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Red Dead Redemption ended in such a manner and such a chronological setting, and the emergence of such a replacement for the lead character, that a sequel never felt close to likely. But, when rumours of a Red Dead Redemption II started circulating on the Internet, I figured something out: the game left us with all the potential for a bombastic prequel. John Marston's hunt for his former comrades was never the first game's focus from a gamer's point of view – and while the guys he was chasing were such great characters built up through ways of dialogue, we never really got to know them. Just scraps of their personal reputations. Well, Red Dead Redemption II fixes that, we get to spend a whole game with 'em. Introducing Dutch van der Linde's right-hand man Arthur Morgan (MAYBE slightly referenced in the original) as the new lead, the game takes us back by 12 years before the beginning of the original game, chronicling the van der Linde gang's exploits as they hide from the law and attempt to get back on their feet after a severely botched, high-profile robbery and looking for that ”one last job” that would allow the whole lot to start whole new lives somewhere far from home. Arthur is more of a blank slate than John ever was; his past is more ambiguous, and player decisions play a bigger part in the character he becomes on this journey. In other words, the Honor system means that much more, even certain missions are directly tied to Arthur's treatment towards NPC's. Forgetting about the missions... well, in fact, forgetting about the missions makes the game as great as it is. The first few hours of the game are spent teaching the player core skills within a very linear margin – so linear that people have been known to abandon the game after the first hour – and allowing access to some basic weaponry, but the linearity of the game fades gradually, and after about 8-9 hours of gameplay, you are free to explore the living and constantly developing game world at your very own leisure, with the exception of the neighboring state which (for good reasons) doesn't unlock until you've finished the main storyline. How to pass the time in this game, you ask, if not doing stuff that actually matters? Now that's a long, yet beautiful story. Hunting, first introduced in the original game and then improved in GTA V, is my personal favourite ”hobby”; I won't even begin to explain its level of detail here. Fishing is introduced as a whole new ”minigame” - kind of influenced by the fishing in Final Fantasy XV, just much better. Texas Hold 'Em is back, of course – no Liar's Dice this time, though. Generally there are a lot of things you can do to help out your gang or boost their morale, which will probably take you a lot of time to figure out and explore during the first half, if you're interested in them besides yourself, and TONS upon TONS of deliciously frustrating collectables in the genuine Rockstar style, as well as a truckload of challenges and challenge categories. To reach the fabled 100% mark, you'll have to have no less than hundreds of hours to spare. Plus, John Marston is of course back from the dead and very much back in the fray, as a younger and admittedly stupider, but altogether improved and even deeper version of himself. There you have it, just some of the thousands of reasons you need to go and buy Red Dead Redemption II, as soon as possible. Explaining the whole deal would take me at least a week. Frankly, Red Dead Redemption II – or should we say, Ultimate Wild West Simulator 2018 – is my personal favourite video game in all history, sidelining Final Fantasy VII after 21 straight years.
I think it's safe to say this decade's been owned by two superpowers – Nintendo, who made the comeback of all time with the Nintendo Switch, and not so surprisingly, Rockstar Games, who – save for just one or two exceptions outside of their ”main zones” - have gotten better with every damn game since their official arrival to the scene all the way back in 2001. Grand Theft Auto V was not a joyful task when looking at it from a game developer's very initial point of view; the last major Grand Theft Auto title was critically praised, but as time went by, it was quite clear that the game's main attractions were its next-generation audiovisuals and game mechanics. The game itself was somewhat repetitive and ”empty”, relatively speaking when it comes to the games that made this series – a great game, no doubt about it, but a disappointment for sure. Then, in 2010, came Red Dead Redemption, a game based on the same engine but taking us back in history all the way to the final days of the Old West, primarily made by Rockstar San Diego instead of Rockstar North, which not only turned out a severely superior game against all odds, but created whole new standards of narrative and gameplay that Rockstar – and all of its different branches – were forced to live up to. Ever since the announcement of Grand Theft Auto V, there were many Rockstar followers – including myself, to some very slight degree – who doubted the possibility that GTA V would feel fresh enough or have characters or storyline even close to the beauty of Red Dead Redemption. Well, they sure as hell wiped the table with us; Grand Theft Auto V is the day to Grand Theft Auto IV's night. Narratively, it's of the exact same caliber as Red Dead Redemption, and gameplay-wise, easily the most enjoyable and freedom-filled game in the modern open-world genre. Told from the perspective of three totally different characters, all of whom have been designed according to different preferences among GTA players, GTA V hardly ever runs out of things to do. Even while the actual number of story missions is notably smaller than in, say, San Andreas, take note that some of these missions last for HOURS, and switching characters within mission confinements could well grant a different gaming experience each time. Not to mention mission challenges, way more diverse than they were ever before, or challenging yourself by making different plans and decisions of how a certain robbery should be handled, before you go on the actual job. (Which reminds me, the thrill of a successful robbery or heist is dangerously satisfying.) One thing I'd also like to pass particular praise to, is the audio. In previous games, the audio was limited to dialogue, gunfire and whatever was playing on the radio – there's always ambient music here, perfected for each situation. I think it's really, really cool, and makes the game feel all the more like the perfect heist ”cinema” it represents. Grand Theft Auto V is simply up there with Final Fantasy VII as one of the greatest games ever made – and, the best part is, it isn't even the best game of the decade. Or the best Rockstar game.
Some people have seriously asked me: so, you have a Breath of the Wild carry case for the Switch, you're a big fan of the game obviously, so why don't you own it? Why wait 'til a year into the release of Super Mario Odyssey to buy a Switch? Why don't you still own Breath of the Wild? The answer: I do, I DO own Breath of the Wild. On the Wii U. ”They released Breath of the Wild on the Wii U? Ugh man, that version must suck!” Yes, as a matter of fact back when I bought the Wii U, Switch didn't even have a proper name yet, nor was it confirmed that it would even be released on the Switch. The Switch launch game you all so love is actually just a port of the Wii U game. No, it certainly does not suck. As a matter of fact, there are no fundamental differences between the two games. Not even when it comes to loading times – the only technical difference is that you can play the ”superior” port anywhere. That is what makes the Switch game so good in comparison to the Wii U's 8 meter (or so) limit, and the Wii U Gamepad's piece of s**t battery life. On to the more important question: why buy a dying system, moreover considering my personal history: one made by Nintendo, for a major game in a series I'm known to consider overrated? Before I knew anything concrete about Breath of the Wild, I had a feeling this game was going to be an experience that I had always wanted The Legend of Zelda to be. And that, it most certainly is: a completely open-world game that focuses more on the exploration of this beautiful landscape than ultra-difficult puzzles and maze-like design, and a game that feeds on sidequests and random tasks instead of having a story to constantly hold you back from realizing your inner adventurer. The story is remarkably good, there's no doubt about it – especially since it's whole new, and ditches that age-old alternate timeline schtick that's been around since 1998's Ocarina of Time, EVEN the romantic relationship between the two main characters which is probably the most shocking development – but the game pretty much WANTS you to forget about it, consistently making your progress in the main chapters long and wading, as if to say: you still have a chance to turn back, and do something else. Even when you reach one of the main dungeons, you are given the choice of warping back to the world or grit your teeth and be done with it. Here's one more carrot for you: you don't have to complete ANY of the dungeons in the game. Hell, you can pretty much head straight into the final boss fight if you want – you'll probably get your ass handed to you, but the opportunity is there. Me? You know me... I want to do everything. And I thought I had done everything; I had cleared all of the game's 120 Shrines – puzzle-ridden minidungeons, if you will – unlocked every tower and flashback, acquired just about every piece of equipment, including the Master Sword of course, prepared about a 1,000 different meals and elixirs, bought and furnished my own house, completed every chapter of the main story, every sidequest... and still, after 175 hours of gameplay, my total completion percentage was 34%. This counts for DLC's which I wasn't interested in at all at the time at least, but also, you need to collect information into the game's inner compendium by taking photos of all enemies, certain characters and equipment, plus visit every location in the game to have a chance at getting to the fabled 100%. I still have a ways to go with this game. But I'll enjoy the trip once I have the time. The Legend of Zelda: Breath of the Wild is, without a doubt, The Legend of Zelda at its very best, and the upcoming sequel isn't coming fast enough.
Although my relationship with the Switch has since deepened by several levels, there was one single game behind my then very strange and reckless decision to buy a Switch – I had just broken up with my partner and moved to a new apartment with very little to my name. That, was Super Mario Odyssey. I was temporarily living with my best friend and his family before I was officially given the green light to move my stuff into my new place, and of course I had to go and try this game on their Switch – even though I couldn't really afford a new console, this game blew my mind, so I marched into the nearest supermarket and checked out with my own Switch. As a lifelong Mario fan, it's still very hard for me to say out loud, but it isn't any less true: Super Mario Odyssey is the greatest Mario game of all time. Considering the company it is in – chronologically we're speaking Super Mario Bros. 3, Super Mario World, Super Mario 64, Super Mario Galaxy, Super Mario 3D World – hell if there's one game ever this close to a perfect 10 in its very own category. We're not talking about a 3D Mario game that takes the best of the 3D Mario games and throws them in a blender, it takes EVERY Mario game ever made on the side, adding in completely new and fresh level design modelled after real-world cultures, but still feels like 100% Mario. When it comes to the main gimmick of the year, Mario is on the hunt for 999 (!!!) Power Moons / Stars scattered across 15 kingdoms to power up his new ship, the Odyssey, all with their particular theme – including a sprawling metropolitan area that is a living tribute to Mario's origins and his original arch enemy, Donkey Kong. Mario's hat is imbued with magical powers that allows him to ”possess” certain enemies and objects to reach spaces that are out of his usual reach, or just for the hell of it. Super Mario Odyssey offers challenging, nearly endless entertainment for a true Mario fan. By far, the only thing wrong about this game is that even though Switch's calling card is its handheld feature, Super Mario Odyssey doesn't really support it. It's a fun handheld game, but at its absolute best from a TV screen, with separated JoyCons – which also allow you to play a generic, but somewhat entertaining co-op game.
Let's say we have a 100 people in a room. First question: how many of you were disappointed in Fallout 4? 99 hands. Second question: how many of you were disappointed in Fallout 4 because the audiovisuals of the game didn't meet your expectations in the year 2015? 98 hands are still up, I'll bet, and that one person didn't like the game 'cause he grew up playing the first two games. That's the most usual gist of Bethesda's Fallout titles, isn't it? Good games, but ”not Fallout”. Well, I'm more into an entertaining game than frames-per-second or audiovisual prowess in general, and since I was never much of a PC gamer, my experience with the first two games came years after I had fallen in love with Bethesda's first outing in this category, Fallout 3. I think Fallout 4 has the best story out of any Fallout game – any Bethesda game at that – and like all Bethesda games, the story is still far from the best part. They're all about exploration, and I think Boston makes for an amazing virtual playground. The removal of an actual level cap and a traditional, but still heavily evolved skill tree make exploration and character development all the more interesting. There's also a construction tool for any wannabe city-builders out there, which allows you to build and maintain your own settlements using any salvageable junk you find – it's kind of force fed, actually, but not to the point of frustration unless you're going for all the Trophies or Achievements. The excellent add-ons bring in stuff like allowing you to build your very own cyborg companion with customized weaponry, and several hours of challenging gameplay that's tied to the main plot and doesn't feel as detached from the game as has usually been the case. I personally think Bethesda, despite making some poor economical choices in recent years, are getting better with each game – certain unlucky MMO's of this particular brand excluded – and I certainly don't understand people's constant need to shoot them down.
People love to make fun of this game – but not out of hate. Out of love. The Elder Scrolls V: Skyrim – or just Skyrim – is a game that is incredibly hard not to like. I should know, 'cause I was never a fan of this series before. I don't think my love for recent Fallout games had anything to do with my falling in love with Skyrim. It's just such a major Elder Scrolls overhaul; I never really got what was so great about the previous games, and I'm not that much of a fantasy buff. Fallout's satirical post-apocalyptic science fiction narrative is closer to my heart. Being just about the ultimate fantasy story ever – a nameless ex-convict waiting for his execution discovers he is the only person alive capable of fighting a world-threatening dragon and surviving to tell the story – there's so much more to Skyrim. You can travel the huge open world, with the difficulty level scaled according to your experience level, distancing yourself from the story, and as the main storyline pretty much has you explore big cities only, it's easy to even forget what it's all about. Provided you have all the DLC, you can use your hours to excavate ancient dungeons for ancient treasures, become a vampire hunter, stealth assassin, thief, master blacksmith, traveling merchant, master wizard, WEREWOLF, just to a mention a few, even get married to just about anyone you wish, start a family and build your very own freakin' house. Skyrim is full of opportunities – and to be frank, that story ain't too bad either. Just a minute, I need to re-install the game.
Mass Effect 2 is one of those games that got unanimous praise when it first came out, but as years have went by, the Internet has found new flaws in it on a daily basis, and suddenly there's one side that calls it a science-fiction masterpiece and one side that calls it overrated bullcrap. First of all, I'm obviously on the first side, and secondly, I think it's just people's NEED to erase every good thing BioWare and Electronic Arts ever accomplished together. Mass Effect 2 was – no, IS – a revolutionary title. Although the gameplay radically differs from the first game, opting for a tactical third-person shooter (and improving on all the essentials, by the way) it remains very attached to its RPG roots, unlike the even unluckier final chapter in the trilogy. Mass Effect 2 was the first game to incorporate a very elaborate character importing system; having a completed file of Mass Effect on your system allowed you to not only import your previously created character to Mass Effect 2, but each and every plot twist and decision (including those made within the confines of DLC), and character alignment from your personal game. Basically this means that you could play these games back to back, and never notice a difference beyond a suddenly improved gameplay scheme and huge graphical overhaul – it picks up so naturally from where Mass Effect left off, and continues on the same track, collecting those tidbits in favour of Mass Effect 3, potentially adding whole HOURS of gameplay. It's still pretty damn impressive. After four and a half playthroughs (one on a half on Insanity), Mass Effect 2 still manages to keep me well beyond entertained. It is indeed a science-fiction masterpiece, and easily BioWare's finest work. NOTE: If there's just one DLC you want for a game (ANY GAME), it's Lair of the Shadow Broker. In general, I think it's the best piece of downloadable content ever released for any game.
Kratos is back – but as a very different individual, in a very different geographical setting, in a very different game. And, as expected, he rocks the joint. Following in the footsteps of The Last of Us – another PlayStation exclusive – set in pre-Ragnarök Norway, or Midgård if you prefer, God of War basically revolves around Kratos bonding with his young son Atreus after the death of his second wife, and their journey to a holy mountain to scatter her ashes to the Norse winds. Since this is God of War, there's something else to it, in this case a band of local gods who don't approve of the duo and are hunting them throughout the nine realms. (They clearly don't know Kratos too well.) Although the story – believe it or not – is direct continuation to the ending of God of War III, there aren't that many references to Kratos' past exploits in Greece, and the game is very different. It's a semi-open-world action-RPG instead of a straightforward hack and slash, played from a completely different angle, with the camera focused on Kratos from the start to the very end, with absolutely no loading or other pauses in the between. Even the cinematics are in direct conjunction with the gameplay. It's a clear departure from the God of War of old, that's why I'm still unwilling to rank it any better or worse than God of War II – my favourite in the old series – but make no mistake, it's a simply amazing action-adventure / RPG / God of War hybrid, and it has been proven that you'll probably enjoy it even if you haven't played one God of War game before, or have been pushed off by the old series' ultra-violence, which is notably toned down here. Or at least justified.
Uncharted 2 directors Neil Druckmann and Bruce Straley skipped Uncharted 3 – and it showed – to have a slice of the post-apocalyptic survival horror pie, and the result was absolutely phenomenal. 20 years after a fungal brain disease (common among insects in real life) spread across the United States and beyond, turning well over a half of the world's population into primitive, raging freaks, a middle-aged, heavily embittered and brutal smuggler named Joel is tasked with escorting a 14-year old girl named Ellie to the care of a private army for initially unknown reasons. Although a survival horror game by first glance, The Last of Us is most importantly about the ever-deepening companionship and chemistry between these two extremely different individuals; while Joel is teaching Ellie survival skills and giving her a gruesome ”tour” of the reality of the outside world, Ellie is there to show the stubborn old man he still has someone to care for, and something to fight for. It's just like The Walking Dead – only much better. Each and every move and gesture was mo-capped in a studio, recorded at the same time as the voiceovers – the voice cast, led by Troy Baker and Ashley Johnson (who some of you might remember as Mel Gibson's daughter in What Women Want or for her brief cameo in Marvel's Avengers), is top of the bill. Before heading into The Last of Us Part II, coming in February 2020, don't forget to play this one first. Or return to it one more time. It's a God damn masterpiece.
Without a doubt, this game's greatest flaw is that it was released on the wrong system... and for some God damn reason, it has not seen daylight on Switch, or moreover, spawned another sequel. By all possible accounts, Super Mario 3D World is BETTER than either one of the Super Mario Galaxy games, not to mention lightyears ahead of the New Super Mario Bros. series. At first, bringing Super Mario 3D Land from the 3DS to the big league didn't seem that awesome, but after just the first few levels, Super Mario 3D World shows just what it can do by improving on EVERYTHING, including the 3D effects that made the original game so good, the minigames, and the level design, just to mention a few core elements, even taking advantage of the Wii U Gamepad's microphone from time to time (which is something still not worked out on the Switch!). Super Mario 3D World is, without a doubt, one of the best Mario games ever made, and I would still buy a Wii U for this game alone.