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See our ethics statement. As this extraordinary decade draws to a close, we decided it was time to make a list of the best games of the past 10 years. We began with a long list of around games that team members nominated. Then we individually voted for the 50 we most wanted to see in the list. After we tallied the votes, we gathered together to sort out the unholy mess, and to argue the merits and faults of the top After a surprisingly calm and erudite discussion, we agreed on the following list.

For criteria, we gave ourselves a lot of latitude. Most of these games either significantly advanced the art and craft of game design in the past 10 years, or innovated in the specific context of their genre. Some of them represent wider shifts in gaming culture in the last decade, including esports, games as a service, representation, streaming, and the rise of indies. We wanted to present a list that represents how games have forged an ever more intimate relationship between the player and the experience.

Here we go! The women are professional rivals. Virginia explores how women in the workplace are undermined by patriarchal power structures, including divide-and-conquer strategies.

In the early part of this century, the question of whether or not games could make us cry was one that exercised plenty of convention panels. In those days, examples of genuine emotionally charged games were certainly extant, but they were rare. Life Is Strange is a game that places players at the very center of complicated, layered relationships, between friends, enemies, colleagues, and family.

Slay the Spire is a small indie game, but it challenged the collectible card game business by creating an ever-changing dungeon for players to battle through without fear of failure.

Hearthstone bred frustration in players for over five years, with its deck-building complexities. But Slay the Spire offered a perfect safe place to learn how to build a deck on your own. Fire Emblem: Awakening is perhaps the game that, ahem, reawakened the tactical role-playing franchise, but it is Fire Emblem: Three Houses that represents a masterful culmination of the series.

The game draws on the aspects that made Awakening appealing the focus on individual characters, robust support conversations, and, yes, romantic relationships , but fine-tuned the failed experiments of Fire Emblem: Fates the branching narratives, the gray morality, and the devastating results of turning on your friends.

Super Mario Maker changed the streaming game by allowing viewers to create an endless stream of content for their favorite personalities. Cuphead took the modern trend of difficult games and married it to a brilliant art style. It evolved 2D action shooters like Contra and Metal Slug by focusing mostly on boss fights.

Instead of leaning on complex mechanics or slow animations, Cuphead offers an unmistakable art style to keep things fresh, pushing the player forward in anticipation of the next visual revelation. And it all comes to life in a dilapidated, gorgeously realized house that somehow feels simultaneously like a video gamey setting and a real place.

Developer Creative Assembly has been plugging away at its historical-strategy series Total War since , with various degrees of critical and commercial success. The game creates a web of intrigue that brings the real challenges of historical leadership to life, augmenting a genre that has often suffered from tactical rock-paper-scissors simplicity.

Developer Simogo has quietly created hit after hit. Adventure game Year Walk explored Swedish folklore. And Device 6 is a Bond-tinged puzzle game. Each Simogo title is relentlessly stylish, and visually distinct from the others. Nothing looks quite like it, and nothing plays quite like it. Telltale was formed in , with the aim of creating episodic games that would be eagerly awaited by fans. The first season was its biggest hit, telling the story of a man rare in games, an African-American lead who seeks to save a young girl from a zombie apocalypse.

During the game, players solve simple puzzles while making difficult moral choices that affect the story. The Walking Dead finished its first season with a dramatic high that left many players in a state of emotional turmoil. The company was wound up in After Resident Evil 4 , Capcom led the legendary horror franchise down an increasingly ridiculous road of betrayals, clones, and infected presidents. Resident Evil 7 took a hard turn off that track, into welcome new territory.

Its protagonist is just a guy looking for his wife; the armies of zombies have been replaced by one spooky family with moldy minions; and the action movie set-pieces are gone in favor of one sprawling, creepy Louisiana estate. This reset works to tremendous effect. There are individual elements that tie the world together, creating a suffocating atmosphere of terror — from small touches like the VHS tapes to big swings like the Baker family matriarch and her jumps between kindly host and single-minded, hysterical murder.

But it came with a key innovation: the nemesis system. Players take on the role of The Ranger , who spends his days infiltrating orc strongholds and ambushing orcs in the field.

But if he fails to defeat certain enemies, they become stronger, and they acquire a nasty grudge against The Ranger. This pleasing dynamic gives an otherwise competent action-adventure the bonus of drama, character, and personality, as variously vile orcs take their turn in the narrative limelight. Monster Hunter is one of those franchises that is as strange as it is popular. Monster Hunter: World takes everything great about the franchise and polishes it up, while sanding down the rough, archaic bits that have scared away newcomers.

Control , from developer Remedy Entertainment, is weird, confusing, and beautiful. Main character Jesse Faden has powers that allow her to telekinetically pick up and throw nearly anything in the area, which is a thrilling juxtaposition to the pristine, bold lines of the building. This was a decade of mobile games unapologetically tailored toward young women. While not a visual novel like the other specified titles, Kim Kardashian: Hollywood was perhaps the biggest indication that a mobile game for girls could be successful.

Naysayers scoffed at the idea of a Kim Kardashian game. At first glance, FTL looks like something of a microgame. Every one of its ship designs is the best, and each one of their systems is vital to survival. Its success mainly comes down to its familiarity — the art style evokes Super Mario Bros. This is an unashamedly derivative work that nonetheless offers comfort through simplicity, and a feedback loop that soon becomes addictive.

Indeed, at the height of its fame, Nguyen pulled Flappy Bird from mobile stores, saying that he thought people were spending too much time on the game. Bad guys have been staples of video games since the first aliens invaded our space. Mostly, their motivations go unquestioned.

But Papers, Please is a story about how we are all vulnerable to performing evil acts and, in the right circumstances, capable of being villains. Players take on the role of a border guard working for a totalitarian regime.

The entire game centers on civilians passing through the border. These deaths can strip you of an hour or progress, but for all the dismay they cause, they don't frustrate. They are wholly fair consequences of the game's many systems interacting with one another. You could have accounted for that rock and it is your fault alone that you did not.

Plough on and you will be rewarded, over and over, with new areas, with secrets, with new items which make you feel briefly powerful, briefly safe, until another rock kills you. Each new discovery slots into the game's deadly, delightful, and perfect machinery. When a popular young woman in a small Pacific Northwest town is murdered, an FBI agent arrives to investigate her death and its possible connection to a string of murders.

Yes, that does sound familiar. This mystery plays out in an open-world daily life RPG with a kick of survival horror. First released on consoles in , it came to PC with a god-awful janky port in Deadly Premonition is a game where you can get a part-time job at the supermarket, shuffling storeroom boxes in Sokoban puzzles to earn loyalty discounts.

Deadly Premonition is a game where our character interrupts long drives to talk with his imaginary friend about punk rock and Richard Donner movies. His imaginary friend may be us, the player. Deadly Premonition is a game where you often need to drive long distances in a car which controls like a whale and goes 50mph. Deadly Premonition is game where NPCs follow such fixed routines and are so unreactive that you can ram their car with your identical copy of their car and they will keep on driving straight ahead.

Deadly Premonition is a game where you can peep through windows to spy on people. You do not need to. The FBI pay you a bonus for peeping. It has hundreds of windows. Deadly Premonition is a game which might resemble Twin Peaks in many ways, but is most notably Peaksian with melodrama.

The characters are exaggerated and familiar, their stories silly, and their animations a limited set of stock poses and expressions. The soundtrack is a few ambient mood pieces which are often jarringly out of touch with the tone of a scene.

I adore the cheery whistling. Deadly Premonition is a game with bland combat and a truly awful PC port. Neither of these stop me. I adore the melodrama - the characters, the absurdity of giant beds and tables, the obsession with coffee and snacking, the stock poses and out-of-place songs, the rigid way everyone follows their daily routine, how way dozens of unnamed NPCs are dismissed as unrelated to the case.

It means more to me for being such a veneer of simulated life, for being so rickety, for having such wonky combat. Matt: For several years, Dota was my life.

It was best in the early days, I think. Not the early early days. Not those first couple of dozen games where nothing made sense, nor seemed like it ever would. Just past that. When I was over the first hump, and laughably believed I knew what I was doing. You've heard of paradigm shifts? How our understanding of science occasionally revolts, old ideas are discarded, and our model of the world is brought closer to reality?

Then Valve took that, rebuilt it, and have kept honing it for six years. When the country of Arstotzka warily reopens its border with former enemy Kolechia, we're volunteered to man the crossing booth. Oh, and try to earn enough to keep your family alive. For Papers, Please I ended up writing out my own versions of the complex rules, stamps and permits I needed to check, and sticking them around my screen.

I was quite an efficient worker. But Papers, Please also throws moral dilemmas in front of you. You are fairly obviously working for a terrible police state, so should you let the freedom fighters over the border? What immediate cost will that have to you? What long term? I was just doing my job, sure, but I also ultimately had an extraordinary amount of power. Which is why, in the end, I opted to let passport-less scamp Jorji through, after repeated attempts.

I had to respect his positive mental attitude. Sin: Jorji is that one character in Papers, Please who comes to your booth every day, and tries to cross the border with no papers. Each time the rules change, he comes back a day later to make a new attempt, each more silly than the last. But I want to let him in.

Even though it will cost me. Hell, maybe because of all that. You must never silence it. Alice0: All I want in life is a big stamp and lots of papers in need of stamping. The zombie apocalypse hit, and then it got weird. This roguelike survival game sends us out into the end times to scavenge for supplies, fend off ever-stranger monsters, learn survival skills, and just try to live any way we can manage.

It's a roguelike about zombies with ASCII style, "learn 50 keyboard shortcuts" controls with, admittedly, a robust set of easily-accessed tilesets. Plus survival requirements, a once vanishingly rare element that I coveted in games but now find mostly obnoxious.

I still play it every year. Cataclysm is a post apocalypse survival sim that tries to cram everything in, and it works. Want to gun down zombies? You can. Want to tool up and sneak into towns by night to steal beans? Want to learn kung fu and karate an angry moose to death? I invariably end up living in the woods, foraging for edible roots, bird eggs, and litter, gradually teaching myself to grow food and make clothes.

A spring, perhaps. And then it's time to brave the monster-infested city. Or worse, a terrifyingly empty city, which surely has something lurking, waiting for a gullible fool to wander in for the free supplies.

There are far worse things than zombies lurking in the infinite end of civilisation. It has a billion cooking recipes and crafting items, to the point where ironically a kitchen sink is possibly the only thing in the game without a direct use.

You can hunt and skin animals, and farm seeds into fibres for stitching your homemade leather into a fetish outfit, for reasons. You can reverse engineer and build your own cars. You can suffer horrible or beneficial mutations, or install cybernetic doodads in your body.

You can form a faction that will farm and hunt while you're away. Or you can relax for a few days, sitting at home with your stockpiled flour, smoked fish and dried fruit, to drink blueberry wine and read magazines from a decaying world. Sometimes it's harrowing.

Sometimes it's overwhelming. Sometimes it's exciting and dramatic, sometimes it's fiddly and repetitive, and sometimes it's peaceful and bizarrely pleasant. It's all down to what you do with it. Cataclysm DDA may never be finished - it's an open source project updated constantly in small increments over many years. But it's already incredible. Explore the bars, alleys, schools, nightclubs, car parks, tunnels, and fish tanks of an alien city at night in this wonderful walking simulator.

Once you have enjoyed your walk, congratulations, you have won the game. I love it! Is this a giant power generator? How did I end up in this tunnel full of murderfast hovercars? And therefore everything is great. I adore the sights and sounds of Bernband. Even the mundane is exciting and unfamiliar with blown-out neon lights and rumbling, warbling sounds that overpower my ears, and bustling crowds.

I like that Bernband is not a single open world, but split into separate zones loaded in when we pass through lifts and tunnels. Drift through a dream in this series of surreal and unpredictable vignettes with the feeling of falling asleep in front of late-night TV. Between title cards and video scenes, you might wander lost in foggy woods, chop food, run through the streets of an empty city, watch that city float away, fry an egg, discover the Moon inside your fridge, or rocket through space.

Each playthrough picks a new selection of scenes, every night a new dream at am. I still enjoy am for so wonderfully capturing that dreamlike feeling.

Dreams are not levels where you platform along a trail of blood. They are not coherent visions where every object and symbol can be read with a dictionary. Dreams are messy, dreams are fleeting, dreams are the mundane flowing into the unreal and back again, dreams are repetitive, dreams are revisited, and dreams are lost when you try to describe them. Blurry videos give glimpses of subway trains, boiling water in a pan, city streets, cherry blossoms, and fields.

Sometimes we can wander, walking through an empty city or foggy woods, leaping through a meadow leaving a trail of sparkles, climbing a seemingly-endless ladder into the sky, or rocketing through space with fire out my arse.

What I most appreciate about am is how it revisits dreams and scenes across and between playthroughs. New scenes will shuffle in, and familiar ones might be slightly different. I do not know. I do not care. It is not a dream to pick apart and perfectly understand. It is a dreaming state, and it is perfectly horrible. What an excellent horror game: one that by now feels like part of it has come from inside my head. Two players duel to win the adulation of the crowd and the privilege of being devoured by a vast worm in this minimalist local multiplayer game.

Kill quickly, die often, and, above all else, try to style out your mistakes and put on a good show. After years exclusive to the indie party scene, Nidhogg finally got a home release in I have little skill, and even less desire to calibrate it against the skill of others.

But the utter frenzy of playing Nidhogg, the absolute, petty bastardry it drives people to inflict on each other, drives it right through that layer of humourless tar, into an ocean of shrieking, effervescent hysteria. You might sprint away from your enemy at top speed, only to stop dead, flick a key and turn on the spot, ker-splunching them with your sabre.

I still won that round. Alice0: Nailing someone with a thrown sabre is one of the greatest victories in video games. But what I do say is that this is, at most, a minor detail. By the end of the session, the talk is always of that feint that won the game. That and, yes, the throwing of sabres. The world has ended once more, and just enough of humanity has survived to make it mighty unpleasant. Good luck with the world of tomorrow. Nate: Carrier bags. And in a development that pleases me more than I can adequately explain, they crumple up into balls that only take up one square of space when not equipped.

Fallout and all the rest missed a trick by ever letting the stakes get higher than that. Graham: NEO Scavenger isn't all eating dirty mushrooms and pooping yourself to death in an abandoned car, though that is certainly one of its central pleasures. Scrape away at the top soil of survival mechanics and you'll discover a well-written RPG underneath, including quests and NPCs and factions and more. You can approach the elements of these quests in different orders, so you don't need to keep repeating the same steps after each death sends you back to the start.

This makes it a joy to stumble off into the wilderness in a new direction, knowing that you might get caught in a light shower of rain and die of pneumonia, or that you might stumble into a cult, a cannibal fighting arena, or a bright futuristic city.

Also, if the above doesn't sell you on it: this is a game in which you can choose a fighting character trait, and then beat a wolfman to death so thrillingly with your bare hands in the game's opening moments that your character automatically collects the security camera footage of the fight for posterity. What a dubious honour to be chosen as the personal artificer of a monstrous Empress in this Twine game.

Alice0: How fantastical this world of dreamdrinkers, princess spores, fermented jellyfire, and angels is. How cruel this world is. Everything is built upon suffering and exploitation. When I head into the city beyond, the people are used up and just hoping to get by.

When their bodies give out, their minds are drained. Even if I craft a telescope to look to distant lands, those are ruined, wasted, or in conflict. Everywhere is strange and magical and full of wonders. Everywhere is awful.

The tragedy and horror becomes mundane. The best I can hope for is sleep. There is hope. A bit. A desperate hope. Maybe a fleeting hope, an impossible hope. But a hope. Telling players to draw sigils on their actual real meat skin in response to key moments is such a clever idea.

You wear your belief in who you are and what the world has turned you into. The first time I played, I lied a bit about who I was and what I would do in an awful situation. That sigil weighed heavy on my mind and my hand. It is an awful world. Your mind can be taken from you and the dregs distilled for consumption.

Whatever freedom you have is an illusion and you are pressed to worship your jailor. You will be missed only as a tool. Bodies are broken a thousand ways and stripped for parts, as you well know after imperial agents supply hair, heretic bone, and angel leather for your workshop.

But for now, while those sigils last, at least you can see who you are. While the marks have faded, With Those We Love Alive has lingered in the back of my head for five years now. Explore a procedurally-generated island covered in procedurally-generated buildings which are procedurally-generated art galleries decorated with procedurally-generated wallpaper and containing procedurally-generated exhibitions of procedurally-generated art by procedurally-generated artists, with bonus procedurally-generated sound installations.

Alice0: It is good when the algorithm generates a gallery of genuinely pleasant pictures. It is better when the name generated for a picture somehow evokes or supports it. Secret Habitat is a good serendipity generator. It is best when you find a gallery of garbage with one shockingly incongruous picture, one picture which redeems this awful exhibition. What I most like about what could be a fancy tech demo is how god damn spooky Secret Habitat is.

What is this world covered in monolith-black art galleries? Who built this? What are they trying to learn? Or do? Or replicate? Is this a success? Discovering this island feels like a threat. We were not meant to be here. We should feel afraid that we have received this attention.

I am very happy to be sprinting across a blasted landscape between art galleries, cooing and admiring procedurally-generated pictures before steeling myself for the next dash through the scouring wind. God help us. Graham: A world of infinite art galleries filled with infinite procedural art sounds like hell, doomed to both ponderous and filled with noise.

Secret Habitat avoids being ponderous by, as Alice says, letting you sprint. Moving between its art galleries happens at a joyful clip - you're a big kid who loves art so much they can't wait to see the next painting. It avoids being filled with noise by All its paintings are abstract patterns, textures, fuzz, and yet again and again it throws up things that are good enough for me to screenshot.

I don't do anything with these screenshots, but I like knowing that they're there, the generator's work preserved. Ah, now my computer's the art gallery, isn't it. Jules Verne's classic rip-roaring colonial gentleman's adventure of travel and ill-advised gambling was given an update. In the process, Inkle created an exemplar of what text adventures can be. After betting that he can circumnavigate the world in 80 days, Phileas Fogg sets out with you, his manservant Passepartout.

From there you explore the twists and turns to be found in an alternate, steampunky version of , by having conversations with strangers, learning something, and moving on.

There are so many diverting side paths to follow, and many secrets to uncover, as you race against the ticking clock. Sin: This is the one. This is the game I never hesitate to recommend. Above all, of course, this is a wonderfully written myriad of possible stories. Each playthrough is different. Different legs of your journey could be farcical, frivolous, seditious, warm, interesting, or heartbreakingly beautiful, but each is wonderful.

Alice Bee: You can complete the journey in 80 Days in far less than 80 game days, but if you do that you've probably cheated yourself. There's so much lying under the surface of this game. I advise you to take the scenic route. Graham: The most human videogame, alternately about caring for your travel companion, and forging the world's longest 'missed connections' list with the people you meet on your travels.

Importantly, those people exist independently from you: you are not their saviour, and they will push back at any attempt to reduce them to a part of your tourism. There is nothing else like 80 Days in games. Katharine: 80 Days is a constant surprise and delight. I'll never forget the moment when, on my first playthrough, my beleaguered Passepartout woke up dazed and hungover and I quote "in the silks of an Ottoman harem girl" after an unexpectedly long night out on the town.

This was Day 13 of my trip around the world, and I almost stood up and applauded the man for finally breaking free of his master Phileas Fogg's old timer tyranny and actually going out and enjoying himself for once. That old fool can bloody well tie his own shoelaces for once in his life, damnit, and there is nothing he can do to stop me. But as Graham's just said, 80 Days is a game full of 'missed connections', which is precisely what makes it such a delicious and enticing trip every time I come to play it.

This is one virtual holiday I never grow tired of, and there is no greater feeling in the world than returning to your favourite forks in the road and seeing where the paths less travelled might take you next.

Aw shit, here we go again. It's still the shiniest modern-day urban sandbox around, though Rockstar have since outdone themselves in ye olden days with Red Dead Redemption 2 and all its simulated heat-reactive horse scrotums. It has increasingly absurd multiplayer crimes galore in the GTA Online mode too. Alice Bee: I never got into GTA Online, which shocking success will probably keep everyone at Rockstar employed for the next 20 years, but the singleplayer is still an absolute banger.

I'll ignore the extremely low ball parody aspects it's not like making fun of LA is fruit you have to reach particularly high for, after all in favour of talking about how that version of LA feels so genuinely alive. It seems that the whole city will function entirely without any input from you. That farm will keep farmin'. That minimum wage fast food server will keep servin'. You can sit and watch the whole world go by.

It's enforced by how, when you switch between the three protagonists, the won't be where you last left them - they go about their business paying no nevermind to you. Alice0: I did get into GTA Online, slowly building my own crime empire upon heists, drugs, guns, and even a nightclub. I like to pop on a podcast and ride my BMX around, pulling sikk tricks through traffic and nudging the simulation.

And yes, I spend a lot of time and money on playing dress-up. Disclosure: I have pals who work at Rockstar. And the online definitely wasn't Getting run over and dragged through a car wash on my way to get my impounded car was not, as the kids say, the one.

But the single player? I've completed it several times now. I also love the colour palette, which is surprisingly brighter and more saturated than the often-muddy fare of open world environments. I do hope I get to spend more time admiring it, along with my old pal Gerald of Rivendell, before too long. Decades of sneaking and monologuing climax in the final Metal Gear from Kojima Productions.

Sin: MGS5 called my bluff. And skip the cut scenes, obviously. And oh god here I go. The semi-structured stealth sandbox stabfest finally lets us loose to play with those clever details and just-complex-enough systems, even if you just want to play the same bit 20 times in a row to see how many ways you can do it. Messing with hapless guards has never been so entertaining and I fear it never will again.

At times it has the wonderful old mix of earnestly mixing the politics of war with full-on daftness but these moments are few and far between. Metal Gear Solid is at its best when earnest, serious, and ludicrous. The story is an unfinished mess and has some truly ghastly, hateful parts but I do like parts and just wish it had the more balanced and complete Metal Gear personality. Well, if you want Metal Gear stealth sandbox with less of the plotsprawl, mate, try Ground Zeroes.

The standalone prequel is a small, focused, and more challenging murderbox that will reward you for learning the area well as it returns again and again for new missions. I like Quiet as a pal in the field, mind. And synchronised stealth takedowns with her feel oh so cool. Graham: A game in which you can hide inside a box? A game in which you can pin a poster of a woman to the front of that box and prompt all the guards in a base to come ogle and applaud at said woman, before you pop out and slow motion shoot them all in the head with a silenced pistol?

Video Matthew: I should probably disclose that I appeared in a Metal Gear documentary that came with the game. But was I asked to also star in Death Stranding? Of all the games on this list, Undertale may be the only one to have inspired a wrestler's ring entrance. In fact, Toby Fox's gloomy cutey of an RPG has burrowed into pop-culture consciousness in a unique way. Perhaps it's the way combat becomes a mixture of a text puzzle and a bullet-hell, perhaps it's the cast of weird monsters, perhaps it's that you can go on a date with a skeleton.

Whatever the reason, Undertale left an impression. Alice Bee: As observed by many, Megalovania is a fucking jam. But that aside, what I remember most from playing Undertale is thinking it was very clever. It seemed, even then, to be destined to be a game extremely loved in an extremely online way. Not memes, exactly, but a lot of texts posts starting "Here's the thing you need to know about Undyne.

But I liked it most when it was being funny or sweet. See: that date with the skeleton, in a date outfit that is a crop t-shirt saying Cool Dude. Undertale has empathy. It has empathy in a way very few works of fiction do, and it's up front about it. It's not trying to trick you into be empathetic, it just wants you to be a nice person.

But at the end of the game you discover those stand for Execution Points and Level of Violence. You're not supposed to kill anyone, you're supposed to figure out the other options, because duh.

My surrogate parent monster at the start of the game refused to get out of my way, so I killed her. But then I immediately regretted it, and reloaded. But the game still knew. It knew what I did. Skylines lets us plant cities, seeding asphalt and concrete to watch them grow and buzz with life.

The city will largely take care of itself, but you can make weed and fertilise with policies and plans to make it truly shine. Or in this case, the chain of office.

One spring night in , Cities: Skylines rode in off the steppe, marched into the campaign yurt of old Mayor SimCity, and beasted off his head with one pleasingly-curved swing of his asphalt broadsword. Also, this is a very funny sketch. Graham: It's all about the roads, isn't it? SimCity offered an always off-balance set of scales, where adding a little more houses over here required a little more industry over there and so on, till the map was full.

Cities: Skylines grabs that system wholesale, but really it's the roads that hold my attention, from trying to design the perfect road network before placing a single building, to endlessly tweaking junctions and off-ramps for hours to try to reduce those downtown traffic jams.

There is always more to do, and watching your ants scurry around your ant farm more efficiently is its own reward. Alice L: God, I love Cities.

I just can't seem to deal with my trash effciently, and I always build so many roads to try and keep all the pollution away from my townsfolk that I just run out of money.

And to that I say: sandbox! Conduct industrial espionage for fun and profit in this turn-based tactical stealth game from the makers of Mark Of The Ninja. Blessed with generous knowledge of enemy movements, try to thread the needle as your agents move through facilities and dodge guards as the security response escalates.

Build and upgrade a stable of agents, steal new gear, and try not to lose them by getting greedy. But a shiny new crimetool is just the other side of this locked door Graham: Invisible, Inc. You know not only where the guards are, but where they're going to walk to. Every route and vision cone is visible on the UI. It should be easy, then, to sneak into its proc gen office floors and make off with the goods, right? Ha ha, you fool. Perfect information doesn't make you perfect.

You're going to make mistakes. In part because the game delights in tempting you. Sure, you can get what you need and leave, but push on into another room or two and you might find a new tool, a new character, or rescue the character you got captured on the last mission.

The more you push, the more guards will start wandering the floor in search of intruders, the more you'll find yourself having to make sacrifices of your characters. That's tough because the character design here is great, both in terms of the unique skills your crew each have, and in their visual design. Invisible, Inc. If your favourite bit of any XCOM fight is the moment before all hell breaks loose - or if you really liked the recent Mutant: Year Zero - give this a try next. It's a tighter game, but its reduced scope brings clarity of purpose and design.

Arkane created a world of political intrigue and class struggle, where everyone is betraying everyone else, and then let you be an assassin in it.

An assassin with magic powers. The sequel, though the PC build was initially plagued with performance issues on release, goes further than the original in creating an exquisite playground for you to exploit. Hack a clockwork robot here, flood an entire building with knockout gas there, and decide the fate of a nation. Alice Bee: How do I love thee, Dishonored? Let me count the ways.

Not literally, though, or we'll be here all day. I was being poetic, like. I think Dishonored 2 is probably the perfect form of Dishonored much as I also enjoy Death Of The Outsider, and its portrayal of a world caught in the moment between past and future, between the old ways and the new. Because you're given the option of playing as Emily or Corvo, you get two entirely different ways to play the game, even on top of the lethal vs. Take, for example, a series of post-apocalyptic action Metro, the first part of which was released in Among the hacked games on PC you can find dozens of masterpieces, firmly rooted in the bowels of the gaming industry, and hundreds of just good, really good and interesting projects.

The first can easily include StarCraft II: Wings of Liberty, which showed that the sequel is able to surpass the original. To the second - Fable 3. Especially for those who are nostalgic and want to download games of year that have already been released through torrent, as well as for those who for some reason in their time lost sight of dozens of good projects, we have created this section, where we have placed a lot of quality video games for PC.