2021 was…a unique year. Not without the same difficulties that came from the year 2020, of course, but 2021 compared to other years before it served as a particularly unique year just on account of the games that were being debuted. As the industry still struggles with the difficulty of developing in these COVID years, the titles that release in this period are a reflection of that struggle.
I didn’t really spend a lot on video games this year. The introduction of Game Pass did a LOT to keep me from investing my budget into it, which was…weirdly refreshing! I hope to continue the trend leading into 2022.
This was also the year that I played a lot of new titles with a lot of my friends, in methods that I didn’t expect to do. Co-operative titles, or watching my friends play some flavor of the month horror game together or having them watch me scream obscenities during my daily Apex Legends sessions…I did a lot more gaming with people I cared about than alone. Which, honestly, is something I desperately needed in another turbulent year.
These are the standout titles that made my 2021. A testament to the level of design creativity and genre diversity offered, I hope that this list will reflect proper on the things in life that made me smile. Or scream obscenities.
It Takes Two (Hazelight Studios, Electronic Arts)
I finished It Takes Two’s turbulent and constantly evolving story alongside one of my oldest online friends. Initially I hadn’t been too invested with the kind of games that Hazelight had put out prior to It Takes Two, but I held a great amount of respect for the kind of games they specialized in. In a modern, online-focused GAAS heavy industry you don’t see titles like It Takes Two — LOCAL co-op focused 3D platformers — set themselves ablaze with success to that degree.
The moment I picked up It Takes Two alongside of my buddy and ventured into the creatively dense worlds was the moment I knew this would be one of the most memorable experiences I’ll have this year. How a journey of two estranged partners working together to rekindle what was lost can just suddenly involve a slapdash Street Fighter inspired boss sequence or an audiovisual flush of music and illumination speaks wonders about Hazelight’s eye for creativity. There hadn’t been a single moment of downtime in the game’s roughly 6 to 10 hour story mode. Hazelight from start to finish constantly kept both players engaged with the game through clever twists of the platforming, world interaction, some brutal minigames designed around competitive play, and quite possibly the most engaging mechanical design I’ve ever seen in a platformer since Super Mario Galaxy.
It Takes Two is the real deal, and it should absolutely be experienced between two best friends.
Deathloop (Arkane Lyon, Bethesda)
Deathloop’s method of helping the player progress and solve the looming mystery of Blackreef is so damn good, that I even wrote about it here. So putting Deathloop alongside of It Takes Two and other games that have shown complete mastery over its gameplay systems feels very much like a natural thing to me. As said before: Deathloop is an Arkane game down to a finely chiseled point as it offers the tools necessary to curate your own, mechanic-bending experiences. The canvas may appear smaller to work with compared to Arkane’s other titles like Dishonored and Prey, but don’t let the region diversity trick you. Everything in your inventory and everything in the world of Blackreef can be used to accomplish your target.
There’s so much sung already about the incredible Visionary Leads system that I’ve already spoken of before, but after time sitting down with the game, I can gladly sing more of it! Progression in an immersive sim had never felt more clearly contexualized and well, meaningful like it does in Deathloop. Where venturing into the hidden buildings, caverns and abandoned military bunkers in Deathloop more of it’s world and the route of the story gets revealed. These methods of environmental storytelling are used often in Arkane titles and immersive sims but the Visonary Leads method of progression encourages the player to walk that path and well, venture out. Get immersed! Even if things seem utterly meaningless like goofy sex dens or the one enemy on the shore jamming out on the beach, those quirks would be missed completely without the implementation of the Visionary Leads system.
Psychonauts 2 (Double Fine, Xbox Game Studios)
That’s two incredible 3D Platformers in the span of the year!
I didn’t put any backing into the release of Psychonauts 2 when it launched, because Fig rubbed me in the wrong sort of way and there was nothing at the time for me to feel that Double Fine would miss the mark with getting the game funded or developed. It was championed forward by one of the best creative directors in the industry and I knew that the art team wouldn’t let Psychonauts 2 flounder.
It’s fair to say that Psychonauts 2 had absolutely blew the water out of my expectations. Psychonauts 2 is one of those rare unicorns that beat the ‘dream sequel is actually kind of mid’ allegations that so many other franchises rebooted through crowdfunding seemed to flounder in. A downright perfect blend of adventure and discovery within the minds of the denizens at Psychonauts HQ.
Example: There’s a region within Psychonauts 2 that takes place within an outdoor camping area called The Questionable Area: now abandoned, the region showcases the strange aftereffects on the environment has on psychic testing. The water in the stage running completely in reverse. Animals like goats developing their own psychic abilities that have a significant role in the later portions of the story. This is the area that is incredibly reminiscent of the camping area in the original game, and for me where Psychonauts 2 as a classic, Double-Fine / LucasArts esque adventure really began to click. How the world eventually flows itself back into that same questionable area for the rest of the story to unfold and for new, equally questionable events start to occur.
The narrative of Psychonauts 2 is nothing short of genuine: how the game tackles the several emotional plagues and mental issues that effect a lot of the starring cast is handled incredibly tenderly as a means of not making a gag out of the topic subject. More of the mystery of Razputin’s mentor, Ford Cruller, begins to slowly crack throughout the game and those secrets that he stressed to never be told of in both the first and second game comes to light. That his own internal trauma and regret set severe ripples in the world of the game. Naturally, the game’s method of storytelling pulls it all back around to Razputin whose constant portrayal of empathy and patience helps the player navigate alongside of him to solve these people and the game’s central mystery.
I think it’s one of the best written games ever done by Double Fine.
Halo Infinite (343 Industries, Xbox Game Studios)
Every time I think about Halo: Infinite, the lead-up to Halo Infinite, playing Halo Infinite…it’s a mixture of emotions that should and shouldn’t be there. Several constant questions that cycle through my head whenever I sit down for the multiplayer or settle into the single player mode. Why did 343 decide to do this? What compelled the multiplayer design team to make the feel of progression so slow and un-rewarding? Why is the game so lacking in essential features in this new framework, and is the new framework introduced worth the sacrifice of not making a feature complete game? Why design matchmaking around blind quick-play but ALSO introduce several challenges that are game type specific? Why are HUGE maps like Launch Site and Behemoth not in BTB, and why do the BTB maps feel so heavily Forge-related? Who the hell thought the Pulse Carbine was a good idea?
So many questions that I feel won’t ever really get the proper examination because eventually, like all GAAS titles the games will improve over time and the grievances held at launch will be nonexistent. It happened with Halo 5, Master Chief Collection and so many other games outside of the franchise.
BUT!!!!
God damn does this game feel so wonderful to play. The actual joy of firing a gun, moving, interacting with equipment and the rest of the weapons sandbox is just Masterclass Halo from top to bottom. There has never been a better feeling Halo experience, not since Halo 2 and 3 have the series felt so confident in playing. Even the single player, whose reservations I had for when I realized it was going to be another one of those open-world like first person shooters, has such an engaging sandbox that makes a significant support for what is…kind of middling level design. Is it the best playing shooter to release this year? Absolutely. Is it ridden with design issues? Absolutely.
BUT!!!!
You can grapple-hook a Fusion Coil and sling that shit like Donkey Kong at enemies. Good-ass Halo.
Forza Horizon 5 (Playground Games, Xbox Game Studios)
I don’t think I can really articulate anymore about Forza horizon 5 that hasn’t been said already about the franchise as a whole: You get your favorite car, slap some art on it, go through a massive and meticulously designed overworld featuring some of the best and brightest in that country and just…have fun. That’s the Horizon franchise, no nonsense and fun driving. There’s even a Battle Royale.
Why Forza Horizon is on this list of games that have impressed the hell out of me is it’s dedication to accessibility, and making every little thing about the game’s quality of life fully customizable for the player’s preferences. From the driving, that you can properly choose to turn all of that annoying simulation-style driving elements down to whip hellcats down tight corners, to the audio accessibility that translates everything into several other, readable contexts. Even the player experience is utterly tailored to doing whatever you want without really giving up that sense of progressing through the Horizon Festival.
It’s another one of those toybox racing games that just get the appeal of playing within your own beats without consequences.
Steel Assault (Zenovia Interactive, Tribute Games)
There hasn’t been much of a shortage of those arcade modernizations. Steel Assault and Cyber Shadow were the two game titles this year that stood out the most when it came to taking those arcade inspirations and not necessarily doing your own thing with it, but sticking hard to the rule of the arcade game experience. Meaning, there’s just some elements about the game that is painfully bullshit and you got to be able to carry that kind of bullshit if you’re going to get through it.
Steel Assault rules. I fucking hate Steel Assault.
Laser-fine game design, where every little action implemented matters. It’s a game that demands the players direct focus of the stage without any sort of slack, like various Treasure games before it. A game that revels in its creative movement tools, primarily the unique grappling hook usage that offers an even greater depth of environment maneuverability. It’s a damn good game.
Ghosts ‘N Goblins: Resurrection (Capcom)
Speaking of games like Steel Assault and Cyber Shadow: Capcom released Ghosts ‘n Goblins: Resurrection this year. Once again developed by its series creator, Ghosts ‘n Goblins is the tried-and-true GNG experience that’s been going strong for eight games straight. It’s great!
GNG: Resurrection left an impression on me due to it’s colorful, pop-up book inspired visuals that apparently is very divisive amongst the GNG community. I, for one, adore the visual approach to it and the fact that’s running on the same engine used for games like Devil May Cry 5 and Resident Evil: Village speaks wonders about the future of that tech when used for other Capcom titles.
Knockout City (Velan Studios, Electronic Arts)
I hadn’t been expecting to play Knockout City at all this year, and by sheer luck of it being on Xbox Game Pass I probably would have never given it the time of day either way. Which is a shame to really think about because Knockout City is in the running for me as one of the best sports titles I’ve played in a long time.
Knockout City carries itself with the confidence in it’s design like an EA Sports BIG title would. The concept is very simple: 3 on 3 Dodgeball with varying throwing and dodging techniques. There are even power-up balls used as FPS-like weapon pickups, meant to drastically change the game for the team that can prioritize playing around those pickups. The concept is very simple and straightforward, and that leaves the game to make those simplistic strengths shine with some great feeling mechanics. It’s GREAT to sling a ball from long-range, only to get the satisfying spang of dodgeball sounds from the other end of the map. It’s satisfying to realize how versatile the defensive techniques can be in this game, too. Catching oncoming balls, deflecting them, parrying, charge canceling — there’s layers to this, see. So much to do beneath of a deceptively simple game.
My only grievance would be that the music had been a tad punchier.
Necromunda: Hired Gun (Streum On Studio, Focus Home Interactive)
I have not a single clue about the world of Warhammer: 40,000 and I don’t find it in myself to ever care about Warhammer: 40,000 beyond the games inspired by the miniatures. Necromunda: Hired Gun is another game set in another weirdly obscure and independent part of that world that doesn’t really bog any of it down. You’re a bounty hunting mook and you’ve got a cool robot dog. There’s guns and gore.
Nothing about Necromunda ever really works as it’s intended to: It’s a blisteringly fast paced-shooter the likes of DOOM Eternal fans would probably be aware of, but it’s crucial flaw is having a lot of it’s combat zones be set in very narrow, oppressive environments that don’t really allow much movement versatility. Though the game uses every fleeting opportunity to tell you to stop caring about the design flaws and slap some buttons. So, in that sense, Necromunda is great as a mindless bog shooter where everything doesn’t work as it should, but in a different way where other games would get chewed out for even attempting such a thing.
It’s also pretty.
Humankind (Amplitude Studios, SEGA)
Turn-Based Strategy wise, Humankind is interesting. It features several QOL adjustments to the traditional Civilization routine that are absolutely welcomed, but the selling point of Humankind is creating your own…culture out of the civilization that you’re making. Breaking apart multiple historical cultures and fusing them into your own civil structure is something I hadn’t expected to be so engaging.
It’s…also pretty!
Lost in Random (Zoink Games, Thunderful Group, Electronic Arts)
This is like the 3rd EA-published game I have on this list. Their independent publishing work is immaculate and it’s safe to say that all their works this year struck hard chords with me.
Lost in Random is a deck-building action game. The best comparison that you can put to it is, well, the game is an awful lot like Kingdom Hearts Re: Chain of Memories’ style of deckbuilding. Exceedingly basic combat stricks and arrow flicking that leaves the deck system to shine in what you can do in the combat field. Couple that with some stellar music and visual direction, and it’s one of the more memorable titles for me this year.
Super Monkey Ball: Banana Mania (SEGA)
Monkey Ball is my punishment.
Nothing good comes out of a session of Monkey Ball. One moment you’re carefully slotting your favorite SEGA hero down a course and into the goal. Everything is good, and cool. Things click when you begin to decipher the multiple courses and worlds that Banana Mania has to offer. Maybe you’ll sit down and place some of the BEST minigame suites that gaming has to offer what with Monkey Billiards and Soccer. Good experience.
Then comes the task of really ‘playing’ Monkey Ball, and no good comes from that. There are levels set In Banana Mania that are meant to give you several brushes of heatstroke as you desperately try to figure out what the hell SEGA did to you for buying their game.
The greatest satisfaction that I’ve pulled from Monkey Ball was, as always, playing it alongside of good friends. Being coached at my side on figuring out how to solve the pillar level or weaving through balance boards fast enough to end the goal. Because the appeal of Monkey Ball comes from the discovery more than actual course completion.
Back 4 Blood (Turtle Rock Studios, Warner Bros. Interactive)
Back 4 Blood was my most anticipated video game to release this year. The Left 4 Dead franchise has it’s paws deeply rooted in both myself and my younger brother, where several hundred or thousand hours have been wasted across multiple platforms, solving routes and navigating through waves of undead. To say my excitement for Back 4 Blood was immense would be an understatement.
Then I played it. Back 4 Blood is not the game that I expected it to be, and for a time I had a bit of an issue with that. The card-based upgrade system that’s new to the formula is great and features a newfound level of depth that appeals to me now more than it would if I were still 14. But once the levels were solved, and playthroughs were had…the glaring flaws that Left 4 Dead avoided were still kind of there. The special infected stunk. Some of the legibility of the stages were bad and the introduction of stage hazards like fog and darkness made things a bit worse.
Back 4 Blood is an important game to add to this list, though, because Back 4 Blood gave me the opportunity to think about how important encounter design can be for first person shooters. How the progression of a shooter is weighted a lot on the process of encountering enemies, how those enemies engage with you and how the player chooses to navigate around them. Where Left 4 Dead offered several venues to fight or avoid, the special infected of Back 4 Blood just sort of…stumbles and piles on you until you’ve had no more. It’s an oppressive sort of game that demands you take time with the card system…and that’s all fine and good.
I still think it’s a great game despite those flaws and I can only hope, like Halo Infinite, that the game improves over time.
Ruined King: A League of Legends Story (Airship Syndicate, Riot Games)
Like with last year’s Legends of Runeterra, Ruined King would be another game in Riot’s attempt to get new players that held a casual interest in the world of League but didn’t wish to engage with the source material — being a MOBA with a poor reputation for it’s community. (I played quite a bit of it.)
With Ruined King, we don’t really get to see much of Riot’s influence in this game save for the cast and world being implemented. This is more of an Airship Syndicate project, from it’s unique spin on the ATB formula to the aggressively Joe Mad flavored art direction (and some of the finest character designs that the main League experiences will probably never get a chance to see.)
In regards to the design of Ruined King’s combat, it introduces a newer way to rapidly or slowly engage with the combat through it’s Lanes (haha!) system. The players and enemies interact with one another within three lanes; top, middle, and bottom. Each of those lanes represent a level of speed that allows players to prioritize abilities like healing spells or massive damaging skills to the best of their capability. Once you combine that with the several layers of buffing, min/maxing through runes and equipment and the QOL updates seen in this game compared to Airship’s last RPG, Battle Chasers: Nightwar, and you’ve brought to the table one of the finest traditional RPGs to come out this year.
League of Legends: Wild Rift (Riot Games)
Once again I fall for the Riot trappings.
Wild Rift exists as, for a lot of players like me, a new venue to be introduced in what’s the ‘traditional’ way to play League of Legends. Now in a simplified, modernized format of…being a mobile game that was made in this generation, versus a ten-year-old game that still looks like a Warcraft III mod sometimes.
While Wild Rift won’t win much of anything in its originality factor, it is an important game to me because of how it teaches me to approach the source material. I think of Wild Rift as a very accessible and even competitive tutorial of the main game to be experienced on the PC client. Skill building, learning the basics of combos and even actually learning how to play the Jungle role slightly better than what I was before it came to my life. I feel comfortable with playing those long, often lost matches now than I ever did thanks to the existence of it’s mobile sister title.
