snot city

Game Bias’ 10 Best Video Games of 2014

by Jed Pressgrove

There is no critical value in hyping any conception of “video game,” traditional or otherwise. The following works simply accomplish their goals, modest or not, better than the numerous other 2014 games that I played.

Note: You can check out my 10 worst video games of 2014 here.

1. Jazzpunk

Jazzpunk’s emphasis on derailing plot, a cue from the Marx Brothers, turns video game campaigns and side missions into farce. (People who pontificate about “narrative” or “gameplay” might be too jaded to laugh, though.) Developer Necrophone Games’ dedication to irreverence outplays Obsidian Entertainment’s adolescent marketing and genre triteness in South Park: The Stick of Truth. Jazzpunk never gets haughty about the artificiality of games and takes joy in the absurd possibilities of the form.

(See full review of Jazzpunk here.)

2. Choice: Texas

Some say “every game is political” and others say “keep politics out of games,” but I often get the sense people are talking more about how game content either massages or insults their partisan egos. The life politics in Choice: Texas reject partisanship to explore practical, emotional, and spiritual concerns. Text-based second guessing conveys how policy, family, religion, school, and work can lead pregnant women to visit and revisit decisions that are as sociological as they are personal.

(See full review of Choice: Texas here.)

3. Talks With My Mom

Unlike Mountain, Talks With My Mom is a masterpiece of minimalism. The game’s focus on mother and daughter confronts the anxiety of raising children and growing up gay, trumping the lack of sociology and dignity in Gone Home’s horror cliches. Even if someone says “not a game” in regard to Talk With My Mom’s ultra-simplistic clicking (which allows the player to punctuate mood and control pacing), developer Vaida’s statement on identity and gender is undeniably mature, non-judgmental (the mother isn’t presented as a mere bigot), and clear.

(See full review of Talks With My Mom here.)

4. The Talos Principle

If it were only a collection of puzzles, The Talos Principle would be impressive and worthwhile. The puzzler further distinguishes itself by addressing the voice of God and the voice of reason. Avoiding propaganda, The Talos Principle magnifies the human vulnerability and intellectual conflict within the Garden of Eden story, an account that is usually analyzed from one-dimensional viewpoints. The smattering of philosophical texts might be tedious, yet this bombardment captures the challenges of thinking in the (Mis)Information Age. The game achieves the most clarity in connecting deity and human as players. The urge to solve puzzles, to be a creator of order, explains more than The Stanley Parable’s smug and obvious design lesson.

(See full review of The Talos Principle here.)

5. Beeswing

One can almost see the human hands that crafted the art and music in Beeswing, but the result still seems magical, particularly during the best video game song of 2014 that dares to express the alienation of the elderly in nursing homes. Beeswing’s checklist of activities represents what a person hopes to accomplish going back home rather than the common attempt in games to glorify content. Even among provocative work like Sluggish Morss: A Delicate Time in History and Will You Ever Return? 2, this is Jack King-Spooner’s masterpiece.

Full disclosure: I backed the Kickstarter for Beeswing, but only at the level that allowed me to download the game. Moreover, I do not plan on backing another Kickstarter for a video game. The whole process annoys me.

6. Amazing Princess Sarah

Just ignore how developer Haruneko advertises this game as yet another breast-obsessed adventure on Xbox Live Indie Games. Not satisfied with retro sentimentality like Shovel Knight, Amazing Princess Sarah expands the strategic possibilities and challenges of Super Mario Bros. 2’s enemy throwing. This platformer also gives the “new game plus” concept memorable purpose, outdoing the beat-it-twice legend of Ghosts ‘n Goblins. The rule changes in each version of Amazing Princess Sarah can make difficult sections easy and easy sections difficult, inspiring new appreciation of the game’s five levels.

(See full review of Amazing Princess Sarah here.)

7. Shutshimi

The direction of Shutshimi borders on the avant-garde. The alternating 10-second bursts of shooting and power-up selection defy conventions, especially when you’re forced to choose from power-ups that are almost certain to lead to your death. The narrative of a fish defending his home is punctuated by constant human bicep flexing that recalls the homoerotic overtones of Cho Aniki. Neon Deity Games has created the wildest shooter of our time: a high-score exhibition that celebrates and parodies masculinity.

8. Broken Age Act 1

Tim Schafer’s direction in Broken Age Act 1 is virtuosic. The two stories tie together brilliantly in terms of theme and plot. The voice acting blows away the amateurish efforts of countless bigger-budget games. Although some puzzles might require backtracking, Broken Age is designed to allow a much faster pace than most point-and-click adventures. Broken Age always seems one step ahead with its punchlines, inviting the player to goof off as much as advance.

9. Replay Racer

Mario Kart 8 might have helped make 2014 a banner year for Nintendo banality, but that latest entry of an overrated franchise can’t match the innovative fun and challenge of Replay Racer. Developer Chris Johnson turns every completed lap into a juggernaut that you have to avoid and outrace. By the sixth and final lap, you’re competing against five of your own Frankensteins. If arcades were still respected, Replay Racer would be a hit.

(See full review of Replay Racer here.)

10. Temporality/Snot City/The World The Children Made

Cheat Code: Allow Three Choices for One Spot. Down, Up, Down, Up, Enter.

These three games from James Earl Cox III weren’t released as a trio, but they stand out together in 2014. Temporality gives a more respectful and thoughtful tribute to what is lost in war than Ubisoft’s Looney Tunes/Pokemon treatment of World War I in Valiant Hearts. Snot City exposes formulaic item collection as juvenile horror. Finally, The World The Children Made is a timely adaptation of Ray Bradbury’s short story, warning millennials and their offspring of the potential dehumanization of technological convenience and privilege.

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Critical Riffs: Fez, Snot City, Glitchhikers, Love Worker

by Jed Pressgrove

Fez

This ballyhooed platformer combines Nintendo nostalgia and esoterica to make us go “Wow.” We’re supposed to do the talking because Phil Fish’s pixel art has next to nothing to say. The game has cute dialogue and plenty of places to see, but the perspective changing and puzzles make for rigid and tedious exercises, as opposed to the revelations uncovered with practice and experimentation in the cryptic masterpiece Solomon’s Key. Don’t buy into the bullshit about Fez’s ode to relaxation. Fish called his work “a ‘stop and smell the flowers’ kind of game.” No, that was 2009’s vastly superior Flower.

Snot City

James Earl Cox III is a more accomplished artist than Phil Fish. Snot City won’t win any awards for maturity or sensitivity, but the game’s subversion of clean-cut problem solving in games is unpretentious and original. Snot City establishes itself as a race against time in which you have to find new abilities to unlock paths and save the day. Although it’s tempting to stand still and take in the unusual environment, message prompts and fidgety animation reinforce the urgency to move. One could criticize Snot City as an inside joke on game design, but Cox’s conclusion is an unforgettable sensation.

Glitchhikers

This game from Silverstring Media captures the suspense of normal human life through an appeal to the senses. Simulating a late-night drive on the highway, Glitchhikers awakens the universal fear of running off the road with every blink of an eye and every look out the side window. The game wrecks when it starts talking. Although sure to garner comparisons to filmmaker David Lynch, the heavy-handed dialogue between imaginary hitchhikers and the driver overlooks ordinary, relatable concerns (work, family, etc.) of people who drive tired at night. By primarily appealing to dark, surface-level philosophy, Glitchhikers proves that commoners don’t matter when you’re up your own ass.

Love Worker

Earlier this year, Vaida shared Talks with My Mom, a modest story that surpassed Gone Home’s nonsensical and irrelevant portrait of gay identity and family. Vaida’s Love Worker is more of a minor achievement yet registers as genuine escapism. You move left and right hurling bombs in the middle of an industrial area full of walking suits. Rather than kill, the bombs add color. Not as naive as it might seem, Love Worker refashions the robot, a symbol of compulsory work, into a songwriter: “As a machine/I can’t compete/With what humans do.” This combination of song and game isn’t new, but few independent shorts concentrate on joy like Love Worker.