not alien cool. There are several PA announcements that reference alien bodies and spacecrafts, but we never see them in the game. So don't be surprised if storming Area 51 doesn't result in finding space travelers—and if there is a jetpack, all 1.9 million of us gonna have to figure out how to share it.

If there are aliens, they're not gonna be the cuddly type

There have been several games about Area 51, most notably, Area 51. The 2005 FPS is based on the 1995 arcade light-gun game Area 51, and was followed up by 2007's Blacksite: Area 51. In all of those games, the aliens aren't super happy to meet us.

In the 2005 version, an alien ship crashed in Roswell and that alien was voiced by Marilyn Manson. As you might guess, Alien Manson teams up with the Illuminati to create a mutant virus to dominate the planet. A bored-sounding David Duchovny (to be fair, 'bored' is his default setting) invades Area 51 to stop them, and sort of fails. There's a lot of shooting of both humans and aliens, not a warm and fuzzy meet-and-greet.

It's going to be overly expensive and shut down early

Storming Area 51 is going to cost way more than it should and it's going to end before we're ready. I'm basing this prophecy on our review of the Alienware Area 51m gaming laptop, which cost nearly $5,000 when we looked at it back in May (it has since dropped to around 2 grand). The battery life also wasn't great, lasting less than three hours, so expect an early end to the festivities.

"Powerful as it is, the Area-51m still gets hot and loud—not that it particularly matters since it's much too heavy to put on your lap—and its battery life sucks," our review states. "2 hours and 52 minutes of downstreamed video is nothing for a 90 watt-hour battery that needs two comically sized power bricks to charge."

Be prepared for alien corpses, a teleporter to the moon, floating apples, and zombies

If you think storming Area 51 is just about finding aliens, you're wrong. That's just one of the wonderful features it has to offer. There's lots of other great reasons to visit, like finding an apple hovering in some sort of futuristic electromagnetic field, or finding a teleporter that will take you to the moon, or being attacked by wave after wave of zombies.

That's what Call of Duty: Black Ops and Black Ops 3 tells us, anyway, and there's really no reason to doubt either of them. No worries, there are still aliens to be found. They're dead and under sheets, but they're still perfectly available for a great insta story.

If you're Superman, don't come along

This is specifically for people who are Superman, so if you're not Superman, please skip to the next entry. As for you, Superman, you might not want to storm Area 51 with the rest of us because that's where the government keeps all its kryptonite, that glowing green rock that turns you into a weak, sweaty little weenie.

This information comes from DC Universe Online, where Martian Manhunter alerts everyone to Brainiac's plan of invading Area 51 to acquire the kryptonite supply. And you (Superman) probably don't want to help us break into Area 51 only to get inside and then flop to the ground all helpless and trembling while two million people stand around staring at you, right? So maybe sit this one out.

Get ready to do a lot of corner peeking

If I were going to raid a classified military installation, I'd probably bring a few Arma players along. Yes, it would take absolutely forever, because they'd be creeping along corner peeking for, like, hours. If you have an entire afternoon to kill, for example, you can watch a squad invade a modded Area 51 and fight a bunch of aliens in the video above.

Slow, yes. But better safe than sorry. And in addition to Area 51 mods, Arma 3 players will have an official alien-related expansion coming out, coincidentally, July 25.

Wear sunblock because we might get nuked

In Deus Ex, the Illuminati is cancelled but there's something worse: Majestic 12. They claim Area 51 as their headquarters and use it to develop new technologies—turns out the aliens in Area 51 didn't crash land there, they were actually created by Majestic 12 using the DNA of different creatures including, possibly, cows.

Without getting into all the reasons why, a guy named JC Denton isn't a huge fan of Majestic 12 and its leader, Bob Page, and there's a chance he may decide to just nuke Area 51 to make that perfectly clear. This is precisely why you don't taunt your enemies over the radio, Bob.

It's going to suck

I know invading Area 51 sounds fun, like a big party in the desert with a lot of like-minded, curious, determined people you can hang out with until your internal organs are shredded by the bullets of US soldiers as you try to climb the fence. But it's not going to be as great as it sounds, according to Storm Area 51: September 20th 2019, an Early Access game that arrived on Steam a couple days ago.

Frankly, it's a steaming pile of shit. Sure, it's in Early Access, but it's hard to imagine this crappy game getting any better. You just clomp awkwardly around a dull map finding aliens and then leading them to an unconvincing flying saucer while brain-dead soldiers shoot in random directions and other NPCs yell things and Naruto run around uselessly.

Trust me, if storming Area 51 is gonna be anything like this game, just stay home.

Great moments in PC gaming are short, bite-sized celebrations of some of our favorite gaming memories.  

Sometimes, it's the little things. Yes, Deus Ex is a sprawling, complex conspiracy thriller that rode high in lists of the greatest games ever, but mention it, and it's rarely long before someone brings up being shouted at for going into the ladies' toilets. One of the few times a toilet has been considered a major game feature, if you don't count Infocom's text-adventure Leather Goddesses of Phobos tying your choice of toilet to in-game gender.

Of course, it’s more than just an angry bark from an NPC. It's proof that the game is watching, and taking notes on what you do, with the unspoken element of "If we’ve flagged this, what else are we flagging?" It's a demonstration that rules really are there to be broken, either through ignoring social mores, or handling a hostage situation with a shrug and some heavy explosives. Or just running away from a boss instead of fighting them, in clear violation of Shooter Character Rule 73B (no relation to 74C, which we all know is "respect the chest-high walls at all times").

It's not the first time that a game reacted to something like this, not even close. Ultima Underworld 2, for instance, would let you start attacking people in its central castle until you got thrown in jail, then let you out, and if you did it again, just put you back in there to rot. Deus Ex was part of the first wave of shooters really looking to marry action and simulation, to create the illusion of being part of a world rather than simply presenting one as target practice. Something as simple as going into the wrong toilet was a way of showing that even non-violent actions could have consequences, and that the simulation was complex enough to be able to sweat those little details as well as the big stuff. In practice, it never really does anything like that again, and many of the bigger features like the enemy AI were, well, less than groundbreaking.

That doesn't matter. It only takes a few moments to sell an illusion and encourage you to play a little smarter, a little more in keeping with your assigned role in the game. And if you want to break out of that for your own amusement? That's always pretty entertaining too.

For a constantly updated list of our favorite games on PC, check out our list of the best PC games right now. 

Every year, the PC Gamer team embarks on an epic quest to choose the top 100 PC games. Where previously we voted for our favourite games, this year we talked: discussing each of our nominations and deciding which games should make the list. The result is a more honest, considered reflection of our conflicting tastes and opinions as PC gamers.

This list represents what we think are the greatest PC games you can play today. We wanted to celebrate the breadth and variety of PC gaming, and so, for the most part, have restricted ourselves to one game per series. You'll also find a selection of personal picks: games we individually love that didn't quite make the cut. Enjoy!

If you're looking for a list of the games that helped shape PC gaming as we know it, try the 50 most important PC games of all time.

100. Path of Exile

RELEASED 2013 | LAST POSITION New entry

Steven Messner: Path of Exile has quietly become one of the best action RPGs around thanks to its almost incomprehensible depth and wildly different seasonal leagues, where whole new systems are introduced. But the best part is its character customisation and spell crafting system. Path of Exile encourages players to make marauders who let spell totems do all the killing for them, witches who melt hordes with a fiery beam, or duelists that cover every inch of the map in a deadly rain of arrows.

99. Twisted Insurrection

RELEASED 2010 | LAST POSITION New entry

John Strike: Tiberian Sun's best mod brazenly shames the original Firestorm expansion in almost every way. It’s bigger and bolder, offering new buildings, a whole fleet of new units and even a new faction. There’s a completely new musical score and dozens of single player missions, some of which are based on the original Command & Conquer. Not only are new missions and units still being added, but, as a standalone free download, it's the most accessible way to play one of C&C's greats.

98. Killing Floor 2

RELEASED 2016 | LAST POSITION 81

Evan Lahti: There are disturbingly few places in video games where I can cut an evil clown in half with a quad-barrelled shotgun. Killing Floor 2 is the world’s greatest gore effects system laid atop an enjoyable skeleton. Hordes of monsters trickle into the map, magnetized to your position, and you mulch them with buzzsaw-spitters, incendiary shotguns, rocket launchers, or a microwave cannon that heats enemies from the inside until they burst. The dynamic slow-mo system adds so much, dampening the chaos just enough—granting extra moments to take aim or take in the sight of an intestine flying across the screen. Tripwire is a skilled digital gunsmith, and the detail lent to particle effects and reload animations holds up wonderfully even under the scrutiny of these plentiful, slowed-down sequences. I also love that KF2 doesn’t simply make these mutants into bullet sponges. On higher difficulties, enemies adopt different behavioral triggers that make them genuinely harder to handle.

Wes Fenlon: The precision and teamwork it takes to play Killing Floor 2 at higher difficulties is especially thrilling. Also, I once played a community map that was monochrome purple and themed after Game Boy-era Pokémon. It was pretty bad, but I appreciated the option.

97. Night in the Woods

RELEASED 2017 | LAST POSITION New entry

Phil Savage: A coming-of-age platformer starring an anthropomorphic cat returning home to a dead-end town after dropping out of college. On paper, Night in the Woods sounds like it could be intolerable, but its relationships are so well developed—so warm and fraught and human—that it’s impossible not to get drawn into Mae's world, and to want the best for her and her friends. I particularly love the frequent use of minigames as a way to highlight the need to escape the monotony of day-to-day responsibility.

Andy Kelly: A beautiful, heartfelt story brought to life by flawed, nuanced characters who just happen to be talking animals. It says something about life, but always knows when to crack a joke—and always with perfect timing—when things get too heavy.

96. Deadly Premonition: The Director's Cut

RELEASED 2013 | LAST POSITION New entry

Philippa Warr: Deadly Premonition is always a gamble of a recommendation. It's a gamble worth taking, though, because if you get on with its strangeness and its idiosyncrasies, it rewards you with a weird and beautiful experience of a kind you don't often get in gaming. Yes, the cars handle horribly. Yes, the PC version has crashed on me extensively. Yes, it starts off more as an irritating pastiche of Twin Peaks. Yes, it has frustrating quicktime events. And yes, some reveals draw uncomfortably on lazy tropes. But within that is a supernatural-tinged mystery that alternates between survival horror third-person shooter and a horror comedy investigation. None of the game's shortcomings were dealbreakers for me and several of the characters I encountered as I hunted for the Raincoat Killer have stayed with me for the best part of a decade.

Wes: The jank may be part of the charm, but at least make sure you install Durante's DPFix, which lets you select resolutions above 720p and fixes many minor graphical issues—mitigating some of the PC port’s shortcomings.

95. Stick Shift

RELEASED 2015 | LAST POSITION New entry

Pip: Stick Shift is my go-to example of a game which invokes complex subject matter while also being really fun to play. As per developer Robert Yang's description: "Stick Shift is an autoerotic night-driving game about pleasuring a gay car." It's part of a trilogy alongside Hurt Me Plenty and Succulent, and together they explore aspects of eroticism, consent, arousal, politics and more. It's also a game where you move your mouse rhythmically, working your car to a climax.

94. Elite Dangerous

RELEASED 2014 | LAST POSITION New entry

Phil: Frontier's galactic sandbox treads a fine line between excitement and tedium. Aliens! Dogfights! Smuggling! Interdictions! Ferrying pesticides to an outpost six lightyears away! However you decide to play, though—whatever amount of excitement you desire—Elite is still a masterfully crafted spaceship simulator. I love the design and feel of its ships, particularly the holographic UI and peerless sci-fi sound design. The thrill of warping to another solar system is never entirely diminished, meaning Elite remains entertaining even if you’ve chosen the life of a glorified space trucker.

Andy: Whether it's a chunky cargo hauler or a nimble fighter, every starship in Elite has its own distinct personality. They're all a delight to fly. Even the most mundane task feels wonderfully tactile.

93. Ni No Kuni 2: Revenant Kingdom

RELEASED 2018 | LAST POSITION New entry

Andy: While the original Ni no Kuni was co-designed by Spirited Away creator Studio Ghibli, it wasn't involved in this sequel. But developer Level-5 has done fine on its own, creating a rich fantasy world with a cast of vivid characters worthy of the Ghibli name. This is a sweeping JRPG about an usurped boy king on a quest to rebuild his kingdom and reclaim his throne. It's also one of the most colourful, vibrant games on PC.

Wes: The cutscenes are remarkably Ghibli and full of pep and puns, but what really made me fall for Ni No Kuni 2 is just how many systems it layers atop systems, like a big-budget JRPG of old. The sprawling kingdom builder is the centerpiece, with characters to recruit and buildings to construct and upgrade.

92. Mu Cartographer

RELEASED 2016 | LAST POSITION New entry

Pip: Mu Cartographer is initially obtuse. You'll probably feel utterly lost as to what you’re supposed to do for a while. But once you start tinkering with all the different buttons and dials on the interface you begin to see how to explore the strange map. The peaks and troughs of digital noise on your display suddenly turn into recognisable shapes as you tweak the settings and find the sweet spot. Stepped pyramids rise up where seconds ago all you could see was a fuzzy mess.

91. Guild Wars 2

RELEASED 2012 | LAST POSITION 86

Phil: Guild Wars 2 is full of clever quality-of-life features—it's still one of the few MMOs that's figured out how to let you easily play with friends of a different level. The flow and pace of its maps are a thing of beauty, too. Groups expand and contract naturally, as people wander off to explore on their own, before coming together for a small-scale event or organising to complete a single map-wide objective. You get all the joy of cooperation without the need to commit a significant amount of your time. Just turn up and play. Then, when you eventually get tired, go off and do something else. There's also no subscription, and none of the expansions have raised the level cap, so you're free to come and go as you please, playing at your own pace without ever worrying that you're falling behind. You can play for hours every week if you want—ticking off the hardest achievements and earning the rarest loot—but I'm happy to log back in every six months or so, safe in the knowledge that I'm ready for whatever's next.

Tom: I have fought huge dragon bosses and a marionette the size of a skyscraper, and I didn't need to grind for 200 hours for the privilege. Guild Wars 2 earnestly tries to reinvent the MMO by reshaping the bullshit grinding and levelling systems that had become rote in the genre.

90. Super Mega Baseball 2

RELEASED 2018 | LAST POSITION New entry

Wes: I'm about as bad at this surprisingly deep baseball game as I am at real baseball, but as a lapsed fan of America's pastime I appreciate how good this rendition is. It walks the line between a hyper-detailed sports sim and an arcadey NBA Jam-like, with simple controls but tons of nuance in pitching and hitting.

Chris Livingston: The customization is great, letting you change everything from player abilities to team logos, and its Pennant Race mode makes every online game feel important.

89. The Stanley Parable

RELEASED 2013 | LAST POSITION New entry

Samuel Roberts: You start in an abandoned office with a narrator telling you what you're supposed to do next. If you obey his instructions it will lead you to an ending. But if you don't, you'll discover many more fascinating, exciting little stories.

Phil: An antagonistic dialogue between a man with no body and another with no voice. Weird, funny and full of ideas.

Pip: Games often struggle with comedy. The Stanley Parable manages to be consistently funny as well as whip smart.

88. Drawful 2

RELEASED 2016 | LAST POSITION New entry

Wes: A chill, surprisingly hilarious party game I can play for hours. Everyone joins in on a smartphone and gets a phrase to draw on the touchscreen, then writes their own descriptions of everyone else's drawing to trick the crowd or simply get the most laughs. It's like millennial Pictionary, so inevitably people draw a lot more dicks.

87. Nidhogg 2

RELEASED 2017 | LAST POSITION New entry

James Davenport: The back-and-forth struggles of Nidhogg were already unpredictable, but bows, axes, swords, and daggers transform simple fencing standoffs into tense, sweaty battles for control. Nidhogg 2 is an excellent way to graft friends to the couch. 

Evan: A see-sawing melee mess. No PC game produces more smile-yelling than Nidhogg 2.

86. Stephen's Sausage Roll

RELEASED 2016 | LAST POSITION New entry

Pip: Stephen's Sausage Roll and I are on a break. I can't remember exactly why, but I know that I definitely rage-quit the sausage-grilling puzzler a while ago and haven't become sufficiently not angry to go back. That isn't a criticism, though; this is the puzzle game I recommend to the friends who want a real challenge.

Phil: I managed one level.

85. Battletech

RELEASED 2018 | LAST POSITION New entry

Evan: It's turn-based MMA with walking tanks. Unlike XCOM 2, the durability and modular design of mechs makes for drawn out, back-and-forth exchanges that become micro-stories of attrition and mettle. You trade blows with an Atlas, weave and evade it, it cleaves off one of your body segments, you circle around, knock it down and KO it with a face stomp. I love BattleTech's degrees of failure. You might complete all objectives but lose your rare, damage-boosted PPC, put a pilot in a two-month coma, or have to spend every nickel you just earned fixing up your battered Highlander. The campaign wrapped around BattleTech's granular combat is a bottomless well of procedurally generated missions with a heartwarming story of underdog regal revenge at its nucleus.

84. Football Manager 2018

RELEASED 2017 | LAST POSITION New entry

Joe Donnelly: Following some less comprehensive annual instalments, Football Manager 2018 gives us the most sophisticated soccer management simulation yet, where success is no longer determined by match performance alone. Piss off the wrong combination of players, and you'll risk a dressing room revolt. Suck up to the most popular, and you'll isolate your fringe stars. You need to balance influence and social standings to prevent the beautiful game from turning ugly.

83. Thumper

RELEASED 2016 | LAST POSITION 34

Pip: I don't think many people can consciously identify a 'fast-moving rhythm action space beetle combat game with a heady metal album aesthetic' void in their lives. But it exists and Thumper can fix it.

Phil: The dark, grungy synths and unusual time signatures create a fascinatingly ominous soundscape that draws you into the claustrophobic, reactive action. Thumper offers a mesmerising blend of palpable dread and empowering mastery—at least it did for me until the later levels, which required a degree of dexterity I'm not sure I possess.

James: That scarab scrapes down the interdimensional highway at the centre of Thumper with so much speed and ferocity that the game almost literally breaks apart by the end. Nod your head to dull the pain. 

82. Euro Truck Simulator 2

RELEASED 2013 | LAST POSITION 89

Andy: The problem with simulators is that they're often badly designed, technically janky or both. But Euro Truck Simulator 2 is neither of these things. This is a deep, polished, and immensely playable driving game set in a vast, mostly accurate replica of Europe. You can drive seamlessly between countries, and there's an understated beauty to the scenery that passes you by. It's also incredibly atmospheric, especially at night or in the rain. There's no better game to play while listening to music or catching up on podcasts, and it's deeply customisable too, meaning you can make each road trip as realistic or accessible as you like, depending on how deep you want the simulation to be.

Phil: In many ways I prefer American Truck Simulator. That's not because I love weigh stations—they're fine, if that's your thing—but because America's vast, terrifying emptiness feels more isolated, more epic, and, dare I say, more romantic. Euro Truck Simulator 2, on the other hand, is dense and busy, but also muted—it's altogether greyer and more moodily atmospheric. Both games are fantastic, and which one you prefer is likely a matter of which style of road trip speaks more to your personality. How many simulation games can you say that of?

81. FTL: Faster Than Light 

RELEASED 2012 | LAST POSITION 21

Samuel: It turns out being the captain of your own spaceship is stressful as hell, but you'll take part in some great stories along the way. FTL is a superior mix of roguelike and strategy. While Into The Breach is taking its place in my life, this is still one of the best space-set games around. 

Wes: It can make for a great party game, too. Put someone in the driver's seat and let the crowd make choices. Suddenly half your ship is on fire and you've accidentally vented one of your crew into space.

80. Stalker: Call of Pripyat

RELEASED 2010 | LAST POSITION 41

Chris: This grim and unforgiving open world FPS never turns you into an invincible superhero. No matter how much gear and weaponry you scrounge from the irradiated exclusion zone, you're still mortal and fragile, alone in a terrifying world of mutants, monsters, and roaming factions of AI-controlled humans. This lends Stalker an unending tension and fills every encounter with dread. From start to finish, there's a sense that at any moment you could meet your unceremonious end.

79. Doom 2

RELEASED 1994 | LAST POSITION 76

Wes: People are making mods and maps for this game like it was released a year ago. That's awesome. But what really strikes me about Doom 2 is how fun it still is, and how different it feels from decades more advanced shooters. There's a purity in how it moves, how it sounds and the minimum frames of animation it takes to sell firing the super shotgun.

78. Grim Fandango Remastered

RELEASED 2015 | LAST POSITION 96

Pip: Twenty years after its initial release it's still a real pleasure to revisit the film noir world of Manny Calavera, travel agent of the afterlife. Nowadays I play purely for the story so I keep online hints at hand for when progress stalls.

Tom Senior: Shout out here to Glottis, the giant orange demon who's too big and happy to quite fit into the world he’s in.

77. Warhammer: Vermintide 2

RELEASED 2018 | LAST POSITION New entry

Samuel: There's a long tail to Vermintide 2 if you're willing to stick with this four-player Left 4 Dead-alike set in the Warhammer universe. It looks prettier than the first game, offers more in-depth character progression, and has much better combat.

Phil: It feels really good to stab up a rat, and if that's not worth a spot on this list, I'd love to know what is.

76. Oxenfree

RELEASED 2016 | LAST POSITION New entry

Samuel: This spooky adventure game has a group of young friends inadvertently unlock a supernatural force on a haunted island. The relationships and various tensions between all the characters feel very real, and the dialogue is funny and poignant. These characters feel like they could've been people I went to school with.

Phil: The snappy, fun dialogue makes Oxenfree feel more theatrical than realistic, but that fits perfectly with the eerie mystery and interpersonal drama.

75. Regency Solitaire

RELEASED 2015 | LAST POSITION New entry

Pip: I added Grey Alien's card-game-slash-Regency-romance to our Top 100 discussion list, then reinstalled the game and spent three hours of the Top 100 discussion playing this in the background. I'm fighting the urge to play it again now instead of finishing this incredibly short paragraph about why it's good. The solitaire aspect is really strong, it's super easy to play just one more round, and the story is light but charming. Are we done? Can I boot it up again?

74. Metro: Last Light Redux

RELEASED 2014 | LAST POSITION 95

Tom: Not many shooters have you frantically pumping up a pneumatic gun before you can fire it, but that’s Metro for you. These ramshackle weapons carry you through a filthy, atmospheric corridor shooter set in the depths of the Moscow undercity. The tunnels hide mutant creatures and nests of horrible spidery things, but the most dangerous enemies are the human clans trying to scrape out a living in the post-apocalypse.

Samuel: A beautiful and grim FPS that's refreshingly bleak for a modern triple-A game. The world building in Metro: Last Light is dazzling to me—the little snapshots of human civilisation that show how there are children in these underground settlements who never knew the world before it got into this bleak, decrepit state. And the story features some unforgettable moments, such as an early flashback that shows—from the perspective of the pilots—how a passenger plane was destroyed in the nuclear blast. It's a chilling world that's hard work just to exist in, but I love that it's a post-apocalyptic setting that doesn’t succumb to the desire to over-stylise anything. It commits to showing the horrors of what a nuclear war would do to the modern world, and I'd recommend it to absolutely anyone.

73. Final Fantasy 14: A Realm Reborn

RELEASED 2014 | LAST POSITION 40

Steven: Square Enix's from-the-ashes MMO enjoyed another stellar year following the release of Stormblood, a revolution-themed expansion that whisks players across the sea to Eastern-inspired worlds that add much richness to an already great story. Though its endgame has become a predictable grind at this point, Final Fantasy 14 is still able to keep things exciting thanks to the steady pace of new bosses, dungeons, and raids to clear. Each one is just as memorable as the last thanks to a stunning soundtrack and beautiful world design.

72. The Norwood Suite 

RELEASED 2017 | LAST POSITION New entry

Pip: Cosmo D's first-person jazz hotel exploration has you poking around a converted mansion and uncovering the secrets of its former owner, celebrated pianist, Peter Norwood. Musicality shapes the whole experience, warping the space and affecting the denizens. As you dig around you'll also discover the game's sense of humour via visual gags and surreal chats with guests and visitors. For a related experience you should also check out the developer’s free game, Off-Peak.

71. Mount & Blade: Warband

RELEASED 2010 | LAST POSITION New entry

Evan: Mount & Blade: Warband is what we so often clamour for: an RPG where you're not an intergalactic savior or chosen one, but just some dude leading a small army on a sprawling, simulated map filled with other dudes leading other armies. It's sandbox in the truest sense, and the feeling of loosing an arrow into a line of galloping cavalry still holds up.

Phil: You start with nothing: left for dead in a town with few weapons, no supplies and barely any gold. From such inauspicious beginnings, you're free to do just about anything. Hunt bandits, befriend lords, rob pretty much anyone. Or, if you don't fancy leading hundreds of soldiers, just go fight for prestige in the arena. We've been waiting years for Mount & Blade 2, but Warband still has much to offer.

70. StarCraft 2

RELEASED 2010 | LAST POSITION New entry

Andy: Across its three campaigns, StarCraft 2 boasts some of the best, most cinematic single-player RTS missions on PC. New challenges are constantly being thrown at you, forcing you to try new units and tactics, and the story isn't bad either. When you're done with all that, you can take your newfound skills online, which still has a huge and dedicated following. There's a bottomless pit of tips, tutorials, and strategies online, meaning new players have a decent chance of catching up.

69. Galactic Civilizations 2

RELEASED 2011 | LAST POSITION New entry

Tom: Maybe a game like Stellaris will knock this classic spacebound 4X strategy game out of the Top 100, but not this year. It's hard to beat a game that's so smart and complete, and that can generate so much strategic intrigue with every campaign. The AI is so cunning that former PC Gamer staffer-turned-developer Tom Francis once wrote an entire book about one of his attempts to thwart it. Singleplayer games don't get much deeper than this.

68. Prison Architect

RELEASED 2015 | LAST POSITION New entry

Chris: There's an engrossing amount of depth to the management simulation of Prison Architect, where building a workshop for inmates to make license plates doesn't mean they'll just walk in and begin working. First they'll need training, which requires classrooms, which require instructors, who require work and class schedules and their own facilities. Oh, and metal detectors to make sure the inmates don't smuggle out tools to use as weapons against guards or other inmates, or to tunnel under the walls of your prison. It's not easy building and managing a small city where most of the population is plotting escape.

Andy: I love it when things go to shit in management sims, and Prison Architect is enormously fun to watch (and manage) when disaster inevitably strikes. A streak of black comedy runs through the game, and there's something darkly hilarious about a riot erupting—these cartoonish little characters shivving each other, starting fires and beating up guards. Something as simple as a fight in the canteen can be the flashpoint for a full-scale riot, and trying to suppress it safely and quickly is a real test of skill. But that doesn't mean you can't have some fun observing the chaos before rolling your sleeves up and stepping in to deal with it.

67. Ori and the Blind Forest

RELEASED 2015 | LAST POSITION 62

Pip: An adorable Ghibli-esque aesthetic—particularly the opening cutscene—gives way to a rock hard Metroidvania platformer. Your eyes are as likely to tear up with emotion as they are with absolute fury if you fail a boss one too many times. 

Tom: It looks like sugar but tastes like salt. Ori is not the moonlit animal paradise it appears to be at first glance. It’s a game about loss, revenge, and bastard-hard jumping challenges. The art is absolutely gorgeous. It's a hazy, dreamlike world of artfully twisted overgrowth and spike pits. The movement is so quick, precise and responsive I just want to squeeze it, even as it stabs me repeatedly in the heart. Approach with caution and keep some hankies and a swear jar within reach.

66. Frostpunk

RELEASED 2018 | LAST POSITION New entry

Chris: A survival and crisis management sim about building and sustaining city in a frozen world. In addition to providing food, warmth, and shelter to your citizens, you have to provide them something much trickier: hope for the future. That's immensely difficult when people are starving, freezing, and working themselves to death under your direction, and the choices you face are grim ones that never leave you feeling like a hero, even when things work out. Frostpunk is a game that asks two questions: 'How far are you willing to go to save lives?' And, 'No, really, how far are you willing to go?' It's a masterful exploration of the burden of leadership, the true costs of survival, and the balancing act between guiding your citizens and controlling them.

65. Diablo 3

RELEASED 2012 | LAST POSITION 30

Tom: 'Maybe I should start another Crusader run': seven words that could take up 60 hours of my life. Diablo 3 is still a stellar action RPG that has only become more generous year on year after its unsteady and controversial launch. The necromancer is a fantastic addition that calls back to Diablo 2 without nostalgically retreading the same ground. If you want to smash up thousands of monsters for gold and loot, there aren't many games that do it as well as Diablo 3.

64. Bayonetta

RELEASED 2017 | LAST POSITION 32

Samuel: A superb hack-and-slash game that rewards mastery with feeling like a badass. It's pretty much the first place I'd send anyone new to this genre of game that has its modern roots in Capcom's Devil May Cry series. This, from that game's creator, is funny, stylish and satisfying to learn. Its sequel, which Nintendo published, doesn't come close to matching the original. The range of weapons here fits together perfectly.

Phil: The fast-paced combat is yet to be bettered, and the world and story are equal parts stylish and absurd.

63. Crypt of the Necrodancer

RELEASED 2015 | LAST POSITION New entry

Pip: The rhythm combat in this game is so polished that I love it even when it's at its most stressful. You have to move on every beat or risk losing your cash multiplier, which means there's no downtime to plan your next move. Is a multiplier all that important, you ask? "Oh," I reply, "Only if you want to keep being able to afford new items at the shop where the amazingly catchy soundtrack is suddenly given an EVEN MORE AMAZING operatic flavour thanks to a singing shopkeeper called Freddie Merchantry."

Wes: This would be a great roguelike in its own right, but it's almost unfair how cleverly the musical element is threaded through exploration and combat. Try dungeon dancing to your own music for a new challenge.

62. Sunless Sea

RELEASED 2015 | LAST POSITION 75

Pip: I bounced off Sunless Sea so hard when it first came out—I remember clunky combat and irritating resource grind as core objections. Returning to the game with the Zubmariner DLC I found myself well and truly suckered in—devoting hours to pottering away in the Unterzee, drinking in Failbetter's expert prose and luxuriating in the art style. Sunless Skies is shaping up to be another step forward so I'm singing Sunless Sea's praises now, lest seas be eclipsed by skies in the near future!

61. Baldur's Gate 2: Enhanced Edition

RELEASED 2013 | LAST POSITION 48

Tom: Baldur's Gate 2 is still a magnificent achievement. Few RPGs since have been as broad, deep or fully featured as this sprawling classic. Pillars of Eternity and other games are steadily bringing the classic RPG back to prominence, but Baldur's Gate 2 is still very much worth playing today, and is still one of the most faithful videogame interpretations of D&D's Forgotten Realms setting. It's a great party RPG too. Few modern games would be brave enough to implement a morality system that causes party members to fall out with you and leave the party—the closest you might get is Wrex's rebellion in Mass Effect. While we all remember Minsc and his space hamster companion Boo, the roster went much deeper and accurately reflected the spread of D&D classes, from lawful good paladins to chaotic neutral thieves.

Phil: After the slightly too long tutorial dungeon, Baldur's Gate II hits the ground running, setting you loose in the massive city of Athkatla to earn money to fund the next leg of your journey. It’s a great way to encourage you to explore the city, seeking out its stories and adventures.

60. Fez

RELEASED 2013 | LAST POSITION 67

Phil: A vast, beautiful mystery that's equal parts intriguing and relaxing, Fez is a puzzle-platformer that forgoes enemies and peril, instead offering a pleasant adventure about a strange world full of questions to answer. At its most basic, you rotate between four 2D planes, shifting the world in order to create a path to the next door. But over the course of the game, you'll solve riddles, uncover secrets, and even decode languages. Fez is a tantalising puzzle box just waiting to be unlocked.

59. 80 Days

RELEASED 2015 | LAST POSITION 37

Samuel: Take a journey around a steampunk-infused world as Passepartout, Phileas Fogg's indispensable assistant. Then, whether you succeed or fail, take the journey again and again, and see all the places and stories you missed the first time around. 80 Days is almost entirely dependent on great writing and little bits of art, and it's enough to bring the entire world to life. While it feels made for mobile, you should definitely pick it up on desktop if you've never played it. 

58. Final Fantasy 12: The Zodiac Age

RELEASED 2018 | LAST POSITION New entry

Tom: This feels like the most PC-friendly Final Fantasy to me. Like the rest of the games in the series, it's a beautiful big RPG with a cast of characters that span from annoying (Vaan) to awesome (Balthier). This entry is the only one with the excellent gambit tactics system, which lets you program your party's AI to blitz dungeons and bosses with satisfying efficiency.

Samuel: You can fast-forward this version of the game, too, giving the combat the pace and catharsis it desperately needed back when it came out on PS2. 

57. Hexcells Infinite

RELEASED 2014 | LAST POSITION New entry

Pip: This is the third game in Matthew Brown's hex-grid logic puzzler series, and it's the best of the bunch. The 'infinite' part of the title refers to the fact that it can generate infinite puzzles if you want to keep playing. But the real joy, and the reason I keep replaying it, is the set which Brown has hand-crafted. Absolute puzzle bliss.

56. Homeworld Remastered Collection

RELEASED 2015 | LAST POSITION New entry

Tom: The saddest spaceships in games must travel the galaxy looking for a new home in Relic's classic RTS. If you love brain-scrambling 3D battles then this is the only strategy game that really delivers. Deserts of Kharak is excellent too, but I'd sooner play a game bold enough to deploy Adagio for Strings in a scrap.

55. Dota 2

RELEASED 2013 | LAST POSITION 54

Pip: I have spent north of 2,000 hours in this game. You do not need to know how much money I have spent in this game. But that investment, both temporal and financial, was because this MOBA continued to reward me. There's a rich esports scene, a daft and creative community, the ability for friendships to blossom and for groups of players to cross pollinate as friends of friends move in and out of your teammate invite list. I only stop by occasionally now, but Valve continues to offer interesting updates. Turbo mode is my favourite addition in recent times, not least because it affords newbies a space where they can try characters out without as much pressure as a normal match.

54. PlayerUnknown's Battlegrounds

RELEASED 2017 | LAST POSITION 25

Samuel: It's a phenomenon I'd recommend trying to anyone who plays on PC, even if they bounce off it. That tension of landing in this world and seeing what plays out is an experience everyone should have. Evan put it best last year, so allow me to repeat it here: "it compresses the time and space that survival games like DayZ give you, forcing you into contact with other players and out of your comfort zone."

Andy: I play PlayerUnknown's Battlegrounds as a stealth game, moving carefully between cover, keeping out of sight, biding my time. But the thrill here is that the 'guards' are real people, which makes sneaking under their noses even more exhilarating.

53. Deus Ex

RELEASED 2000 | LAST POSITION 23

Tom: This one has slipped down the list this year, largely because in recent times we've seen developers pick up the immersive sim baton and run with it—see entry number two in this list for the results. Deus Ex is still a classic, though. Even though the visuals, UI, dialogue and sound design seem more creaky each year, the scope for experimentation and emergent player-authored action is still impressive. 

Phil: It's creaky for sure, but Deus Ex's freedom still feels remarkable, as does its level of respect for the player. Most games feel compelled to clearly flag when you’re about to make a narrative choice that might have a consequence. But Deus Ex thrusts you into a paranoid world where everyone has an agenda and every command should be questioned.

52. Fallout 4

RELEASED 2015 | LAST POSITION New entry

Samuel: I'd recommend all of the modern Fallout games to someone who’s never played them for various reasons, and this, in essence, represents that entire era of the series on our list (we were very close to including the original Fallout, too, but ultimately stuck with our one per series rule). New Vegas is the best for reactive storytelling, Fallout 3 has my favourite side quests, and Fallout 4 feels the most refined when it comes to combat, presentation and world design. Even if the choices towards the end didn't produce outcomes I was happy with, I loved journeying around that world with Nick Valentine and Piper. And taking on the role of pulp-style hero The Silver Shroud represents my favourite superhero experience in any game. 

Evan: There's nothing quite like Fallout's setting. Its cynical, post-apocalyptic, Atomic Age sci-fi is dripping with black humour and absurdity. I'm grateful that something so esoteric continues to get the big-budget treatment.

Phil: We're big fans of immersive sims at PC Gamer, and yet I love Bethesda's RPGs for being practically the opposite. Fallout 4 lets you be a silent stealth killer who wears a giant suit of power armour—not because it makes sense within the world, but because it makes sense within the underlying systems. It's an anti-immersive sim, offering satisfying freedom in how you build your wasteland wanderer.  

51. Stardew Valley

RELEASED 2016 | LAST POSITION 22

Andy: A miserable office worker inherits a farm and starts a new life in the idyllic Stardew Valley. This Harvest Moon-inspired farming sim is pleasantly freeform and lets you live the way you want to, whether that's just lazily growing a few crops here and there, or starting a ruthlessly efficient mayonnaise empire.

Bo: Stardew Valley is everything I ever wanted out of Harvest Moon, but unchained from Nintendo's puritanical approach to content.

50. EVE Online

RELEASED 2003 | LAST POSITION 44

Tom: It's obtuse, and it takes a lot of time and effort to become properly mixed up in the corporations that drive EVE Online's greatest dramas, but I have taken a lot of pleasure in hopping into a vessel and mining for a few hours, quietly turning in a small profit and enjoying the vibe of EVE's cosmos. It looks beautiful stretched across two monitors, and if I do find myself yearning for the grand stories of war and betrayal, I can always read about them later in PC Gamer.

49. BioShock

RELEASED 2007 | LAST POSITION 17

Samuel: While as a shooter it's far from best-in-class these days, exploring the different parts of this underwater world and learning its story is an experience no other game has matched for me.

Andy: Rapture is still one of the most atmospheric settings on PC, letting you explore a bizarre, broken society in a state of fascinating decay.

48. Warframe

RELEASED 2013 | LAST POSITION New entry

Steven: Digital Extremes' cooperative loot shooter quietly became one of the best free-to-play games and people are only just now catching on. In the years since its rocky release, Warframe has grown into a deeply satisfying and complex online game with thousands of hours worth of quests to complete and gear to farm.

47. Darkest Dungeon

RELEASED 2016 | LAST POSITION 83

Evan: Even as DLC has made it a bigger experience, I continue to value Darkest Dungeon's focus. It's an intimidating game for all the right reasons: difficulty, uncertainty, risk and reward. The audio and combat camera effects deserve an award for how they make fights between illustrated paper characters feel like Eldritch kung fu.

46. Opus Magnum

RELEASED 2017 | LAST POSITION New entry

Tyler: Solving an Opus Magnum puzzle isn't satisfying the first time. You build an alchemy machine with tracks, rotating arms and flowchart instructions—producing gold from lead, for instance. Your sloppy contraption may look beautiful in motion, but how could you move on to the next challenge when your friend solved the same problem more elegantly? That quest for perfection is deviously engrossing. Few puzzle games feel so good to finally master.

45. Planescape: Torment: Enhanced Edition

RELEASED 2017 | LAST POSITION 60

Andy: The Enhanced Edition of Torment is currently the best way to play this supremely weird RPG on modern PCs. You play as an immortal being with amnesia, trying to piece his past together. The writing is the star here, bringing Dungeons & Dragons' Planescape setting to life in exquisite, wordy detail. Think of any RPG convention and Torment will subvert or twist it in some fascinating way, and the characters who join your party along the way are truly strange.

44. Civilization 5

RELEASED 2010 | LAST POSITION New entry

Tyler: I vacillate between them, but even though I like Civ 6's city districts, Civilization 5 with all the expansions is still the evening destroyer I'd recommend. I wish the series would reexamine its assumptions about the world and make more radical changes in the future, but for now, Civ 5 is still the standard bearer for turn-based empire building: complex enough not to become too rote, but accessible enough for just about anyone who enjoys rewriting history.

Evan: I prefer Civ 6—it's shallow, but I need my 1440p boardgames to look as pretty as possible, and the expressive, animated leaders of Civ 6 add a lot. But the fact that there's still a debate between the two is an endorsement of Firaxis' approach to putting meaningful new spins on one of PC gaming's longest-standing, most celebrated genres.

Andy: In all the time I've played Civ 5, I've never actually won a game. And so it's a testament to just how compelling and accessible its strategy is that I keep coming back, trying new tactics and shaping my civilisation in new and interesting ways. It's the journey—taking my people from humble beginnings to advanced empires—that I really enjoy. The destination ultimately isn't that important.

43. Invisible, Inc.

RELEASED 2015 | LAST POSITION 50

Tom: This turn-based tactics game has you controlling a squad of superspies in missions to knock out guards and steal data before the alarms detect you. I love Klei's angular art, and it's miraculous that the team were able to build such a tight and nuanced tactics game with procedurally generated offices. As with Into the Breach, Invisible, Inc. gives you tons of information about what's going on with enemies. You can see their sight lines clearly and judge their intentions. Your main decisions come down to your use of power points to hack systems. You can disable alarms or unlock doors to access tantalisingly placed upgrade terminals. Do you grab your objective and flee before security arrives, or take a gamble for an upgrade that might make future missions a lot easier?

42. Overcooked

RELEASED 2016 | LAST POSITION 77

Evan: Pure co-op calamity with a deceptively cheerful art style. You will never yell "I need lettuce!" with more anger and urgency. 

Samuel: So enjoyable to pick up, then appallingly difficult to master as you chase those three star ratings. If only I could take it less seriously—me and my partner had to stop playing because I was treating it like a part-time kitchen job. "Plates, plates, PLATES!"

Phil: It's like if the TV show Hell's Kitchen was a game—swearing and all.

41. Super Hexagon

RELEASED 2012 | LAST POSITION New entry

Jody Macgregor: Terry Cavanagh of VVVVVV fame's twitchiest game, Super Hexagon makes you a triangle trapped in pulsing, multicoloured hexagons, dodging through gaps in spinning walls at high speed. It's the definition of easy to learn and bloody impossible to master. I used to think hexagons were fine. Perfectly respectable shapes. Maybe not as fun as parallelograms, which are basically drunk rectangles, but pretty good overall. Now I've played Super Hexagon I hate them. They give me a rash. Terrible shapes. To hell with hexagons.

Phil: Before writing this paragraph I fired up Super Hexagon for the first time in five years, and after only a few tries I was already pushing up near my best times. This is the kind of game that sears itself into your subconscious; burrowing deep down into your muscle memory just waiting for you to return. As a shortform arcade game it's practically perfect—a pulsating, rotating, constantly shifting assault of shapes and sounds with an instant restart that has you back in the action before the voiceover can finish saying "game over".

40. Mass Effect 2

RELEASED 2010 | LAST POSITION 7

Samuel: The facial animations really date BioWare games, but Mass Effect 2 is still the best at showing darker, more interesting sides to its dense sci-fi universe. Plus it still has my favourite party of characters from a modern BioWare RPG. Maybe it's time for another trilogy replay.

Andy: The greatest ensemble cast in RPG history. The idea of recruiting the galaxy's most notorious warriors and criminals is a brilliant excuse to gather up a motley crew of weird, flawed, interesting people, and I cared about all of them.

39. Hearthstone

RELEASED 2014 | LAST POSITION 45

Tim: Hearthstone is in a funny spot. It's as gigantic as it's ever been, but with the departure of game director Ben Brode and the looming threat of Valve's Artifact, now would be a good time for Blizzard’s CCG to shake things up a little. The arrival of a tournament mode later this year may do that, but despite an atypically diverse meta, I've felt my desire to grind the ladder wane. Regardless, for now Hearthstone remains peerless in terms of the quality and polish of the experience.

38. Grand Theft Auto 5

RELEASED 2015 | LAST POSITION 12

Andy: GTA 5 is one of the most lavish singleplayer experiences you can have on PC, with impeccable production values, superb mission variety, and a wonderfully vibrant city. It's massive, but I've finished it three times—that's how much I love being in Los Santos. For me, Michael is Rockstar's best protagonist: a weary, slightly pathetic crook past his prime trying to make it in a world that’s left him behind.

Samuel: I change my mind about GTA Online every few months, but the fidelity of the world is unbeaten. I adore the original heists, and I've had a lot of fun playing the game with other people. I've seen those streets so many times now, though, and am desperate to play whatever comes next in the series. Or, you know, they could bring Red Dead to PC.

Phil: Whatever you think about GTA Online (relationship status: it's complicated), that first set of multiplayer heists are among the best co-op experiences you can have on PC. The way they divide your team of four into smaller groups, each performing a specific task that slowly draws everyone together for a single, action packed finale is—when you successfully pull it off—tense, exciting and memorable.

Joe: GTA Online is a shop window, and few games let you observe other players' wares with such impact. Seeing that new car, aircraft or chopper hurtling towards you makes you want it—which makes grinding to get it less of a chore.

37. Company of Heroes 

RELEASED 2006 | LAST POSITION 56

Tom: It's Relic's best game and frankly still one of the best real-time strategy games ever made. Jumping into a skirmish against the AI, it holds up today as well as it did at launch, which is a testament to the quality of the art and sound direction, and the success of Relic's squad-based take on unit control. The expansions are decent, but I still relish the purity of Company of Heroes' asymmetrical core matchup. The US has a slight numbers advantage in the early infantry stages of a battle but the Axis forces can bring halftracks to the mid-game and elite tanks into the endgame. A few games have tried to imitate Company of Heroes over the years, but none have really come close.

36. Half-Life 2

RELEASED 2004 | LAST POSITION 11

Andy: Gordon Freeman awakes from stasis to find Earth transformed into a dystopian hellscape by an invading alien force. Valve's influential FPS is still fantastic, particularly its eerie, understated atmosphere. The Combine are genuinely unnerving antagonists, but they didn't anticipate going up against a mute physicist who can yank radiators off the wall and launch them at high speeds.

Chris: A linear FPS but one that makes you feel as if you're finding your own path through it, rather than being shoved along rails by the developers. And the gravity gun is still the most enjoyable multitool in games: perfect for solving physics puzzles, playing catch with Dog, using a metal door as a shield, or flinging a toilet into a Metrocop's head.

35. Devil Daggers

RELEASED 2016 | LAST POSITION New entry

Jody: FPS design often copies the Halo idea of a single, repeatable loop of fun, but Devil Daggers really boils it down. Here the loop is backpedalling in an arc while shooting daggers at nearby enemies, clearing enough room to aim at the weak spot of a distant, tougher enemy, then spinning around to take out the skull-face jerk sneaking up behind you. It's just you and infinite bastards to shoot. Perfect.

Evan: If you die and don't go to heaven or hell, you play Devil Daggers until you win.

34. Forza Horizon 3

RELEASED 2016 | LAST POSITION 29

Phil: A gloriously silly arcade playground that takes the Forza Motorsport series' deep love of cars and customisation and transports it into a vibrant, luscious world full of ridiculous races and entertaining off-road mayhem. Forza Horizon 3's best feature is the skill chain system, which transforms an otherwise basic drive between events into a challenge to string together stunts without crashing.

Andy: Driving pretend cars doesn't get any better than the Forza series, and Horizon brilliantly softens the simulation while still maintaining a feeling of weight and realism.

Evan: All racers should be set in Australia.

33. The Elder Scrolls 5: Skyrim

RELEASED 2011 | LAST POSITION 26

Andy: Skyrim remains one of the most evocative settings on PC. It's not as big as some game worlds, but the varied biomes—from the bubbling hot springs of Eastmarch to the snow-battered coastline of Winterhold—make it feel much bigger than it is. The role-playing is shallow and the writing isn't great, but the sense of place and feeling of freedom make up for it. Picking a direction, going for a wander, and seeing what you'll find out there among the snow and ice is The Elder Scrolls at its most captivating.

Chris: You can finish (or completely ignore) the main story and still have a couple hundred hours of self-guided fun—especially by adding mods to the mix. Skyrim gives you a special kind of freedom seen in few RPGs.

32. Proteus

RELEASED 2013 | LAST POSITION New entry

Pip: If this was Pip's Top 100 Proteus would be in the number one spot. It's a contemplative experience where you wander a procedurally generated island, delighting in what you find. I often find myself drifting back to it in moments of stress, treating myself to a short digital holiday. One time I forgot I'd tweaked the game files and accidentally turned everything red, so that was a surprise. Seas of blood. But if you don’t make seas of blood it's gloriously restful!

31. Crusader Kings 2

RELEASED 2012 | LAST POSITION 52

Phil: Crusader Kings 2 isn't just a grand strategy about medieval kingdoms. It's a grand strategy about the people in charge of those kingdoms. You're not the abstract concept of the country of France; you're the King of France, a 60-year-old man who, after a protracted battle against the rebellious Duke of Burgundy, is now on his deathbed, about to leave the fate of his dynasty to an idiot son. You're not the ever-expanding territory of the Holy Roman Empire; you're an increasingly deranged emperor who people think has been possessed by the devil. By generating stories about people, Crusader Kings II is an endlessly fascinating soap opera that's different every time. In my last campaign, I didn't even play. I used the command console to simply observe the action, watching as an epic period drama played out across the map.

Chris: What's most interesting is how your relationships change when you die and continue playing as your heir. Those three children you had don't seem so wonderful once you've assumed the role of the eldest. The other two, while devoted to their father, now hate you and may plot against you. Your entire view of the world changes regularly, not just because the players change but because you yourself do, by dying and playing as someone new.

30. Portal 2

RELEASED 2011 | LAST POSITION 5

Chris: It should have been impossible to top the near-perfect Portal in comedy, storytelling, and physics-bending first-person puzzles, but Portal 2 somehow manages it, and even throws in some fantastic multiplayer on top. 

Andy: Portal 2 brings a funny and sometimes disarmingly poignant story to its mind-bending puzzles, and the results are exceptional. Your journey through the various eras of Aperture Science make the game a constant delight.

29. World of Warcraft

RELEASED 2004 | LAST POSITION 59

Andy: Blizzard's long-running MMORPG simply refuses to die, and in fact seems to be getting better with every expansion. The most recent, 2016's Legion, brought in a swathe of quality-of-life improvements and some of the best questing in World of Warcraft's nearly 14-year history, making it worth playing all over again. It's still pretty grindy, especially compared to the more streamlined Guild Wars 2, but there are few online worlds this rich and storied to spend time in.

Don't miss Steven's Battle For Azeroth review for some more recent WoW words.

28. Undertale

RELEASED 2015 | LAST POSITION 61

Tyler: Undertale subverts RPG cliches with constant self-reference, but unlike many 'parody games', it's not cynical or derivative. It plays on expectations without succumbing to them, with characters we’d love even without the metacommentary on game design, fandom, and authorship. Undertale is a great RPG even if you don't get every reference.

27. Fortnite Battle Royale

RELEASED 2017 | LAST POSITION New entry

James: Fortnite's battle royale mode started as a weak PUBG imitation, but an unprecedented update cycle has made it not just the best battle royale game, but one of the most fascinating games in development today. With map changes, new items, and one-off world events almost every week, Fortnite is endlessly entertaining to live in.

26. League of Legends

RELEASED 2009 | LAST POSITION New entry

Wes: Regular changes to the meta have kept League alive and on top for years. It’s still the best entry point for the MOBA genre.

Pip: I favour ARAM—a five-vs-five battle where randomly assigned characters let spells and punches fly across a single lane. I visit the pressure of the three lane Summoner’s Rift from a safe distance—as an esports spectator.

25. Cities: Skylines

RELEASED 2015 | LAST POSITION 82

Andy: While the most recent SimCity did everything it could to stifle creativity, Cities: Skylines gave players the power to make anything they want—in part thanks to the deep mod support. The result is the best city-builder around.

Samuel: The best game of its kind in a genre that people have enjoyed and will play forever, well supported by compelling expansions. Plus, you can destroy your city with meteors if you're having a dark day—like I did when I was mayor of Pipville several months ago.

24. Arma 3

RELEASED 2013 | LAST POSITION 55

Evan: Arma 3 stands alone as the highest-fidelity FPS, the best multiplayer story generator, and a bottomless trough of community missions and mods. You can play it with the utmost seriousness, with an add-on that lets you administer simulated CPR on injured comrades, or as a silly military take on Black & White with its Zeus DLC. It's no coincidence that Arma was the fertile terrain that produced the last two biggest trends in PC gaming: battle royale and survival games.

23. Her Story 

RELEASED 2015 | LAST POSITION 19

Phil: You start with a police database open and the word 'MURDER' entered into its search field. Hit enter and you’re given four short video clips from a police interview. In one, the woman being interviewed says, "I didn't murder Simon." OK, let's search 'SIMON'. More video clips—more hints at a tantalising mystery that twists and changes as you unlock more of its parts.

Samuel: Probably the best mystery game ever made, because Her Story is over when you feel you've found the answer (or when you've discovered all the clips, depending on the type of player you are). It truly puts the drama of uncovering the truth in your hands, which is so hard for a game to do in any meaningful way. One of those games I would recommend to someone who has never played games. 

Tyler: A fantastic performance that made FMV, for once, not cheesy.

Andy: A narrative game that really makes use of the medium. The mystery unfolds differently for everyone who plays it, which is a wonderfully original way of telling a story. What you think happened might be different to someone else’s interpretation, turning us all into unreliable narrators.

22. Total War: Warhammer 2

RELEASED 2017 | LAST POSITION New entry

Tom: Total War is a complex grand strategy series that fuses turn-based 4X-style empire-building with vast real-time battles. So far we've mostly seen the format used to explore historical scenarios, but it turns out the Warhammer universe is a perfect fit. For fans of the setting it's a joy to see each faction rendered so vividly, but I would recommend Total War: Warhammer 2 to any strategy fan regardless of your Warhammer knowledge. If you want to command a traditional army, the Empire is there for you. If you want something more adventurous, you don't need to know much about the undead Tomb Kings to enjoy sending hordes of skeletons after magical relics. The sequel's campaign is brilliant. Four factions fight for control of a big magic vortex in the middle of the map, which keeps the campaign interesting all the way into the endgame.

Jody: Replay that campaign and eventually you'll see behind the curtain, but what makes it worth replaying is the factions. Warhammer 2 gets its factions right in ways that should please all but the fussiest fans, even though they're a diverse collection of uptight magic elves, dinosaur-riding lizards, sneaky rat bastards, and "we're really into leather" sex dungeon kink elves. That's no easy feat.

21. The Sims 4

RELEASED 2014 | LAST POSITION New entry

Pip: The latest instalment of the long-running life sim has absorbed many hours of my life as I generate idiotic stories starring my beloved cast of citizens. Four years after release it's at the point where features missing at launch have been patched in (toddlers! pools!) and you can use the glut of expansions, game packs and stuff packs to tailor the game to your playstyle. I'd like to see the pricing model better support people who dip in and out, but overall there's still no other game like it. 

20. Counter-Strike: Global Offensive

RELEASED 2012 | LAST POSITION 49

Evan: Valve's half-hearted updates dented its ranking this year, but CS:GO remains the purest team FPS on the planet. Every round is a joust of plays, counters, and outmaneuvering, where a smart flash or reflex AWP pick shifts the balance. You can spend a lifetime improving your grenade technique, your de_inferno mid push, your eco round playcalling. It'll never be enough. Each gun is a wild animal with its own unique spray pattern and tendencies that can take dozens of hours to learn.

19. Rocket League

RELEASED 2015 | LAST POSITION 16

Tyler: I've hit a skill plateau in the best and only rocket car soccer game (I play the hockey variant), but I just have to find the next slope. I don't think one can ever stop getting better at Rocket League. There's always a better position I could've been in, an aerial I shouldn't have botched. It hasn't changed much over the years, but I feel like I could play it forever.

18. Hitman

RELEASED 2016 | LAST POSITION 14

Phil: This stealth sandbox about a bald assassin features six huge, absurdly detailed maps, each filled with interesting ways to bump off your targets. Hitman's social stealth systems—where disguises are more important than not being seen—gives you the time to plan, experiment and refine your approach. It's now the best game in the series.

17. Kerbal Space Program

RELEASED 2015 | LAST POSITION 39

Phil: Build a rocket, launch a rocket, fly a rocket, crash a rocket. And then do it all again—tweaking and experimenting until your design is bona fide spacefaring craft, able to maintain orbit or visit nearby celestial bodies. Kerbal Space Program is a sublime mix of physics and slapstick that makes for the perfect playground for space exploration.

16. Spelunky

RELEASED 2013 | LAST POSITION 10

Wes: No one's topped the way Spelunky's pieces play off one another to make its world feel deeply knowable and random at the same time. It's a game you play for hundreds of hours, until getting the key to unlock the chest to find the Udjat Eye to reach the black market to buy the ankh to die and come back to life to fight Anubis to take his sceptre to unlock the City of Gold to find the Book of the Dead to journey through Hell to fight King Yama just feels like another day playing Spelunky.

15. Alien: Isolation 

RELEASED 2014 | LAST POSITION 8

Andy: The best horror game on PC, because the thing chasing you has a mind of its own. There's no pattern to predict, no patrol route you can exploit. The alien is intelligent. It will learn your habits and it will fuck with you, and that is terrifying.

Samuel: I replayed it this year, and it's amazing how much mileage they get out of the same two repeated enemies by making clever use of set pieces and different types of environments. Probably the best horror game ever.

14. Overwatch

RELEASED 2016 | LAST POSITION 13

Andy: I love Overwatch because, as someone lacking the skill to play most other online shooters competently, I can still make a difference in a match. The sheer variety of brilliantly-designed characters and their wildly varied toolsets means there's something for every kind of player, even if they can't pull off a decent headshot. It's also impressively accessible, cleverly explaining the intricacies of its heroes' abilities without overloading you with information.

Bo: A year ago, Blizzard told me they had "barely scratched the surface" of abilities and character archetypes they'd like to explore in Overwatch. With the newest hero being a giant hamster ball mech with a Spider-Man-style grappling hook piloted by a literal hamster, I'm finally inclined to believe them. Overwatch continues to be one of the most unique and accessible shooters. And on the esports front, the Overwatch League's adoption of a city-based team model has ignited local enthusiasm in a way that no other game, tournament, or organization has been able to thus far.

Phil: We decided this list's order before Wrecking Ball was announced. I'll leave you to speculate whether he would have raised or lowered Overwatch's position.

13. Life is Strange

RELEASED 2015 | LAST POSITION New entry

Pip: Dontnod's episodic, time-rewinding teen drama develops (Look! A photography pun! Because the lead character is into photography!) from a gawky, awkward-but-sweet first episode with slightly clunky dialogue into a story capable of delivering real emotional sucker punches. It's not perfect—some puzzle segments outstay their welcome and the plot often throws subtlety out of the window—but OH MY! The cast of characters and the strength of their relationships elevate the whole thing, and the Instagrammy aesthetic bolsters the teenage intensity. 

Phil: It also features probably the best use of mid-'00s indie boys playing sad acoustic songs about relationships and feelings in all of gaming. Max listening to José González while riding a bus across Arcadia Bay is a beautiful, understated sequence that gives us the time to empathise with the character and her feelings about the town she's returned to.

12. Hollow Knight

RELEASED 2017 | LAST POSITION 46

Wes: The best Metroidvania since Super Metroid. Hollow Knight is open-ended almost to a fault, giving you a massive, decaying, interconnected bug kingdom to explore and frequently find yourself lost in. It can be overwhelming at first, but the feeling of discovery ends up being immensely rewarding as a result. The super responsive platforming and combat keep backtracking from ever feeling like a chore, something similar games have struggled with.

11. Doom

RELEASED 2016 | LAST POSITION 9

Tom: A modernisation of Doom that puts the focus firmly on speed and sweet guns. The DOOM reboot resists decades of shooter trends that either ape Call of Duty or try to crossbreed the FPS with other genres. There's nothing wrong with that sort of experimentation, but it's so refreshing to boot this game up and blow gooey chunks out of the forces of hell. Bring on the next one, id.

Samuel: The best single-player FPS there is in 2018. A clever update of Doom that turns fights into melee-heavy duels, with a not-overly-serious tone that hits just the right spot.

Wes: And the levels are actually intricate mazes full of secrets, just like classic Doom! I expected good shooting in bland corridors, but this is so much more.

10. Metal Gear Solid 5: The Phantom Pain

RELEASED 2015 | LAST POSITION 6

Tom: I loaded back into my MGS5 save a month ago to find Snake decked out head-to-toe in a leopard skin combat suit. I forgot that my dog had a knife and my horse had a face shield, and I forgot that I named my squad TACTICAL OCTOPUS. It’s a terrific open world stealth game, but its quirky sense of fun makes the supernatural military nonsense bearable. 

Samuel: My favourite stealth action game ever, that sits somewhere between immersive sim and Metal Gear of old.

9. Dark Souls Remastered

RELEASED 2018 | LAST POSITION 2 (Prepare to Die Edition)

Tom: Have you met Gravelord Nito? He's a roiling mass of skeletons shrouded in a cape of souls. He lives deep in Dark Souls nightmarish catacombs, and he's just one example of the game's extraordinary art direction, and powerful sense of dark fantasy horror. People go on about Dark Souls' bottomless lore with good reason, but underneath the theatrics it's actually a very simple game. You raid dungeons, chop up monsters, loot chests and level up. Without strong, enduring combat fundamentals I wouldn't have kept playing long enough to uncover the gods' tragic stories.

8. Subnautica

RELEASED 2018 | LAST POSITION New entry

Pip: Subnautica is my game of 2018 so far. I usually tap out pretty fast when it comes to survival games but this one takes place in a gorgeous underwater world, involves a compelling plot, AND I adore tinkering with my little underwater base. It also lets me choose how much survival-ing I care to have as part of the game experience, meaning I can switch off thirst. It's not exactly better down where it’s wetter given the wealth of creatures and situations which can kill you, but it's exactly where I want to be.

Andy: Exploring is genuinely rewarding, both in terms of finding resources to build cooler submarines and environmental detail. It's a world with a story to tell, and it tells it brilliantly.

7. XCOM 2

RELEASED 2016 | LAST POSITION 4

Tom: Strategy games are good at making me care about numbers and systems, but XCOM 2 is one of the few I can name that translate the numberwang into emotional investment. Losing a squad member can feel devastating. You nurture them between fights, gradually upgrading their gear and unlocking sweet new skills, only for an alien to cruelly blast them in a routine mission. When things go wrong in XCOM, they go very wrong indeed, which is all part of the drama in a game that casts humanity as the underdog.

Evan: XCOM's art direction is ridiculously underrated. Its maps are believable, colorful dioramas that shatter into pieces under the heat and intensity of your insurgent combat. 

6. Rainbow Six Siege

RELEASED 2015 | LAST POSITION 15

Evan: Sure, you can play Siege as if it's Counter-Strike, pre-firing and out-angling your opponents with snap marksmanship. But the real joy is in outsmarting the other team by poking clever holes in the maps, placing your gadgets in unexpected positions, and careful drone scouting. I also love Siege's tempo: this is a shooter that gives you time and a canvas of breakable space to stop, strategize, and execute a dumb plan with absurd gadgets like an eyeball turret that shoots lasers, invisible poison mines, and a drone that shoots concussions. Ubisoft remains devoted to supporting Siege with meaningful systems renovations and with four annual updates that add new characters and maps.

5. What Remains of Edith Finch

RELEASED 2017 | LAST POSITION 27

Samuel: This first-person narrative game is constantly inventive. Edith Finch ventures into the home where her family used to live, before they all died in various tragic circumstances and their rooms were sealed up. You uncover each of their stories. It's the high point of this genre.

Andy: Exploring the abandoned home of the eccentric Finch family and uncovering their history is one of the most satisfying storytelling experiences a game has ever given me. But it's a game I'll never play again, simply because one scene in particular was so emotionally-charged that I can't face it. Any piece of media that holds that kind of power has to be special.

4. Into the Breach

RELEASED 2018 | LAST POSITION New entry

Tom: Into the Breach is a game about quick turn-based battles between mechs and kaiju-sized bugs, and it's almost perfect. Unlike many turn-based strategy games, Into the Breach doesn't use chance to inject battles with tension—the UI tells you pretty much everything that's going to happen next turn. The pleasure comes from solving the next turn state as efficiently as you can. It's a small game—battles only last a few turns on an eight-by-eight grid—but the varied mech teams and increasingly nefarious bug types create a huge amount of tactical variation. It shows that strategy games don’t have to be long and laborious.

Wes: There's so little randomness that random moments have immense impact. In one run, I had two buildings resist damage at a pivotal point. I've never done a more exaggerated fist pump.

3. Divinity: Original Sin 2

RELEASED 2017 | LAST POSITION New entry

Tyler: Divinity: Original Sin 2 feels less stodgy than other classic RPG revivals while heightening their best qualities: turn-based combat (I hate real-time, sorry) with physics-based spells and exploding barrels (necessary), great characters, and a commitment to letting players do what they want, even if it breaks everything.

Wes: It offers you an intricate RPG sandbox to play in, and it invites you to break the rules in as many ways as you can imagine. The first game did that, too, but this one marries that freedom with across-the-board great writing and genuinely thoughtful roleplaying. It walks the walk and talks the talk.

2. Dishonored 2

RELEASED 2016 | LAST POSITION 3

Samuel: This is the best stealth game there has ever been. While the high-concept levels like A Crack in the Slab and Clockwork Mansion get a lot of attention for their clever one-off twists, more traditional stages like Royal Conservatory and Dust District are so detailed and fun to explore. There's no sense of repetition, and each level feels like a huge event. It's the precision of Dishonored 2 I love. Every successful takedown or evasion feels like something you've earned. 

Andy: Dishonored 2 has some of the best level design on PC, both in terms of the architecture and aesthetic, and in how the environments are rich playgrounds that let you really flex your creativity. Every location has something interesting about it, whether it's the time-hopping of A Crack in the Slab or the intricate house-sized puzzle box that is the magnificent Clockwork Mansion. And the sheer volume of ways to navigate the levels and complete your objectives really captures the spirit of PC gaming.

Tom: I want to savour every moment in Karnaca, because those levels are so dense and fun to explore. Immersive sims have always been good at creating broad levels like these, full of sandbox opportunity, but I really value that simple acts of moving, shooting and fighting feel great in Dishonored 2. Your regenerating mana bar gives you license to use your traversal powers freely, and I love blink and Emily’s tentacle leap. The introduction of Emily just broadens your toolset further. Domino, which lets you chain NPCs fates together so that one attack affects them all, is an inspired ability, and it's emblematic of the way Dishonored 2 builds on the tenets of immersive sims like Deus Ex, and spins them out in spectacular new ways. Augmented special forces dudes are cool, but warlock assassins are even cooler.

Phil: For me it's the reactivity of the world. Yes, the combat is fluid and satisfying, the level design is intricate and beautifully balanced, and the abilities perfectly tailored for absurd displays of skill and problem solving. But what ties it all together is the lengths Arkane has gone to make it all feel believable and real. Immersive sim is, I will admit, a clunky term, but it’s a useful way to encapsulate a core philosophy: that a game’s systems must work to make you believe in a world, even if that world features magical parkour assassins. I believe in Dishonored 2's world because throughout I encountered ways Arkane had anticipated player behaviour. The most extreme example is found in the standout mission A Crack in the Slab, which features an alternate timeline that only occurs if you do something that’s never asked of you—that most people will probably never try. Arkane knew someone would try, and so made a response. That's amazing dedication to the craft.

1. The Witcher 3: Wild Hunt

RELEASED 2015 | LAST POSITION 1

Tom: It's a great execution of the ronin fantasy set in one of the most beautiful worlds on PC. The craggy Skellige isle might be one of my favourite places in games, or is it Novigrad, or the sunlit vineyards of Toussaint? Even the dripping bogs in the early areas are pretty, in their own miserable way. Within these gorgeous places you meet people with interesting problems. Maybe their local well is haunted. Maybe their spouse is haunted. Usually something is haunted, or cursed, or being pursued by a hideous mythical beast. I treated the sidequests as the main quest, to be honest, roleplaying a mutant outcast on a mission to make the world a slightly better place. Oh, and let's not forget Gwent, one of the best games-within-a-game since Final Fantasy VIII's Triple Triad. 

Jody: The fact you play a character with his own place in the world, including allies, enemies, and ex-girlfriends, is a definite strength of The Witcher 3. But it wasn't always this way. In the first Witcher game Geralt was an amnesiac sleazebag and honestly a bit of a tool. He wasn't a fun person to be around, let alone to be. But by The Witcher 3, Geralt's a caring father figure with a heart of gold beneath layers of beard and gruff, and more than that he feels like someone you personalise. How much he cares about getting paid, who he loves, how seriously he takes his creed, that’s all you. The Witcher 3's version of Geralt is the perfect videogame protagonist not because he's more integrated into his world than a character you make from scratch, but because he's a solid outline with room to manoeuvre inside that. He contains multitudes—but not too many. He has well-defined areas of doubt and uncertainty.

Wes: "Place" really is what makes The Witcher 3 so spectacular, and like no other game I've played. It's not just that the world is gorgeous and detailed, though it is both of those things. The Witcher 3 has this unparalleled combination of artistry and technology that makes its locations and characters feel authentic. Accents and architecture differ between the mainland and Skellige. The characters you encounter out in the world have quests that involve their families or monsters native to their region, and the more of these quests you take, the more you appreciate how natural and human they seem. No one's asking you to go out and slay five wolves because that's a good way to spend ten minutes in an RPG. If you're killing beasts, it’s probably to save a village's flock or get revenge for a grieving father, and even straightforward quests often end with surprising deviations. Depending on how you play Geralt, you can be a mercenary in search of coin, or calmly talk someone out of a decision you know they'll regret. You can haggle with assholes who don't respect the value of a witcher's work, and you’ll have to decide what to do when a poor farmer doesn't actually have the money he promised you. Those touches, along with the motion capture, the voice acting and the wind on a blustery night in Velen, make the whole thing come alive. What a world.

Phil: A thing I hate about most RPG writing is that something as simple as asking to be rewarded for your time and effort is treated as the most evil thing a protagonist can do. But in The Witcher 3, Geralt is a professional doing his job. His haggling with clients over money isn't a deviance or a crime, but the expected cost of hiring a man who is good at what he does for a living. 

Andy: I love The Witcher 3 because it’s a game where almost everything is meaningful. When you pick up a quest, it isn't just some thinly-written excuse to get you to go kill a monster. There's a backstory, a motivation, and often a twist. Quests can spiral, turning an encounter with a peasant in a tavern into a sprawling epic that ends with you fighting some great, mythical beast atop a crumbling tower in a raging storm. The game is heaving with interesting characters and worthwhile things to do, and Geralt is the foundation of it all: a complex lead who makes other videogame characters look like cardboard cutouts.

Personal picks

We love many more games than we can fit onto one list, so here the PC Gamer team has spotlighted a few of their favorites that didn't make the cut. 

Philippa Warr: Cradle

Cradle, like Deadly Premonition, is wonky but fascinating and stays with you for years. It's a transhumanist puzzler where you try to repair a mechanical girl who is also a vase in a yurt on the Mongolian steppe next to an abandoned theme park which dispenses block-based minigames.

Joe Donnelly: Kentucky Route Zero

Kentucky Route Zero is wonderful. Its storylines are weird and interesting. Its minimalist art style is gorgeous. Its sprawling open road and Mark Twain-esque Echo River are a joy to explore. Its cast of characters are quirky and often funny. And it's not even finished. Look for its final act this year.

Bo Moore: Prey

The first 20 minutes of Prey form one of the most inspired sci-fi set pieces of recent memory. An immersive sim that offers fantastic problem solving, enjoyable enough combat (even if the enemies are a bit uninspired), and, true to its pedigree, a level of environmental storytelling that rivals Rapture.

Steven Messner: Slay the Spire

This deckbuilding roguelike isn't out of Early Access and already I've sunk more hours into it than I’d care to admit. It's a deceptively simple game that anyone can easily pick up and play, but learning to build the perfect deck—and getting all the lucky drops to pull it off—can make hours vanish.

Tyler Wilde: Chess Ultra

For online chess, I recommend Chess.com. But if you want to relax with a few AI games, Chess Ultra has many of the features of pro chess software without the complexity. It's for people who just want to play chess, and it works wonderfully. The Twitch integration and VR support are cool, too.

Chris Livingston: Duskers

Issue text commands to drones to steer them around abandoned space stations where terrifying aliens lurk. You can only see what your drones see, giving Duskers a spooky found-footage feel. It's a scary and surprising roguelike where everything going wrong is as much fun as everything going right.

Tom Senior: Thief Gold

It's surprising how well 1998's Thief still holds up. It's tense and atmospheric, and the labyrinthine levels feel huge, substantial and ambitious even today. It's punishing, and the spindly NPCs look kind of ridiculous now, but I still get the fear when I snipe out a torch with a water arrow, hoping that nobody sees it.

Phil Savage: Shadow Tactics: Blades of the Shogun

A stealth puzzler that's not afraid to make you wait. You embark on missions throughout Edo period Japan, silently breaking into well-guarded strongholds using wits, patience and an adorable raccoon dog. Deep, tactical and rewardingly tricky.

Andy Kelly: Else Heart.Break()

In a digitised world, anything can be hacked. That’s the premise of else Heart.Break(), a unique game about love, freedom, and cybercrime. You can hack objects to change how they behave. Hero Sebastian uses his newfound coding skills to join a gang of hacktivists.

Evan Lahti: Oxygen Not Included

The intricate systems-maths of a sim wrapped in the handmade charm of a Klei game. Within hours of starting a new colony, you're optimizing airflow and figuring out the right number of toilets to fertilize your plants. It's still in Early Access, but this is already my favorite ant farm on PC.

Samuel Roberts: Assassin's Creed Origins

I'm not traditionally a fan of Ubisoft’s series, but almost everything here, from world layout to combat to quest structure, has been revamped. I think everyone should see this open world before they die. It's a staggering creation.

James Davenport: Stories Untold

Using a computer shouldn't be scary, but Stories Untold makes it so. The fidelity of the keys and knobs draws you into its world. Sitting at your computer while the protagonists are tormented by their own makes the events of these four short stories feel more real and unnerving. 

If Deus Ex is one of those series that you've always said you'll play some day but you've never actually got round to buying the games, then today is as good a chance as any. The original and the follow-up, Invisible War, are both on sale for less than $1, while 2011's Deus Ex: Human Revolution is $3/2. That's a lot of game for not much money.

The most recent in the series, Mankind Divided—which split long-time fans—also gets a permanent 50% price cut, which makes it $29.99/£19.99. I wouldn't buy it at that price, though, because it's on sale for less than half of that fairly regularly. 

So, where should you start? The obvious answer is 'at the beginning', but if you're new to the series, then Human Revolution is more accessible than the original, and almost as good. It's polished, cinematic, packed with detail and gives you plenty of choice about how to approach its missions. Tom's review (94%, no less) is here.

Of course, the original Deus Ex is a good bet if you can get past the dated visuals. As Andy wrote when he revisited the game last year, it still holds up, and its huge, dense levels are a joy to explore.

Browse through the sales here. They end tomorrow.

And remember, while we're not expecting a new Deus Ex game anytime soon, the series is not dead. Here's Tom's view on what Eidos Montreal should do with the next installment.

Deus Ex: Mankind Divided was good, but for a variety of reasons it wasn't exactly a big hit. That led to rumors in early 2017 that Eidos Montreal, which had previously positioned the Deus Ex series as its flagship, had basically shelved it in favor of other things. There hasn't been much said about it since, but studio head David Anfossi recently told PCGamesN that while Shadow of the Tomb Raider is currently the big thing on the Eidos plate, "Deus Ex is not dead." 

"Deus Ex, of course, it's the brand of the studio. We are all attached to this franchise, but we cannot do everything, you know?" he said. "So we have Shadow of the Tomb Raider, we have this co-development with Crystal [Dynamics] on The Avengers, and we have a third game in development, so it's enough at the moment for us." 

That third game is rumored to be based on Guardians of the Galaxy, although it remains unannounced despite the initial report of the project being well over a year old now. 

The news is somewhat less happy for fans of Thief, which didn't get the same "not dead" seal of approval that Anfossi offered Deus Ex. He repeated the point that Eidos Montreal is already focused on three other projects, but concluded, "For Thief, there is no plan." Although given how the last game worked out (it's a reboot that eschews the original trilogy in all but name), Thief fans may not think that's such bad news at all. 

This article was originally published in two parts across PC Gamer issue 313 and 314. For more quality articles about all things PC gaming, you can subscribe now in the UK and the US.  

Jake Hughes was working as a model designer on Starship Troopers when he received a call from Peter Marquardt. Marquardt was an actor—he played the bad guy in Robert Rodriguez’s first film, El Mariachi—but he also had a passion for games. The pair originally met on the set of Wing Commander IV, where Marquardt was shooting for the game’s cutscenes. 

“He calls me up and he says, ‘Hey, John Romero is making a company and they’re looking for associate producers, come on out,’” Hughes says. “Peter was working on Daikatana, and Tom Hall was needing an associate producer. So I came out and I met Tom, and we connected instantly … because they all knew about Starship Troopers.” 

A week later, Hughes was offered the job as associate producer of Anachronox, the third game by Ion Storm Dallas. He was one of around 80 individuals invited to join the company at that time. Most were men, nearly all were under 30 years old and their backgrounds ranged from model designers to members of bands such as Information Society. Few of them had worked much in the games industry before. “Tom was actually the only person who had the experience [on Anachronox],” Hughes remembers. “This is, of course, Ion Storm, right? Where ego is a thing.” 

In March 1997, Hughes made the drive from Los Angeles to Dallas to join Ion Storm. Its lavish office in the penthouse of Dallas’s Chase Tower wasn’t ready yet, so the team used a smaller office in the interim. Hughes’s office cubicle was connected to Romero’s. “I actually got to hear him play deathmatch every night,” he remembers. 

For Hughes and everyone else involved, Ion Storm Dallas was videogaming nirvana, a company with huge talent, huge investment and huge ambitions, dreamed up by arguably the most famous man in the industry at the time. The honeymoon wouldn’t last, though. Within a year the studio would be plagued by turbulent office politics, a slew of public image crises and a host of development problems from which its reputation would never fully recover.

Dream design

Ion Storm Dallas was founded on 15 November 1996. Its four founding partners were John Romero, Tom Hall, Todd Porter, and Jerry O’Flaherty. Hall and Romero had previously founded id Software along with John Carmack and Adrian Carmack (no relation), while Porter and O’Flaherty had cofounded a company together which they sold to the publisher 7th Level. 

“In January 1996 I decided to leave id Software after shipping Quake,” says John Romero. “I contacted Tom Hall while he was at 3D Realms/Apogee and asked him if he’d be interested in starting another game company later in the year after Quake shipped.” At the time, Tom Hall was working on Prey, a first-person shooter that was struggling to find direction, and which ultimately wouldn’t ship for another ten years. “Romero called me one day and asked, ‘What if there was a company where you could design the game you want?’” Hall says. “I replied, ‘That would be a dream.’” 

The four men came together to begin planning their outline for the company. “We all agreed that we should name the company something that represented the new vision: multiple game genres developed simultaneously,” Romero says. The initial proposal was ‘Dream Design’, but there were several other companies using that name. “I made up a bunch of names and logos, and Romero really liked ‘Ion’,” says Tom Hall. “But that was also similar to others, so we looked at various words to combine with it.” Romero states that the ‘Storm’ part of the name came from his lead coder Kee Kimbrell.

Ion Storm’s slogan, meanwhile, was ‘Design is Law’. It stemmed from the frustration Hall and Romero experienced at id, where they were forced to wait for John Carmack’s latest 3D engine iteration before they could make a game. The pair believed that game design should come first and the technology should facilitate it. In 1996, this was a radical idea. Romeo and Hall planned to achieve it by licensing the technology from other companies, bypassing the need to build it themselves. “Ion Storm was to be a creative release,” Hall says. 

The founders would each be in charge of their own team. Hall, Porter and Romero would design a game each, while O’Flaherty would oversee the art team assisting the other three. Meanwhile, they needed someone to run the day-to-day business, so they turned to another disillusioned id Software employee.

A wild west

Mike Wilson was id’s head of marketing, and had previously been VP of development for DWANGO, an early online gaming service that provided the matchmaking for Doom’s multiplayer. After several years waiting on Quake, Wilson was bored. “They were gonna keep on doing what they were doing, which wasn’t very exciting for me at age 26,” he says. “What John was up to seemed greener pastures at the time.”

Wilson was hired as CEO of Ion Storm, primarily to ‘big-up’ the company in marketing. But he had bigger plans for Ion Storm as a business. id had rocked the industry with its 3D shooters. It had made huge money and spawned a legion of similarly lucrative imitators from Duke Nukem to Rise of the Triad. Publishers were desperate to get a slice of the pie, particularly from anyone associated with Doom. 

“The publishers were lining up to throw money at a game design on a cocktail napkin,” Wilson says. “If you were part of that Dallas mafia you could get a $2 million or $3 million deal.” Before Doom, developers would usually get single-digit royalty percentages from their publisher. After Quake, Wilson struck a deal for 40% royalties with Activision for Quake’s first level pack. “It was just a Wild West,” he says. 

Between August and December 1996, Romero and Hall started talking to publishers with Porter and O’Flaherty joining the negotiations in October. “Eidos became a strong contender because they were on the rise and had the cash to fund several games at once,” Romero says. Ion Storm negotiated with Eidos for $3 million for each of its three games, plus 45% royalties.

Wilson’s plan for Ion Storm was bigger still. Back at id, Wilson had wanted the company to publish its own games and reap all the money from its products. But John Carmack was interested mainly in pioneering technology and didn’t want to turn id into a games publisher. Consequently, Wilson brought this plan over to Ion Storm. “The plan was for Ion to be part of what would later become GodGames—Gathering of Developers—and so we were gonna knock out these three games from Eidos, one from each partner, and I was to be working on the self-publishing plan in the background.” 

Wilson states he was on holiday when the deal was officially signed. When he got back, it had changed dramatically. Ion Storm was now into Eidos for not three games, but six. “[Eidos] really wanted to lock these guys up, because they were investing in what would help start the company,” he says. 

The other founders told Wilson not to worry. They could halve the workload by creating a second studio to make three of the six games (what would ultimately become Ion Storm Austin). Besides, the whole point of Ion Storm was ‘Design is Law’. The issues that had plagued id during Quake’s three-year development wouldn’t be a factor as Ion Storm would use tried-andtested tech. The games would be built in no time.

Assholes like us

Everything about Ion Storm’s early days was larger than life. A few months in, the studio moved into Dallas’s Chase Tower. To get to their office, the designers had to change elevators on the floor which hosted the Petroleum Club. “Which is exactly what it sounds like, a bunch of oil money barons sitting on leather and mahogany smoking cigars [and drinking] scotch,” says Wilson. “And here comes all these young long-haired dudes in shorts and combat boots, going up to the penthouse which those guys absolutely fucking hated. It was really meant for assholes in the oil industry, but suddenly there are these new guys with Ferraris who could afford that place.” 

The penthouse office (completed in 1998) was 22,000 square feet of real-estate that had never been occupied. Its interior was designed specifically for Ion Storm. Facilities included a theatre, an arcade, a dormitory and a shower room. “Nobody used the shower. But sometimes at night we would bring in LaserDiscs and watch movies,” says Jake Hughes. “We would get food delivered sometimes and we would hang out. We’d play deathmatch.” 

The internal culture of Ion Storm has been the subject of much fascination. Ion Storm Dallas is frequently cited as being the industry’s first ‘rockstar’ developer. It was a word that conjures an image of wealth-fuelled extravagance and excess, the unholy trinity of sex, drugs and rock and roll. Everyone I spoke to who worked at Ion Storm Dallas refutes this image. Hughes describes it as “malarkey”, while Richard Gaubert, the writer on Anachronox, explains the atmosphere was “less like a rockstar environment and more like a dorm”. After work, the designers would play Quake, and later Quake II, deathmatch until late at night, an activity that was punctuated by swearing, smack talking and the occasional breaking of keyboards and computers. Gaubert cites an example of some of the studio antics: “I remember one day, sitting on the floor of the hallway outside my office, trying to get some writing done,” he begins. “Sometimes a change of scenery helps with writer’s block. And nearby, to my left, some engineers were wrestling on the floor, and to my right, my boss was drawing a picture on the whiteboard of himself sodomising a religious figure. I remember drinking in that moment and thinking, ‘man, I work in a weird, weird, wonderful place.’”

This fraternity-like atmosphere wasn’t exclusive to Ion Storm. In fact, it had been carried over from the glory days at id, when the founders lived together in a lake house in Shreveport, Louisiana—ordering in pizza and playing D&D while making Commander Keen, and later smashing keyboards and throwing CDs at the wall of their Mesquite office while making Wolfenstein and Doom.

Ion Storm was partly Romero’s attempt to bring back those fun and carefree days, only with the creature comforts Ion Storm’s wealth afforded them. “We wanted the environment to be fun, because we believed that if you’re not having fun making a game, it will show in the final product,” Romero explains. “Our developers were gifted, driven modders who had a passion for making fun stuff.” The approach was successful to a certain extent. “I loved every minute at Ion Storm,” says Hughes. 

Whatever the reality of Ion Storm’s culture, the press was more than happy to view Ion Storm through the rockstar lens. “John was the perfect personality for them because he had the crazy long black hair and he would say whatever,” Wilson says. “He was driving the yellow hummer and the Ferrari, and had the big McMansion in north Dallas. He was just exactly what they wanted.” 

Moreover, Romero’s seemingly abrupt departure from id to start his own, more ambitious company was the ideal story for the media. “A desire for the out with the old, in with the new, because id’s boring now. John Romero’s not even there,” Wilson says. “They created this rivalry between the two companies that would not have existed otherwise, and that led to friction with the technology.”

Wilson was happy to give the press what they wanted, presenting Ion Storm as this bold, ambitious, in-your-face new developer. But nobody factored in the gap between the studio’s boisterous internal culture with the outside image of the company as gaming’s new North Star. “While marketing’s goal was to convey how excited the company was for its products and its future, it had the opposite effect—it came across as egotistical,” Romero says. “Needless to say, the Daikatana ad was a thick layer of icing on that cake.”

Romero refers to the infamous “John Romero is about to make you his bitch” advertisement, which appeared in magazines in the spring of 1997. Wilson explains the ad was created by an agency belonging to the Richards Group in Dallas, specifically the work of the artist who also designed Daikatana’s cover art. Wilson thought it was hilarious, epitomising the in-your-face attitude at the core of the company. “I remember very clearly presenting that ad to John in his cubicle,” he says. “He also thought it was hilarious, and was like, ‘Fuck yes.’ And then he sorta started to think twice about an hour later. He was like, ‘I dunno man,’ and I think my words to him were, ‘John, don’t be a pussy.’ And that was it. He signed off on it.” 

Neither the press nor the public got the joke, and from that moment the relationship between Ion Storm and the outside world began to sour. “We let that happen, let ourselves get talked into it, and it was too early and the wrong way to go,” Tom Hall says. “We should have shut up and made awesome games.” From this moment the press would begin to build a new, far less pleasant narrative about Ion Storm, and events within the company would only serve to reaffirm the suspicions of those on the outside looking in.

Corners of power

Arguably the biggest mistake Ion Storm made was failing to establish a clear hierarchy within the studio from the start. Romero was Ion’s figurehead, but he never intended to run the business personally. id got rich by making great games and getting other people to sell them, and Romero planned to do the same at Ion Storm. Hall, similarly, was there to make Anachronox. Todd Porter and Jerry O’Flaherty were more business oriented, in theory, but they also had their own teams to run. Wilson, meanwhile, was technically CEO, but had no real executive power. “Myself and the other business guy [COO Bob Wright] owned a combined 5% of the company,” says Wilson. “Those guys owned the rest.” 

When Ion Storm moved into the Chase Tower penthouse, the four partners moved from their temporary cubicles into their own offices. These became known as the ‘Four Corners of Power’, reflecting the theoretical structure of the studio. In reality, what emerged from this structure was a battle for supremacy between Mike Wilson and Todd Porter. 

Like Hall and Romero, Porter had worked his way up the ranks of game development, teaching himself to code on the Apple II before joining Origin. “Todd is very charming. He’s good looking. He’s very funny. And he’s got a way about him,” Hughes recalls. But Porter hadn’t enjoyed Hall and Romero’s level of success. “I would say that he probably didn’t deserve to be on the reputation level of John and Tom, as far as what they’d done,” says Will Loconto, Ion Storm’s audio director, who worked on both Daikatana and Todd Porter’s game, Dominion: Storm Over Gift 3. “But he jumped right into it and I think he felt like he was right up there with them.” 

Indeed, it’s claimed that Porter’s newfound power had gone to his head. Wilson recalls that in a conversation with the other founders, Porter “asked them to all wear blazers to work so that new people would understand who were the bosses, and they would be respected”. In another instance, Porter asked one of Romero’s level designers, Sverre Kvernmo, to get him a coffee. “In his blazer, just like he was literally the guy from Office Space, like, ‘That’d be great, if you could just get me a coffee?’ It was like, ‘Do you know who that is?’

“He was cruel to people, and I feel bad saying all this because, look, we were all immature, egotistical assholes at that time, there was no question about it. And Todd was older, significantly older, and my guess is like most of us, he’s a completely different person than he was in 1997. But at that time he was fucking horrible,” Wilson continues. “I told him one time very publicly that he can’t talk to people like they’re construction workers. You’re not a foreman and these people are artists and programmers.” Wilson isn’t the only one who saw something off with Porter’s attitude. “He was never a jerk to me, but I saw him do it to other people” says Loconto.

There are several given explanations for Porter’s alleged behaviour. At 36, Porter was one of the older staff members at Ion Storm—several years older than Romero and a decade older than Wilson, who was supposed to be CEO. This may have implied a natural superiority. In addition, to try to fast-track one of the company’s six game projects, Porter had brought over a half-finished strategy game from 7th Level named Dominion: Storm Over Gift 3. He convinced the other founders he could have it out the door within three months. But in fact the project took a year to develop. When it did finally release, it bombed in reviews and sold a measly number of copies. “Everything was a distraction from the fact that he wasn’t actually making a game, and he had no idea how to make a game,” claims Wilson. Loconto cites an example from the project that Porter was developing before bringing Dominion over, a game called Doppelganger. “He hired these 3D artists that came in and made these 3D statues of all the monsters in the game, before there was a game.” 

Between them, Porter and O’Flaherty began encroaching upon other areas of the business. Porter began turning up to Daikatana team meetings, which baffled the designers, and the pair hatched a plan to create a comic book publishing wing of the business, which Eidos promptly shut down. These various schemes, alongside the troubled developments of first Doppelganger and then Dominion, began sucking money from the company. “[The founders] didn’t realise they were gonna be competing for resources too,” Loconto says. “When they’re telling Eidos they need to hire three more producers for Todd’s team, I’m not sure how well that went over with Tom and John.” 

Wilson was no milksop either. He was an uncompromising business negotiator, could be just as fiery as Porter, and incurred a scandal himself when he borrowed company money in order to pay for a new car after wrecking his own. The key difference, according to Wilson himself, was that he was liked by the other Ion Storm employees because he took their side whenever Porter went off on a power play. “I was 26 and full of piss and would just take it out of Todd at any chance I got, because I was just like, ‘somebody’s gotta fuckin’ call this dude out on being an asshole or this whole company is going to be an asshole,’” he says.

I contacted Porter about the statements made against him at Ion Storm, and his own recollection of events couldn’t be more different. “I liked Mike Wilson back in those days and like him still today. In fact, a couple of years ago we attended a good friend of ours’ memorial and had beers together.” Porter also disputes that there was a “mythic power struggle” between himself and Wilson. “That just didn’t exist. We disagreed, for sure, but you have to remember that Mike was the CEO, Bob Wright was the COO and they ran the business.” 

On the subject of the blazers and the coffee, Porter says, “I truly don’t remember doing those things,” and that he “would never intentionally be cruel to anyone.” He cites the long working hours and staying overnight at the office trying to get Dominion finished, and says, “It’s highly likely I lost my temper from exhaustion. But that doesn’t make me cruel—it makes me human.” 

As for why Porter brought Dominion over from 7th Level, he explains that, “I believed in the project and wanted to finish the game I’d started,” but also adds that at the time 7th Level was going bankrupt and he “didn’t want to see all those people I hired—who had become my friends—lose their jobs”. 

In the end, Wilson entreated Romero to fire Porter, stating, “We have to get rid of him.” Together they went to the office of Bob Wright, Ion Storm’s COO, to discuss how they would do this. But in the elevator Romero decided he wanted to give Porter another chance, and so the firing never happened. Not long after that, Wilson was called into a similar meeting, where he was told he was being let go. They cited the friction that Wilson was causing with Porter, alongside his unwillingness to let go of the GodGames plan. “You’re not ever gonna play nice with Eidos, you’re pissing them off, and we can’t do this [Gathering of Developers] plan while we still owe all these games. We need to just focus on making games,” Wilson says, recalling the gist of the conversation.

Wilson believes that Porter persuaded Hall and Romero to fire him. “He was having them over at his house on weekends and they had talks like, ‘Wouldn’t everything be great if Mike just wasn’t around and there wasn’t all this fighting?’” But Porter claims he had no knowledge of Wilson’s impending firing until Hall and Romero called him and O’Flaherty to meet with them at a Mexican restaurant to discuss the matter. “It was John and Tom who wanted Mike out, not me or Jerry. They had serious problems with him, not us. After much investigation, Jerry and I agreed with them and all of us were present at the final meeting with Mike.” 

However it went down, Wilson was out. But this would prove only to be a stay of execution for both Porter and O’Flaherty, who would depart the company under a different cloud around 18 months later. Romero is reluctant to comment on the specific nature of Wilson and Porter’s relationship, stating, “I view them as I would any employee, and I don’t feel comfortable disclosing interactions they may have had.” Meanwhile, Tom Hall explains that the reason Romero and himself didn’t intervene earlier was because they were occupied with their own projects. “We were focused on making games,” Hall says. “We became aware of people causing chaos and people taking advantage of the situation. We just wanted to make games.”

Live by the sword

Romero’s vision for Ion Storm was of a game developer that did not have to compromise, and that extended to Daikatana. The game would feature 24 levels that took the player on an epic journey through time and space. Players would travel from Ancient Greece to 25th-century cyberpunk Japan. In a first for the genre, story would play a central role, including advanced AI sidekicks who would accompany the player on their adventure. It’s a premise that still sounds tantalising today.

As Romero puts it, the story of Daikatana has “taken on a life of its own”. Its problematic development has acquired legendary status. Because of this, it’s worth setting aside the familiar narrative for a moment to ask what went right on the project. “The team was composed of modders who loved FPS games and believed in a vision of making something that was incredible,” Romero says. “We introduced complex sidekick AI, tons of content and really fun deathmatch, and, perhaps most importantly, we shipped a game under incredibly trying conditions.” 

These conditions began with the engine. Despite the ambitious scope, Romero estimated that by licensing the Quake engine, his team could have the project turned around in six months. But in early 1997, Romero and Hall saw Quake II in action. They were blown away by its engine, which included among its features coloured lighting and support for hardware acceleration. Their games were already behind schedule, but they figured it was worth the time investment to incorporate the Quake II source code in order to keep their games visually up to date. 

John Carmack was a superb coder, but id’s third-party support was rudimentary at best. “Carmack really didn’t want to be bothered with phone calls from anybody. I think it was in the original contract, you got two hours of talk with him,” Wilson remarks. There had been other successful third-party id Tech games, namely Raven Software’s Hexen and Heretic, but support for them came mainly from Romero, who assisted the development of both titles while still at id.

Consequently, the Daikatana team was left to fathom how to incorporate the code by itself. At this time, 3D graphics rendering technology was improving at an exponential rate, and the complexity was compounding with it. As a result, the code base for the Quake II engine was radically different. Ion Storm received the Quake II source code in November 1997, but it would take until March 1999 to fully implement it into Daikatana. 

Ion Storm wasn’t the only company to struggle keeping up with the times. Duke 3D, Unreal, and Jedi Knight had all taken over 30 months to develop, while 3D Realms’ Prey and Duke Nukem Forever were both delayed far longer than Daikatana on account of multiple engine changes. Interestingly, one company that decided not to play technological catch-up was Valve Software. “They had the same thing, where they had the Quake source code and they chose not to incorporate the Quake II source code,” says Jake Hughes. “They bought themselves like four months of development time.” The game in question was Half-Life, which launched in November 1998. In many ways it stole Daikatana’s thunder with its narrative-led shooting and advanced AI.

The whole reason for founding Ion Storm was to get away from id’s technology-driven design, and yet, in a tragic irony, Romero once again found his design frustrated by John Carmack’s technology. But this wasn’t the only issue. Daikatana’s development was also hindered by team upheavals and morale issues, and there are lingering questions over Romero’s approach to leadership. 

The story goes that for large chunks of time, Romero was out of the office on press trips and being the public face of the company. “There were a lot of times where somebody wanted to ask him something and he wasn’t there,” Loconto says. “But then a lot of times he was there and people would complain because they were trying to work and he’s deathmatching or whatever.” 

Loconto doesn’t hold this against Romero. Instead he believes it came as a consequence of his wanting Ion Storm’s atmosphere to be like that of id. “I don’t think that’s what he signed up for really. I think he signed up for, ‘we’re gonna make a cool game. I’m gonna get a kickass team and all these guys are gonna do what they’re supposed to do.’” But that casual approach couldn’t function in a studio as large as Ion Storm. “You can’t translate that camaraderie that was at id when they had a small team into even a 20-to-30-person team,” Loconto adds. “You can’t count on every single person to carry their weight unless they’re being managed.” 

Romero disagrees entirely with the sentiment that he wasn’t present with the team, stating that he “was at the office most of the time” and that the deathmatching was part of the work. “Playing was necessary to know where we were in terms of hitting the mark. It was the same process for Wolfenstein 3D, Doom, Doom II, Quake and so on. If you don’t want to play your own games, who else will?” Meanwhile, any recreational deathmatching “only happened after 6pm some days”. 

The combination of repeated delays and managerial disorganisation, along with long working hours and increasing hostility from both press and public, led to a high staff turnover, particularly on the Daikatana project. “Daikatana went through significant team changes and had, as an example, five lead programmers by the time it launched,” Romero says. Loconto was involved in perhaps the most notable of these staff departures. In November 1998, eight Ion Storm employees walked out of the studio to join a developer associated with Mike Wilson’s new publishing venture, Gathering of Developers, which he’d formed with 3D Realms and Terminal Reality after being fired from Ion Storm. 

“He needed a team to do the KISS Psycho Circus game, and basically it’s a hard thing to say no when somebody says, ‘We will give you $2 million to start your company if you come do this.’ And we got $2 million to build that game,” Loconto says. It was Loconto who told Romero they were leaving. “[It was] one of the hardest things I’ve ever done in my life,” he adds. “I would say that he felt personally betrayed.”

Daikatana’s problems came to a head during E3 1999. Hughes worked on Daikatana for several months to help prepare a demo for the show. “Everybody worked very hard on it, and then like a week before, Romero wanted all of these changes made and it was kinda like, ‘Dude, these haven’t been in here for like a month. Why did we wait until now to address this stuff?’” 

The demo ended up running at five frames-persecond, and was another PR disaster for Ion Storm. But the story is more complex than Hughes recalls. According to Romero, he had already departed for E3 before this event took place. “While I was gone, a cofounder told the team to make a bunch of changes to Daikatana and told them I wanted those changes made, which was a huge lie. The team made the changes and we got an update which basically broke the E3 demo of the game.”

Romero doesn’t specify who the cofounder was, but the same story is told in David Kushner’s 2003 book, Masters of Doom, and in that case the founder in question is named as Todd Porter. We went back to Hughes with the Romero’s account, and he responds that, “It’s possible those notes came from Todd. The sentiment from the team was that the notes were from John.” 

“I was so mad when I found out what happened,” Romero says. Indeed, in Kushner’s account, it’s this event which led to the departure of Porter and O’Flaherty from Ion Storm in July 1999. Romero doesn’t comment on their leaving in any detail, but on the subject of Ion Storm’s atmosphere, he mentions that, “After Todd and Jerry left Ion Storm in the middle of 1999, the entire atmosphere changed and the company felt just great. Everyone was in high spirits and working hard to finish our games.” 

Romero says that the final year of Daikatana’s development was “nose to the proverbial grindstone”, and that “everything changed and went well up to launch”. Sadly, it wasn’t enough to save Daikatana from reviews that ranged from lukewarm to scathing when it launched on May 24, 2000. “It could never live up to the hype generated in the early days,” Romero laments.

Chronological endpoint

Tom Hall’s Anachronox was even more ambitious project than Daikatana: a vast, sprawling sci-fi comedy modelled in the JPRG style, and inspired by everything from Ender’s Game to the animations of Chuck Jones—all developed by a team of just 15 people. The idea for Anachronox came to Hall in the bathroom. “Then I had to figure out what it meant.” It seemed to be a combination of ‘anachronism’ (something out of its correct time period) and ‘nox’ from noxious (poisonous, harmful). So that twisted into meaning ‘poison from the past’. 

The main inspiration for Anachronox, however, was Chrono Trigger. “Chrono Trigger is my jam,” says Hall. “Many RPGs have the base of exploring a game world/ story and growing over time and decisions affecting the world. But this one one-upped that with a set of interesting characters with wildly different stories having their own take on events and unique ways to play.” 

Like Daikatana, Anachronox used the Quake and later Quake II engines. But the game had the additional problem of being an RPG that used a shooter engine. This meant a lot of the development time was spent trying to figure out how to do things that hadn’t been done with the engine before. In one example, for the first in-game area—a giant, slum-like space station, known as the Bricks—the team wanted to create something it had dubbed “N-Directional Gravity”. 

“[Hall] wanted it so that the gravity could come from anywhere so that people were walking on walls,” says Hughes. “But we just couldn’t figure it out.” In the end, the team faked the effect by essentially playing animations of characters walking up walls during cutscenes. “Honestly, we spent more time trying to figure out how to do N-Directional Gravity and then abandoning it than it took to incorporate the Quake II source code.”

The main problem, however, was the size of the game. Hall and Hughes spent the first year of development writing a massive, 400-page design document. It became so big that Hall had to hire a writer to write the story that he wanted to tell, at which point Gaubert came aboard. “I took the outline that Tom and Jake wrote, and fleshed out the plot, and tried to integrate gameplay elements. I would look at the levels and figure out what moment-tomoment non-combat gameplay could happen in them,” Gaubert recalls. 

Even with Gaubert writing every line of dialogue for a 60-hour RPG, the game was still, far, far too big for the 15-man team to make. Eventually, the decision was made to cut the story in half. The cut content would be held back for the planned sequel. “Jake and Richie came into my office one day saying the epic plot I’d laid down would take too long to make, so I looked at it and there was only one clear place to cut it,” Hall remembers. “Roughly in half. Sorry folks!” 

Anachronox suffered from technical issues and delays just like Daikatana and Dominion, but it wasn’t as troubled by upheavals within the team. The team was smaller and more intimate than the others, suffered less from departures during the project, and Hall, Hughes and Gaubert all got on well together. “It was like, just a great creative meld between the three of us,” Hughes says.

Anachronox launched on June 27, 2001. Critically it was received very well, but commercially it sold poorly, a factor that Hall puts down to poor marketing. “I give Eidos amazing credit for supporting us through shipping. They were awesome. But we spent millions on development, and $50,000 on advertising. Five ads in magazines and that was it.” According to Gaubert, however, the reason Eidos spent so little on advertising Anachronox was because the game missed its original marketing window due to delays. “They had timed their marketing towards our original release date, but we missed it! I think we had blown through all the marketing money before we had actually finished the project, so we shipped with little fanfare.”

Handover

Two weeks after the launch of Anachronox, Eidos informed Ion Storm Dallas that it was closing the studio. Although it wasn’t getting paid, the Anachronox team stayed on to finish a patch it was working on. I asked Hughes what he took away from his time at Ion Storm. “Hubris,” he says. “That’s the story of Ion Storm, it’s amazing how it happens time and time again. All eyes on a certain company, and you can make some bad decisions and you can also make something great.”

The story of Ion Storm Dallas is often viewed as a cautionary tale, one that has been told before and will probably be told again. Two decades on, it’s a story that’s still clouded and contentious in parts, with very different perspectives from some of the industry’s strongest personalities. But not everything that came out of the studio was bad. Hughes and Gaubert became fast friends, and the Anachronox team still meet up once a year at GDC. Loconto, too, looks back on that time with fondness. “I’m glad to have been a part of it,” he says. Even Wilson—who says he spent his time at Ion Storm “so stressed out… I literally remember not being able to turn my head to talk to someone without turning my entire body”—felt like he learned a lot from the experience. “I think it took me down a notch as well, as far as thinking I was invincible at the time,” he says. 

As for Romero, he describes his time at Ion storm as a “tremendous learning experience”. He says, “It was far from perfect, but ultimately, making games isn’t always about having crazy success. Sometimes, games and companies don’t turn out to be what you hope they will be, and you do the best you can.” 

And even if we adopt the dimmest view of Ion Storm Dallas, if we focus on all the mistakes and believe every internet rumour, there is one thing that John Romero got right. “He wanted to help me make a game and was willing to do whatever it took for me to make whatever game I wanted to make,” says Warren Spector. “He made some big promises to me, and lived up to every one of them.” 

The game in question was Deus Ex, created by Ion Storm’s second studio, Ion Storm Austin.

Jordan Thomas was working as a script doctor at Psygnosis when he heard that Ion Storm Austin was hiring. The studio had just released Deus Ex, and was expanding from one development team to two. “They were hiring a cabal of the very best game designers in the world,” Thomas says. He wanted to be one of them. 

There was one problem: Thomas had little game design experience. So he created an Unreal Engine level, designed to resemble a mission from Thief, and sent it to Ion Storm. The studio was impressed and granted him an interview, but didn’t give him a job. “I think they wisely realised that my confidence did not match my physical experience,” Thomas says. He was told to get some. 

Thomas got a job working for Aspyr on the PC videogame tie-in for Harry Potter and the Philosopher’s Stone, remaining there for seven months. When that project shipped in late 2001, he applied to Ion Storm Austin again and was granted another interview. The process commenced with a series of phone interviews that included studio head Warren Spector and the design lead of Thief: Deadly Shadows, Randy Smith.

“I had placed massive flash cards on the wall with all of these terms which I had looked up and dissected with interviews from all of them, trying to understand the specific Looking Glass language that they were all so steeped in,” Thomas says. “So this very spartan apartment that I was in at the time was covered in reference as large as I could make it so that while walking around on the phone I could say like, ‘Oh yeah, that’s right, I have something smart to say about that random-ass word.’” 

The phone interviews were followed by a written test, in which Thomas had to provide a design document for a level. Thomas pitched a level set in a spooky asylum, and Ion Storm liked it. The company flew Thomas out for another interview, where he was assessed again by Spector and Randy Smith. Following this were several design tests, from sketching out a level blueprint on a whiteboard, to designing a system for a game that wasn’t to Thomas’s tastes, such as “a system for a game that is based on doing taxes for a person who has never done them before”. 

This was what it took to become employed at Ion Storm Austin. “I never felt so tested in my life,” Thomas says. He got the job, and was assigned to work on Thief: Deadly Shadows—the third and final game from what was widely considered the best development studio in the world at the time. Internally, however, Ion Storm Austin had always been a house of cards, where wild ambition and high-minded ideas battled against the harsh realities of game development. By the time Thomas joined the studio, the cards were already tumbling.

The fifth partner

Had it not been for the intervention of John Romero, Deus Ex would have become a Command & Conquer game. In 1997, Warren Spector left Looking Glass “when I realised the continued existence of the Austin Studio was going to jeopardise the existence of Looking Glass overall”. Despite creating Thief and System Shock, Looking Glass was struggling and could no longer sustain a second studio so far removed from its original office in Cambridge, Massachusetts. “I didn’t want to be responsible for that,” says Spector. “I told Paul Neurath, the founder of Looking Glass, that I’d be fine. I’ll find another deal.” 

Spector took with him a design document he’d been toying with since his days at Origin Systems. The working title was ‘Troubleshooter’. “I wanted to make a game where players got to solve problems the way they wanted to. Fighting, sneaking, talking, doing whatever they wanted,” Spector says. “And so I dusted that off, and kind of adapted it to a Command & Conquer setting and was going to do the Command & Conquer RPG. I was close to signing a contract when I got a call from John Romero.”

Romero asked Spector to join Ion Storm as its fifth partner (the other four being Romero, Tom Hall, Todd Porter, and Jerry O’Flaherty). “I really wanted him to join Ion Storm so he could make the game of his dreams. It didn’t matter to me what kind of game it was because it was going to be great—it’s Warren,” says Romero. 

Spector replied, “It’s too late, I can’t, I’m working on this Command & Conquer thing.” Romero told him not to sign anything. He said he would make the 200-mile drive from Dallas to Austin and change Spector’s mind. This is exactly what he did. “I told him he could hire a team, make whatever he likes, have as much money as it took, and take as long as he needed,” Romero says. 

It was an offer Spector couldn’t refuse. But he had a condition. He would join Ion Storm as the fifth partner, but he refused to work in Dallas. In fact, he refused to work anywhere but Austin. “In Texas there’s four major cities. There’s Dallas, Houston, San Antonio and Austin, and the only one I would ever consider living in is Austin,” Spector says. “When [Romero] came down that day to try to convince me, part of the deal was, I’m not moving, I’m not going to work in Dallas, and he was okay with that.”

Gathering the storm

With Romero’s support, Spector began building the Ion Storm Austin studio. The initial team comprised six members, all of whom Spector transferred from Looking Glass Austin. This included Chris Norden, who was lead programmer and eventually assistant director of Deus Ex. In the early days, even before taking on those two roles, he wore multiple hats at the studio.

“I guess, in today’s terms, I would’ve been the CTO,” says Norden. “I was also part-HR. We had to do hiring, I had to do reviews. I had to set up the IT infrastructure. I had to hire contractors, I had to do security. I mean, you name it and I did it.” Meanwhile, Spector was beginning to work on the paper document for Deus Ex. 

Spector’s concept of a game where you can choose from fighting, stealth, hacking and talking to create solutions to problems is a well-told story. But what was the clarifying moment when the Troubleshooter design document turned into Deus Ex? “On all of my projects, I think about what questions do I want the game to ask?” Spector says. “And the first one that came to mind for me on what became Deus Ex was, ‘What would happen if you took James Bond, a guy who believes in right and wrong, and throw him into a world that’s all shades of grey, where nothing is good, nothing is evil, it’s all shades of grey.’ That was a critical moment.” 

The concepting phase of Deus Ex lasted many months, all the while the studio was growing and taking shape. One of Spector’s key hires was the 30-year-old Harvey Smith, who Spector had previously worked with at Origin during the development of System Shock. “[Warren Spector] was like, ‘Well, we’re gonna try to do another one of those games, it’s gonna be set in the modern world, what do you think?’” says Smith. “And so I pitched mission documents back, and game system ideas, some of which never got used in the game, but still they were on target enough that Warren was really excited.” Spector made Smith one of two lead designers on Deus Ex.

Ion Storm Austin’s approach to game development was heavily influenced by Spector’s experience at Origin Systems, and the design philosophies of Looking Glass luminaries, like Doug Church, who would appear from time to time at Ion Storm Austin and ‘camp out’ in Spector’s office. “They were all hugely influenced by Doug Church’s paper ‘Formal Abstract Design Tools’,” says Jordan Thomas, “which was a high-minded idea about teaching designers to speak the same way so that they could plug into any team, and stop using slang which is useful only to a particular bubble of culture.” Harvey Smith, who worked with Church at Origin, describes talking to him as being “like drinking from a firehose”. 

In a similar fashion, Ion Storm Austin produced not only design documents for its games, but manifestos for how Spector and co. believed games should be designed as a whole. “We had our giant gameplay bible. Bazillions of pages that we tried to kind of follow, but they were living documents and they changed,” says Norden. “It was like, design is important, engineering is important, art is important, audio design is extremely important. But the player ultimately needs to be doing what they want to do. They need to be having fun. They need to be in control.” 

When the concept phase was over, Spector stepped back into a supervisory role. “I am not an implementation guy,” he says. “Once we get past the concept phase and we know what game we want to make, I leave implementation to other people.” Implementing Deus Ex would prove to be far more complicated than anybody anticipated, constantly teetering on the brink of disaster.

Infinite choice

Ion Storm’s slogan—‘Design is Law’—stipulated that game design should come above technical innovation. It was conjured by Romero during the founding of the company, but Ion Storm Austin took it to heart, perhaps a little too much. At the outset Spector created two separate design teams for Deus Ex, and he had those teams compete with each other. Harvey Smith was lead designer of what Spector thought of as the Looking Glass design team, while another designer named Bob White led what Spector termed the Ultima roleplaying team. 

“So I had this immersive simulation group and this traditional roleplaying group,” Spector says, “and I was standing in the middle thinking, ‘I can not just mediate, I can actually exploit the tension between those two to come up with something completely new.’ Something that wasn’t pure Looking Glass-style immersive simulation, but wasn’t pure roleplaying game in the Origin sense.” Yet rather than resulting in a merging of ideas, the structure caused confusion about what the game was supposed to be about. “They were each in charge of different parts of the world and they had their own ideas about how they wanted the gameplay to work,” Norden explains. “So sometimes they’d come to us with conflicting requests.”

Everything the designers dreamed up had to be implemented by Norden and his programming team, and Spector, Smith and White all had a lot of ideas. “Warren had this massive [idea]… he’s like, ‘I want the player to be able to do anything they want, and solve any puzzle in any way,’” says Norden. “And we’re like, ‘Uh, yeah, that’s not really possible. We can do a lot, we can give the player a lot of choice. But infinite choice? No.’” Nevertheless, Norden and his team endeavoured to ensure that Deus Ex was as emergent as they could make it. “We tried to create the emergent behaviour by creating a ton of interactable objects in the world, and all the objects had to have interactable properties, and all the properties were linked to the real world,” he says. “Everything had weight, everything had friction, all the surfaces had different properties associated with them. So we wanted you to be able to, at least, pick things up, move them around, destroy them, maybe stack them, maybe climb them.” 

The advantage of this was it meant players could do things that were unique to their game; a phenomenon that would happen even during testing. “Someone would come in and say, ‘Hey I was doing this cool thing on my playthrough and this thing happened, what the hell, how did you make that happen?’ And I was like, ‘Well I didn’t, it was just a random lucky thing.’”

Engine trouble

Every game Ion Storm made was beleaguered by engine problems, and Deus Ex was no different. The nature of those problems, however, wasn’t exactly the same. In a break with Ion Storm tradition, Austin moved away from id’s Quake technology and licensed Tim Sweeney’s Unreal Engine. There were several reasons for this, including a better toolset, less restrictive geometry rendering and more personal support. “id’s engine licensing at the time was really simple. They basically gave you a CD with the source on it and that was it,” Norden says. “They didn’t really do support or anything. So I went up and met with Tim, and talked to him, and talked to the guys there, and they were just really cool.”

The problem, however, was that Norden and his team were taking an engine and trying to make it do things it wasn’t designed to. “ Deus Ex was a very dialogue-heavy game,” Norden states. “And Unreal was a shooter, right? So those things don’t mix. Theirs was no dialogue. There was no talking in shooters. So we had to create basically an entire conversation system and the tools that go with it.” Even seemingly simple things, like being able to carry more than one pistol, had to be manually coded because the engine wasn’t designed for it. “I might be carrying five pistols in my inventory because I put all my points into pistols,” says Harvey Smith. “I’ll have one for silenced play, and I have one for rapid fire, and I have one for fighting robots—just as an example, that’s three different pistols. Unreal didn’t have the concept of that, it only had the concept of, ‘Do you have the pistol, yes or no?’” 

Another problem was the game’s core systems were coded in UnrealScript, which was slow to compile. Every time Norden made a change to the script it had to be recompiled, which in a game as complicated as Deus Ex is a constant process. “I wrote very rude comments in the code like, ‘Why the eff is this so slow? Dammit Tim,’ says Norden. “And we stupidly didn’t strip the script code out before we shipped. So people just decompiled it and our comments were on display for everybody. So I feel really bad about that to this day.” Luckily for Norden, Tim Sweeney saw the funny side of it.

"We're dead"

Deus Ex was in development for almost four years, and for three-and-a-half of those years it seemed like it would never come together. Spector’s vision for the game’s story was enormous, to the point where he had to be tackled on it. “Harvey and one of the designers who I’ve worked with for many years, guy named Steve Powers, came to me and said, ‘We can’t tell this story, there’s no way we’re gonna do the Russo-Mexican alliance sending an Army across the Texas border and invading. We’re not gonna do that, we’re not gonna have thousands of prisoners in a FEMA camp in the Southwest getting freed by our hero.’”

Meanwhile, the external feedback Austin received was not good. Looking Glass developers, like Doug Church, Marc LeBlanc and Rob Fermier, all came to Austin to playtest the game. “They came in and they would tell us, ‘Man, this sucks. This skill system is terrible, what are you thinking?’” Spector says. The game’s publisher, Eidos, were still supportive of Austin, but also confused by what the game was supposed to be. “Lots of people at Eidos, over the years that we were in development, said, ‘Why don’t you just make a shooter?”’ 

Eidos had good reason to be concerned. After three years and millions of dollars of investment, so far Ion Storm had put out one game, Dominion: Storm Over Gift 3, which both sold and reviewed terribly. Meanwhile, its other three projects were severely behind. In addition, due to a combination of those delays and misguided marketing from Ion Storm Dallas, by 2000 the public opinion of Ion Storm had turned from enthusiastic to openly hostile. Even though they were sheltered in Austin, the Deus Ex team felt the heat of this ire. 

“It was interesting and tough to be part of the ‘John Romero is going to make you his bitch’ company’,” says Spector. “And the Dallas office, they were spending money in ways that I would not have spent money, and the projects were all running late or they were projects we shouldn’t have started at all.” Indeed, there were worries that Deus Ex would flop purely on account of the widespread eagerness to see the hubris of Ion Storm blow up in its face. “We were like, ‘Oh crap, we’ve got brand image issues now,’” says Norden. “‘Are we gonna be doomed to failure because of this logo on our box?’”

At the same time, not everyone at the Dallas studio was happy with how things were panning out at Austin. Jerry O’Flaherty, who was the art director for Ion Storm as a whole, had sent several artists down to Austin to work on Deus Ex. “These artists would report back to Jerry about various goings-on within the studio,” says Romero. O’Flaherty was close friends with another of Ion Storm’s founders, Todd Porter, and according to Romero, Porter didn’t like what he heard about how things were progressing at Ion Storm Austin. “This led Todd to call for the cancellation of the game, or him wanting to go down to straighten things out.”

Romero, however, acted as a buffer between Austin and the more sceptical voices within Dallas. “I told Todd to leave them be, and we would not be cancelling the game, ever,” Romero says. “I had to put my foot down several times during the Deus Ex timeline. I had the utmost confidence in Warren and Harvey.” 

Meanwhile, although some individuals within Eidos had their doubts, the publisher never stepped in to take control of the situation. In fact, when Deus Ex hit Alpha in August 1999, Eidos gave Austin six extra months to finish the game. It made all the difference. Harvey Smith’s redesigned skill system significantly improved the game, while the rest of that time was spent “tuning and tweaking and finding the fun”, as Spector puts it. 

In the end, Deus Ex released on 17 June 2000, just three weeks after Eidos published Daikatana. For Ion Storm Austin, it was a strange time. Internet journalism was still in its infancy, so the developers had to wait a month or so for the reviews to come in. Spector was nervous. “There was a day when we were nearing the end where I put my head down on my desk and I just said out loud, ‘If people compare our combat to Half-Life, we’re dead. If they compare our stealth to Thief, we’re dead. If they compare our roleplaying elements to Neverwinter Nights (which was the big RPG at that time), we’re dead. But if they get to decide how much fighting or sneaking or RPG-ing they get to do, we’re gonna rule the world.’”

Expansion

Deus Ex was a resounding success both critically and commercially—the only game developed by Ion Storm that managed both. “We had one incredibly bad review. A guy named Tom Chick just, I dunno if he hated me, but he sure hated Deus Ex, wow!” Spector says. “But other than that, the reviews were overwhelmingly positive.” The success also secured the future of Ion Storm Austin, which by this point was owned directly by Eidos. “It was never a question that we wouldn’t do a sequel. Eidos wanted it,” Spector says. 

Meanwhile, shortly after the release of Thief II: The Metal Age, and on the same day that Daikatana released in North America, Looking Glass Studios closed its doors. “I got a call from someone at Eidos saying, ‘We have the rights to do a new Thief game, we’re going to do a new Thief game, and we’re going to let another developer do the next Thief game,’” Spector says. “I said, ‘Oh no you’re not. We’re doing that here at Ion Storm.’”

Spector hired many of Looking Glass’s staff, and the company began working on both Deus Ex: Invisible War and Thief: Deadly Shadows simultaneously. Because the company had effectively doubled in size, Spector decided to take on a more managerial role, and let other people oversee each game’s development. Harvey Smith was selected to direct the second Deus Ex, while Randy Smith (no-relation to Harvey) was hired to oversee Thief. Chris Norden left Ion Storm Austin almost immediately after Deus Ex was completed. 

Spector decided that he would not interfere with the direction of either game, and let both designers make the decisions they wanted to make. It’s a decision that he now regrets. “I probably should have given those guys more direction, and not let them make some mistakes that I saw them making.”

Choices and consequences

For the sequel to Deus Ex, Smith wanted to retain the multifaceted approach that players could adopt in play, but ensure that the experience was uniform across the entire game. “Looking at the missions for Deus Ex, some of them were kinda just all over the place. Not all of them were like science fiction dystopia … and some of them were pretty far afield. Some of them were more RPG, some were less RPG,” Smith says. 

As part of this plan, Smith designed the game with a much stronger, more vivid aesthetic, moving the game much farther in the future and imbuing it with a far more overt cyberpunk theme. This was one change that Spector saw as problematic, but decided not to bring up. “I wouldn’t have moved Invisible War so far in the future. I think part of Deus Ex is it’s a world that’s recognisable as our own,” he says. “I wouldn’t have put the player character in a purple jumpsuit. I mean, it’s a trivial point, but it just looked goofy.” 

Another issue was that Smith wanted to expand upon the narrative choices from the original Deus Ex, letting players switch between factions at will and having no forced failure states. “What it meant was none of your choices actually had any real consequences. If you can always change your mind, your choices are really weakened,” Spector says.

The main problems for Invisible War (and, for that matter, Deadly Shadows) did not stem from design, but technology. Deus Ex was designed from the ground up as a PC game. Both Invisible War and Thief III were designed specifically for the Xbox, with the PC version approached as a port of the Xbox version. None of the Ion Storm team had much experience designing for console, and so they were disappointed to find the Xbox had a fraction of the power of a PC at the time. “The maps had to get so small a lot of our gameplay didn’t work,” Spector says. “It was kind of a surprise to us and there wasn’t much we could do about it.” 

Although today Invisible War is viewed as a disappointment, at the time of its release it reviewed fairly well and to date has sold more copies than the original Deus Ex. Although the project was a difficult one, Smith believes there are still good things about the game. “The Antarctic mission that was kind of a call-out to The Thing, one of my favourite movies,” he says, as an example. “Starting off in an apartment, finding out it’s a lab is a very Philip K. Dick move that we wanted to make. The Black Market Augmentations and how they work, along with the other biomods, so you can put together a bunch of drones and stuff. There were lots of little things along the way that we liked.”

Cradle to grave

Perhaps because of the immediate comparison with Deus Ex, Invisible War is often viewed as the game that got away from Ion Storm Austin. But in terms of what the developers had planned, the game that came out most compromised from under Spector’s watch was Thief: Deadly Shadows.

As a lifelong Thief fan, hearing about elements of the game which never made it out of Ion Storm Austin is agonising. Originally, Deadly Shadows was meant to be twice as long. Every level designer was given two levels to design for the game, but early in development they were all asked to scrap one of those levels. Jordan Thomas’s two missions were the Cradle, which made it into the game, and the Grave, which didn’t. “The Grave was specifically a massive sort of death-processing facility owned by the Hammerite faction,” says Thomas. “And it was going to double down on the idea of religious notions of death and the cycle of the soul leaving the body, and sort of delve into some of the Victorian reuses of corpses.” 

In addition, the freely explorable city Deadly Shadows introduced was intended to be many times larger than it appeared in the final game. Thomas states that Emil Pagliarulo, the designer who created Thief II’s famous ‘Life of the Party’ mission had “a legendary build-out of what the geometry of the docks might have been. And it was almost 100% scrapped by the time we finished”.

The reason behind this ruthless cutting down was partly to do with the console focus. But equally significant was that the studio went against its own mantra, and began designing its own technology. For both Invisible War and Deadly Shadows, Ion Storm Austin created a custom renderer that could project real-time shadows from every character and object. 

“It was a combination of videogame technological sort-of one-upmanship early on, combined with an imagined notion that real-time shadows would lead to dynamism in gameplay scenarios that Thief II couldn’t deliver,” Thomas says. “The fantasy of what we would do when the shadow of a pillar would truly move, and you could stay inside that shadow as the guard with the torch crossed through a room with thick enough columns, it sounded really good on paper.” 

But the combination of this advanced renderer (which beat Doom 3 for real-time shadows by about a year) and the limited power of the Xbox meant that huge swathes of the game had to be cut down to get it in. “It ended up being one of the decisions that most of the team felt was a massive mistake,” Thomas says. “The city sections, good gravy, we reduced those to almost nothing.”

The great god player

Ion Storm Dallas may have been notorious for its arrogance, but there was more than sufficient hubris to go around at Ion Storm Austin too. It just emerged in a different form. From its Looking Glass genetics, Austin inherited the culture of the auteur, that blend of artiste and academic that dedicated itself heart, mind and soul to the idea they were chasing, and where the ends justified the means. “I’ve called it a culture of intellectual Darwinism,” says Thomas. “It was like a court case, an ongoing, months long court case in which everyone was the player’s advocate, and they were going to bring 100% of their rigour to bear on the argument, because the great god player deserved it.” 

This design philosophy led to an atmosphere that could at times be exclusionary. “It led to quieter people, who are, if any degree of removal away from a heterosexual white male, to be less likely to say anything,” Thomas says. It was also an atmosphere of perfectionism. So when reviews of Invisible War and Deadly Shadows hovered in the low-80s, the effect on team morale was devastating. “We were groomed to believe that you were 90-plus on Metacritic or you are nothing,” he adds. 

Shortly after the release of Deadly Shadows, Warren Spector left the company. He attributes this partly to the work equivalent of the seven-year itch—“I just get itchy, you know, to do something different”—and dissatisfaction at the kinds of games Eidos was publishing. “I remember going to E3 one year, right around the time I left, right before I left,” he says. “There were things like, ‘This time you get to kill with a meat hook, and here’s the game of kids killing cops, and here’s a racing game where the idea isn’t to win the race, it’s to create the biggest explosions.’ And, I just looked around, and I was showing Invisible War and Deadly Shadows, and I just said, ‘One of these things is not like the others.’” 

Despite Spector’s departure, and the disappointment at the critical reception of Deadly Shadows and Invisible War, there was no sense that the studio’s life was nearing its end. The studio regrouped and formed designs teams for both Deus Ex 3 and Thief 4. In an echo of the company’s early years, there were two competing pitches for Deus Ex 3, one of which was Thomas’s own. “We built a crazy ambitious text only version of a narrative web, which you’ve seen in a lot of other games since, the notion of the procedural story,” he says. “It was ludicrous, but very inspiring at the time, and felt like the great dragon that everyone wanted to slay.” 

Slowly, though, Ion Storm Austin began to bleed employees, leaking staff to other companies such as Midway Austin. Then, in 2005, Eidos announced a major layoff. “I was in the room where people, we had to decide how many, but which ones got the seats to stay,” says Thomas. “And it was just, it made you wonder why anyone ever assembles for any field of human endeavour.”

The remaining employees kept going, but by this point most of them were just “punching a clock”, as Thomas describes it. Then, about a year into pre-production on Deus Ex 3, the final layoff came, and Ion Storm shut its doors for good. Thomas, however, was kept on by Eidos for a few extra months, so he could finish the design document for his version of Deus Ex. “I’ve never known why they wanted that and I’ve no idea what they did with it, but I did so.” It was an ironic end for the studio. For years Ion Storm Austin had built a cult around the idea, and it took on such power that in the end Eidos perceived that was where all the value lay. 

Perhaps the strangest thing about Ion Storm as a whole is how its studios were simultaneously so completely different and so very similar. Both companies were driven by sky-high ambitions, Dallas in your face and larger than life, Austin intellectual and innovative. Both companies held design as a talisman, and found themselves mired in technological problems. Dallas was demonised while Austin was evangelised, and yet both suffered from personality clashes, management foul-ups, and an inflated sense of self-worth. 

Harvey Smith sums up these strange and shifting contrasts. “There were very volatile extroverts in Dallas, and Warren’s group tended to be very volatile introverts and nerds.” He recalls an example from one of Ion Storm’s release parties, where the company rented a boat on a lake. “We invited the people from Dallas down with us,” he says. “A lot of the Dallas guys just got drunk on the boat. And a lot of our people were on the inside of the boat because the sun was frying our pale skin. And we were—literally people broke out board games, and we were playing board games on this party boat.”

Deus Ex is currently biding its time as Eidos Montreal work on other projects—likely the Avengers project with Crystal Dynamics. It's reassuring to know that it the series could come back in some form, but will it be a continuation of Jensen's story, or a look at the post-humanist future from a different perspective? Either way, based on past form, there will it will have amazing ceilings, and people talking about the Illuminati in gravelly voices. If we're especially unlucky, it might even have a Greasel in it.

Here are some things we do want to see from the next Deus Ex game.

More hubs

Travel is an underrated aspect of the Deus Ex fantasy. The conspiracies you expose are so vast you have to fly all over the world to unpick them. In the original Deus Ex you go from Liberty Island to Hong Kong, to Paris. In Human Revolution, in spite of the hubs cut from the game, you still end up visiting Detroit, Shanghai and Singapore. Even though Prague is the most detailed hub Eidos Montreal has produced, Mankind Divided still felt limited for being confined there for most of the game. 

It’s a tough ask given the amount of work it takes to produce open areas with the density of interaction that we expect from Deus Ex. Hubs are central to the Deus Ex experience because they blend social and stealth spaces, and they give you the chance to absorb the world at your own pace. I want to really wallow in the dystopia. I don’t even need a mission prompt to infiltrate an apartment block, read emails and nick gang stashes. Like many, I robbed Prague’s amazing bank before the plot went there. Multiple hubs that feel different and exciting should be an essential part of a new Deus Ex. 

Fewer vents

This might make me a bad Deus Ex fan, but I am sick of vents. When I think about being a cool augmented future spy the idea of crawling around on my hands and knees in a boring grey tube doesn’t feature. There are always going to be some vents, I accept that. They are an essential path for stealthy players looking to slip behind guards. It’s a problem when ‘find a vent’ is a viable solution to every problem. I like vents that give me the chance to get an advantageous position on guards, but often they let you skip entire chunks of a level. 

The vent problem is part of a wider issue with Deus Ex sandboxes. The approaches you can take are tightly defined for you. You’re the hacker specialist, or you’re the vent player, or your’re the one who shoots/arm-chisels your way through problems. These approaches are baked into each environment. If you come across a checkpoint, there will be a vent off to the right, a computer console to be hacked somewhere to the left behind a couple of guards. It’s hard to break out of these prescribed routes and be creative. Compare Deus Ex to Dishonored 2, for example, where interactions between guard AI and your special powers can be more inventive and there is skill in finding new ways to exploit the sandbox.

A more coherent conspiracy

What were the stakes in Mankind Divided? I still have no idea, really. The game went hard on the ‘mechanical apartheid’ angle but the plot obsessed over a virus called Orchid and power struggles between various groups trying to get an act passed, or not passed, or something. This is hardly a new problem for Deus Ex, and game plots can take a real hit when content is cut and rearranged during the development process. Nonetheless I’d like more clarity from a new Deus Ex, and more personality. Mankind Divided sorely missed big characters like Sarif and even Pritchard in central roles.

A new hero? 

I'm torn on this one. I like Jensen, I really do, and normally I don’t care about gruff beardy dudes and their various dead/captured loved ones. Jensen has a good beard, though. And good jackets. And he uses his retractable carbon fibre radiuses to brutalise his enemies, which is novel. And yes, his “I didn’t ask for this” dilemma became a meme, but it was an interesting hook for the first game.

Mankind Divided did Jensen no favours. He was buffeted along by the plot with little personal involvement and after both this game and The Missing Link, it’s increasingly hard to rejustify rebooting his powers yet again. Plus, while I’m still not tired of his armblades, it feels like we’ve seen every possible permutation of that idea in Mankind Divided. You can heat them up, shoot them, and blow them up with the right upgrades. It's time for some new augmentations.

A new character would probably have to be a another commando/spy sort so you have an excuse to go on sneaking missions, and must have a cool coat—that part is mandatory.

Quality DLC

Deus Ex and genre stablemate Dishonored both have reputations for delivering good, chunky, post-launch singleplayer stories in the form of DLC packs. The Missing Link was an excellent addition to Human Revolution, and Andy enjoyed breaking out of prison in A Criminal Past.

When the marketing first started talking about the "Deus Ex Universe", this is the sort of thing I was hoping for: self-contained stories that slot in around the main plot. In fact I would play the heck out of a Hitman style episodic Deus Ex that moved between hubs and facilities, developing a story bit by bit.

TRIANGLES

The new Deus Ex games imagine a world built on the humble triangle. Buildings, clothing, weapons, even lamps are made up of polygonal arrangements of tiny triangles everywhere, and this should continue. If we end up struggling to design a new protagonist for the Deus Ex series a mobile, heavily augmented triangle will suffice. 

Earlier this year, Jody considered the uncertain future of games like Deus Ex and Dishonored in the wake of poor sales. Within, Eidos Montreal said it was "not quite ready" to answer questions on why the former had underperformed, nor would it commit to the possibility of new Deus Ex games down the line. 

In conversation with gamesindustry.biz, Square Enix CEO Yosuke Matsuda has all but confirmed Deus Ex will live on—despite other projects taking priority at present. Square Enix has published the series since 2011's Human Revolution.

"We have never said anything about discontinuing that title but for some reason that's the rumour out on the market," Matsuda tells GI.biz. "What I can say is Eidos Montreal has always developed Deus Ex, and the issue is we do not have limitless resources. We have several big titles that we work with and that's partly a factor in what our line-up looks like."

Matsuda adds: "Of course, it would be ideal if we could work on all of them all of the time, but the fact of the matter is some titles have to wait their turn. The reason there isn't a Deus Ex right now is just a product of our development line-up because there are other titles we are working on."

Matsuda recently spoke in praise of Hitman developer IO Interactive, saying that while Square Enix could no longer invest in the series, he was sure "it wouldn't be Hitman unless made by IO". Somewhat similarly, Matsuda describes Deus Ex as a "very important franchise" before stating he and his colleagues are "already internally discussing and exploring what we want do with the next instalment of it."

Gamesindustry.biz's interview with Matsuda is worth reading in full—find it in this direction.