Tags: Gone Home

The top ten games of 2013

, | Features

This year, instead of just singling out games I like, I’m going to single out games that do best what I like most. Namely, games that tell a story through gameplay. A relevant story, unique to the way videogames tell stories. Games that really get the unique strength of the medium over and above books and movies. Games that are particularly great at being games and not just puzzles or tests of skill or dazzling virtual wonderlands.

This is partly a shame, because it’s going to exclude some of my favorite games this year. It’s going to exclude games I liked mostly for mechanical reasons. Don’t Starve is the game that finally got me hooked on procedurally generated survival-a-thons, partly because it’s got so much personality and mystery. Desktop Dungeons is the most amazingly intricate cerebral puzzle rogue-like I’ve ever played, neatly arrayed under a superlative meta-game of building up and unlocking. Tales of Maj’Eyal is a rogue-like with addictively intricate character development, honed over a decade of development. I never really cared for the goofy sloppiness of kart racers, but this year’s best driving game is a kart racing game called Sonic & All-Stars Racing Transformed. Monaco is a glorious playground full of interactive bits, lovingly realized in that often too-precious retro fat-pixel way, and some of the best multiplayer co-op you can play. Splinter Cell Blacklist takes stealth as far as I can imagine it will ever go by giving it varying levels of importance in a generous set of sandboxes, all interconnected by the economy of buying cool weapons and gadgets. Which brings me to Dead Space 3, which drank up far more time than a Dead Space should with its funky cool spaceweapon crafting. Assassin’s Creed IV’s gorgeous pirate ship shenanigans were just the breath of salty fresh air the Assassin’s Creed series needed. If there’s a platformer as good as Rayman Legends at the art of running, jumping, and variations thereof, I haven’t played it. I haven’t gotten very far into Wonderful 101, but I love the fighting system I’ve seen so far and I’m eager to explore the rest of it.

All those games would vie for a spot on a conventional top ten list. But none of those games really had an effective narrative hook, and that’s what my list is going to single out this year. As videogames grow up and increasingly earn their rightful place alongside movies and books and TV, these are the ten games I’m proudest of, the games I enjoyed the most, the games I’ll remember for reasons other than mere gameplay. These are the games that spoke the loudest, the clearest, the most poignantly, the most memorably. These are the games with voices that most deserve to be heard.

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See Gone Home before it got home

, | Games

Frictional Games’ Thomas Grip has posted a prototype of Gone Home during the early stages of its development. Designer Steve Gaynor and his team originally created it using Frictional’s Amnesia. Grip writes about it here and provides a link to download it and unpack it into your copy of Amenesia if you’d like a first-hand look.

The prototype is quite short and very basic; it is really more of a proof of concept. But it still gives a very good sense of the game, and having played the full version, I could recognize quite a bit. It does feel a bit awkward to play an early test like this though. Gone Home is a very personal game, and playing this prototype felt like a meta version of the game’s voyeuristic thematics.

Gone Home recently added a commentary mode. You can listen to my conversation with Gaynor on this podcast and read the review here.