Can a computer make you cry? That was the question posed by an Electronic Arts magazine ad in 1982. It might seem like a misguided metric today, but if a game is capable of making the player cry, it shows how much the game resonated with them on an emotional level, as well as how much of themself they invested in it. Mass Effect 3 was not only the first game to make me cry, it did so twice.
The Walking Dead is a harrowingly beautiful, emotionally intense game. It evokes the spirit of its source material (the comic series, not the television show) through its art style, writing, and characters. Lee Everett is probably the best use-case for a potentially silent protagonist, offering interesting options whether responses are moral, amoral, or non-existent. The cast of characters offer enough variation there is always someone among the group to like. The relationship between Lee and Clementine is one of protection and security, driving players to care enough that they’ll do things they otherwise wouldn’t to defend Clementine and keep her safe.
Despite my roots as a PC gamer, I never played the original X-COM. In fact, I never have been heavy into strategy games at all. Sure, I played them in the past, but never with any focus, or skill. I played Dune 2 and Outpost during the 1990s, with a hint of Warcraft 2. I bought Star Wars: Rebellion, mostly because it was a Star Wars, having never winning. Even on the easiest difficulty, I never beat that game. About a year after I started playing World of Warcaft, I jumped into Warcraft 3, through it was mostly for narrative as this was right before the Wrath of the Lich King expansion and the Culling of Stratholme dungeon. I tried again later with Star Wars: Empire at War, but even on the easiest difficulty, I couldn’t beat the second mission.
About a month after its release, I was ready to call Diablo 3 the game I regretted buying most. Having never played either of the previous two Diablo games, I was swept up in the zeitgeist of release, looking forward to playing hours of what I essentially viewed as a single-player MMO.
Release day came, and while Error 37 was frustrating at the time, it was inconsequential to the amount of actual playtime. After a little more than 25 hours, I completed both the normal and nightmare difficulties and had a level 50 Monk. At that point I asked, what else?
It can be tremulous when a developer takes over a game series midway through. Such is the case with Max Payne 3. Originally scheduled to release in 2009, six years after Max Payne 2, the sequel was wrought through development hell until the first trailer hit in 2011. The final product, though, is a terrific example of what happens when Rockstar not only focuses their energy into a tightly knit, linear shooter, but also when a development studio takes the reigns and puts their mark on a franchise.
Sleeping Dogs is a game about additions. It doesn’t change much of the open-world crime genre made popular by games like Grand Theft Auto and Saints Row. Instead, it adds to the formula with a deep hand-to-hand combat system reminiscent of the Batman Arkham series, grand visuals, and an intriguing story from the opposite perspective of those other games.
Dishonored sounds like the fantasy mash-up of one too many genres; a steampunk stealth assassin first-person game set in a Victorian London-esque city. While it doesn’t hit all those notes, Dishonored does give players enough agency to make them feel like the outcome they received is the one they chose. Like last year’s Deus Ex: Human Revolution, Dishonored gives players the option to complete objectives either through stealth and non-lethal tactics, or with pure malicious intent leaving a trail of bodies behind them.
Like the first game, Borderlands 2 delivers on all its promises. The art direction is fantastic and unique, the characters and dialogue feel crisp and sharp, and the guns feel powerful and dynamic, each providing a use for different situations. But unlike the first game, Borderlands 2 excels in narrative, giving a reason and motivation for your character other than simply collect more guns.
Between Hot Pursuit and The Run, the Need for Speed series always nails down the feeling of high top-speeds while weaving in and out of obstacles. Need for Speed Most Wanted did this taking the police chase model executed in Hot Pursuit and applying it to the open city of Fairhaven, while measuring players up against their friends for nearly every single thing they do.
Here is my preamble: I’m going to be counting down the 10 best games I played in 2012 over the next 10 weekdays. You might not agree with these choices, or they might not be the best 10 games 2012 had to offer, but they are the ones I played. I encourage you to leave a comment, send an email, or message me on Twitter if you have a different opinion, or want to talk about my choices. For each game, I’ll put the trailer at the end of the text I believe best encapsulates the game and what was exciting about it.
Remember how EA ruined the Syndicate franchise by releasing a first-person shooter instead of making a new isometric strategy game? No, I don’t. I never played the original Syndicate. I was eight years old when it released, and though I can’t remember what games I was playing at the time, I know it wasn’t isometric strategy games involving corporate espionage in a cyberpunk setting.
