What a year for gaming. While 2022 may not have enjoyed as many AAA releases as in past years, the ones that weren’t delayed into 2023 were stellar and the indie development scene more than made up for the lack of big-budget titles. Some of our favorite releases this year came from small, ambitious teams that delivered fresh ideas. As is tradition, the Engadget team came together to extol the virtues of our favorite releases from the past 12 months.
Bayonetta 3
Bayonetta 3 is a delicious amplification of the series’ most ridiculous themes. It indulges in absurdity without disrupting the rapid-fire combat or Bayonetta’s unrivaled sense of fashion and wit. Bayonetta 3 is joyful, mechanically rich and full of action, plus it allows players to transform into a literal hell train in order to take down massive beasts bent on destroying the multiverse. Bayonetta elegantly dances her way through battles, dropping one-liners and shooting enemies with her gun shoes in one moment, and turning into a giant spider creature the next.
The Bayonetta series just keeps getting weirder, but that doesn’t mean it’s losing its sense of satisfying gameplay along the way. In the franchise’s third installment, Bayonetta is powerful, confident and funny; she’s a drag queen in a universe loosely held together by witchcraft, and the chaos of this combination is truly magical.
Cult of the Lamb
Sure, you’ve played Animal Crossing, Stardew Valley, Hades and The Binding of Isaac – but what if you could play all of them at once, in a single adorable demonic package? That’s Cult of the Lamb, baby.
Cult of the Lamb is part social and farming simulator, part dungeon-crawling roguelike and all-around fantastic. After being sacrificed and resurrected, you’re instructed by a grand, dark deity to start your own cult, managing worship services, agriculture, cooking, marriages, deaths and much more. You must also venture into the wilderness to battle demons and recruit more followers. Keep in mind that you’re a lamb, which makes all of this exceptionally cute.
Cult of the Lamb is a brilliant balance of satanic dungeon crawling and cult simulation, offering more action than Animal Crossing and more casual farming mechanics than Hades. Cult of the Lamb is incredibly satisfying, and it’s rich in gameplay, story and environments. Most of all, it’s cute as hell.
Elden Ring
There was never going to be a version of this post that did not include Elden Ring, FromSoftware's big push into open-world Berserk-inspired sword and sorcery.
Yes, there's something to be said about the earlier, more linear Souls games forcing players down a path of increasing gloom and difficulty (cue the hallmark rasping laugh of an NPC who seems to know precisely how screwed you are), how the inevitability of that experience allowed the devs to craft a bespoke gameplay loop of apprehension, frustration, discovery and the eventual reward of mastery. I love that stuff! But Elden Ring tried something new, effectively playing a shell game with those four player states, and making discovery the new initial draw.
My big "aha!" moments in Dark Souls 3 or Bloodborne arrived when I'd finally spotted a shortcut or sussed out a boss's hidden weakness. Elden Ring retained that. But what really made the good brain chemicals flow was just… roaming around. Reaching the top of some lava-ridden mesa. Or finding a way onto some seemingly inaccessible islet. The grandeur of the settings and knowledge FromSoft wouldn't make me work for a slice of geography devoid of treasures to loot and dudes to hack apart made the effort worthwhile.
Some fans adore the limited palate of Sekiro which essentially tells players, "git gud or quit." Call me a bad gamer (accurate) but I prefer the maximalism and flexibility that Elden Ring brought to the table. Want to grind until every boss is trivial? How about a hitless all-remembrances run? Either, and anything in between, is valid. Allowing for challenge and accessibility makes Elden Ring a beautifully executed twist on the formula FromSoft has been honing for nearly 30 years.
Ghostwire: Tokyo
Sometimes, games you were once really looking forward to playing just sneak past you at launch. That’s totally true of Ghostwire: Tokyo, a game from Tango Gameworks, which also created the underrated horror game The Evil Within and its sequel.
Ghostwire: Tokyo is different to those, though. It’s often… funny. Sure, there are grotesque Japanese folklore monsters and creepy faceless men-in-suits to hurl magic at, but there are also ghosts trapped in toilet cubicles that need a few extra rolls of toilet paper, or park trees that need to be magically cleansed for nearby spirits to feel at ease. You play through a first-person perspective, using elemental attacks, charms and a spiritual bow and arrow set to take down an array of spirits that have invaded a substantial patch of central Tokyo. If you’ve heard the game described as Yakuza, but with ghosts, well, it’s a completely different kind of game. But the beautifully rendered buildings, interiors and streets definitely hit similar notes. Due to a supernatural attack on the city, you won’t bump into any other humans, pretty much through the entire campaign, which adds an eerie air to the entire game. It’s either ghouls trying to kill you, or spirits that need your help to move on.
The main game is short but punchy enough. It feels like a game that was banking on DLC to round out a lot of the more ambiguous plot questions players might have, but it’s uncertain whether that will ever happen. It’s still a fun supernatural game that takes a different approach to horror, with some mind-bending set pieces that bring some of the more imaginative parts of games like Control into the neon-lit streets of Tokyo. And who doesn’t want to be stalked by hundreds of paper eyeballs?.
God of War: Ragnarok
When I was first introduced to Kratos, the God of War, he was on my PS2, taking a stroll along a Cretan wharf, casually tearing a few Minotaurs in half. Things only went downhill from there. For a full three mythos-crushing game installments, things only went downhill from there. I mean, by the end of GoW III you had to dig pretty far down the Pantheon talent list to find a surviving deity.
But when we were reintroduced to Kratos on the PS4, we were not given back the pale ball of vengeful fury and barely-contained ultraviolence that we had grown to know and love. This new one was, well, not softer but at least not quite so hard-edged as before. This was a Kratos with bad knees who old-man grunted when he stood; a Kratos with a son he struggled to connect with but still reared in a dangerous and unforgiving world, demi-god or not. This was a more relatable Kratos, one that had aged alongside the gamers that inhabit his form in the intervening console years, with concerns and motivation beyond most efficiently chain slashing his way through enemy hordes.
I think a big part of what made God of War the Game of the Year in 2018 was that progression away from thinly-veiled plot points serving as excuses for more blood, boobs and button smashing; and towards a more mature, measured examination, not just of Kratos’ relationship with Atreus, but the larger theme of how to process familial loss, its accompanying grief, and to move forward from the pain.
Ragnarok is both an affirmation of Kratos’ reformation and a lodestar for the future of the God of War franchise. I’m not going to spoil the rich and nuanced multi-arc-with-just-a-hint-of-time-travel storyline for those who have not yet played but it, in my opinion at least, is the best written of the series. This is a game with cutscenes you’ll want to sit through. Combine that with well-paced skill-adjustable action, huge maps packed with treasures and secrets, an expansive supporting cast and star-studded voice acting – not to mention a menagerie-worth of mystical wildlife just begging to be torn limb from limb – and you’ve got yourself one of the best games of 2022.
Horizon Forbidden West
Sony’s first-party studios have generally done sequels right, and Horizon Forbidden West is no exception. The first game had one of my favorite narratives, as protagonist Aloy learned what happened a thousand years prior to bring about the mysterious world she (and the player) inhabit – one where mankind lives in relatively primitive tribes trying to stay safe from giant animal-like machines run amok.
Forbidden West delivers even more of what worked in Horizon Zero Dawn. Aloy remains a steadfast, righteous and occasionally stubborn protagonist who continues to grow as she uncovers more secrets about the world around her while fighting a totally unexpected force bent on destroying Earth as she knows it. The twists of Forbidden West don’t quite match the first game’s reveal of how the world we know evolved into the world Aloy inhabits. But the narrative is still rich and complex, and the new parts of what was once the American southwest that you get to explore are rendered in stunning detail. It’s one of the most beautiful games I’ve ever played.
As with any good sequel, combat and traversal around the world have been refined – there are more weapons than ever, and you can customize them to match your play style or the particular enemies you’re facing. Melee combat against humans and machines alike has also been significantly upgraded, and new items like a grappling hook and hang glider make getting around quicker and more fun. And nearly all the machines from the first game return, along with some colossal new enemies that present a massive challenge, but also a massive bit of satisfaction as you figure out their weak spots and systematically take them down.
I think my favorite new thing of Forbidden West, though, is the relationships you build with your friends. In the first game, Aloy is mostly a lone wolf, occasionally partnering with people here and there but mostly doing things on her own. In Forbidden West, though, you establish a posse of capable and likable companions, some old and some new, all of whom bring something different to the table in your massive quest. Trying to fend off the end of the world feels just a little bit easier when you have friends by your side.
Immortality
With Immortality, indie game director Sam Barlow has delivered a tribute to the surreal films of David Lynch, with a dose of Hitchcock for good measure. Similar to Her Story, it's also entirely about scrubbing through video clips, except this time it involves footage from three unreleased genre films spanning several decades. Your job? To figure out what happened to the actress Marissa Marcel.
Geared more towards cinephiles than mainstream gamers, Immortality can be frustrating if you're not operating on Barlow's wavelength. But if you're a fan of surreal cinema, and you enjoy diving into behind-the-scenes footage, it's a game with endless rewards. The mystery will get you started, but the spooky atmosphere and excellent performances will keep you hooked.
Marvel Snap
After getting burnt out on Hearthstone a few years ago, and superhero movies more recently, the last thing I expected to hook me in 2022 was a comic book-themed collectible card game. But then the fine folks at Second Dinner released Marvel Snap and it quickly became my favorite time waster. Because a match lasts less than five minutes, you can easily play a round during commercials, while waiting for the train, or in the bathroom (I’m not judging). And while decks cap out at just 12 cards, there’s a surprising amount of depth with a huge variety of effects and counters. Meanwhile, thanks to appearances from lesser-known characters like Hell Cow, Devil Dinosaur and the Infinaut, the game has prompted me to learn more about Marvel lore than any of the movies ever did. So even though the game is a little barebones at the moment (the only mode is a basic ranked ladder but more features are on the way), Marvel Snap is sure to be a game I continue playing long after I’ve forgotten about whatever happened in the latest Spider-man movie.
Neon White
What do you do when you love speed running and score chasing, but you're generally not very good at it? You play Neon White.
Like all good games, Neon White is simple to learn, and difficult to master. The basic ask is that you vanquish every demon from a level and head to a finish marker. It plays like a fast-paced first-person shooter, with the complexity coming from your weapons, which are cards that can either fire or be spent for a special movement or attack ability. The real challenge comes from the scoring system, which grades you based on the time you took to complete a level.
There are just shy of 100 levels, all begging to be learned, repeated and perfected. Despite its first-person shooter visuals, it plays out more like a cross between Trackmania and a platformer. You'll quickly turn that bronze medal into a gold, and then an "ace" that is supposedly your ultimate target. Then you'll see the online leaderboards and realize you've left some seconds on the table. Then you'll randomly achieve the secret red medal on a level, say "oh jesus" and realize that there's a whole hidden tier of perfection for you to attain.
The trick is that everything feels smooth, and fast. From my first gold medal time up to the top-ten-in-the-world run I showed my pretending-to-be-interested friends, every time I turned on the game I felt like a master, inches away from perfection. There are multiple paths through each level, ridiculous shortcuts to discover, and near-infinite degrees of satisfaction waiting after every good run.
The main negative point, for me, is the story, which plays out like a visual novel. I love the genre, and had heard good things about the game's characters, but found the narrative overly slow and just generally dull. There is mercifully a "fast forward" button, and once you've played through everything, a level select screen that lets you jump right into the action.
Despite its storytelling, and a couple of overly long levels that had me gnashing my teeth, Neon White was easily the most fun I had with a game this year. I played on Switch and PC, but a couple of weeks ago it landed on PlayStation as well, and I imagine I'll be starting up a new campaign and playing it all over again soon.
OlliOlli World
Most of the time, single-player narrative-driven games are where I spend most of my gaming time. But once a year, I come across a game like OlliOlli World that I can play for minutes or hours at a time because the gameplay is just so satisfying. The goal in OlliOlli World is simple: become a skateboarding god. You do that by progressing through five worlds, each of which has a dozen or more individual stages, each with a wildly unique course to traverse.
Unlike the earlier games in the OlliOlli series, World is a bit more forgiving at first. It’s much easier to pick up and start pulling off wild moves and combos than ever before. But it’s still fiendishly challenging – if you want to beat every challenge, you’ll need lightning-fast reflexes and the mental stamina to change up your tricks and moves constantly. But once you get fluent in the game’s mechanics, you can enter a flow state where you’re just making moves purely on instinct.
The level and character design in OlliOlli World only enhances this effect. Like the earlier games, each of the five biomes has its own unique characteristics, but in all cases the levels are extremely colorful and interactive, with tons of eye candy and bizarre creatures hanging out in the background. And you can customize your character with clothing and items you pick up for completing challenges, letting you express your personal style in a huge variety of ways. There are also competitive aspects, like the daily challenge where you compete against nine other skaters to post the top score in your group. And every time you visit a level, you’ll see a “rival” score to try and beat. There’s always something pushing you to skate even better in OlliOlli World.
Overwatch 2
Overwatch is my second favorite game of all time. Despite sharper, faster-paced gameplay, some much-needed quality-of-life improvements and the free-to-play shift I've wanted for years, Overwatch 2 isn't quite at that level yet. It's too rough around the edges.
The monetization changes felt like a gut punch. In fairness, many of the high-end skins cost around the same as what you'd pay for outfits in other major free-to-play titles. But newcomers now need to pay up if they want cosmetics that have been in the game for six years – items that veteran players were able to earn for free only a few months ago. Players also need to pay for the premium battle pass, grind through the free tier or wait until it's easier to unlock new heroes in later seasons before getting access to the latest characters.
And yet, Overwatch 2 has a hold over me like no other game. It's still the best multiplayer title around, with a rich lore, a wonderful cast of characters and a colorful aesthetic that helps it stand out from many other games on the market. The ping system is an excellent addition for accessibility, and the four new heroes that have joined the lineup since launch are all a blast. Some of the major hero reworks, especially the Orisa one, have been a resounding success.
As much as I enjoy the game as it is now, Blizzard has laid the foundations for an even more exciting future. Next year will bring long-awaited, story-driven co-op missions to the franchise – until now, we've only had a taste of those during seasonal events. After getting a sneak peek at some of the stuff that's on the way to the PvP side in the next few seasons, including a new core game mode and the season four hero, I can't see myself putting this game down anytime soon.
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