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2025 was such a good year for gaming.
Games worth mentioning for me personally:
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Ravenswatch came out at the end of last year, but it’s an incredibly satisfying multiplayer roguelike. Really scratches that asymmetrical gameplay itch.
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Split Fiction is a master class in game design. It creates these awesome storytelling moments that could only be created in this exact way.
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UFO 50: holy shit this one came out of nowhere for me. It’s like digging through a retro collection for diamonds in the rough, but there’s more diamond than rough. It has honestly changed the way I approach video games and gaming in general. Also, Party House is so good.
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Hades 2 is pretty much exactly what I was hoping it would be. No notes.
I also played Clair Obscur, DK Bananza, Mario Kart World, and Silksong. Those are all good games, but none of them hooked me.
I like Bananza more than BotW, but I didn’t think BotW was that good. I didn’t play TotK for that same reason.
I don’t think Bananza’s length is a mark against it. It has more than 18 hours of content, so the time to beat it is irrelevant. Cost is also irrelevant to the quality of the game.
Look at it this way: remember when large portions of the internet community were all up in arms about the cost of games and predicted that the Switch 2 was definitely going to fail?
If your perspective on games this year aligns with those communities, then you only need to look at the runaway success of the Switch 2 for proof that you’re missing a big part of the picture.
It’s a good game. People like it. I don’t even like it that much, but I can still see why it’s a successful and popular game.
I don’t understand why you’re mentioning Zelda? There was one Zelda game this year, released a couple weeks ago, but it’s actually a Warriors game.
I’m sure Bananza is getting a boost from the Switch 2 hype, just like E33 is getting a boost because of its indie roots. None of this happens in a vacuum. But the hype wouldn’t do anything if either of these were bad games.
I don’t even know how donkey kong got in the list though, maybe they are being manipulated to include a nintendo title in some way.
It’s one of the best reviewed games this year, it’s in a classic but underrepresented genre, and it’s the flagship title of the fastest selling console of all time. Maybe you’re just a little disconnected on this one?
I had a similar experience. I’d honestly prefer boring turn based combat to the ridiculous QTEs in the game.
The story was extremely well-told. Great voice acting and production value. But the actual plot didn’t hook me. It just seemed so arbitrary. I don’t know if there’s some big reveal or anything that makes it make sense.
I only played it on Game Pass, so luckily I’m not out any money. I would have given it another chance eventually, but the Game Pass price hike made me cancel.
I’m usually fine with paying more for things I enjoy that are worth it. Like $70 games are just not a big deal to me.
I’m also too lazy to cancel most things. I’ve ignored Game Pass price hikes before and justified them by thinking of all the games I played without buying.
But this one is just ridiculous. There’s no value here, no way for me to justify it. I was enjoying Silksong on Xbox because I didn’t have to buy it, but now that I do have to buy it I guess I’ll do that on my Switch instead. Replaying it is going to be rough, especially without my Elite controller.
I hope Microsoft gets their shit together, because Xbox has been my favorite game platform for years.
It just felt hard to relate to. The core premise is intriguing like I want to see where it goes, but it’s not intriguing like I feel personally invested in it.
Baldur’s Gate just had this perfect buildup, where you’re trying to solve a personal problem, and then it just keeps growing until you’re killing gods.
I’m not usually a fan of turn based games.
Baldur’s Gate 3 hooked me. It was one of my favorite gaming experiences ever. I played through it two and a half times, consecutively.
I couldn’t get through Expedition 33. It’s very well done, but the story itself never hooked me. It just felt too abstract, like it never got me emotionally invested.
And the gameplay was too narrow. I’m sure it opened up after a while, but it would still be the same kind of turn based combat the whole time.
It’s insanely good. At some point I want to make a post just about UFO 50, just to spread the word, but I don’t even know where to start.
Fifty is just an insane number of games, and so many of them are so god damn good.
Even now I want to be like, Porgy would be worth the cost on its own! But then I’m like, should I say Porgy or Avianos? Or Mini and Max? Or Grimstone? No, Rail Heist! Fuck it, I’m just going to go back to playing the damn thing.
I have three recommendations.
Split Fiction is a master class in game design. The split screen is so integrated into the experience that even online multiplayer is in split screen. The screens are a part of the story.
The gameplay is constantly changing to the point that discovering new mechanics becomes the gameplay loop.
The level designs are so clever that you’ll have several moments that feel scripted but were actually just inevitable because of how we play games.
To give a snapshot of the experience: there was one scene where my character was driving a motorcycle along the sides of skyscrapers, doing the craziest stunts imaginable, and my wife’s character was sitting on the back frantically trying to solve a series of CAPTCHAs on her phone. She was so focused on keeping a steady hand that she barely noticed the death-defying stunts happening literally out of the corner of her eye.
By the end of it I was like, “Did you see that??” and it turns out she did not. It was absurd and hilarious, and it’s the kind of storytelling that only works in a video game.
My current obsession is UFO 50, which is a collection of 50 “retro” games. In real life they’re all new, but the story of the game is that they’re from a company from the 80s called UFOsoft, and then there’s a dark meta narrative hidden in the background.
Which is all just a framing device for 50 games, most of which are good, some of which are amazing, and half of which are couch co-op multiplayer. It’s like exploring the Switch’s retro NES collection for hidden gems, except there’s a lot more gems.
There are beat 'em ups, obscure sports games, some platformers, tactics games, a little bit of everything.
I’ve enlisted my wife to help me, because a lot of these games are just begging to be grinded out in co-op.
I got the game when I saw someone describe it as “a master class in game design”, and I thought, “that’s the phrase I’ve just been using to describe Split Fiction.”
And finally, I recommend Lovers in a Dangerous Spacetime, because that’s the multiplayer game I’ve been recommending for almost ten years.
You each play as adorable creatures in an adorable space ship that you customize as you go. The ship has several stations that need to be manned, including the captain’s seat, navigation, a directional shield, and multiple weapons.
But you each can only man one station at a time. So if you need to stay on the shield but a new enemy is approaching from the other side, then that means the captain is going to have to jump on a weapon and leave the ship adrift.
You may have arguments over which type of weapons to add to your ship or over who’s better at piloting which kind of engine. Or maybe you’ll work together in perfect harmony, relying on each other’s strengths and covering each other’s weaknesses as you adapt to every new challenge. Both ways are fun.
Also great for up to 4 players.
And I’m not saying you do have to enjoy the game. I’m just saying that you’re starting with the opinion “Nintendo bad” and trying to backfill the reasons, because saying Donkey Kong Bananza isn’t innovative just doesn’t line up with reality. And saying that Nintendo as a whole isn’t innovative is just ridiculous.
map destruction skin thrown on top
That doesn’t make sense if you think about it for a second. The entire game is designed around the destructible environments. One of the reasons it’s so good is that they use the interior of the landscape. And the gameplay loop is absolutely different.
But Nintendo also gets credit for Super Mario Galaxy; you’re right about that.
Bastion. It’s Bastion. Holy shit the answer to this question is Bastion.
I’m assuming you know that Hades’ soundtrack is fucking amazing, but before that came Bastion (from the same developer), and it has possibly the most powerful soundtrack I’ve ever experienced. The way it’s integrated into the story genuinely blows my mind. Every track is a banger, but then you’ll start to get used to it, and then you’ll hear a song that’s so different, and it’s because something unexpected and beautiful is about to happen.
Then you’ll get to the end and you’ll have a choice to make. Except it won’t feel like a choice, because you’ll feel compelled to do exactly what the game wants you to do, and then you’re rewarded with one of the most beautiful sequences I’ve ever seen in a game, accompanied by a haunting song that I still sing fourteen years later.
I can’t stress this enough: if you want a game where the music is an essential part of the experience and is just so fucking amazing on its own that you’ll want to play it on repeat, the answer is Bastion.
I also really loved the soundtrack to Baldur’s Gate 3.
Seconding this for the co-op play. It just captures the feeling of a heist so perfectly in a bite-sized package. In a matter of seconds you’ll go from everyone calm and knowing their role, to full panic mode as soon as someone makes a mistake, to a wary sense of relief as you manage to barely get to safety but still have to complete your mission.
I didn’t know about the sequel. Now I’m tempted to try it…
I think the problem is that it kind of isn’t an RPG.
It’s an adventure game with heavy RPG elements. Like the core gameplay clearly resembles old point and click adventure games. It’s just the experience and leveling system are also so central to the gameplay that it wouldn’t work without also being an RPG.
Considering Microsoft continues to layoff developers, I think we can safely rule that out as a possibility.
It’s possible that in this specific instance Microsoft would not spend the extra money wisely. But for the industry as a whole, if the financials look better, fewer people will be laid off and companies will be willing to take more risks.
The second is the assumption that games are more expensive than ever to develop. This is beyond untrue; games have actually never been cheaper to develop.
Yes, indie games are cheaper to produce, which is why they cost less. The prevalence of mid-budget indie games strengthens my point: gamers have many options at many price points, and raising the cost of AAA games to $80 isn’t pricing anyone out.
In any case, we’re not talking about indie games. A big game like Baldur’s Gate 3 or Elden Ring costs $100M+ to make, which is a lot more expensive than it used to be.
Hot take, but $80 is a perfectly reasonable price for a “mainline” game.
Back in 1998, I saved all my money to buy Quest 64 for the suggested retail price of $60. That’s $120 in today’s money, and I guarantee you I didn’t get as much game as I will with Outer Worlds 2. Games dipped to $50 when they moved to discs, but even that was more expensive than today once you factor in inflation.
Realistically, an extra $10 isn’t pricing anyone out. All modern gaming platforms are expensive. There are still plenty of ways to enjoy gaming for cheap; they just don’t involve the newest platforms. That has been the case for most of the history of gaming.
Meanwhile games are more expensive than ever to develop. We want developers to get paid, and we want them to take more risks, but both of those things cost money.
To be fair, the playable space in Anthem was in three dimensions. Meanwhile Destiny’s maps are deceptively small, using tunnels that wind in on themselves and non-explorable space to feel larger.
Yeah, more zones would have been good, but none of that compares to having some of the tightest combat and traversal gameplay I’ve ever experienced.
I’ve heard people describe games like this as “Metroidbrainias”, which is the dumbest name ever, but the point is that it’s a game where progress is blocked not just by obtaining in-game power-ups, but by learning how to use abilities that you already possess at the beginning of the game. The player is the one who levels up. I love that.
Also consider trying it again, but use items. The items completely break most of the fights if you just use them.
I know that sounds like obvious advice, but my personal inclination is to never use items, and usually items aren’t that great, so it was novel to me that when I got stuck, the answer was just: use items.
Games I’m currently playing:
- Clair Obscur: Expedition 33
I think I like it, but I don’t love it yet. It’s undeniably well made. The story is told well, the acting, music, and graphics are all top notch. Really well done.
But the story isn’t really hooking me yet. Something about that kind of fantasy story irks me. Like, the premise seems so outlandish and arbitrary that I can’t tell if it’s actually good or if it’s just manipulative. I’ve seen so much praise for the intro, but to me it’s like: “Every year on this day, something emotional and devastating happens!” Then it happens, apropos of nothing, and everyone is like, “Oh my god this intro is so emotional and devastating.”
Just doesn’t feel organic to me.
It’s also not my type of game. I’m slightly less than neutral towards turn-based RPGs, and I’m firmly against parrying. Still, the execution is good enough that I’m going to stick it out a while longer.
- Oblivion Character Creation Screen
I just can’t seem to get past this no matter how hard I try.
- Minecraft
Getting back into my 6 year old realm. Building a big stables near a cherry grove.
- Split Fiction
I’ve been playing this with my wife, and it’s fantastic. Never boring, always clever and inventive. Just went through a whole pinball sequence that is just a master class in game design.
- Ravenswatch
One of the best multiplayer games I’ve ever played. Also one of the best roguelikes. The gameplay is ridiculously tight, and the new characters are awesome. I wouldn’t personally describe it as a coop Hades, but I wouldn’t outright disagree with someone who did.
Shit, I just realized I’ve been playing a lot of games lately.
“Woke” has had a consistent meaning since its introduction into the English language almost a hundred years ago. It means “Aware of systemic racism.”
When blues legend Lead Belly ended a show in 1938 by saying, “Stay woke,” he meant: “Stay aware of systemic racism.”
When some chud on YouTube in 2025 says “‘Woke’ is ruining gaming,” he means that awareness of systemic racism is ruining gaming. For him.
And when an American politician calls himself “anti-woke”, he’s saying that he opposes the awareness of systemic racism. Not that he denies the existence of it, but that he’d prefer no one talk about it, so that it can continue.
Star Flight. I played it on Genesis, and it’s still one of the greatest games I’ve ever played.
One space ship, 270 solar systems, and 800 planets. The manual included a captain’s log that was sent back in time from the future, but without that you’d just be scouring the stars for clues, interrogating aliens, digging through ancient ruins, and watching slowly as a rash of planet-destroying solar flares spreads through the galaxy.
So fucking good.
I fully understand what you mean. I got turned on to UFO 50 the exact same way, from a stranger’s recommendation online. They referred to it as “a master class in game design”, and I was like, that’s exactly what I was just saying about Split Fiction!
I think how we say things is important to how we connect.
Anyway, Split Fiction requires two players. The whole game is in split screen, even if you play online. But you only need one copy of the game to play online - I think your partner can just download a special version of the game for free. But if you have someone to play with in the same room, I recommend that.
A bit more about UFO 50 if you haven’t already looked it up: it’s a faux-retro game collection from a fictional, defunct 80s game developer called UFOSoft.
Fifty is an insane number of games, and it’s got so much damn content. There are space shooters, side scrollers, a wild west Final-Fantasy-style RPG, a roguelike, a soccer game inspired by Bubble Bobble, at least three golf games, and then whatever the hell Mooncat is. There’s also a dark meta-narrative hidden between the games that describes why the company went under.
So UFO 50 is a deep dive. You may want to start there first, because it’s something you’ll likely bounce off of and come back to. Luckily you have literally 50 games to switch between if you get frustrated.
When it does get frustrating, it’s so rewarding if you power through it. Several of the games are in the style of those ridiculously punishing 80’s arcade games, except it mostly is just a style. If you keep an open mind and look for what the game is trying to show you, you start to see that there are modern design conventions underpinning everything that make the games more fair than they appear. (Except Caramel Caramel. That game is bullshit.)
That’s part of what I meant when I said it changed how I approach games. I realized I can spend so much time on my own expectations that I don’t see what’s in front of me. Learning to approach these games with an open mind has been a defining moment for me.