2024: The Year in Games

2024’s retrospective glance would likely result in a stiff neck due to the year being predominantly about reflection. The journey began with two familiar series, yet they appeared transformed. “Silent Hill: The Short Message” was a gloomy mass of concerns, focusing on school bullying and online harassment. It didn’t resonate as Silent Hill until you played it, when Akira Yamaoka’s music started echoing within your mind. It wasn’t located in Silent Hill, instead a fictional German town named Kettenstadt, with its narrative unfolding within an apartment block. However, it was heavily shrouded in fog – not just the usual streetlamp mist but the enveloping haze of the internet. It marked the first installment in Konami’s horror franchise in a decade (the last being P.T.), and let’s hope it signals more innovative concepts to follow.

Another game was “Prince of Persia: The Forgotten Crown,” which showcased a nimble protagonist, a side-scrolling perspective, and a Metroidvania structure. It seemed clear that developer Ubisoft Montpellier had opted for a traditional aesthetic over depth exploration. In actuality, they had cleverly incorporated depth into the gameplay with fluid controls, acrobatic puzzles, and a world that opened up in intricate ways. While I didn’t particularly enjoy “The Forgotten Crown,” I respected it as an inventive design: a finely crafted clockwork mechanism, striving to wind back to when this series held dominance. The last major installment was “The Sands of Time: The Forgotten Sand”; it was released in 2010, and its title proved accurate, as it disappeared beneath the golden dunes. However, Montpellier demonstrated that the crown was not forgotten. Thus, the disheartening news announcement in October, confirming that the development team had been disbanded.

2024 echoed with the impersonal rhythm of money transactions, as the games “The Lost Crown” and “Suicide Squad: Kill the Justice League” didn’t meet their publishers’ sales targets. This resulted in Warner Bros. Discovery reporting a loss of two hundred million dollars. Despite this, I personally found it enjoyable, although perhaps not what you’d expect from a studio like Rocksteady Studios after almost a decade of work. What has stayed with me since February isn’t the cast of villains turned unwilling heroes, or the team of degraded superheroes, but the setting. Metropolis was one of the most captivating sights of 2024, a golden-lacquered maze of skyways and art deco grandeur; it was like an American in the 1950s imagining a futuristic ancient Greece, held up by girders, whizzed past by sleek cars, and occasionally drenched by unforgiving gods.

As a gamer, I’m always excited about the continuity of great studios and games, so it’s good to hear that Rocksteady will stay together, possibly revisiting Batman again. Unfortunately, not all studios are as fortunate. Just recently, Sony decided to shut down Concord, their live-service hero shooter, only eleven days after its launch. The developers at Firewalk Studios weren’t so lucky and had to close shop soon after. It’s a tough reality in our industry that even success, whether it’s critical or financial, doesn’t guarantee survival. In May, Microsoft announced the closure of Arkane Austin and Tango Gameworks. The latter had just released Hi-Fi Rush, a brilliant surprise in 2023. Thankfully, there was some good news at the end of this story, as Krafton acquired Tango and the rights to Hi-Fi Rush, with a sequel already brewing in early development.

2024 saw some notable releases, with two standouts being “Senua’s Saga: Hellblade II” and “Astro Bot.” While I found the former overly monotonous, a blend of photorealistic visuals that sometimes felt like watching a well-oiled machine rather than actively playing a game. It had instances of breathtaking beauty, yet so did “Ryse: Son of Rome,” which boasted superior combat mechanics and wasn’t weighed down by the burden of serious content. On the other hand, “Astro Bot” was more engaging visually, but oddly enough, it left me feeling unsatisfied.

As a long-time PlayStation enthusiast and collector of Japanese gaming history, I must admit that I found myself both captivated and saddened by Astro Bot: Rescue Mission. On one hand, it is an impeccably crafted platformer, showcasing the technical prowess of the PSVR system and Team Asobi’s keen understanding of game design. The levels are intricately designed, the movement mechanics are smooth and intuitive, and the puzzles are cleverly integrated into the world.

However, the cold, plastic, and mechanical aesthetic of Astro Bot’s world left me feeling a bit detached and melancholic. It is a world devoid of warmth and emotion, a stark reminder of the passing of an era that gave us beloved franchises like Ape Escape, developed by the now-defunct Japan Studio.

Astro Bot serves as both a celebration and a eulogy for those lost days, with its home base filling up with bots modeled after famous Sony characters, each one a fond memory that brings a smile to my face but also stirs a sense of loss. It is a bittersweet journey, and I can’t help but wonder what could have been if the creative spirit of Japan Studio had not been lost to the march of time and corporate restructuring.

In short, Astro Bot: Rescue Mission is a testament to the artistry and skill of its creators, but also serves as a poignant reminder of the past and the cost of progress. It is a game that I will cherish for its technical brilliance and emotional depth, even as it leaves me with a lingering sense of longing.

For the accolade of Best Homage of the Year, it’s Metal Slug Tactics that takes the prize. Just like savoring the Neo Geo Metal Slug games is akin to enjoying pre-Castro cigars – costly, difficult to replicate, overflowing with rich flavor – Leikir Studio has crafted its own version, adding an inventive twist to the run-and-gun genre and vibrant artwork. Interestingly, the best platformer of 2024 actually debuted in 2008. The Anniversary Edition of Braid, reworked for high-definition screens, offers a refreshed take on the original game, but its standout feature is the extensive commentary from creator Jonathan Blow and others. It’s an impressive feat and sets a new standard for remasters. Notably, Blow still hasn’t unveiled the game’s enigmatic ending. Sometimes, more clarity isn’t always necessary.

Similarly, just as with Silent Hill 2, Bloober Team’s substantial remake preserved the uncertainties inherent in its original form, resulting in an impressive recreation. Unlike the initial release, this revamped version could not provide a shocking experience by definition. However, Bloober Team skillfully tapped into that sense of familiarity; you navigated the muddy, damp terrain and felt a persistent sense of déjà vu at every turn. Much like its protagonist, James, you seemed to have visited these places before – reminiscent of Mr. Grady from The Shining, who tells Jack, “You’ve always been the caretaker.” It was satisfying to return to those familiar surroundings once more.

As the year drew to a close, the much-anticipated release of “Indiana Jones and the Great Circle” arrived, marking a fresh, yet familiar return for our beloved hero. This observation isn’t a criticism of MachineGames, whose work has consistently been top-notch, but rather a nod to Indiana Jones himself. Since the 80s, he’s been featured in numerous games, often feeling more like a global jet-setter on an aimless journey than the adventurer we know and love. Yet, there have been moments of success, albeit few and far between. Thus, when you find yourself an hour into “The Great Circle,” the action takes a pause to explore a dense, dimly lit Vatican City hub, it’s a breath of fresh air. This is because the developer seems to grasp that while pace matters, there are times when taking a moment to catch your breath and engage your brain is crucial.

In 1992, LucasArts demonstrated an impressive understanding with the release of Indiana Jones and the Fate of Atlantis, as it managed to return to timeless truths in a grand production. It’s delightful to announce that one of the year’s top games is also one of its funniest. Troy Baker’s portrayal of Harrison Ford was commendable, but let’s not overlook Jerk Gustafsson, the game’s director, who skillfully captured Steven Spielberg’s comedic timing for some of the humor. One of my favorite jokes was when Indy donned a dog collar and pretended to be a priest, only to have a passing soldier request spiritual forgiveness. Sometimes, a quick quip can serve as an effective whip, allowing you to punch through the wall of a confessional, if not a hunk of worn leather at your side. Indeed.

2024 proved particularly challenging for individuals who criticize the blending of entertainment and politics. If you find real-world issues intruding into your gaming experiences, consider the predicament of GSC Game World’s developers based in Ukraine. In 2022, one of their team members, Volodymyr Yezhov, lost his life in Bakhmut, while others had to relocate to Prague to complete “S.T.A.L.K.E.R. 2: Heart of Chornobyl.” This game presents a grim scenario, a survival shooter set amidst a radioactive wasteland. However, it’s the peaceful elements that left an impression – the vibrant autumn foliage and overcast skies. It might seem paradoxical for such a somber game to evoke tranquility amidst chaos, but that’s exactly what it did.

The game S.T.A.L.K.E.R. 2 began production in 2018, and it’s clear why GSC Game World was so eager to release it; the game is essentially a tribute to the beauty amidst danger – to our homeland shrouded under ominous skies. Although it explores science fiction themes and features images that spark a sense of alien wonder, it’s grounded in reality. The extended development periods often mean studios can’t always reflect current events, but this game felt like a firsthand account, almost like a protest game I’ve played.

The studio, Odd Meter, consisting of just fourteen individuals, experienced a significant shift in 2022 when ten members left Russia following the start of the invasion. Their creation, Indika, is a game centered around a nun who travels to a city’s monastery. Her voyage is filled with nightmares, and her tranquility – mental and physical – is repeatedly disrupted by disturbing incidents. The game features creatures reminiscent of those from Bloodborne, industrial fish canneries that seem to supply straight from Hell, and a polite voice in the protagonist’s ear, challenging her faith much like picking at a scab. By the end, many aspects of her life have been stripped away, leaving players stunned and enraged. It’s been a while since I encountered a game delving into the Orthodox church as deeply as this one. The founder of Odd Meter, Dmitry Svetlow, did not mince words post-exodus. In an interview with Polygon, he characterized the church as a tool for Russian propaganda.

2021 presented numerous opportunities to jump into the heated debates surrounding a lightly foamed controversy, yet each instance seemed to dissipate without a fuss. In April, the game Stellar Blade was released on PlayStation 5, featuring a doll-like protagonist named Eve who took on hordes of alien threats. It was said that she began her mission only after dismantling her own outfit. The abilities of Korean developer Shift Up in the intricate art of hack and slash were highly praised, with battles reminiscent of those in NieR: Automata, but the ensuing discussions centered around Eve’s attire, a slim strip of lizard-green lycra. However, the anticipated online uproar never materialized.

In a similar vein, a powerful wind swept behind the launch of the Chinese blockbuster game, Black Myth: Wukong. The game’s developer, Game Science, was known for mobile releases, but with a torrent of eager investment, its first Triple-A venture was a success. However, it seemed that everyone couldn’t stop talking about its success. Personally, I found it enjoyable. As someone who believes monkeys bring only positive changes to video games, it was satisfying to see one swing and smash through a fantastical world. Yet, this paled in comparison to the enthusiasm with which its fans praised it. No comment section seemed safe from its Guaranteed Game of the Year status, and any critic who didn’t hail it as such was likely biased. Such fanatic responses are typical, but it was strange to learn that Game Science’s CEO, Feng Ji, felt he had made a journey in vain after leaving the Game Awards, as Black Myth won two awards.

It’s peculiar to single out one game over others, as if creativity were a competition. Even more unusual is choosing a specific period – whether monthly, yearly, or otherwise – and declaring that game as the undisputed best. The year 2024 was particularly remarkable for games, with many of them, including numerous remasters, evoking memories of past years, thereby making time seem flexible and distorted like a bubble wrap’s pop. A more intriguing inquiry might be: Which games from 2024 will you remember after it has passed?

Here are two standout examples that left an impression: the first is “Jurassic Park: The Lost World,” a spin-off from 1998. I had long been intrigued by its eerie ability to foreshadow the trends and stylistic elements that would become popular. From the opening cinematic, where Richard Attenborough’s voice boomed – “My name is John Hammond” – a lump formed in my throat. The brilliance of “The Lost World” lies in its stubborn refusal to allow the technology of the time to obscure its vision. As you traverse misty enclosures at a stegosaurus-smooth frame rate, you sense that you’ve unearthed something deep and significant.
The second is “UFO 50,” an astounding collection of fifty games, supposedly developed by UFO Soft in the 80s. However, the real developer was Mossmouth, an independent studio led by Derek Yu, and these aren’t just mini-games; the project has been in development since 2016. It was released in 2024, and it will be at least another couple of years before anyone can review it. Keep a lookout for its console release in 2025. Until then, take pleasure in reminiscing about the past. Happy New Year!

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2024-12-30 22:43