Hey, y'all. Marino here. Most of the forum and wiki moderators here have been around for well over a decade, so we've seen the site's many ups and downs. This year, though, was truly a roller coaster. There was a point where we was frantically saving a bunch of stuff from the site because it felt like it was truly the end. But, here we are. On a brand new site and beginning a new era of Giant Bomb.
As usual, I'm going to share our joint list and the math that made it happen. Then, we're going to have a member of our team each tell you about one of the games that they voted for.
Nothing too shocking this year from us. A relative landslide win for that French RPG everyone's talking about.
- 61 games were nominated.
- Almost half of us voted Expedition 33 as #1.
- Two games got ONLY first-place votes.
- The lowest game with more than one vote was R.E.P.O. with five points.
- Chaser, rmanthorp, and ZombiePie all got their Top Three into the joint list.
- ZombiePie had the most make it to the joint list with six.
Bonus! - The Legend of Zelda: Tears of the Kingdom
- Gamer_152's #1
The Legend of Zelda: Tears of the Kingdom is an antidote to AAA's kitchen sink design. It is rich in interlocking, eclectic systems, but never lets its positives get drowned out in the noise. It gives enough breathing room between the landmarks across its tranquil, empyrean fields that you feel like you can breathe too. From its lofty mountains and towers, you can see for miles, suggesting the possibility of unbounded exploration, and as in Breath of the Wild, you pick and satisfy your own goals, playing the part of co-designer. In that interest, Tears also makes many of your mounts and weapons your unique inventions.
While other crafting-survival games imagine workstations that convert materials into equipment, building in Tears of the Kingdom has you gluing objects together at the junctions you see fit, making it palpably physical and full of constructive potential. Many other popular design trends are identifiable in Tears' tool set, but never does the game blindly steal mechanisms; Nintendo has adapted each with careful thought to make it look, sound, and taste like a Zelda mechanic. What you end up with is a seamless fantasy that may represent the greatest mastery of the open-world format to date.
10. Hades II
- Chaser324's #5
In a quieter year, Hades II would probably top many more game of the year lists than it will in 2025.
By way of being a sequel and a game that was in early access for a bit over a year, the full release of Hades II doesn’t arrive with the same level of shock and spectacle as some of this year’s surprise smash hits, but Supergiant delivering this game with slightly more subdued confidence doesn’t take away from the fact that it’s still an incredible achievement.
Even when it initially hit early access, the level of polish on display was already miles ahead of most releases (minus some instances of clearly placeholder art), and that was only further built upon in the lead-up to 1.0. Many other developers have tried to duplicate the Hades approach to roguelikes, but none have really managed to replicate the same magic. The way Supergiant is able to seamlessly weave each success and failure into the narrative while still maintaining an experience that feels crafted and authorial makes it seem like they’re in league with the Sisters of Fate themselves.
While I think there is some fair criticism of the overarching plot (the whims of gods are difficult to justify, even more so when time itself is involved), I don’t think that does much to mar the game overall. Fun combat and the joy of immersing yourself in the game’s distinct and colorful brand of Greek mythology go a long way towards smoothing over any rough patches, and more than anything else, Hades II left me eagerly awaiting whatever Supergiant does next.
9. Donkey Kong Bananza
- rmanthorp's #1
I truly love that the first major first-party Nintendo game post Switch 2 release will sometimes run like crap. I also love that it’s still an absolute joy to play and an overall 5/5 banger. How do they do it? If the Nintendo magic ever stops working on me, it’ll be a mighty sad day. If you need me, I’ll be Chunk Jumping to the Zebra Bananza theme.
8. PowerWash Simulator 2
- Mento's #3
As moderators, it's our job to clean up the mean streets of forum.giantbomb.com (i.e., nuke dickpill spambots all day). So, a game like PowerWash Simulator 2—which continues the sterling work of its predecessor in creating a series of filthy edifices to scrub clean with a high-powered water gun—resonates all the harder with us, the "designated drivers" of the internet commentariat. PowerWash Simulator 2 doesn't really do a whole lot new with its premise but it doesn't really need to either; the former coasted along with frequent content updates, some free and some (the licensed stuff mostly) paid, and all its audience ever wanted was even more putrid projects to purify as well as maybe a few beneficial tweaks to the UI and being a little less demanding about reaching that vaunted "100% clean" state for each site's many fixtures and features. PWS2 has all of that in spades, or hoses, and for that reason and more, the game found its way into our good graces this year as an intermittent, switch-off-your-brain-and-enjoy palate cleanser between the year's larger gaming endeavors.
7. Blue Prince
- ZombiePie's #1
Solo developer Tonda Ros has accomplished a monumental feat with Blue Prince. By combining environmental puzzle-solving with rogue-like drafting and randomization, they have made what is ostensibly a puzzle game that cannot be solved using a guide. Are there gimmicks and themes you can surmise by reading a blurb online to speed up the process of getting to the 46th room before the end of an in-game day? Sure, but most first attempts at any given room provide peak enjoyment when you roll with the punches, absorb the scenery, and check every possible nook and cranny. You discover strategies and techniques through experimentation and trial-and-error, but it’s always in the name of taking one more “step” towards that constantly teased end-goal: the hidden 46th room. My favorite personal discovery came when I scattered dirt in the driveway as an experiment. When I did that while also sporting a mansion with a conference room, the result was finding dirt all over the conference table, and those piles of dirt are diggable. Much like the gameplay and level design, the story itself has more going for it than it initially seems like a simple mystery-adventure. Whether it be learning more about the context behind Simon’s mother’s disappearance or the chaos that surrounds the manor, things certainly get interesting in Blue Prince. And for a game to keep its secrets so thoroughly hidden is nothing short of amazing.
6. Dispatch
- thatpinguino's #1
Do you know how hard it is to have a fresh take on the superhero genre in 2025? We live in a world where Marvel has extruded two-to-three spandex-fests a year, with DC chipping in another one or two. Shows like The Boys, Harley Quinn, and WandaVision have all made episodic attempts to freshen up the genre with grit, comedy, or novel setups. On top of all of those different expensive and highly produced shows, quip-based writing is as oversaturated as it’s ever been. The Whedonisms are all over the dang place. We all want shawarma now. So believe me when I tell you that I didn’t expect Dispatch to impress me.
Dispatch is a superhero workplace comedy with the bones of a Telltale adventure game and a little bit of management sim thrown in for good measure. Blending superheroes with The Office sounds like a formula for jokes that don’t land or stakes that go nowhere. And yet, Dispatch manages to rise well above its elevator pitch. The writing is fresh, in part because it’s happily vulgar and conversational in a genre that is often PG-13 and preachy. It allows characters to flirt, curse, and joke in a way that other properties with IP concerns can’t. The office hijinks also go well beyond what other workplace comedies are comfortable with, from nip-slips to squashed twinks. All the while, the game is telling the very human story of Robert Robertson III, a powerless superhero with a good heart and a broken mech suit, adjusting to life as a manager instead of a do-er.
I’m happy to say that making choices in Dispatch feels impactful. There are enough decisions that matter to support at least two playthroughs worth of interesting scenes and funny jokes. Additionally, the management sim parts of the game are a welcome innovation in what is otherwise a pretty familiar adventure game style. I was very happy to dispatch heroes to help old ladies cross the street or befriend baby kaiju rather than wander around trying to solve adventure game puzzles. Trying to get the best out of Robert’s loveable group of misfits, the Z-Team, made me feel like an overworked fast-food manager trying to coax professionalism out of a dozen teenagers working their first job. Guiding these knuckleheads from backstabbing incompetence to world-saving efficiency communicated Robert and the Z-Team’s journey through gameplay in a novel way. Dispatch even manages to have a pretty fun hacking mini-game to vary the gameplay up even further!
So give Dispatch a try! It’s a great game to play with non-gamers since much of the game is told through excellently acted cutscenes. Its episodic format helps the game’s pacing hold up through multiple play sessions. Plus, the game has some of the best voice acting in the business courtesy of the folks at Critical Role. Dispatch is one of the most fun experiences I’ve had this year, and I bet you’ll feel the same way after watching pint-sized strong-man uppercut his way through a room full of groins.
5. Avowed
- Marino's #6
How does Obsidian do it? Three games in one year? Two of which are sprawling RPGs? It doesn't make sense. Regardless, I enjoyed Avowed quite a bit. It streamlines so many things about these kinds of RPGs, mostly to good effect. Its design seems to ask, "What would be the most fun way to do this?" and just goes with that rather than accepting the conventional method. Do I miss some of those intricacies? Sure, but I appreciate that this game was going for something different. They successfully distilled all the fluff into a fun adventure with great writing and some really difficult choices to make throughout the story. I spent the last several hours thinking I was definitely choosing one thing, only to swerve at the last minute due to some dialogue that hit hard. Avowed also nails first-person combat in a way no other similar games have been able to do. And don’t let anyone tell you it’s short. If you’re a sicko like me who has to clear all the fog on the map, it took me 80 hours. It also doesn't hurt to have Garrus Vakarian's voice actor right next to you the whole way through.
4. Silent Hill f
- SgtSphynx's #3
Is Silent Hill f a Silent Hill game? There was a lot of discussion concerning this in comments sections you should not venture into. The answer is yes, it says it right there on the tin. When you boil down the themes of a Silent Hill game, Silent Hill f hits all of them. It deals with trauma and the supernatural and is creepy as fuck. For once, the combat felt good, and while some will argue that is counter to the series, I'd argue that while combat is not the focus of a Silent Hill game, it being better is a good thing. My first run through this game, I actually played counter to my usual completionist tendencies, so when the actual themes of the game where plainly laid out on my second run, it caught me off guard and was a very effective sequence. The further fleshing out of the themes and situation really worked for me, and because the game had good combat, I was not pushed away from seeing all the endings. And the boss fights were fantastic.
3. Peak
- FinalDasa's #4
I’ve known my gaming friends for over twenty years now. We hop from game to game, trying to find some excuse to yell at one another over Discord. This year, Peak inspired a lot of yelling.
A game about scaling a mountain with meters for hunger, energy, stamina, and encumbrance can be overwhelming. And yet there’s the iconic stuffed creature Bing Bong, banana peels to slip on, and toasted marshmallows for support. For every triumphant moment at the top of one mountain, there’s another where we discovered the play dead emote and watched our friend slip down the side of the summit—a frustrating combination of skill and silliness that fit my friend group a little too well.
It isn’t a go-to, every-night game like some others. But I know it’ll be one we revisit every so often to try our hand at another mountain or two. So long as someone remembers to bring Bing Bong along, otherwise I’ll get distraught.
2. Hollow Knight: Silksong
- RioStarwind's #1
Thanks to all the hype, I didn't quite vibe with this game 100% till quite a ways in. Sure, I was enjoying my time jumping around, exploring, and pouncing on any bugs as Hornet. Then I hit Act 2, and the world gets even bigger than I could imagine. The sense of exploration in this game is top-notch. Even near the end, I was finding whole new sections I missed entirely. Being able to capture the excitement of knowing that there is just so much more to see and do is rare. Yet, Silksong managed to do that.
On top of that, the varied types of events or bosses that are miss able is pretty cool in my eyes. So much is packed into this game that every playthrough is unique in its own way. Like for some a NPC might be around for a fight, but not for others, not so much. How you explore the world changes just what you have access to. For example, I missed out on a double jump for much longer into the journey than needed, but that just let me traverse in a way that I wouldn't have with it. With both of these elements and just a fun set of bosses, by the time I saw the credits roll, I was ready to play even more. Wanting to see whatever I managed to miss, and that's why this is my game of the year.
1. Clair Obscur: Expedition 33
- Mento's #1
This is going to sound a little rote (when has that ever stopped me), given that Clair Obscur is so deeply and incorrigibly French, but I believe the reason why it's managed to rise to the top of so many GOTY lists this year is due to its passion. Not just the passion on full display between its impressionistic visual splendor, the actors' stirring performances (both vocal and physical), and that incredible soundtrack, but an underlying passion for the Final Fantasy games of old-but-not-that-old (that is, 7 through 10) along with a dozen other major Japanese RPGs from that same era and the captivating spectacles they were capable of pulling off. That's my personal reason for why CO:E33 was my most important game in 2025: knowing that someone out there felt as strongly positive as I did about a period of gaming history where this specific turn-based genre appeared to rule the world and I could glut on all the riches of heaven while it lasted, though that would be selling short the game's unique strengths as a contemporary release and the vertiginous degree of complexity in its gameplay systems, to the extent that every playable character needs a tutorial and "time in the lab" to understand how to use them properly.
I might not be fully copacetic about all its decisions—having parries be so instrumental to fighting the tougher bosses makes the game a real-time reflex-intensive exercise that isn't what the more studious genre fans typically come to turn-based RPGs to enjoy—but it's shocking how well everything came together here for an untested studio pulling junior talent from SoundCloud and Reddit threads. At a juncture where soulless automation feels poised to destroy the art world entirely, a game that can celebrate the importance of human creative endeavor so fiercely is more deserving than most of approbation right now.
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