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The Future of Competitive ‘Catherine’: An Interview with “Dacidbro”



I had a chance to chat with competitive Catherine world champion David “Dacidbro” Broweleit about his involvement in the scene and the future of the game. It was a lengthy talk, but one worth putting to the page, especially for anyone interested in getting involved in the scene.

MJR: Why don’t we start with what first brought you into competitive Catherine?

Dacidbro: That’s actually a really fun story. It was more or less complete blind luck. What initially got me into Catherine in the first place was a friend of mine who streams on FinestKO, Sean [“Coopa”] Huang, wanted to stream the game with me as just a fun thing we could do together. And it was a great time, we had a really fun stream, but then half a year later, the local anime fighting game tournament series NorCal Install wanted to run it as a side game tournament, and that was gonna be just really funny, really silly.

And me and Sean were hanging out the day before the tournament, and we were like, “You know what, we should get a leg up on the competition, man,” still completely as a joke. And then we ended up losing seven hours to it because we were so drawn to it and the way it worked.

Matches can get just as heated as any fighting game.

Matches can get just as heated as any fighting game.

We ended up going to the tournament the next day, showing people how to actually play it in a very basic way—but “high level” at the time—and the competition was so great we multiplied the viewers by 10 times the normal rate for the tournament. It was like 3,500 viewers on old Twitch, a really crazy number. So that went super viral. I ended up loving the game, I kept taking it to tournaments, I started getting really good at it, and I became the Catherine ambassador at the time because of all that.

Right, and so here we are.

Now, I’ve always heard rumors of sideshow Catherine stuff going on at Evo, hotel room money matches and the like, but I don’t really know where the competitive Catherine scene really started to take off.

So technically the event I just mentioned was the most important jumping off point, but the other time that it really had a huge moment in the sun is last year’s Evo [2015], when John Hardin worked with Atlus to actually get us an official side tournament, with Atlus streaming it. That was just crazy media for us at the time. The tournament was great; it was really exciting, everyone loved it. The company was happy with it, John was happy with it, and since then it’s been more on my mind as a competitive game again.

There was a lull of 2 years when I didn’t really have anyone to play with, and now in the last 2 months what has really brought the community back to life is Toph from the Smash community getting involved. He’s been able to use his stunning media presence to get the game going again and people excited about it, especially since the game has so many parallels to Smash Bros Melee. Smash players are actually loving it, which has been kind of surprising to me. Nintendude wants to pick it up, Toph is already second best in the world. There’s MikeMuscles. But mostly when I talk to people about this game, it’s an air of respect instead of, like, memes now.

So as far as I’ve been able to tell, it seems like Northern California is still the epicenter of current goings-on, although I gather Australia also had a big scene.

Australia was once the most active scene in Catherine, and I was able to rise above that in 2015 probably just because of the amount of time that I’d spent with the game. But with 2016 it was a different atmosphere. I think the level of play that NorCal has risen to in this tournament has been really dominant, and when one watches the tournament footage from this last Evo, I think that’s really apparent.

Catherine's Evo 2015 debut was a great success for Atlus, the game, and the community.

Catherine’s Evo 2015 debut was a great success for Atlus, the game, and the community.

We’re kind of still in like 2007-era Melee, where it’s very obvious that we’re not using a vast majority of the tech in this game, and NorCal is finally starting to push into some of the really powerful stuff. And leveraging that, it just wasn’t possible for a lot of people to fight us in any meaningful way. So in that regard, yes, I think NorCal is becoming the main center of Catherine, and with the help from people like Toph and companies like Twitch, we’re actually starting to get a local scene and we may actually have local tournaments routinely now. We have so many people interested in the game up here that it can be its own living community.

And I do hope to see more of that. But you also bring up a good point, which is that there are a fair number of fighting game elements in Catherine‘s versus mode, and it seems like a lot of the people who really take to the game are also already involved in the competitive fighting game scene, yourself included. Does that seem to be the most common access point for most people?

So there are two major access points. If you like puzzle games, obviously that’s what most people go to Catherine for. If anyone hasn’t played the single-player mode, it’s truly phenomenal. Incredibly well-polished experience, the puzzles are really interesting and open, it’s just a really cool game.

But in the competitive mode, it’s actually more of a fighting game than a puzzle game. Which is weird, and a lot of people are resistant to that. I actually had a huge Twitter conversation about this today—about how it actually has more parallels to a fighting game, where it has combos, option selects, reversals, spacing, footsies, reactions, just down the list. You interact with your opponent more in a way that’s in line with fighting games than competitive puzzle games like Tetris, or Puzzle Fighter, or Puyo Puyo. It has a real arena where you physically interact with your opponent in real space; so it’s weird, but when people stop thinking of it as a puzzle game and think of it as a fighting game, they do better.

The perfect reference is the current 2nd-in-the-world player, Kris Aldenderfer, Toph. He said today that he remembers the moment he stopped thinking of it as a puzzle game, and he experienced a dramatic improvement in his performance.

Fighting games are such a hard thing to get into, it makes me wonder whether or not some people might go the reverse route. Catherine has a sort of—I guess maybe it’s a little easier to understand, it’s a little less visually confusing. So especially with good commentary, it makes me wonder whether some people might be able to find their way into fighting games through Catherine.

Yeah, absolutely. I’m very confident that Catherine is a gateway drug to fighting games. I have a lot of friends that have never played any fighting game competitively, have never shown interest in it, and they would love to learn Catherine. And it’s this—you’re right, it’s really disarming. This game is so adorable, so beautiful, so compelling that people who don’t enjoy anything about fighting games still see it and say, “This is something I want to be a part of.”

I think this is compounded by the fact that the community is really fun-loving and open and full of good, high-quality entertainment. It really is a powerful force to get people into fighting games.

Victory often comes from player death, but climbing to the top remains a viable strategy for those who know how to build!

Victory often comes from player death, but climbing to the top remains a viable strategy for those who know how to build!

That’s definitely been the case for me, as while I love fighting games and I love watching them, I don’t have the time to get good at them. But seeing the Catherine stuff, it’s like, there’s this part of my brain at work here that’s putting the pieces together.

Yeah. Something to add to that, though: we are discovering that Catherine has a surprisingly high tech ceiling. Like I said earlier, this is kind of like the 2007 Melee era, where we’re still just discovering what’s possible, just starting to look at the frame data for the first time, just starting to look at the data for the spawn rates. This information is going to dramatically affect the way that we end up playing Catherine, in a way that goes beyond just the intuitive top level.

Instead of spending several hours explaining all the tech, I can point you to the forums. This is where we’re gonna be posting all the tech. As well as the Discord link. These are the two main places people are going to be talking about the tech.

So this kind of leads me into—do you think Atlus had any idea how good the competitive game actually was?

Absolutely not. (laughs)

(laughs) I think the logistical and budgetary problems would have kept Catherine from ever getting any online multiplayer regardless, but I guess I was always curious whether they had any idea what they were sitting on or not.

I’m speculating, but my guess is completely not. However, the more we dig into this, the more evidence of love exists towards what they have done with the competitive element. We’re discovering that the block spawn rates are different on different stages, the stages themselves are incredibly developed, so you can tell that someone made these with a lot of love, a lot of attention to balance.

So that brings me back to this year. It seems like Atlus didn’t officially bring Catherine to Evo this year like it did in 2015. I’m not totally clear on that, but the stream seemed like it wasn’t quite of the same quality—

Yes, that is correct. We had to support ourselves. And it wasn’t because Atlus didn’t want to host us, they just had other things to take care of. So we did host our own stream. We ran it off of Ghoul02’s channel. He and PXTfD were able to bring a desktop and support their own stream and purchase exhibitor wi-if, and we were able to stream it off the back of the community. So that is greatly appreciated.

We’re all very thankful. Do you think there’s any chance of Atlus coming back and hosting it officially again?

My relationship with Atlus is still great, they still love us, and I expect them to be back at some point in the future.

I certainly hope so. Despite them not having direct involvement this time around, it was still a really popular event, #CatherineEvo2016 was trending on Twitter, and everyone’s love of the game was evident. So is there anything the community should be doing to help it move forward?

The most important thing is for everyone to get roots in a local scene. The literal most important thing is to have at least one person that you can play the game with, and since net play doesn’t exist, it’s difficult in a lot of places.

But we have people who are starting to do this. Strongbad is joining Ghoul in Texas. Mekasue is going home to Japan to hopefully get in contact with other people. He’s expressed interest in translating to Japanese, so I’m going to be keeping tabs on that for sure. Me and Toph are working heavily in NorCal, trying to carve out a space in Twitch for Catherine, and so far that’s been working phenomenally well. We’re going to be looking at Catherine streams, trying to keep building the interest, building the understanding of advanced tactics. We just need to keep making more content and reminding people they can find their regions on the boards and the Discord, and the more that we connect people, the more we build those scenes, the more vibrant competition we’ll get, and the more this game will actually have roots.

The great reactions from competitors are part of what makes the game so watchable.

The great reactions from competitors are part of what makes the game so watchable.

The Catherine boards have been less active lately, but we’re going to be starting to add more to it now that we have some serious momentum.

I think the Catherine community should expect to double or triple in the next month or two based on the amount of mentions I’ve been getting, which is really inspiring.

Given that there is a lot of love for this game—it has, by and large, been a critical darling, and even though it’s a smaller title, plenty of people have enjoyed it—do you really think that there’s a chance we can get enough eyeballs on the competitive scene to actually get us a sequel?

That is literally what I want to do. That’s the most important thing I could possibly make happen with this community, and I know a lot of people are behind that. I’m going to keep knocking on John Hardin’s door until we get it. For me, it’s not an if, it’s a when. And if we can’t get a sequel within the next couple years, we’re gonna make our own, I swear.

I think it needs a champion and it hasn’t had enough of them over these last few years. It’s a fantastic game that really deserves another shot.

So that about does it for me unless you have anything you want to add at the tail end here.

I wanted to once again give a shout-out to Toph, because he’s really the most important driving force in these last several months. He was like, “You know what man, I’ve loved Catherine for a long time and I’ve never been in the community, can we just play matches?” And when we started playing he got so invested in it, and he was able to show so many more people this love for the game.

And one more for PXTfD and Ghoul for running the Catherine stream at Evo, because this was a very important stream, and this footage is absolutely a piece of the Catherine history, and if we had lost that it would have been felt by the community for sure. So thank you to both of them as well, and everyone else that showed up and threw down at Evo and are trying to find local scenes. I promise I’ll keep helping everyone do that, and we’ll go forward with it!

Dacidbro won in a close match against Toph in 2016, but next year could be a whole different story.

Dacidbro won in a close match against Toph in 2016, but next year could be a whole different story.

Competitive Catherine has been making itself known lately, and the momentum just keeps moving forward. We can’t wait to see more, and get our hands on—here’s hoping!—that theoretical (inevitable?) Catherine 2.

Michael J. Riser writes weird fiction and articles about videogames. He occasionally posts stuff at, and (more frequently) @Quemaqua on Twitter.

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Indie Games Spotlight – Looking Ahead to 2020




Indie Game Spotlight

The year is coming to an end. The holidays are just around the corner. We’ve already published our list of the best indie games of 2019 and now it is time to start looking forward to 2020. In what is sure to be our last Indie Games Spotlight of 2019, we take a look at some of the indies set for release next year. This issue includes a student project that led to the creation of an indie studio; a story-rich and fully narrated puzzle game; and a comedic occult adventure game that takes place during World War II. All this and more!


Imagine, “if Limbo and Portal had a weird baby.”

Aspyr and Tunnel Vision Games announced that their long-awaited, award-winning puzzle game, Lightmatter, arrives on Steam on January 15, 2020.

Lightmatter is an atmospheric, first-person puzzle game set inside a mysterious experimental facility where the shadows will kill you. The game tells a sci-fi story about a maniac inventor who has created the ultimate power source called Lightmatter. Players must explore the facility in an attempt to discover the hidden plot while facing challenging puzzles that require mastering different light sources to survive.

Not only does the game look great but what’s even more impressive is that Lightmatter originally started out as a university project where a group of Medialogy students wanted to explore lights and shadows as the primary gameplay mechanic in a puzzle game. After creating a 15-minute prototype, the team offered it as a free download on Reddit. To their surprise, the game became an overnight success with thousands of downloads and multiple accolades from game conferences around the world. It didn’t take long before they created Tunnel Vision Games with the mission to take the light/shadow concept further and turn it into a fully-fledged game. The rest, as they say, is history.

Nine Witches: Family Disruption

Nine Witches: Family Disruption

Investigate the Occult

Nine Witches: Family Disruption is the comedic occult adventure game you’ve been waiting for. From Blowfish Studios and Indiesruption, the game takes place in a rustic Norwegian village on the fringe of World War II, where a supernatural scholar investigates the Nazi’s plan to conjure a dark ancient power and strike a devastating blow to the Allied powers. Players must investigate their plots by communing with a variety of eccentric characters from the realms of both the living and the dead. It’s your job to unravel a mystical mystery and put a stop to the Okkulte-SS’s evil schemes before it’s too late.

Nine Witches: Family Disruption was born from my desire to blend world history with magic and my personal sense of humor,” said Diego Cánepa, designer, Indiesruption. “I’m grateful Blowfish Studios are using their powers to help me bring the game to consoles and PC so this story can be enjoyed by players across the world.” If you like indie games with beautiful, retro-inspired pixel art and a comical story dripping with gleefully absurd, dark humor, you’ll want to check this out. Nine Witches: Family Disruption summons supernatural hi-jinks to Nintendo Switch, PlayStation 4, Xbox One, and Steam for Windows PC in Q2 2020.


Explore a mysterious ship.

Ahead of next year’s anticipated release of Filament, Kasedo Games & Beard Envy have revealed an exclusive look into the making of the upcoming puzzle game with the first in a series of short dev featurettes. Developed by three friends in the front room of their shared house, Filament is a story-rich and fully narrated puzzle game centered around solving sets of cable-based puzzles whilst exploring a seemingly abandoned spaceship. According to the press release, Filament lets you freely explore the mysterious ship, solving over 300 challenging and varied puzzles in (almost) any order you like.

If you’d like to learn more, we recommend checking out the short episode series which explains the complexity and variety of puzzles and offers an insight into how the game was made. Filament will release for PC and consoles next year.

West of the Dead

The Wild West has never been this dark.

Announced at X019 in London, West of Dead is a fast-paced twin-stick shooter developed by UK-based studio Upstream Arcade. The game stars Ron Perlman (Hellboy, Sons of Anarchy) as the voice of the main protagonist William Mason, a dead man awakened with only the memory of a figure in black. His existence sets into motion a chain of events that have truly mythic consequences.

Thrown into the unknown procedurally generated hunting grounds of Purgatory, your skills will be put to the test as you shoot and dodge your way through the grime and grit of the underworld. No one said dying would be easy and West of the Dead will surely test your skills. The battle for your soul will take place on Xbox One, Xbox Game Pass, PlayStation 4, Nintendo Switch, and PC in 2020.

The Red Lantern

Survive the Alaskan wilderness in this dog sledding, story-driven, rogue-lite game

We first took notice of The Red Lantern during a Nintendo Direct earlier this year and ever since we’ve been impatiently awaiting its release. The Red Lantern is a resource management game where you and your team of five sled dogs must survive the wilderness and find your way home. Set in Nome, Alaska, you play as The Musher, voiced by Ashly Burch (Horizon: Zero Dawn, Life is Strange), as she sets out to train for the grueling Iditarod race.

The game combines rogue-lite elements into this story-driven adventure game, where hundreds of different events can occur—like fending off bears, resisting frostbite, attending your dogs, or receiving a signature moose-licking. This might be the first and last dog-sledding survival game we will ever play but that’s fine by us because judging by the screenshots and trailer, the game looks terrific. The Red Lantern is Timberline Studio’s debut game and is funded by Kowloon Nights. The game will be releasing on Xbox One and Nintendo Switch in 2020.

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The Best Games of the 2010s




Best Games of the 2010s Best Games of the Decade

The 2010s have spoiled us with an abundance of amazing games released year after year, and with the decade quickly drawing to a close, some would argue it is the best decade for video games yet. The choice of AAA titles, MMOs, indies and even mobile games is simply overwhelming. In no other decade have we had so much variety and so much to choose from making it extremely hard to pinpoint what our favourites are. Truth be told, many of us still have some catching up to do. Not everyone has played every game nominated below, and how could we considering some of these games require hundreds of hours of our time to complete? Thankfully we have enough writers on staff to be able to cover it all, and as expected, none of us seem to agree on every winner. It wasn’t easy to choose from our many favourites but we narrowed it down to one winner and five special mentions for each year. At last, here are the best games released in the 2010s.

Best Games of the Decade


2010) Mass Effect 2

Bioware’s Mass Effect announced itself as a different kind of game. The natural evolution of games like Star Wars: Knights of the Old RepublicMass Effect offered gamers a whole universe of possibilities. Depending on their choices, their protagonist could be a cocksure rogue or an unrepentant optimist, a cold pragmatist or a warm confidante. Regardless of your choices though, what Mass Effect really offered was the chance to enter a world and experience it in your own individual manner.

Mass Effect 2 doubled down on this prospect in a way that was almost inconceivable. Giving players a bigger galaxy to explore, more characters to journey through it with, and more refined gameplay with which to devour it, Mass Effect 2 arrived as the sequel that fans never even dreamed was possible. A game with so many different possibilities for outcomes that there was an ending designed as if the player had died in his quest, there was literally no wrong way to play Mass Effect 2.

While the sequel ended up having to pull back on these ambitions, Mass Effect 2 still remains a game that made players believe that literally anything was possible, and for that reason alone, it remains a one of a kind, unforgettable experience. (Mike Worby)

Runners-Up: Call of Duty: Black Ops, God of War III, Red Dead Redemption, StarCraft II: Wings of Liberty, Super Meat Boy


2011) Dark Souls

Like Mass Effect 2Dark Souls is less an original prospect in and of itself, and more the perfectly refined version of a very good idea. Hidetaka Miyazaki may have hit upon a gold rush with his experimental action-RPG Demon’s Souls, but it was Dark Souls that really hit paydirt. Transporting the hybrid single-player/multiplayer experience into an ever-growing open world that devoured itself like an ouroborosDark Souls didn’t just perfect the experience that its predecessor had plotted out, it laid the groundwork for an entire genre.

Players still relentlessly speed run, troll, experiment with and redefine what Dark Souls is, and what it means to them, nearly a decade after its initial release. Check Twitch or YouTube on any given day, and you’re likely to find dozens of gamers re-exploring the world of Lordran, and seeing what it might offer them in this reincarnation of its virtues and faults, concepts and confines. Such is the result of a game so endlessly replayable that it doesn’t even ask before plonking you back at the beginning after those end credits. After all, why not spend a little more time in this world? (Mike Worby)

Runners-Up: Batman: Arkham City, The Elder Scrolls V: Skyrim, Minecraft, Portal 2, Rayman Origins


2012) Xenoblade Chronicles

It’s hard to find a game as niche as Xenoblade Chronicles. A JRPG, published in North America two years after its initial 2010 release on the already-sunsetting Wii, it seemed an unlikely prospect for success. After all, the Wii was perhaps Nintendo’s most family-friendly console, a system designed around casual audiences and motion controls; its successor, the Wii U, was just around the corner. It made little sense to release a JRPG, of all things, when the system was on its last legs.

Despite launching at the tail end of one generation and the beginning of the other,  Xenoblade Chronicles delivered one of the best JRPG experiences in decades. Xenoblade creator Tetsuya Takahashi, with a checkered history of ambitious games that failed to fully deliver on their promises, finally perfected his craft.  A gripping narrative, a spectacular score, and an innovative focus on blending the best of both Western and Japanese RPGs made Xenoblade Chronicles a stunning achievement and the best JRPG to ever come from Nintendo.

Seven years, and two critically praised sequels, later, and Takahashi has yet to recapture the magic in the original Xenoblade and rekindle the pure, unadulterated sense of exploration and adventure that made it such an enjoyable experience, a testament to how unique and incredible this JRPG truly is. (Iszak Barnette)

Runners-Up: Diablo III, Far Cry 3, Hotline Miami, Journey, The Walking Dead

The Best Games of the 2010s

2013) The Last of Us

With The Last of Us, the cinematic-loving geniuses at Naughty Dog proved themselves once again as one of the most accomplished development teams in the world. The confident and handsome survival thriller was instantly hailed as the new bar for what gaming could and should be moving forward. The Last of Us is Hollywood stuff, of course, and it borrows from dozens of carefully chosen inspirations, among them George A. Romero’s original Dead trilogy, The Walking Dead, 28 Days Later and Cormac McCarthy’s The Road. While the game’s cynical portrayal of survivors turning on each other is a very familiar premise – The Last of Us is also the rare video game that follows a traditional storyline and then improves upon it. Set twenty years after a pandemic radically transformed civilization – The Last of Us follows Joel, a salty survivor, who is hired to smuggle a fourteen-year-old girl, Ellie, out of a rough military quarantine. What begins as a straightforward, albeit risky job, quickly turns into a highly emotional, palm-sweating journey that you won’t ever forget.

The Last of Us mixes traditional adventure, survival, action, stealth, and constant exploration. Amidst the action, the horror and the many layers of modern mythology at work here (all quintessentially American), the game succeeds simply as a parable of what it means to live versus surviving. By the time you get to the last act, you understand why The Last of Us is the stuff of legends. The ending is simply amazing and not because it ends with a bang, but instead, because it ends with a simple line of dialogue. It’s intense and, yes, depressing – and it earns every minute of it.

Exhausting to play but oddly exhilarating to experience, The Last of Us works its way under our skin to unnerve, reside and haunt us. From the rich, complex combat system to the sublime sound design, this game immerses the player from start to finish. The Last of Us proves how far the craftsmanship of making video games has come from the outstanding engineering and art and sound design to the fine direction and performances, and the touching relationship of the two leads. It shouldn’t be a surprise that The Last of Us is our favourite game of 2013 because it works on every level: as a violent chase thriller, a fantastic cautionary tale, a coming of age story, and a sophisticated drama about the best and worst qualities of humanity. There’s something for everyone here to appreciate! (Ricky D)

Runners-Up: Bioshock Infinite, Brothers: A Tale of Two Sons, DOTA 2, Gone Home, Grand Theft Auto V

2014) Mario Kart 8

Nintendo was so confident about Mario Kart 8 that they implied it could turn the tides of both sales and public consciousness on the Wii U. Of course, Mario Kart 8 didn’t end up doing that, but it did handily exceed the expectations of its legion of naysayers, such as the infamous Polygon pie charts. Five years later and it has not only gone down in the record books as the highest-selling game on that fateful console, but is also the highest-selling game on Nintendo’s renaissance console, the Switch.

While the appeal of Mario Kart remains perennial, Mario Kart 8 is an especially special Mario Kart. Its controls are the most fluid and refined, its visuals the most lush and detailed, and its courses the most vibrant and fully-realized. Moreover, its breakneck 200cc mode, wealth of fantastic DLC courses, and Deluxe-specific battle mode have given Mario Kart 8 incredible replay value, depth, and variety despite lacking an adventure mode. At launch, Mario Kart 8 was the peak of the series, the best modern kart racer, and a game of the year contender. Now, with tons of extra content, over thirty million copies sold, and the benefit of hindsight, it’s clear that Mario Kart 8 may become known as the greatest and most popular racing game of all time, kart or otherwise. (Kyle Rentschler)

Runners-Up: Bayonetta 2, Divinity: Original Sin, Hearthstone, Plants vs Zombies: Garden Warfare, Valiant Hearts: The Great War


2015) Bloodborne

FromSoftware pioneered a new genre and difficulty standard with their Souls series, but Bloodborne’s their magnum opus. The sordid streets of Yharnam teem with monsters, and hacking through the bloody lot of them is a visceral (and challenging) delight.

I made it through Bloodborne with minimal trouble, felling most bosses in two or three tries. But the last boss, the dude whose name starts with G (no spoilers), kicked my ass to the moon and back. I fought him for a whole weekend, dying upwards of fifty times. I thought I couldn’t do it, that I’d have to throw in the towel, for this was a mountain I couldn’t scale. But then something unexpected happened: I won! I flawlessly dodged his attacks, steadily chipping away at his lofty life bar until he kicked the bucket. The sensation of elation I experienced upon victory was a high that lasted for hours, and that’s when it clicked for me “This is why there’s no easy mode”. (Harry Morris)

Runners-Up: Life is Strange, Metal Gear Solid V: The Phantom Pain, Rocket League, Undertale, The Witcher 3: Wild Hunt


2016) Persona 5

When it comes to JRPGs, there’s no shortage of turn-based level grind-y time sinkers on offer, but Persona 5 is something different. It’s both unabashedly inspired by its genre brethren, yet wholly unique. Where countless JRPG stories crumble under the weight of “That’s flippin’ nonsense”, Persona 5 serves up a rewarding narrative driven by a wildly loveable band of misfits. Its relationship-building mechanics (that inspired Fire Emblem: Three Houses) are addictive, and its user interface is award-worthy. Every facet of this genre masterpiece is meticulously honed to perfection, and its bigger and better iteration (Persona 5 Royal) can’t come soon enough. (Harry Morris)

Runners-Up: Final Fantasy XV, Inside, Overwatch, Pokemon Sun and Moon, Uncharted 4: A Thief’s End

2017) The Legend of Zelda: Breath of the Wild

What’s perhaps most remarkable about Breath of the Wild is just how familiar yet simultaneously refreshing it feels. Breath of the Wild may be the biggest Zelda game to date, but it still feels like a Zelda adventure — in spirit, story, tone and in gameplay. You play as the young courageous Link, the hero of Hyrule, who awakens from a cryogenic sleep chamber inside of a small cave and teams up with the eponymous princess (so to speak) and sets out on an adventure to destroy the horrible fanged, boar-faced Calamity Ganon, a megalomaniac holding Princess Zelda hostage and bent on destroying Hyrule. The narrative setup is more or less standard for a Zelda game, but Breath of the Wild has something that was missing from the series for far too long — perhaps since the original title was released back in 1986.

Much like that original, Breath of the Wild is a game that begs you to keep exploring and it does this right from the start, immediately instilling a real sense of mystery, no matter how familiar you are with the series. As soon as you emerge from that opening cave, you’ll find yourself on a vista, looking out at the beautiful mountains and ruins of a post-apocalyptic, techno-plagued world. And from that moment on, the world is your oyster.

Since its arrival in 1986, the Zelda series has always pushed the technical boundaries of whatever console it has graced and Breath of the Wild continues this tradition (times two). Epic, mythic, simply terrific, Breath of the Wild brought a new kind of experience to fans across the globe. In return, it demands your attention. It’s such a landmark in video games that labeling it a masterpiece almost seems inevitable. Though in the end, most of what makes Breath of the Wild so beloved is Nintendo’s determination to constantly challenge themselves while crafting an unforgettable experience that also doubles as a commentary on the freedom of playing on the Switch. That a game of this magnitude can be playable anywhere you go, is a remarkable feat. (Ricky D)

Runners-Up: Cuphead, Hollow Knight, Horizon Zero Dawn, Resident Evil VII, Super Mario Odyssey

2018) God of War

To take their beloved franchise, turn it on its head, and deliver an experience that surpasses its acclaimed predecessors was no easy task for Sony’s Santa Monica Studio, yet they smashed it! God of War pays homage to its roots, whilst simultaneously bounding headlong into uncharted waters. It embraces modern conventions but utilizes them in a way that feels fantastically fresh.

Kratos’s journey with Atreus through the universe of Norse mythology is a masterclass in both character study and organic world-building, and a far cry from the one dimensional “Kratos angry, Kratos kill things” fare of old. Combat strikes a balance between strategic nuance and gory glee, and the Leviathan Axe feels badass to swing around. Discussing this game is more often than not an exercise in rattling off cool qualities, because there’s just that many things to dig about it. (Harry Morris)

Runners-Up: Celeste, Monster Hunter World, Red Dead Redemption 2, Spider-Man, Super Smash Bros. Ultimate

Best Games of the Decade

2019 ) Fire Emblem: Three Houses

With three stories that can change depending on the choices taken, Fire Emblem: Three Houses really does allow the player to choose the path they wish. Much like previous Fire Emblem games, what the player does and chooses is at the heart of the game, with benefits and consequences for each action taken. With three different houses to discover, Fire Emblem: Three Houses can be replayed countless times while never feeling like the same game.

It’s easy to get enchanted by all the personality, charisma, and cheesiness the game has outside of battles, that it’s even easier to miss the tactical ingenuity within battles. Fire Emblem: Three Houses has shaken up much of the battle formula from previous Fire Emblem games, creating a much more fragile web, requiring a balancing of personalities and classes that can develop constructively for the rest of the game. This means every brick you place from the start of the game will affect how well your house stands by the end of the game. It’s a clever design that can catch even the most ardent Fire Emblem veterans out there.

But most importantly of all, each story doesn’t feel rushed or out of place. That isn’t just the three main stories but every characters’ own personal story. Some of the characters are a little overly cloy for my personal tastes, but that isn’t to say they didn’t fit the narrative. Their story was woven into the main story without a slip or a bump. It is that Fire Emblem: Three Houses is more than just how the player develops, but how each character develops around them. (James Baker)

Runner-Up: The Outer Wilds, Disco Elysium, Control, Sekiro: Shadows Die Twice, Resident Evil 2

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Game Reviews

‘House of Golf’ is No Hole-In-One, But it is Below Par

‘House of Golf’ may feel appropriate for Switch, but a lack of variety and reused content make this course nearly reach above par.



Perhaps adding the word “mini” to the title would have been far more appropriate regarding the in-game circumstances of Atomicom’s newest family arcade sports styled game House of Golf. In the slew of golf games currently available on the Nintendo Switch, House of Golf may feel the most appropriate for the console’s capabilities due to its key focus on simplicity, portability, and accessibility, but a lack of diversity in individual hole design and reused content nearly makes this humdrum course reaching above par.

Simplicity is a key focus within House of Golf’s core mechanics. Controls, menus, and even gameplay are as simple as video games can get. The left analog stick operates the camera and holding down the A button fires your ball with a distinct power meter located on the right-hand side of the screen. Your goal is to attempt to achieve a hole-in-one or stay below a par number that changes depending on course and difficulty- just like regular golf, mini-golf, or any form of golf you can imagine. It never gets more complicated than that.

House of Golf may claim that its selling point is that it contains over 130 different holes divided into 5 different environments- or rather rooms- and 3 difficulties, but variety becomes bland after less than an hour of playtime. Despite there being five different environments, after completing one course on either the medium or hard difficulty setting, you practically have experienced all there is to do. Courses always remain compact and easy to navigate, but the game never gets challenging or adds some sort of flair that allows each hole to stand out from one another. It is a shame considering that the fluid gameplay foundation the courses are built on might just be the most tightly controlled golf game available on Switch.

As the title of the game implies, every course is designed around the interior aesthetics of a house- a rather small one at that as the game chooses to focus on table-top scenarios- quite literally. Each hole is rapid-fire short and manages to achieve a miniature sense of scale. They are stylized well but the game often reuses assets for each room despite the settings being entirely different. The atmospheres themselves manage to create a comfy aesthetic for each hole that only adds more cheerful feelings to the laid-back easy-going gameplay on top of a soundtrack that is extremely mellow yet quaint, but when you are on a nine-hole course that never completely changes that atmosphere can become tiresome.

What initially seems like House of Golf’s greatest strength though is being able to choose any environment, hole, and difficulty directly from the get-go, but this feature quickly takes the game south rather unintentionally. As soon as you open up the game, players can accommodate to their own personal skill level leaving the vast majority of them to skip more than a third of the levels. With no learning curve or incentive to play the game on its lowest difficulties, House of Golf rapidly begins to dwindle in new content.

When it comes to the ranking system, it is designed exactly like a traditional mini-golf game where your goal is to achieve a set number of strokes that will keep you above par. Stars will be awarded to players based on performance- a hole-in-one obviously being the highest gold star rank a player can achieve and a triple-bogey being the lowest. These stars, however, only unlock one feature: golf ball designs.

Extra unlockable golf ball designs are the only in-game rewards to collect throughout the game- and it is nothing to look forward to or worthwhile to commit to. They are charming to gander at for more then a couple of seconds, but they serve no real purpose in the long run- not even when it comes to the multiplayer. Rather then these rewards being applied to each individual player’s ball, House of Golf does not allow players to choose what golf ball design they wish to use. For some ridiculous reason, whatever player one chooses is applied to every golf ball.

Speaking of, while the singleplayer can be rather tiresome, House of Golf’s one notable addition that might just keep you on the course for longer than a few hours is the inclusion of a local multiplayer ranging from two to six players. Multiplayer presents a higher-stakes challenge for each course, which makes gameplay not only far more satisfying to win at but overall entertaining to play. Due to the compact course designs, often you can mess with your friend’s positions and overthrow the score of each hole. Multiplayer was clearly the go-to way to play as it is the first option that appears on the main menu.

One thing that should be noted is that only one joy-con is required for everyone to play as there is no other option to use multiple controllers- a convenient addition that you have to wonder why more games do not have it on the Nintendo Switch. It is by far the game’s most redeeming quality that absolutely deserves mentioning. For a game where one player controls the field at a time, this streamlines a lot of issues outside even that of the game itself.

It is no hole-in-one to ride home about, but Atomicom has managed to create an arcade-style sports game that is a mix of both simplistically relaxing and mildly infuriating. In its final state, the lackluster courses can make this one turn into a quick bore, but adding a few friends to the multiplayer scene can turn House of Golf into a few delightful hours. At its retail price of ten dollars, any Switch owner planning on picking up House of Golf should wait for it to land in a sale target-hole. It is not bad by any means, but there are better places to look to fill your golf fix, especially those looking for a single-player experience. For a cheap alternative, however, it might just be worth it for the multiplayer alone.

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