BioShock's gripping metaphysical plot, over-the-top art deco levels and motley cast of hauntingly broken personas intermingle to furnish an experience so riveting and simultaneously disturbing that it fueled (at the time perfectly reasonable) conversations about games as more than dopamine-fueled diversions. Studio Irrational Games' 2007 first-person shooter takes the player on an imaginative journey through the fictional undersea city of Rapture, built by fanatical industrialist Andrew Ryan (whose name references Atlas Shrugged novelist and self-described objectivist Ayn Rand). The game set new standards for video games on so many levels, from its horrifying forms of self-augmentation, to its ecology of intersectional enemy behaviors and its sublime ways of channeling what amounted to a withering deconstruction of extremist modes of thought.
But its story was only half of its success. Halo was quite simply one of the best multiplayer shooters ever upon its release, thanks to its incredible complement of weapons (two-shot death pistol FTW!) that mixed seamlessly with third-person-controlled vehicles across a swath of classic maps like Blood Gulch, Sidewinder, Hang 'em High, and more. That it was all set to the chanting-monks theme song that, like the game itself, became legendary.
Most of all, it was scary – like, actually scary: an exploration of the depths of human depravity and the effects it has on the people and places around us that few video games have handled with such a disturbing grace and maturity. As a hardened horror fan who’s tough to frighten, I appreciate Silent Hill 2’s ability to stick with me even a decade later.
In nearly three decades no game has supplanted Super Mario World as the best game ever made... Which is stupid. I’ll get to that in a bit. Super Mario World is a relatively simple game to describe. It’s a Super Mario game, and we all know what that means: Mushrooms; perfect running and jumping action; and a giant world to explore, crammed with secrets.