Top 10 Games of the Seventh Generation Consoles - #1: The Legend of Zelda: Skyward Sword

This is easily the most impressive Zelda title I’ve played since Ocarina of Time and the Oracle titles. Whereas Twilight Princess blatantly tried to align itself with Ocarina of Time and offered up a host of uninspired and generally non-threatening bosses, Skyward Sword borrowed elements of practically every previous Zelda game and meshed them with a brand new combat system. The result is one of the most fresh and enjoyable experiences I’ve had with any video game in a long while, and the most fun I've had with a Zelda release in over a decade.

Certainly, the core essence of Zelda is retained, but there’s plenty of new characters and content to indulge in, like sassy and prideful Demon Lord Ghirahim or the Timeshift Stones that are scattered about Lanayru Desert. Ganondorf has long reigned as my favorite video game villain of all time (specifically, his Ocarina of Time and Wind Waker incarnations), But Ghirahim ranks quite highly as well. While Skyward Sword’s enemy number one is full of attitude from the first encounter to the last, he slowly reveals more and more about his true nature with each encounter he has with Link – and I don’t mean that we learn more about his plans to revive his master, as that is something we know practically from the outset. Rather, we see how truly prideful he is, as well as how he is unable to deal with someone else besting him in battle, let alone a human.

As for the new combat system, it is what the Wii was designed for – a perfect 1:1 reaction as Link swings his sword up, down, sideways, and vertically. The dungeons are chock full of fun puzzles and stronger enemies than usual, many of whom require a specific angle of attack from Link’s sword. There’s a curious collection of items at Link’s disposal, including a whip, double clawshot, and the beetle, though none of these serve to replace pre-existing items as is typical of Zelda titles. Many of the items also see multiple applications, such as the whip being used to swing across chasms and pull on switches. While few of the dungeons ever reach the scale of those in Ocarina of Time or Majora’s Mask, they are all wonderfully inspired on both the front of puzzle design and aesthetic presentation.

The soundtrack is gorgeous, the art style phenomenal, and the characters – especially a more bright and talkative Zelda – genuinely lovable. Skyward Sword ends with one of the most epic, atmospheric boss fights to ever grace the series, which is saying a lot, considering how well-received the boss fights in nearly any Zelda game tend to be. This is the story that sets in motion all the patterns witnessed in the rest of the series, and I could not have asked for a more perfect way for it to be conveyed. It’s a game that I waited more than two years to play after its initial reveal, a game that I was excited for unlike any other before it, and a game that delivered everything I had hoped for and more.

Top 10 Games of the Seventh Generation Consoles - #2: No More Heroes and No More Heroes 2: Desperate Struggle

While there have been plenty of solid sequels and revamps of classic titles on the seventh generation titles, few developers have dared to tread into brand-new territory. Few have dared to create something so bold as No More Heroes. Much as I love the Mass Effect sequels, Metroid Prime 3: Corruption, and the other games that found their way onto this list, they are all sequels or spiritual successors to previous releases. Though the No More Heroes titles do draw inspiration from contemporary hack-and-slash action titles and 8-bit arcade-y games, the culmination is a wonderful breath of fresh air, not just to the genre, but to video games as an entertainment medium.

Both the original No More Heroes and its sequel Desperate Struggle are (among other things) unapologetic – Travis Touchdown slices and dices his foes into bloody pools, spouting off vulgar one-liners during his moments of downtime that are equal parts awesome and silly. The original game defined a brand-new experience and was one of the earliest Wii titles to really nail the motion controls down by balancing those with a traditional button/joystick combo. While No More Heroes boasts many a colorful environment and memorable assassin, the sequel cleaned up the entire experienced, streamlining the overworld and amping up the combat just enough that it was more fast-paced without teetering into the realm of frenetic.

The sequel also saw a more focused, darker story – one of Travis seeking revenge – which still managed to balance the silly with the gritty. While the first game was more off-the-walls goofy, the references to Star Wars and Back to the Future therein seemed unorganized and random compared to the sequel’s mecha boss fight between robots inspired by anime Space Runaway Ideon and Gurren Lagann, or a narrow forest whose twisted dead trees and red night sky were an obvious nod to Capcom’s explosively popular Resident Evil 4. Instead of giving off the impression that the game was chock full of ideas that creator Suda51 thought were cool, NMH2 came across as more of a love letter – not only to the creative minds behind the works Suda was paying homage to, but to fans of the original NMH as well.

Personally, I am a bit partial to Desperate Struggle. It’s much easier to jump into, has a higher degree of replayability due to its time attack Death Match mode and general faster pacing. But I won’t deny that the boss fights in the original No More Heroes were some of the best I’ve experienced in any game. Being such a huge fan as I am of the Legend of Zelda series, that is the standard with which I compare the boss fights of any and all other video games, and it is incredibly rare that another title provides as consistently high-quality encounters. But the UAA ranking matches in the NMH games are truly something to behold – a brilliant mesh of flair and challenge that defines the core of the experience.

Top 10 Games of the Seventh Generation Consoles - #3: Bioshock and Bioshock 2

The opening to the original Bioshock was an interactive sequence that blew me away when I first played it. Six years later, I still consider it to be one of the (if not the single) best introductory sequences in any video game. While the brief monologue Jack relays moments before his plane crashes into the ocean serve to provide players with some inkling of who he is and what is to come, it’s still deliberately vague. The game takes you (the player) and protagonist Jack from a familiar setting and thrusts you into a strange, dangerous, and yet ever-intriguing environment: the city of Rapture.

Bioshock is a curious game in the sense that most of the story is conveyed to Jack via audio diaries and radio chatter from both Atlas and Andrew Ryan. To tell more than to show is always a risky formula for a game, but having Jack enter Rapture after it has already gone to hell in a hand basket allows players to focus more on the hauntingly gorgeous setting. Little Sisters urge their Big Daddy protectors on to new corpses, blissfully unaware of the walking guinea pigs they have been transformed into. Sander Cohen has Jack go on a murderous scavenger hunt to gain passage through Fort Frolic. And the direct interactions Jack has with characters like Cohen, Tenenbaum, and Ryan cultivate one of the game’s most important aspects – choice.

While the core of Bioshock will remain the same for each and every player, there is a significant degree of freedom to how the game is experienced. Aside from the option to save or harvest the Little Sisters for precious ADAM, players can choose which weapons and plasmids to upgrade. They can choose to explore areas not important to their current objectives to better explore the fallen city, and they can choose to pick up or not pick up audio diaries that would better inform them of what led to Rapture becoming a such a horrifying place.

While most would argue that the story of the first Bioshock is superior to the sequel, I would argue that the method of storytelling in Bioshock 2 trumps that of its predecessor. The ‘stranger in a strange land’ approach does not work particularly well in a second visit to the same locale, and 2K avoided this problem altogether by putting players in the boots of a Big Daddy named Subject Delta. One of the original Big Daddies, Delta is far more powerful and intelligent than the typical Bouncer or Rosie and can wield much more powerful variants of the weapons Jack previously used. Because players would already know the fate of the characters from the first game, there was no reason to pull a ‘smoke and mirrors’ routine. Bioshock 2 gave players the run of the place almost instantly, and expands upon the stories of major characters that shaped the experience of the first game, while also introducing all-new characters who were key in both the rise and fall of Andrew Ryan’s underwater utopia-turned-dystopia.

Bioshock 2 looks better, sounds better, and - most importantly - plays better than its predecessor. Chunks of coral and more heavily flooded areas give players a sense that Rapture has decayed even further since their last visit. The gun controls are more tight and the hacking process distracts less from the core gameplay. As a Big Daddy, you are certainly tougher than any normal human, but then again, the splicers have mutated so far along that they are more dangerous and creepy than ever.

It would be inaccurate to state that the Bioshock titles belong to the horror genre. While certainly spooky, they consistently utilize elements from action, adventure, and RPG genres. But if there is one thing that can unquestionably be stated about Bioshock and Bioshock 2, it is that they are two of the most thought-provoking games of their day, due to the ideologies they bring into play and the questions they raise – not just within the context of Rapture, but also for the people who make and play video games.

Top 10 Games of the Seventh Generation Consoles - #4: Mass Effect 2 and Mass Effect 3

While I thoroughly enjoyed the original Mass Effect, the sequels improved upon the gameplay and storytelling significantly. The first game provided a glimpse of the greater universe that you actually get to explore in the sequels, and while there are certainly elements of BioWare’s Knights of the Old Republic that inspired the Mass Effect games, the homeworlds and cultures of the Asari, Turians, Krogans, Hanar, and so on feel strikingly original.

These two games run incredibly close for me. While neither is perfect, they both have their strengths and weaknesses that ranks them at approximately equal quality in my eyes. Mass Effect 2 was more reliant on shooter mechanics, but offered a greater host of side missions and squad members. Mass Effect 3, though more focused on reaching the end of Commander Shepard’s story, brings back many traditional RPG elements absent in ME2 and offers fewer squad members that, while specialized to one role or another, are more adaptable than in the previous installment.

Above all else, what impressed me most about the two games was the weight of your decisions and how it impacted the manner in which the greater story unfolded. The original Mass Effect forced you to choose one human squadmate to live and the other was left to die, but these were characters that I frankly could not have cared less about. Sure, there was the romance subplot, but it only offered two options per gender. Mass Effect 2 rectified all of this by including loyalty missions – sidequests that would earn Shepard the trust of his squadmates. Opt not to complete a loyalty mission and there’s a good chance your pals might not survive to the end of the game. As for the romance subplot, there were significantly more choices available to both male and female Shepard, each of them arguably more interesting and involved than those offered in ME1. Mass Effect 2 required much more time and attention than the first game, but it also gave a lot more back. It was a game that allowed you to play however you wanted, and your decisions would carry over to Mass Effect 3. The characters you allowed to live would appear in Mass Effect 3, potentially offering you assistance in your fight against the Reapers, while those who died might be mentioned in dialogue, but were otherwise nowhere to be seen.

The Mass Effect sequels are phenomenal spiritual successors to the Knights of the Old Republic titles as well as the original Mass Effect. Gone are the clunky periods of exploring uncharted worlds in the Mako, gone are the repetitive landscapes and underground bases - all replaced with planets that exude a sense of adventure. While BioWare’s love for space operas like Star Wars are clearly visible in the art and story direction of Mass Effect, these games host their own lively universe - one that was equally creative and engaging. Whether Shepard is investigating a string of disappearances on human colonies, securing the last hope of curing the Krogan genophage, or helping to beat back Reaper forces from one of the moons orbiting the Turian homeworld, each quest is uniquely exciting.

Top 10 Games of the Seventh Generation Consoles - #5: Pokémon Black and Pokémon White

Over the years, Game Freak has done quite a bit of experimenting with the Pokémon series, between the core entries and the side games/spinoffs. While still a six-member party RPG game, the inclusion of dual types and special abilities provided a new dynamic to strategies players would adopt. However, the Generation IV titles Diamond, Pearl, and Platinum were less well-received by many in the Pokémon community following their release, due to a number of factors including a lack of balance in the representation of the then-seventeen types, as well as some new evolutions of pre-existing Pokémon that some fans considered entirely unnecessary.

Thus, the Generation V games known as Pokémon Black Version and Pokémon White Version saw Game Freak perform a sort of balancing act between the new and the old. The fundamentals of the game were retained, and many familiar tasks were streamlined to better utilize the DS’ hardware. Trading was no longer handled through the Pokémon Centers – rather any player could access the ‘trade’ and ‘battle’ options on a whim via the handheld’s lower screen and interact accordingly with a friend/opponent nearby. The simple act of combining the Pokémon Center and PokéMart into a single building proved to be a giant time-saver.

Meanwhile, the one-hundred and fifty Pokémon players could catch in Black and White were all new, with access to Pokémon from previous generations being restricted (outside of trading) until the sizeable post-game section. The types were carefully chosen to create a near-perfect balance. Though some generation V Pokémon were perhaps more ideal to certain players than others, the fully evolved form of each Pokémon had a practical use and could serve to complement a party well. The Elite Four put up a solid challenge, and the concept of having the antagonistic Team Plasma’s desire be the liberation of Pokémon from their owners/partners made for a strikingly original and entertaining spin on an old classic - one that was mildly more thought-provoking than the plans laid out by previous baddies who wished to drown/dry up the world or mess with the time-space continuum. Everything Game Freak implemented in Black and White, they did so with good reason, and the games stand out as what I would consider to be among the best in the series as a result. There’s a decent degree of challenge, though the game allows for a great range of freedom with selecting party members and strategies. Above all else, Pokémon Black and White are just plain fun to play.

Top 10 Games of the Seventh Generation Consoles - #6: Halo: Reach

The first-person shooter is generally one of my least favorite genres in video gaming, due to the sheer number of FPS titles that are released each year with minimal effort or inspiration. As much as I have enjoyed the Halo series over the years, it is still rather surprising to me that Bungie’s swansong to their monumentally successful series landed a spot this high on my top ten list. While I will always consider the story, gameplay, and multiplayer offerings of Halo 2 to be the best in the series, Halo: Reach follows not far behind the title that essentially shaped online gaming for consoles into what it is today.

The tale of Noble Team is really a side story to the main tale of Master Chief and Cortana. While the fall of planet Reach is one of the most pivotal events in the Human-Covenant War, it’s content that is largely unfamiliar to anyone who has not read the Halo novels, and NPCs only make brief mention of the battle in any of the three main games or spin-off title ODST. Witnessing an earlier conflict in the Human-Covenant War firsthand is entertaining and does well to separate the story from the all-too familiar routine of Master Chief blowing away every Covenant and Flood foe that stands in his way. But throwing five squadmates into the equation, giving them each a unique and interesting personality, and showing players just what is at stake with the loss of a planet so critical to UNSC operations lends to Halo: Reach an atmosphere notably different from previous Halo titles.

While dual-wielding was done away with, the balance of weapons Reach offered up was darn near perfect and plenty of fun to experiment with. The armor abilities were a much more intelligent implementation of the rather awkward equipment introduced in Halo 3. The Vehicles were largely familiar, though a couple of new additions felt right at home in the UNSC and Covenant squadrons respectively. The campaign is decently lengthy, and the highest difficulty setting offers up a genuinely challenging trek that requires a far more careful and tactical approach without feeling the least bit aggravating or unfair.

As for the multiplayer side of things, Halo: Reach’s offerings may not be as consistently high caliber as Halo 2’s maps, but many of them return in the form of remakes (whether full-fledged, or variations in the make-whatever-your-heart-so-desires expanse of Forge World). Classic game modes like Slayer and Infection return, while a few new modes like Headhunter and Invasion may be drastically different in their implementation (the former being silly and frenetic, the latter requiring finesse and teamwork) but are a blast to partake in. Add in Firefight, a team-based mode where waves of Grunts, Jackals, Brutes, Elites, and the occasional Hunters advance toward your location, and you have the most complete package a Halo title has ever offered.

When it all boils down to it, the story of Noble Team’s last stand on Reach is basically a countdown to extinction. But the presentation is damn good, from Marty O’Donell’s masterful soundtrack, to the oddly gorgeous decay of a planet ravaged by battle. Though chronologically Halo: Reach takes place prior to the original Halo, there’s little more I could ask for from Bungie in bringing a conclusion to their long-running series. Nobody knows the Halo property quite like Bungie.

Top 10 Games of the Seventh Generation Consoles - #7: Metroid Prime 3: Corruption

I consider the original Metroid Prime one of the most bold and successful revivals of a video game franchise ever attempted. I also consider it to be one of the best video games ever created. While I enjoyed the sequel Metroid Prime 2: Echoes and its light world/dark world scenario, the layout of planet Aether’s different regions did not feel as intelligently crafted as the regions of Tallon IV in the first game. Whereas the distance between save stations, weapon upgrades, and the balance of puzzles and combat was relatively consistent in Prime, it was more sporadic in Echoes – Samus could traverse incredibly short distances at times and come across a number of missile expansions or quick and easy environmental puzzles, or it could be close to an hour between two save stations.

Metroid Prime 3: Corruption was one of the earliest big-name titles Nintendo revealed for their Wii (or as it was known at the time, the Revolution). While the original reveal trailer didn’t show much, the final product turned out to be a balance of familiar and fresh content. No longer was Samus limited to a single planet – in their alliance with Dark Samus, the Space Pirate forces had spread Phazon across the galaxy, requiring Samus to visit multiple worlds and undo the gradual infection and mutation brought on by the Phazon. While these individual planets were scaled down in size from the regions of the previous two Prime titles, they were still bold visions on the part of the creative team at Retro Studios. The skylines that run above the clouds of Elysia, the needle-like forests of Bryyo, and the haunting remains of the G.F.S. Valhalla all made for areas that were as interesting to look at as they were to explore.

For being one of the earliest titles to make full use of the Wii’s motions controls, Metroid Prime 3: Corruption is arguably among the best on the system. Response times and targeting accuracy might not be perfect, but they’re pretty great even when you compare them to later Wii releases by Nintendo. Prime 3 spends as much time exploring the core mythos of the Metroid universe – the legacy of the Chozo, the properties of Phazon, the role of the Aurora Units and the connections they share to Mother Brain – as it does providing a satisfying conclusion to the story that makes up the Prime trilogy. To that end, Corruption does as much to send the Prime series out with a bang as it does to connect the dots of many underlying tales that helped to shape the Metroid story at large.

Top 10 Games of the Seventh Generation Consoles - #8: Final Fantasy XIII

Final Fantasy XIII does not use the exact combat system of its predecessors, but that’s kind of a pattern the series has followed all along – trying new spins on an old classic. FFXIII utilizes a variant of the ATB battle system introduced way back in Final Fantasy IV, and puts you in control of three characters at a time, requiring you to rotate through your lineup of roles (known as paradigm shifts) in order to fight foes. While it is true that the game does not require you to be particularly involved with selecting specific attacks seeing as auto-battle will generally select the most useful magic or physical attack, FFXIII’s fast-paced combat will ask that you remain attentive and ready to switch party roles at a moment’s notice. As a result, the combat is less chaotic and frenetic and more fluid and methodical.

The only real gripe that I have with Final Fantasy XIII is that the side quests are all centered around the concept of tracking down increasingly stronger creatures and slaying them in order to unlock Xbox 360 achievements/PS3 trophies. While you can technically continue grinding during the game’s later hours in order to fully level up your party members and expand their crystarium, the roles you’ve assigned them up to that point should complement each other impeccably – each character basically starts off on two primary roles (in the case of Snow, these are Sentinel and Ravager), and then a third is recommended to both further specialize your party members as well as cover potential gaps in your strategies. Unlike many a JRPG, it offers opportunities for grinding for experience points without actually requiring it.

For my first foray into the core Final Fantasy games, FFXIII was a strong start. It’s not perfect and I have since discovered elements of other Final Fantasy titles that I prefer over some of what FFXIII has to offer. But nearly everything that FFXIII brings to the table is handled very well. During the forty plus hours it takes to complete the main game, there is ample time to develop each of the six main characters as well as explore the lore of the Fabula Nova Crystallis universe without the terminology going completely over your head. I loved Lightning and Sazh, I came to appreciate Snow, Fang, and Hope and everything they offered to the party. But in a most unexpected turn of events, Vanille, the bubbly girl who I expected might get annoying rather quickly, proved to be the most deep and engaging of the bunch.

Top 10 Games of the Seventh Generation Consoles - #9: Metal Gear Solid: Peace Walker

A proper sequel to Metal Gear Solid 3: Snake Eater, Peace Walker explores the impact the Boss’ training and philosophy have had on Snake in the years following her death. It’s very much a story about Snake – in typical Metal Gear fashion, there are plenty of other cast members to intrigue players, to flesh out the experience, and to better connect the dots that make up the Metal Gear lore. But through all of Kazuhira Miller’s radio chatter it’s quite clear that this is the story that is meant to bridge the gap between the Naked Snake era and the rise of Big Boss’ Outer Heaven. David Hayter puts on a more gruff tone to convey how Snake has aged both physically and emotionally, and the shift in his presentation of this iconic gaming character goes a long way in sowing the seeds of both Big Boss’ new identity and the goals of the Militaires Sans Frontieres.

Much like with MGS3, Peace Walker offers a slightly greater range of freedom with picking an approach to countering Snake’s foes. You can distract them by making noise and then carefully sneaking around them, or you can take them head on thanks to a more-powerful-than-usual arsenal. A few of the boss fights do require a more straightforward combat approach, as foes will attempt to flank Snake and force him out of a well-defended spot. This results in the need to balance your strategy between taking out these lesser enemies and dealing blows to the tank, helicopter, or mech that is Snake’s primary target.

While the individual areas in Peace Walker are nowhere near as expansive as those in MGS3, they are still structured as a series of connected sectors. For a handheld game, these look gorgeous due to their high level of detail. The soundtrack is classic Metal Gear and, again, of impressively highly quality. The multiplayer mode and RPG elements worked into building Snake’s forces are both unusual choices for a Metal Gear title, but they work surprisingly well.

Peace Walker is a bold spin on everything you’d expect from a Metal Gear game – at its core, it’s the same tactical espionage action you’ve come to know and love. But the gameplay elements give it a whole new flavor that makes it a fresh experience for MGS veterans. Peace Walker is not only among the best entries in one of my personal favorite video game franchises, it’s one of the best handheld titles I’ve ever played.

Top 10 Games of the Seventh Generation Consoles - #10: Portal 2

Now that the big three game companies have all announced their new consoles, I thought I would take a look back at my favorites from the Wii/PS3/Xbox 360 era. I realize that what is soon to be dubbed ‘last generation’ isn’t actually over yet and there is a chance that some more truly impressive games might be released between now and the time that the Wii U/PS4/Xbox One take over completely. But as of right now, I feel that my list of favorite/most important games from this past generation will see little-to-no alteration, even with new games still on the horizon. The criteria for this list is as follows: all of the games listed below are among my favorites of this past generation, and have been placed in order of which I think were actually handled best, from gameplay, to storytelling, to graphical/artistic presentation, and overall production quality. A few series had sequels that were competing for a spot on this list, and because of how close it came between some of them, I’ve opted to include both as a single spot on the list. Keep in mind that this list is drawing from a large pool - everything from the Wii, DS, PS3, PSP, and Xbox 360. Also, re-releases of a game are not eligible – no Virtual Console or HD Collections, I'm afraid. However, full-fledged remakes are allowed. If your favorite game didn’t make the list that simply means that either I didn’t play it or it didn’t leave as significant an impact on me.

While the original Portal was certainly a landmark game for its physics engine and combination of puzzle and platforming gameplay, it lasted but a few hours. They were an enjoyable few hours, to be sure, but left less of an impression that I had played a ‘masterpiece’ and more the impression that I had played something that was a crossroad – not just for the aforementioned genres of video games, but for the medium as a whole. In the years that followed Portal’s release, there was seemingly no end to the number of developers who attempted to pay tribute to the game by including not-so-subtle references to false promises of cake and the instantly recognizable companion cube. But for so many that gave their individual nods to the game, there were few that dared try and replicate something like Portal.

Enter Portal 2, a sequel released four years after the original, which built and expanded upon everything the original created. Portal 2 once again follows protagonist Chell, but through a full-fledged story instead of a one-sided conversation with power-mad AI GLaDOS. It’s true that Chell is still silent, but Wheatley acts as both narrator and companion, while the other cores (brief though their appearances may be) and the recorded audio from Aperture founder Cave Johnson add a lot of life to the equation. The original Portal, while entertaining in its own right, did not feel to me as complete of a product as Portal 2. The addition of gels added a new dynamic to the gameplay, and a few of the puzzles were real stumpers. As for the flawlessly-executed co-op mode, that was simply icing on the cake.