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jamesgeiiger · 5 years

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Post Arcade’s top 10 games of 2018

Quick warning to those in search of a little confirmation bias: Some of the year’s most popular plays — including Super Smash Bros. Ultimate, Fortnite, and FIFA 19 — just aren’t my bag. Power to anyone who enjoys these games, but I’m more interested in single-player games focused on storytelling. It’s just how I’m built.

With that in mind, 2018 was a bit of a mixed bag for me. There was a handful of truly standout games that satisfied my personal proclivities, but the overall depth of offering felt a little shallow. A sign, I suspect, of current gaming trends and appetites.

He said, she said: Pokémon: Let's Go, Pikachu!

Nintendo president Reggie Fils-Aimé on Labo's educational potential

Red Dead Redemption 2 review: An immersive and sympathetic tale of American outlaw life

And so my top 10 games of 2018 isn’t in fact a top 10 list at all, but rather a top five list, with an additional five titles I enjoyed added as honourable mentions in no particular order simply because I feel an illogical need to adhere to the tradition of a list comprised of 10 items.

Red Dead Redemption 2.

1. Red Dead Redemption 2 (Xbox One, PS3, PC)

Rockstar’s simulation of the Old West (or a couple thousand miles east of the Old West, if we’re being geographically technical about it) gives players a deeply authentic taste of what outlaw life was like a little over a hundred years ago. More than that, it delivers a profoundly tragic tale about a man who knows right from wrong and too often chooses the latter. Laugh all you like at the admittedly riotous horse fail videos that have been popping up on YouTube since its release; the moving story at the heart of this classic oater is going to be studied and dissected by critics and game design students for years to come.

God of War.

2. God of War (PS4)

Mockingly referred to as “Dad of War” prior to release due to its focus on the relationship between series protagonist Kratos and his son, this renewal of one of Sony’s most beloved franchises is daring, beautiful, and emotionally poignant. It picks up with everyone’s favourite musclebound demigod trying to create a new life in a land far away from the chaos he authored in Greece, only to come face to face with a fresh pantheon of angry deities. The real emphasis, though, is on Kratos’s interactions with his son, a constant companion for whom he feels an almost paranoid responsibility after the death of his mother. This more insular narrative tack results in the franchise’s best storytelling, by an Olympic mile.

Detroit: Become Human.

3. Detroit Become Human (PS4)

An absolutely enthralling depiction of a world in which believably humanoid androids exist and are at the cusp of joining us on equal terms as sentient intelligences — assuming they can mount a successful revolution. Its narrative is spread across a cast of multiple protagonists, each of whom can die permanently based on the player’s irrevocable decisions. Like most works from designer David Cage, its status as game is debatable. It’s not about winning or mastering play mechanics so much as it is about making decisions based on your sense of mortality and morality. Add in some of the year’s best production values and a sci-fi subject that has always fascinated me, and this one was bound to be one of my favourites.

Below.

4. Below (Xbox One, Windows PC)

The latest from Toronto-based indie darling Capybera Games, Below is a deliciously mysterious little role-playing game set on an island in the middle of the ocean. Travelers come, one by one, to discover the secrets lying at the atoll’s core. Nothing is explained; you’ll need to riddle out the purpose of everything you find. And when you die, you die forever. You’ll begin again as a new adventurer on the beach, all of your gear lost, forced to retrace the path of the previous hero. But not to worry; the cave dungeons are different for each traveler, and if you’ve done a thorough job of exploring you’ll have found shortcuts that will quickly lead you back to where the last hero perished. It’s atmospheric, splendidly scored, deeply challenging, and full of discovery.

5. Tetris Effect (PS4)

It seems odd that a Tetris game released in 2018 would compete for a spot on a list of the year’s best, but Tetris Effect is that game. Chalk it up to Zen. Tetris Effect is the most chill game I’ve played in years, with absolutely mesmerizing visual effects and a terrific soundtrack. It knowingly borrows from another great puzzler called Lumines by mixing a variety of block themes and aural soundscapes into its classic puzzle play, but it kicks it up a notch by adding virtual reality to the experience. Play with a PSVR headset and headphones on and you’ll be transported to another world, utterly immersed in orgasmic block-stacking pleasure. Well, perhaps that’s a tiny overstatement, but I doubt you’ll find a more pleasing puzzle game released in 2018.

And now the runners up…

Octopath Traveler.

Octopath Traveler (Switch)

This Japanese role-playing game from the folks behind the Bravely Default series has a terrific aesthetic that combines old-school graphics with modern filtering for a delicious diorama-like visual effect. It also tells a set of surprisingly grown-up fantasy tales centred on a group of memorable heroes, each of whom has unique talents and abilities that help them not only in the game’s tough turn-based battles, but also in bypassing more creative narrative obstacles while exploring.

Forza Horizon 4.

Forza Horizon 4 (Xbox One)

This open world racer is stuffed with enough activities to keep players busy for an hour or more every night for months on end. You’ll race on road and off, collect hundreds of real rides, take on rivals, shoot professional looking photos, go in search of well-hidden collectibles, and earn an almost endless procession of little rewards that will keep luring you into just one more race well into the wee hours. That it might also be the prettiest car game around at the moment is just gravy.

Assassin’s Creed Odyssey.

Assassin’s Creed Odyssey (PS4, Xbox One, Windows PC)

Huge and beautiful, this ambitious adventure set in Ancient Greece combines satisfying exploration of land and sea, delivers an impressive roster of historical locations and characters, and serves up some surprisingly challenging action. The sense of discovery is terrific, especially when exploring ruins that were considered old even in the time of Socrates. It eventually begins to grow a bit repetitive — you can only invade and conquer so many fortresses before it starts to feel more task than treat — but the elements focusing on characters and plot never grow old.

Shadow of the Tomb Raider.

Shadow of the Tomb Raider (PS4, Xbox One, Windows PC)

The third chapter in Square Enix’s Lara Croft reboot doesn’t reinvent the wheel — we still spend our time hunting, crafting, exploring tombs and solving puzzles — but it does refine it. Using Lara’s bow, for example, now feels so intuitive and empowering that it makes other weapons feel passé by comparison. The real star, though, continues to be our heroine. Thoughtful, sympathetic, and compelling, she’s one of the most well rounded and fully developed protagonists appearing in games today, female or male. At this point seeing her in a new game almost feels like going to visit a very good friend.

Ashen.

Ashen (Xbox One, Windows PC)

This one’s like a Dark Souls game with, for lack of a better term, a soul. And a surprisingly gentle one at that. It’s got the core ingredients of one of From Software’s punishing role-playing games — including challenging block, dodge, and strike combat; severe consequences for dying; and a cleverly designed open world that rewards careful exploration — but it replaces darkness with light, and a sense of negativity with cautious optimism. You’ll be challenged throughout and recompensed for your determination and grit, but more than that you’ll feel as though you’re working toward a better world. It’s not what you’d expect from this sort of game, but it is oddly pleasing.

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mikemortgage · 5 years

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Post Arcade’s top 10 games of 2018

He said, she said: Pokémon: Let's Go, Pikachu!

Nintendo president Reggie Fils-Aimé on Labo's educational potential

Red Dead Redemption 2 review: An immersive and sympathetic tale of American outlaw life

Red Dead Redemption 2.

1. Red Dead Redemption 2 (Xbox One, PS3, PC)

God of War.

2. God of War (PS4)

Detroit: Become Human.

3. Detroit Become Human (PS4)

Below.

4. Below (Xbox One, Windows PC)

5. Tetris Effect (PS4)

And now the runners up…

Octopath Traveler.

Octopath Traveler (Switch)

Forza Horizon 4.

Forza Horizon 4 (Xbox One)

Assassin’s Creed Odyssey.

Assassin’s Creed Odyssey (PS4, Xbox One, Windows PC)

Shadow of the Tomb Raider.

Shadow of the Tomb Raider (PS4, Xbox One, Windows PC)

Ashen.

Ashen (Xbox One, Windows PC)

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justkeepshuffling · 6 years

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21 Albums From 2017 Ranked

I probably don't need to explain anything since nobody really seeks my opinion on these matters, but this isn't a "Best Of 2017" from a guy who digests ton's of releases. These are albums that were (mostly) already on my radar by bands I already enjoy and I'm listing those particular albums in order of my level of enjoyment. It's been a few years since I've done this, but I'm working overtime until 4am and what better way to stay awake and stimulated? Ah, music...

21) Circa Survive - 'The Amulet'

I literally downloaded this album and never listened to it. I think I checked out two music videos and thought, "This seems pretty Circa Survive". I technically still haven't fully digested 'Violent Waves'. Sometimes that happens for me. Someone puts out a record before I've fully absorbed the prior one and I just never catch up accordingly. My full listen through 2014's 'Descensus' did nothing for me, unfortunately. I'm not sure if these guys are doing any reinventing. It mostly feels like mid tempo monotony.

20) Maroon 5 - ‘Red Pill Blues’

This album holds a special place in my heart since my daughter really took to the single “What Lovers Do (Feat. SZA)”. When my wife told me this was her favorite song I thought she was just being a cute Mom. Winds up no matter how fussy she is, the baby stops and smiles when the opening starts. I could go on about how I miss Maroon 5 having real drums and how little James Valentine gets to let his guitar shine (especially after releasing such a beautiful signature model Ernie Ball guitar), but there’s catchy material all over the place. It’s the Adam Levine show and nobody wants to get off that money train, understandably. At least I can always think of a beautiful little newborn enjoying music with her beautiful Mama when I think of this album.

19) Kelly Clarkson - 'Meaning Of Life'

Yet another album I never got a front to back session with. When tracks come up on shuffle I'm usually impressed though. Once again, I never gave 2015's 'Piece By Piece' a full front to back, nor 2011's 'Stronger'. I was too busy being in love with 2009's 'All I Ever Wanted', which still stands as her masterpiece.

18) Less Art - 'Strangled Light'

If you know anything about me, you're probably aware my love for anything Thrice related. This band features the brotherly rhythm section of Riley Breckenridge (drums) and Eddie Breckenridge (bass in Thrice/guitar in Less Art) so I had to investigate. While the post hardcore soundtrack is within my taste, the vocal delivery, sadly is not. I'm a melody man, myself. I cannot say enough good things about the production. This is how guitars should sound. The low end is so thick and distinct. Everything cuts through. The guitars are heavy but you hear every note within the chords. Just beautiful. Hats off to the engineer, producer and mixer for achieving tonal supremacy.

17) The Killers - 'Wonderful Wonderful'

I may have fizzled out on this band with 'Battle Born', but I was hopeful. After a full once over, I don't find myself coming back to this often. Standard rock record, but maybe a little wavering and uninspired. If they continue putting out records for another decade or so, I'd be curious what gets played from this particular collection.

16) St. Vincent - 'Masseduction'

There's something about Annie Clark. When I stop and think about her entire catalog, I sometimes ponder if she's overrated. I honestly think she's just so damn cool that it's hard to say anything negative about her. She certainly has some great songs and she's a phenomenal guitarist. I tend to cherry pick with her songs. I was a bit thrown off by the creative choices on this album. I certainly don't worship at the altar of Jack Antinoff so I don't understand why everyone seeks him out as a producer (Note: his taste in women is uniquely questionable). The production is bare, all electronic drums, and less guitar than I would have hoped. Standout tracks like "New York" and "Los Ageless" are catchy but not much else gripped me. Expectations are high post Grammy win. I felt a little let down.

15) Katy Perry - 'Witness'

Speaking of high expectations... Katy's part of the pop machine now. The songwriting credits on this album are absurdly astronomical. 2013's 'Prism' was mature and inviting with real raw moments mixed in with the colorful fun. The few moments on ‘Witness’ that had real possibility didn't pop where they needed. "Chained To The Rhythm" had a ton of potential but the chorus lacked the brightness to make it stand out. It just fell flat, like most of the album. The pre-release tag of “Purposeful Pop” bit her in the ass post-release. My theory, there were probably 30+ songs written (some of which were, in fact, social conscious) but didn’t make the final cut. A week prior to the release, there were still only two titles out of about thirteen that were listed on iTunes, which I feel proves she was slighted by the powers that be. If you don't have full say in your career decisions, maybe don’t make bold statements about your upcoming album.

14) Weezer - 'Pacific Daydream'

I walked into this album expecting disappointment. 2016's self-titled "White Album" was right on par with every other self-titled color release in their catalog as their best work. Seeing another album coming down the pipe a year later that had an off title left me uneasy. This album is in a similar vein, albeit not as great as it's predecessor. It plays a bit more like a good b-sides record from those album sessions. Very worth the listen, and makes up for some of the mess that 'Hurley' and 'Raditude' left on their hands.

13) Envy On The Coast - 'Ritual'

This EP has been explained as a revisiting of old idea's through the lense of the reformed present. While Envy On The Coast is "back", it's missing three original members. When your drummer is as incredible as Dan Gluszak, it's noticeable when he's not there. I've had many discussions about how a band is never the same after losing their drummer. It's such a strong part of the blueprint. I'm not overly familiar with Dillinger Escape Plan's Billy Rymer, but the drumming on this release could have been done by anyone. Envy vocalist Ryan Hunter drummed on 2010's 'Lowcountry' with descent results, I'm not sure why they didn't go that route again. Songs like "Virginia Girls" sit right in play with where they had left off. The songs are a bit straight forward/on the nose. Perhaps some of the songwriting flare left with the eloped members. I think this release was to get the lingering idea's of the past out of their system so they can properly attack a full length album next. Considering how meandering all the post breakup projects were, I'm excited for the future.

12) Glassjaw - 'Material Control'

Fifteen years between full lengths is not ideal. Most began to give up hope on this mystery record. That Billy Rymer kid played on this album too! Unlike 2002's 'Worship & Tribute', some of the songs tend to blend together with only a few true standouts. Further parallels with Envy on the Coast include writing songs without an official drummer. With Daryl and Beck doing all the heavy lifting, I can't help but feel that when the time comes to show a studio drummer 12 songs, structure gets watered down. The tracks lack a sense of adventure, complexity, hard left turns. The vocals are buried in the mix at times, which lends itself to the aggressive bite of the guitar/bass attack. Alas, it's just nice having something come out finally.

11) Foo Fighters - 'Concrete & Gold'

As my wonderful bass player Joey P. said, "After two career defining albums late in your career, this is the inevitable letdown". The man is a wordsmith. Sad but true, and yet... it's worth noting their mediocre effort is still better than most. The Greg Kurstin production choice makes zero sense, still. I think Dave thought it would yield something incredible and people would be amazed by his oddball idea that really paid off. It did not. The musicianship is always crisp, so they can hang their hat on that since the songs aren't something you'll come back to again and again. This is sadly a mostly forgettable album by the biggest band in the world.

10) Haim - 'Something To Tell You'

I waited years for this album. Chomping at the bit. Anxious. Excited. Impatient. Guess what... I barely listen to the damn thing. I was obsessed with their debut. Every song was perfectly crafted. There's some real head scratching moments on this album. Like producer Rostam Batmanglij using an obvious vocal effect he used on Vampire Weekend albums. One song features awkward silence as a bridge. The closer "Right Now" has this off beat drum loop that is damn near impossible to follow which takes you way out of the song because you're trying to nail down the confusing timing. The girls still shine, and perhaps I just forget that the album is there but I thought with the amount of time invested in writing and recording it would be at least on par with their first album.

9) Brand New - 'Science Fiction'

The elephant in the room. Sexual misconduct allegations aside, I'm going to concentrate on the music because there's three other band members who invested everything into creating this album and discrediting them would be a disservice to their efforts. That being said, I listened to this album a lot. People lost their minds over this surprise release. I did not. I was excited, yes. But let's be clear, peoples obsessive nature for this band clouded their judgment. It's a good album. It's not the masterpiece people sold it as. Considering their penchant for reinvention via back to back releases like 2003's 'Deja Entendu' and 2006's 'The Devil And God Are Raging Inside Me', which both served as career defining milestones, an eight year wait should have yielded a much more refined and impressive product. Still, this record is more tainted by Jesse Lacey's admittance of exploiting his status to take advantage of female fans more than the fact that a very good record isn't a great record. Who'd have thought that their cheeky T-shirts saying "Brand New 2001-2018" was a much more ambitious timeline than they had anticipated...

8) Portugal. The Man - "Woodstock"

Just a good catchy rock record from a great workhorse of a band. "Feel It Still" getting radio play should be a victory for us all. There's a lot of winning moments on this record. They deserve every bit of success they've worked so long to achieve.

7) Bush - 'Black & White Rainbows'

Yes, I like Bush. Gavin is the reason I switched to guitar and became a front man. Since their "reformation", this music has been questionable, at best. I hadn't realized how much Nigel and Dave reigned in the songs until they were absent from the process. Most of Gavin Rossdale's lyrics in the 2010's are complete garbage. Just meaningless phrases thrown against the wall. How many ways can one phrase "Don't lose yourself", you ask? Aside from "what the hell does that even mean?", too many ways apparently. Here's the thing about this album for me... I loved the production. The dry, tight drum sound spoke to me. The guitars/amps had a vintage pawn shoppe vibe. It was Hi-fi Lo-fi done to perfection. Then, out of nowhere... months later the album is re-released as a "Remaster" with a completely different track listing, two new songs and the lead single has an extended outro chorus. Lead guitarist Chris Traynor didn't have an answer as to why this happened. It helped the drums cut through harder and the kick became more vibrant. It was the right call. I just wish I was able to blast this album with windows down without feeling embarrassed someone's going to hear the lyrics and lose all respect for me.

6) Dreamcar - 'Dreamcar'

What happens when you mix all the core dudes from No Doubt and AFI's Davey Havok? You get 80's pop rock bliss! I was super excited to hear this album and I probably don't listen to it as often as I should. Not having any expectations or label constraints truly comes across in the music. It's the musicianship you've come to expect from Tom, Adrian and Tony with the vocal theatrics of later-era AFI with touches of The Cure, Kraftwerk, and countless other New Wave/Post Punk influences.

5) SAINTE - 'Smile & Wave'

I wasn't familiar with Tay Jardine's prior band We Are The In Crowd. I'm not even sure how I stumbled upon this band. Maybe Youtube? Either way, this 7 song EP blew me away. The production is pristine. The drums sound huge, the guitars and bass are so full, almost like an Eric Valentine produced record without the gritty/metallic/digital tinge he sometimes gets. The melodies soar, they're memorable, they're fun. I wish they had perhaps waited and recorded another 3 songs to make a proper full length. I can't imagine the challenges of being a female rock vocalist in a post-Paramore landscape but if this is a band finding it's leg's, the future is incredibly bright.

4) Minus The Bear - 'VOIDS'

I'm realizing drummers are a recurring theme in this post. Minus The Bear traditionally wrote the foundation of their records with guitarist Dave Knudson and drummer Erin Tate. After Erin's vague dismissal, they had to regroup. It's odd hearing a release without the heavy handed hi-hat work, but it still feels like a Minus The Bear album. A casual listener may not take notice, but it's certainly an adjustment with keyboardist Alex Rose taking lead vocals on 3 of the 10 tracks. While some tracks hit the mark, there's a few slow drones in the mix. The only unfortunate moment is the climactic ending on closer "Lighthouse". The "A Day In The Life" style noisy build to a cool 16-bit, glitchy, audible seizure seems like an idea they tacked on to a song that was in the same key but doesn't quite follow the songs chord progression. It confuses the musician in me. Sometimes you have to let an idea go, no matter how much you love it. Serve the song. This was a transitional period navigated better than most. The next release will be the true test of their ability to gel with the new method of songwriting.

3) Incubus - '8'

So many polarizing, conflicting feelings with this album. How do you wrap your head around an album with such catchy songs yet such garbage production? Let's start with the negatives. This album is really only 9 songs. The instrumental track is a total throwaway and the mariachi joke song "When I Became A Man" should have been a hidden track at best. If you combine the prior EP "Trust Fall Side-A", you have a proper full length to be proud of. Now let's talk production. Holy hell, it's God awful. Dave Sardy apparently made Brandon do a million vocal takes and when his voice was good and shredded, used the last wreck of a take. Guitarist Mike Einziger, a Harvard grad, and a wildly underrated and innovative guitarist had the batshit crazy idea to have Skrillex come in and mix the album. Dr. Wubwub Laptop Millionaire went even further and restructured songs and removed pre chorus' on top of it. I'm hoping for the 20 year anniversary edition of this album they'll release the album we should have received. I want to know Incubus' vision and perhaps a proper mix that doesn't sound like noisy kids trying to blow out your car speakers. The redemption? It's hooky as hell. There's a reason these guys are huge. They write catchy rock songs. There's a few odd lyrical moments, but I can get past it. Lead single "Nimble Bastard" is way to similar to the aforementioned EP's "Dance Like You're Dumb". I'm still hoping to find out the "vision" for this album. If I had to guess, they wanted a hard hitting gritty garage rock sound that was a nod to their debut full length 'S.C.I.E.N.C.E.' to compliment/balance the more refined rock they currently create. Still, nothing will touch 2011's Brendan O'Brien produced 'If Not Now, When?'. This album might have been a knee jerk reaction to the atmospheric, sparse, mellow vibe of that record. I would have been equally as happy with a continuation of that mindset. Though, a hard rock record still feels right for this band.

2) Paramore - 'After Laughter'

The last time I did one of these lists was 2013, and Paramore's self titled album was my number one pick that year. Here we are in 2018, reviewing 2017 and boy was it close. So close! I probably listened to this album the most over the course of the year. Negate the artsy back patting exploration of "No Friend", which serves nothing more to the album than a self indulgent excuse to have the Me Without You singer inaudibly mumble over a painfully droning outro to "Idol Worship", and you have a perfect record. Now that we have that out of the way, we can discuss everything they did right with this album. The 80's aesthetic even has a place in the experience. After the prior albums brilliance, it was a logical move to stick with producer Justin Meldal-Johnsen. Where the prior album had bells, whistles and flourishes all over the place; 'After Laughter' has a more spacious sound. Not to say if you don't pay close attention you won't find wonderful additions all over the place, but the production and mix on this album was a bit more bare bones. The structures are simpler, the songs are dancier, and the flow is damn near perfect. The guitars shine when necessary, and the neck pickup finds it's place on the bouncier riffs. Zac Farro's return to the drum riser shows off what he learned in his time away. Groove. The drumming is not that of a rock drummer. It's someone who's peppering in rhythmic atmosphere and holding back when necessary. I was so invested in the upbeat tone of the music that I hadn't noticed the writing on the wall. The lyrics should have tipped me off that things weren't so great in Hayley Williams' camp. When she announced her very quick post nuptial split from NFG microphone hog Chad Gilbert, the information was in front of us the entire time. The dark lyricism over the backdrop of uplifting tunes is reminiscent of early Saves The Day records, which, considering the reach of their influence was likely a conscious decision. This might not have been a step forward in their sound, but a playfully necessary sidestep for a band that felt they were maturing faster than they wanted to.

1) Michelle Branch - 'Hopeless Romantic'

Oh the shit-eating grin on my face right now. I didn't expect this either. But holy effing hell! What an album! I downloaded this out of sheer curiosity. 2017 was the year of overdue albums and this one beat Glassjaw and Brand New by a mile. It seemed odd for such a big pop star to go without releasing a full length for fourteen years. Then to find out she had the Black Keys drummer Patrick Carney producing/performing seemed really interesting. Winds up the guy is incredible at producing. Every song is a perfectly crafted pop song. Not bubble gum pop, but rock songs that could all be radio singles. If I had to chose a criticism, it would be that "Knock Yourself Out" sounds too Michelle Branch-y. Like, the Michelle Branch of the early aught's. There's a vintage feel to the soundscape. The bass is plucky, the drums are dry and punchy, and the melodies are what dreams are made of. This collection has been a reminder that you can worry about a million aspects of a song, but a solid catchy melody is what we're all looking for. It's brought me back to what truly counts in song writing. A song you can sing along to. There's not much more I can say about this album. My inability to dissect this album is truly it's strong suit. When a great song works, it just works. Sometimes it comes together so quick you can't even explain the process. Imagine that 12 times over. Sometimes it's that simple.

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