Whether it’s the blinding speed of the Bloodstarved Beast the slow, deliberate doom of Rom the Vacuous Spider or the three stage grudge match with the Host of the Nightmare: Micolash Bloodborne demands you fall to these enemies countless times before they succumb to your persistence. It demands players master first movement and then weapons before finally dominating the game’s varied enemies and bosses. But beyond its beguiling world and enigmatic characters Hidetaka Miyazaki’s magnum opus was a joy to play.īloodborne, like it’s cousins in the Souls series, gives no quarter. Bloodborne’s relatively esoteric inspirations along with its designs of both its creatures and its setting of Yharnam made it an iconic work that players are still puzzling out today. Lovecraft’s Cthulhu mythos but it may as well be. Patrolled by insane beast men and haunted by foul beasts from beyond the veil of time and space. Bloodborne (2015)Ī city built on the bones of slain deities. This time there were no player choices meaning that singular ending is where all redemption and consequences merge to become one, whether it’s in the clear water of a baptismal font or on the choppy shore of a lighthouse. Only now director Ken Levine’s finale felt like the end of infinite universes. There’s always a city.” BioShock Infinite was ultimately about what every BioShock game was about: fathers saving and sacrificing daughters.
“Bring us the girl and wipe away the debt,” goes the refrain.Īs BioShock Infinite changed from a frenetic shooter-RPG in its contemplative, artistic final stretch so too did that refrain. Grizzled ex-Pinkerton and veteran of the American-Indian Wars Booker DeWitt is on the run from gambling debts and takes a job with the mysterious Lutece Twins to find the mysterious young woman Elizabeth somewhere in the city of Columbia.
Nearly seven years on its question of whether the working class rebellion is really any better than the gold-and-marble plated exceptionalist theocracy is still being debated but that was never what drew me to Columbia, that new Eden of the sky.īeyond its themes of racism and class warfare and the trans-dimensional travel that framed them BioShock Infinite was a story of father and daughter. Rather than Rapture – the underwater city of the first two games – BioShock Infinite aimed for the stars and landed among the clouds in the floating city of Columbia. Perhaps the best novel I’ve ever played Infinite’s examined race, class and freedom through the lens of a young woman able to rip holes in space-time and the ex-Pinkerton detective hired to find her. Who needs Thanos when the shooting and running is this fun? It’s firm but fair and never relies on gimmicks to get across it’s sense of play. Staying in one place for too long is certain death whereas keeping on the move gives you a fighting chance. Whereas Fortnite and PUBG rely on either building your own defenses or keeping very, very still Apex Legends relies on movement. Apex Legends fast-paced yet accessible gameplay is what makes it so addictive. There was no Thanos or Star Wars events there was just twenty teams of three on an ever-shrinking map. More so than Fortnite, Respawn’s latest achievement stuck very close to its core conceit. The colourful character roster, exceptional fluidity of movement and shorter time-frame for matches made Apex Legends easy to marathon and easier to sprint. It’s a fast paced game with no frills except where they matter most. Though the first two have their merits Apex Legends remains my personal favourite. What is known is that in there among the morass there are some genuine classics such as PUBG, Fortnite: Battle Royale and Apex Legends. It’s too early to tell if the Battle Royale will continue as one of the most played genres in the world or whether they become a cultural oddity of the 2010s. This alphabetical list is far from exhaustive so sound off in the comments for what you feel is the best game of the decade! Apex Legends (2019) These are the HeadStuff Gaming writers’ picks for the best games of the decade. It was a decade where rage and hate was met by an even stronger love within gaming’s diverse communities for the games that bring us together, that make us laugh, that make us cry and, ultimately, keep us moving forward. The 2010s indie scene was poached from liberally by the mainstream but nevertheless maintained its unique, rebel identity. This was the decade where walking simulators made storytelling inseparable from gameplay. For every clunky, difficult-for-the-sake-of-difficult action RPG there was a Bloodborne. For every Metroidvania rip-off there was a Dead Cells. For every rote shooter there was a Spec Ops: The Line. Games kept moving forward this decade despite the efforts of some of the most powerful companies and people in the industry. Art is in constant motion, it has to be otherwise it stagnates.
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