by Jed Pressgrove
Note: You can read the introduction to this list here.
15. Earth Defense Force 2017 (2006)
With its over-the-top voice-overs, extremely crude weapon/health/armor icons, and ridiculous physics, Earth Defense Force 2017 could be written off as a joke. Yet there are few games that match this 3D third-person shooter’s emphasis on scale as you face hordes of gigantic ants, spiders, and walking robots. Developer Sandlot shows there can be a fine line between being in awe and not taking something seriously: as you eliminate flying drone after flying drone in one level, the screen shakes so violently that you can barely see what’s happening. Never has the urge to laugh been so married to spectacle in video games.
14. Stargate (1981)
Also known as Defender 2, Stargate doesn’t get as much attention as its predecessor Defender, but it’s the better game by Eugene Jarvis and Larry DeMar. Although you still fly left and right in Stargate to stop alien ships from abducting humans, the drama is higher with the very first stage, thanks to a greater variety of enemies and the inclusion of a volcano that spits bits of lava that you must avoid as you suicidally zip toward and away from pesky targets. This sequel also gives the player more help with the titular portal, which teleports you to the nearest threat to humanity, and a temporary cloaking ability. But the standout aspect to both Stargate and Defender is the devastating audiovisual punch of the protagonist’s weapon. It’s almost offensive how loud this game gets as you launch line after line of concentrated fire. The irony is the ease with which your foes can slip through the narrow passages between these shots, even though you could swear from all the noise and visual punctuation that you should be invincible.
13. Gradius (1985)
Director Hiroyasu Machiguchi led a reinvention of genre with the power-up system of Gradius, laying the foundation for many good horizontal and vertical shooters (including Life Force, another Machiguchi game under Konami). Yet there is one thing the children of Gradius usually don’t reproduce: the sense of exploration and space in sections where you can fly up or down to make the screen shift vertically as you continue to advance horizontally through narrow channels. And while Gradius can seem ridiculously unbalanced when you die and lose speed, a shield, lazers, and whatever else you collected, the music by Miki Higashino is hopeful (in stark contrast to the nerve-wracking theme in Xevious), suggesting that another try after failure can result in heroism.
12. The Binding of Isaac: Rebirth (2014)
As much of a horror game as it is a shooter, The Binding of Isaac: Rebirth is the definitive edition of designer Edmund McMillen’s Freudian nightmare of a maniacal mother, excrement-filled rooms, and an uncaring God. McMillen evokes The Legend of Zelda in his presentation of a seemingly neverending dungeon full of random power-ups that deform as much as empower the tearful boy protagonist. The various elements that could offend, particularly the levels that put you inside a womb, reflect an abusive history where fear and hatred, not comfort and love, are compellingly tied to every aspect of the woman — an unflinching view of hell from the eyes of a child.
11. Sin and Punishment: Star Successor (2009)
This effort from developer Treasure is the ultimate rail shooter experience. Unlike most rail shooters, which automatically scroll the player from one shooting gallery to the next, Sin and Punishment: Star Successor allows you to move an avatar on any part of the screen as you shoot, slash, and evade your way through an incredible assortment of enemies and threats. Whether you are flying through a city upside down or trying to survive a six-part boss, the sense of breathlessness in Sin and Punishment: Star Successor is unparalleled.