Best games of 2018: Dead Cells, Captain Toad and more
Year-end lists are a wasted opportunity, a relic from the heyday of magazines and newspapers, a recap of the recommendations you missed because an issue got lost in the mail or consumed by the family dog. They tend to be a bit foggy (why did I like this game, again?) and incomplete (what came out in January?). Worse, they arrive when we’re too busy with the holidays to put the lists to their intended use. A list of the best games of the year is more useful, more thoughtful and more complete, we believe, if it accumulates all year long.
Throughout the year, we will collect its game of the year list in real time. We will update the list as new games make the cut, with the latest entries up top, followed by the complete list organized in reverse chronological order. Fortnite Battle Royale is our first entry, now at the bottom of the page, because we feel its recent seasons were the first great game of 2018.
MARIO TENNIS ACES
Mario Tennis Aces arrives on this list with numerous caveats. For fans of the Mario sports series, particularly the Game Boy Color and Game Boy Advance entries, Aces’ story mode isn’t nearly as rich as its those of its predecessors, more of a tutorial than an inventive role-playing adventure. For fans of local multiplayer, Aces still needs more options for matches, especially when it comes to its unusual scoring system. And for competitive players, Aces’ roster lacks balance; most online tournaments are currently dominated by Bowser Jr. and Waluigi players.
Aces is imperfect, but it’s worth, at the very least, keeping an eye on the community’s videos. As other critics have noted, Aces looks and feels like a fighting game. Rackets have health bars and can be broken; lose all your rackets, and you lose the match by KO. Special hits, trick shots and the power to slow time have led to high-level players flooding YouTube and Twitch with inventive strategies. As with a fighting game, Nintendo will need to commit long-term to updating and revising Aces, but even with its flaws, Aces’ track appears to have more in common with Splatoon than the fun but ill-fated Arms.
Get It Here: https://amzn.to/2CTsZCp
The lengthy development of Wreckfest encapsulates the trajectory of midsized independent game studios over the past six years. Developer Bugbear began work on the project in 2012, around the same time that Double Fine’s Broken Age established Kickstarter as a potential funding tool for modestly scoped games. So in 2013, Bugbear tried to crowdfund its game. When it became obvious the studio wouldn’t meet its $350,000 goal, it terminated the Kickstarter campaign.
The team pivoted, offering pre-orders, along with a surprisingly deep demo, on its website. The pre-orders surpassed the $350,000 threshold within a week. In 2014, Bugbear pivoted again, this time putting the game on Steam Early Access. Within a week, it hit another $1 million in sales.
The project didn’t even have a name; Bugbear had dubbed it Next Car Game. It became Wreckfest in October 2014, and like so many Kickstarter and early access games, it began to sputter with setbacks, delays and fussy updates. But like a special few games within this ecosystem, at a certain point, years into development, everything began to click. Fans who had soured on the game returned for new updates. Its Steam rating began to shift toward the positive again. And in June 2018, the official release of Wreckfest delivered on the gleeful destruction of the original demo, while also standing on its own as a racing game that emphasizes destruction in a way its contemporaries won’t or, because of licensing agreements, can’t.
It says something about Bugbear’s ambition that a game originally meant to be released in 2014 feels so fresh, looks so beautiful and handles so nicely in 2018. And it speaks to the state of the industry that a doomed Kickstarter from half a decade ago could become, today, one of the best games of the year.
Get It Here:https://amzn.to/2CUEYQg
Florence is a universal love story tastefully spiced with complicated emotions. It doesn’t need a huge budget or uncanny valley motion capture. Instead, its message benefits from simple story beats beats and playful interactions.
Florence is a game about love in all its varieties and degrees. It portrays the awkwardness of first dates, how two people can ease into each other’s lives. It shows the hills and valleys of a relationship with a critical but caring parent. It also captures the feeling of being a 20-something and feeling (despite all evidence to the contrary) that you are stuck on a path, like a parcel on conveyor belt carrying you to a predetermined destination.
Its greatest strength might be its minimal text. You assemble dialogue bubbles from puzzle pieces in conversations between Florence and her boyfriend Krish. When they get along, the bubbles may be only one or two pieces. When they fight, the bubbles fragment and the pieces become more jagged, the colors more intense. It’s evocative, but also engaging. The player is both a voyeur and a participant; this is both Florence’s story and our own.
GOD OF WAR
God of War is a methodical reimagining of the action franchise. Rather than ignoring its past with a top-to-bottom reboot, God of War is a sequel that’s in dialogue with both the actions of its characters and its previous creators. But plenty has been said about where the entry fits alongside its predecessors. Mentioned less is how well God of War stands on its own, working just fine without the baggage of its prequels. You get the sense, a couple dozen hours into the adventure, that it was created by massive fans of all sorts of other games: The campaign takes inspiration from the Tomb Raider and Doom reboots, Dark Souls, Shadow of the Colossus and even Call of Duty — the widely praised ax throwing combat, for example, places a first-person shooter reticle within a third-person action game, creating something unique and fresh.
We scored the game a 10, but a perfect score doesn’t mean a perfect game. (Does such a thing even exist?) One of the pleasures of a game as big and ambitious as God of War is that it inspires great criticism. Deorbital hosted a set of pieces, including this great read on the series’ unique and complicated place within games from Jackson Tyler. Hamish Black produced a video praising the game’s companion, Atreus. And Bullet Points Monthly published its own series of interesting critiques. God of War feels like a game we’ll remember as a distinctly 2018 product: a glossy testament to the astonishing artistry and craft of games at this moment, and a reminder of how much room the medium still has to grow.
Get It Here: https://amzn.to/2QvyVnF
NI NO KUNI 2: REVENANT KINGDOM
You needn’t have played the first Ni no Kuni to enjoy its sequel, a feverishly optimistic (and welcomingly naive) Japanese role-playing game inspired, in part, by the works of Studio Ghibli. Its colorful animation conceals a rich but not overly complicated kingdom-management system that gives the adventure a grand sense of scope. A fairytale storyline gives its motley band of heroes a playful pep that feels anachronistic, if not flagrantly in conflict with our times.
Here’s Cameron Kunzelman’s take from our review: “There’s not a wasted breath or a plot point that doesn’t manage to pay off in a significant way. Ni no Kuni 2 is a solid contemporary JRPG that brings a lot of design ideas that I love into sharp, clear focus while staying entertaining and engaging throughout.”
Get It Here: https://amzn.to/2QtUTYl
INTO THE BREACH
Into the Breach would feel like a Nintendo game, were it not so fascinated with the death of human civilization at the hands (claws? maws?) of grotesque aliens. Similarly to what Nintendo has done with so many genres, creators Justin Ma and Matthew Davis distill a complex strategy formula into an approachable, forgiving idea that feels almost like a classic board game. That isn’t to say Into the Breach is easy — it isn’t! Rather, it’s fair, taking time to teach you rules, presenting them clearly within the world’s design, then testing you to see what you learn and how you adapt.
In an interview with RockPaperShotgun, Ma said half of the game’s four-year development was spent on the user interface. “When we decided we had to show what every enemy was doing every single turn, and that every action needed to be clear, it became clear how bad that nightmare would be,” said Ma. The magic of Into the Breach is that, to the average player, the work doesn’t show. It’s invisible. Everything works, just as you’d expect it to. Which, again, mirrors the je ne sais quois of Nintendo’s catalogue. What makes truly great games special is, often, not something you spot. It’s something you feel.