How Interactivity Enhances the Gaming Experience

Video games can do something that literature and film cannot realistically accomplish; A game can take the player, deposit them in another world, and allow them to interact directly with it.

Now before I offend all of my beloved bibliophiles and cinephiles, let me emphasize that these mediums have other strengths not shared by video games.

I would argue that books can provide a more detailed rendering of any given experience, so long as it is powered mutually by the intricate weaving of words and the adequate strength of the reader's imagination. In that sense, the author and the reader work together to create the experience.

Contrastingly, movies have the distinct ability to convey a precise story (complete with perfectly edited sound, visuals, script, tone, and acting) to millions of people with the only true variation being in its interpretation. That in itself is immensely powerful, as a relatively small crew of people can share an amazingly uniform message to a huge audience.

Both are beautiful art forms that games cannot replace.

But through their interactivity, games can send a message that novels and films can't. Because the player is a part of the experience, and this encourages him or her to be far more empathetic and exposed.

Empathy. Not to be confused with sympathy, empathy is a very difficult thing to draw out of someone in a subtle and natural way when they are just looking to be entertained, yet video games do it exceptionally well.

I can demonstrate this simply by honing in on five distinct feelings: accomplishment, vulnerability, attachment, responsibility, and anguish. For each emotion, I will provide two or three video game examples that elicit that particular form of empathy from the player.

Because I will be relying heavily on the connections between interactive gameplay and the narrative itself, there will certainly be some spoilers from here on out. With this in mind, I have hidden the remaining content of this post behind show/hide buttons whether I felt they were particularly "spoilery" or not. That way you can ensure your own reading experience is spoiler free.

If you wish to know what games I will be discussing, I have listed them here for your convenience. If you spot a game you know you wish to play someday, I would definitely avoid reading that particular portion of this post. As always, continue at your own risk.

Games to be discussed:

• Uncharted
• Portal
• The Last of Us
• Heavy Rain
• 999
• Middle Earth: Shadow of Mordor
• Tomb Raider
• The Walking Dead: Season 1
• Mass Effect 2
• The World Ends With You
• Final Fantasy VII: Crisis Core

I'll start with the most obvious feeling video games love to make you feel.

Interactivity Allows the Player to Feel Accomplished

Example 1: The Uncharted Series

There's nothing like putting yourself in Nathan Drake's epic shoes to make you feel like the most amazing, most heroic adventurer there ever was. Every time you conquer an obstacle--whether it be an army of thugs or a particularly daunting puzzle complete with ridiculously far-fetched jumps--this beautifully warm feeling of satisfaction floods into your brain. You did it. You didn't just watch Nathan take out that entire train, complete with machine gun and heavy brutes. You did it.

Example 2: Portal

I distinctly remember how I felt the first time I played Portal. I can still feel my own hesitant confusion in the early hours of the game. I can recall my growing distrust of GLaDOS, the increasingly hostile AI. But the moment I feel proudest of was that fateful moment in test chamber 19 when I was promised cake and was instead ushered slowly toward a flaming pit, about to be burned alive. You are given a few seconds to decide what to do, and I remember it feeling more like a painful eternity as I struggled with the scenario. I kept asking myself, "what am I supposed to do?" and "what does the game want me to do?" Finally, I realized these were not the right questions to be asking myself. I wasn't going to listen to this murderous AI anymore. I wanted to be free! I didn't realize until years later how truly brilliant this is. Because simultaneously, the main character (Chell) and the player (you and I) are both stepping outside of the boundaries provided for us. No longer are we obediently working through test chamber after test chamber. That moment left me with such satisfaction, particularly because I accomplished this feat on my first try.

 

Interactivity Pushes the Player to Feel Vulnerable

Example 3: The Last of Us

The Last of Us is loaded with examples of how the gameplay is specifically designed to draw on the player's vulnerabilities whether they be physical, mental, or emotional. In fact, the Naughty Dog team sets this in motion right from the beginning. When the prologue begins, you do not play as Ellie. We're twenty years too early for that. Nor do we play as strong, capable Joel. When the outbreak first shatters the world and brings forth its heart wrenching chaos, you play as small, lovable, fragile Sarah. They did this on purpose, and we can infer their reasoning was at least two-fold.

First, it gives the player a better chance of connecting to Sarah when you play as her. There is attachment there because when you moved your controller, Sarah was the one who interacted with the world for you. It sped up the bonding process. It's vaguely similar to how ranches never name the animals because it makes it harder when you lose them. Naming them causes accelerated attachment. It makes things personal.

Second, playing as Sarah makes the player feel weak and fearful, which is the perfect way to start out a game where the world is a broken and violent place. I remember first walking Sarah through the house in Austin and noting her body language. Hunched over with hands firmly across her chest, walking slowly and nervously, she looked a lot like I imagine I would in that situation. It perfectly projects her vulnerability onto the player.

This same emotion is felt through other interactive segments of The Last of Us, including when: Joel carries Sarah with Tommy as their only defense; Joel must slowly hobble out of the university with a life-threatening injury while being pursued by hunters; and Ellie must do enough to survive on her own and protect Joel through the winter despite being weak.

There is one more that comes to mind as I write, though it is a bit different in that it doesn't communicate vulnerability. However, it is an excellent example of how interactivity affects the gaming experience, so I will list it here. At the end of the game, when Joel busts into that operating room, many people expected either a choice or a cutscene. Instead, what happened is the player was forced to take action, eliminate the doctor(s), and take Ellie back. This is brilliant because it provides no excuses to the player. The player doesn't get to just sit back and watch a PlayStation rendered video clip. They don't get to choose a nicer ending. The ending is what it is, and the player is the one that has to pull the trigger. In that way, The Last of Us makes us take ownership of the ending and really grapple with it in a more meaningful way.

Example 4: Heavy Rain

I think it is safe to say that the entire game of Heavy Rain is one big quick time event/adventure game hybrid. While I know there are plenty of people out there who despise QTEs with a fiery hot passion, I do think they were executed rather well for Heavy Rain's purposes.

In order to understand my reasoning, it is important to contrast typical QTEs with the ones found in Heavy Rain. Most games have the player perform a quick time event in a way that closely resembles a cutscene. The playable character moves largely on their own save a few buttons the player must press within a limited amount of time. If the player presses the incorrect button or takes too long, the main character usually dies and the player is forced to replay the cutscene until they do it correctly.

However, with Heavy Rain, the entire game is a QTE. And if you fail, you don't replay anything; instead, you must accept your failure and the resulting consequences as you continue on with the game. In this way, Heavy Rain makes every action you take--no matter how trivial--feel like it could irreversibly affect the rest of your experience.

Interactivity Encourages the Player to Feel Connected

Example 5: 999 (Zero Escape 1)

As everyone who has taken more than a glance at this blog would know, I am a huge Zero Escape fan. It is without a doubt one of the most well written games I have ever played. What I haven't  yet spoken of is how its mechanics enhance the already brilliant experience.

There are two distinct examples of interactivity in 999 that really made me as the player feel like an integral part of what was happening in the game. The first is the multiple endings feature that is executed far differently than any other game I've seen. The second is the final puzzle. Both examples stand alone, so I will discuss them separately.

Lots of games have multiple endings. Mass Effect, Chrono Trigger, Persona 4, Catherine, and Heavy Rain are just a few examples. But with most games, having different story endings that are all isolated from one another leads to the player experiencing separate scenarios and eventually satisfying him/herself with the "true" ending, None of the other endings really happened. They were all just possibilities that may have been.

Zero Escape takes a different approach. It takes the idea of multiple endings and makes them all essential to the plot. Because--and here's the crazy part--the main character unknowingly has the ability to access information from other timelines. So once you have experienced a "bad" timeline, you and the main character both have new knowledge necessary to progress further into the story from another timeline. That is, you and the main character learn something in timeline A and use it in timeline B despite not having a legitimate excuse for knowing the information learned from timeline A in the first place. It is a lovely system because your experiences as the player are mirrored by the main character. What results is a feeling of being connected to the main character in a rather surreal way.

The second example from 999 is very subtle and much simpler, but it happens when you get to the sudoku puzzle at the end. It sounds trivial, but when I had to flip my DS upside down, there was something there that got me all choked up. I guess it was the thought of being able to save the scared little girl on the other end of that puzzle that made it feel very real and important. To the game's creator I wanted to say, "well done, Uchikoshi. You got me."

Example 6: Middle Earth: Shadow of Mordor

This one will be short and sweet instead of all the long-winded stuff I normally write. Shadow of Mordor has something called the Nemesis System. It means that the enemies you face (the important ones at least) remember you. They remember vanquishing you or else they remember their own crushing defeat. In fact, the enemies in Shadow of Mordor make a point to bring it up frequently. If they lost, they will swear vengeance. If they won they will gloat shamelessly. Even the enemies' character models reflect the affect your character had on them. If you beheaded them, they might have a head all wrapped up in bandages next time. If you blew them up in a raging fire, they might be burning a flame atop their head upon your second encounter. There are plenty of other cool changes the baddies endure as they hunt you down unceasingly. What ends up eventually happening is you develop this awful rivalry with that one disgusting Uruk who won't leave you alone. It's fantastic.

Example 7: Tomb Raider

My experience with the 2013 Tomb Raider reboot was largely influenced by this article by GameSpot blogger Tom McShea. It talks about the dichotomy of available play styles in the game as various weapons become available to Lara. Do you go through the game stealthily with your bow taking out enemies with them oblivious of the coming threat? Do you go in with guns ablazing fueled by Lara's righteous fury? Either way the choice in gameplay style allows the player to project his or her feelings onto Lara.

Interactivity Forces the Player to Feel Responsible

Example 8: The Walking Dead (Season 1)

I've mentioned this before, but remember when I stole those rations and supplies out of that apparently abandoned car? There is something about the way the stranger in episode 5 confronted me that made me feel immensely responsible for the way the game turned out in the end.

Books can't do that to me. Movies can't do that to me either. Because in those mediums, none of the things that happen are my fault. In fact, I can pick everything apart and reassure myself that the situation in question would never happen to me because I am just too smart to stumble into such circumstances. Horror movies are always susceptible to that mentality (not that I watch them...way too full of images you can't unsee).

But in a game, it is my fault in a way. I made the choice within the confines of the game, and I would have to deal with the consequences.

Example 9: Mass Effect 2

Like Telltale's The Walking Dead, this series is all about the choices you make. I chose the second entry in the series because of the epic third act, the "suicide mission". Shepard is tasked with assigning roles to each of his crew members in the hopes of utilizing their strengths, guarding their weaknesses, and keeping everyone alive. That's right. Their survival is entirely dependent upon your choices and adequate preparation. If you don't do this right, you could ultimately feel responsible for your favorite character's untimely demise.

Interactivity Compels the Player to Feel Anguish

Example 10: The World Ends With You

In this Square Enix cult classic, the MC is forced to play a game with his life (among other things) at stake. By offering up what he values most as a sort of blind bet, the main character (Neku) must gamble on something called "the reaper's game" for a week with the grand prize being an opportunity to reclaim his own destiny and move on. Only it doesn't happen like that at all.

Neku finds himself being cheated repeatedly and forced to play for a second week and then a third. The unfairness is evident as more and more is taken away from him, ridiculous loopholes keep him from getting out of it, and even his chance to succeed is heavily interfered with. What results is the player's own despairing mentality as you play the same week long game three times over. You feel the way Neku feels as you confront a game that isn't exactly what you thought it was.

Example 11: Final Fantasy VII: Crisis Core

Now here is an ending my husband and I have spent hours here and there discussing in depth. If you are reading this one thinking you will never play it so you may as well read, please do yourself a favor now and click the hide button. This is about as big as a spoiler can get, and it’s not worth wrecking such a beautiful ending. Instead of reading this, go find an old PSP and a used copy of the game (Crisis Core alone is reason enough to buy the outdated system). Or at least go watch the movie version on YouTube. This game is too good to spoil here. So again, turn back now if you haven’t played. Pretty please.

Free advertising aside, you know those games where you are forced to enter a battle, fight beautifully 80% of the way toward victory, are forced to quit, and then are shown a cutscene in which you lose despite how well you performed? Crisis Core doesn't do that.

Oh you will lose. Epically. By fighting until you can't fight anymore. For however long it takes. With no indication that you are actually supposed to lose. So you fight tooth and nail past one hundred, five hundred, a thousand enemies. And finally it clicks. You can't win. The infinite tide of enemies eventually overtakes you.

Now they easily could have changed this experience into a cutscene, taken the power away from the player, and shown you the inevitable end to the battle. But they didn't. They let you experience the ending and interact with it, and it makes the climax heartfelt and memorable and heartbreaking in a way that a regular old cutscene couldn't have.

It Can't Be Found Elsewhere

Yes, games tell a story. Games can be a lot of fun, too. But ultimately, they provide a unique way to communicate emotion in that they can imprint feelings onto the player. And the industry is still so young, meaning every day developers learn new ways to accomplish this amazing feat. It's a fascinating concept that at this point only video games can effectively utilize, and it is exciting to think about how they will use it next.

My 2015 E3 Wish List

With last night’s successful Bethesda conference on my mind and the many possibilities on the horizon as the rest of E3 approaches, I have managed to motivate my lazy summer self to write about how excited I am this year.

Let me clarify my intentions for this wish list. There are many things I hope to see over the next few days, so I am going to maintain a focus on things that would truly make my day. These can fall anywhere on the realistic spectrum from “that could totally happen” to “that’s never going to happen, but it would indeed be awesome.”

Let’s cut to the chase before conferences actually begin!

1. Some Kingdom Hearts details are revealed

I would love to hear a little more about the franchise that defined my childhood. There are so many things I can imagine for Kingdom Hearts 3, but I’ll stick to some nifty ideas I have had and steer clear of spoilers.

I would like to see the following worlds appear in Kingdom Hearts 3:

• Shibuya (from The World Ends With You)
• Tangled
• Frozen
• Pixar worlds
• Big Hero 6
• Another Final Fantasy world apart from Radiant Garden
• Chrono Trigger world (long shot, but hey… this is a wish list!)
• Marvel Cinematic Universe

It would also make my day to hear about these characters either (A) debuting for the first time or (B) returning after a long absence:

• Noctis from Final Fantasy XV
• Tidus (reappearing and older than he was in KH1)
• Zack Fair (reappearing and older than he was in Birth by Sleep)
• Kefka from FFXI
• Zidane Tribal from FFIX
• The World Ends With You characters
• The Avengers
• Rocket and Groot

Before anyone asks why I didn’t include Star Wars on here, let me just say that I am not opposed to the idea. I just don’t particularly wish for it either.

2. Rise of the Tomb Raider receives a PS4 release date

And let’s say it is released a mere three months after the Xbox One release. I can wait that long.

Side note: I own an Xbox One, but do not want to encourage Crystal Dynamic’s choice to alienate their long term fans in favor of a quick buck. So we will hopefully be purchasing this game for a Sony console. Because business.

3. Theatrhythm: Kingdom Hearts is announced for 3DS

So this could totally happen at the Square Enix conference, and that would be fantastic. I’ve already detailed how this game could work in my very first blog post, and I welcome the surreal feeling of seeing something I wrote about months ago coming to life at E3.

4. An HD remake of Final Fantasy VII bundled with FFVII: Crisis Core released for PS4

So I am convinced this one is not going to happen. My brother pointed out this morning that there are rumors abounding yet again, but I just can’t seem to get over the disappointment of last year’s PlayStation Experience announcement. They made it pretty clear there that they were only porting the PC version onto PS4. No touchups. No enhanced musical scores. It would be a dream come true of this were all some creepy ruse and they really were listening intently to what fans want. I just can’t let myself be vulnerable to this one again after the huge let down last year.

Jokingly, I came up with a wistfully enticing collector’s edition pre-order bundle. It could include the blu-ray for Advent Children, the reimagined soundtrack to both games and the movie, a hard-covered art book, a hand painted knights of the round figurine, and a set of glass materia complete with display case. Oh, and a $20 credit toward Final Fantasy XV. Because why not? This is a wish list after all.

5. Limited Persona 5 details announced

So I don’t want to know too much about Persona 5, since this is a franchise that just needs to be experienced. But I am curious about a couple things that would not ruin the surprises that are surely embedded inside this definite masterpiece.

First of all, I want to know the official release date. It is immensely satisfying knowing that Persona 5 should be released in the East and West simultaneously, but I still need to know when.

Second, I’m curious about the voice cast for Persona 5. I doubt this will be announced anytime soon, but if it was, I would like to hear about participation from the likes of Travis Willingham, Nolan North, Colleen Clinkenbeard, Monica Rial, and (of course) Yuri Lowenthal. It just wouldn’t be right to have a Persona game without Yuri Lowenthal.

6. Mass Effect 4’s main character and other details revealed

We know so little about this one. I mainly want to discover more about the character that will define the next arc of this series. Additionally, it wouldn’t hurt to hear where they plan on taking this universe next, and whether or not it takes any steps forward in terms of a divergent ending based on your actions throughout the series.

7. Shin Megami Tensei x Fire Emblem

Nintendo. Please, please tell me why I want to play this. It looks bizarre. I very much want to like it. I just need to know why. I trust that putting these two great things together will make a brand new game that can’t NOT impress me. But I want some encouragement here, and maybe something spectacular to convince me that I am not crazy for wanting this one.

8. Any fantastic new IP

I am sure there is someone out there that had an as of yet unknown stroke of brilliance that they will announce either today or tomorrow. I look forward to that and hope it is every bit as wonderful as the rest of these things that have made my list.

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So I’m sure I am leaving something out, but my husband is telling me it is time to publish. No time for proof reading or tweaking my words or phrasing. The Microsoft conference is about to start after all! I will do my best to document the most exciting announcements throughout the next few days. I look forward to all the exciting news and hope this is an E3 akin to 2013’s (not last year’s… that one was kind of a letdown).

9 Thought Provoking Games That I Still Contemplate

There are some videogames that tell a new story, utilize innovative mechanics, and present it all in a shiny package with plenty of style. But not every game can coax the player into pondering a game for extended periods of time after its conclusion. As such, I have compiled a list of games that I personally spent an extended amount of time sorting through the complexities found within their stories or gameplay.

Since the following list—in no particular order—is comprised of only games that I have experienced the entirety of, I am declaring a loud and resounding spoiler alert from here on. If you don’t want to know any details about the following games, please heed my warning!

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1. The World Ends With You

MetascoreNintendo DS: 88

iOS: 95

For a game that initially comes off as incredibly shallow (due mainly to the abrasive introversion of the protagonist), The Word Ends with You is a game that matures right alongside the wonderful cast of characters. Its story is good enough that even after playing it repeatedly, new things jump out at me about the characterization, themes, and plot twists throughout the whole experience. But what really charms me is how its tone abruptly shifts mid-game.

When I originally played TWEWY, my first impressions led me to believe that it was merely about a self-isolated teenage boy named Neku who wanted everything to go back to how it was before. And really, bearing in mind the trials he overcomes, restoring his world to what it once was would have been considered a win in my book. But what I discovered was so much better; Neku changed into a person who didn’t want to be isolated anymore. The people he once saw as beneath him became treasured comrades. The world he thought was cramped and crowded became open and inviting.

Conveniently, this change in Neku was something I needed to experience back in 2007 when the game initially came out. As an introvert, I saw many of my own qualities—both good and bad—in the protagonist. The fact that he could change so drastically gave me encouragement that I could do the same.

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2. Chrono Trigger

Metascore
Nintendo DS: 92

Following along the same Square Enix vein, Chrono Trigger is a game I appreciate for its grand story, flawless utilization of time travel, and gameplay perfection. Originally on the SNES, Chrono Trigger was released on the DS back in 2008. If you haven’t played this fantastic RPG yet, you should go back and do so. It has aged impeccably well.

Chrono Trigger makes me think mainly due to the implications of moving through eras and making history-altering changes as you go. Its cleverness shines in its many puzzles in which you must make a change in the past and watch it play out in the future. I hesitate to give examples here, because I really want anyone who bothers to read this to experience it for him/herself.

In addition to the time travel mechanic, there are some important quests littered throughout the story that give the characters some added depth. Lucca’s side mission in particular makes the player consider their own life and what changes they would make if they had access to a portal that could take them back in time. I mean this reflectively, not regretfully. By dwelling on the past, we become self-focused and crippled by remorse; by understanding our mistakes in the past, we can move forward in a fashion that is wiser.

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3. Braid

Metascore
X360/PS3: 93
PC: 90

This’ll be short. Braid is a thought-provoking experience for two reasons.

1) Braid has some of the most interesting puzzle mechanics I’ve ever played with. And as a lady who loves puzzle games, this is a significant accomplishment.

2) The twist.

The only thing that keeps Braid from being one of my favorite games is the condescending tone embedded within its script. It had a tendency to chisel away at my enjoyment when I played it. But I can’t deny the puzzles and story definitely engage your brain.

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4. The Last of Us

Metascore
PS3/PS4: 95

In 2013, my husband and I were vaguely excited about this zombie survival third person shooter. It looked interesting, although between it and Beyond Two Souls, I wasn’t sure which one would be more fun. What I realized a few days after its release was that this game wasn’t going to be “fun” exactly. But it was going to be gripping like a train wreck and just as unsettling to watch. My husband played for a couple hours each day following its release. I watched like the story enthusiast I am. As he got past particularly difficult parts of the game (both gameplay and story), I wanted him to keep trudging through the broken universe. However, the game was more exhausting than expected (in a good way) and had to be put down after the emotionally draining portions in particular.

After each stint of gameplay, my brain continued to reel. But that was nothing compared to the amount of consideration I gave this gem after it was finished. Over the next week, I contemplated the story that Naughty Dog told and had to come to grips with all the decisions that were made by the main characters. I didn’t fully fathom all the choices that the protagonist made at the time, but a lot of combing through the script and deliberation over his actions eventually led to what I believe is a decent understanding of the game.

The Last of Us is too complicated for me to summarize here, but I will say that every time I experience it, I see another layer of the onion get peeled back. Every single time. The writing in this game is phenomenal thanks to the efforts of Neil Druckmann. Every inch of its script has a face value, an underlying meaning to each character, and a thematic significance regarding what the story is trying to say as a whole. I can honestly say it is the most well written game I have ever played.

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5. Ghost Trick

Metascore
Nintendo DS: 83
iOS: 87

Here’s another one of those puzzlers I love. Like Braid, Ghost Trick is on here both for its gameplay and for its story.

Ghost Trick takes a new approach to the puzzle genre by allowing the main character to systematically manipulate objects in the game to achieve a desired outcome. You can open an umbrella to startle an enemy or turn on a light to get the attention of an NPC. There are other mechanics as well, such as switching objects’ locations as long as they are both of the same shape. The goal is to save lives by altering the four minutes before a person’s death.

Not only is this another one of those games where time travel is a huge factor, but the story behind it, while silly and “out there”, stays true to the laws of the game and provides several meaningful twists. There were a few times during this deceptively childish looking game that I had to stop and wrap my mind around the final timeline that was formed and the events that led up to it.

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6. The Walking Dead: Season 1

Metascore
PS3: 94

I wasn’t sure I wanted to play this game after the first episode. It's pretty intense, and I can't even stomach the comics in all honesty. The idea of a zombie getting me simply because I did not do a QTE properly was a little unnerving, and the puzzles seemed relatively simple. However, this game really shines through its depiction of decision making. The player is frequently given four choices to either say or do under a time limit. While this sounds easy, I found some of the decisions to be incredibly difficult.

One that I remember mulling over involved my cold and hungry group of survivors coming across what appeared to be an abandoned vehicle full of food and other supplies. I was given the choice to take the rations and gear or not. I remember quickly weighing my options. Chances are whoever owned the vehicle was already dead. It would be a waste to let the supplies sit there if that was indeed the case. And right in front of me I have starving people who need the food to survive. I am supposed to be leading them, and I know I’ll lose their respect if I choose not to take this opportunity. But I lose respect from someone close to me if I do take it when there is a chance the owner of the vehicle is still alive. Also, if the owner is still alive, I would be stealing from them. There is no scenario that makes everyone happy (which makes me very uncomfortable), not to mention I only had about 5 or 10 seconds to make the choice. So I took the food.

I know. I’m terrible.

But the real beauty of The Walking Dead is that eventually, you get confronted with the choices you made in the past. There is no hiding from them, no excuses, no explanation that can make everything look better in hindsight. And yes, I know the game tends to funnel all your decisions into a single, relatively linear game. But it never feels that way.

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7. The Zero Escape Series (Volumes 1, 2, and maybe someday 3)

Metascore
Volume 1 (999) on Nintendo DS: 82
Volume 2 (VLR) on Nintendo DS: 88
Volume 2 (VLR) on PSVita: 84

Both volumes in this series alternate between two game modes as they progress through a suspenseful mystery involving 9 strangers forced to put their lives on the line.

The first game mode utilized is that of a graphic novel with lots and lots of text. I have to stress, however, that as boring as games with a lot of exposition can be, this game is anything but. Every written word has voice (despite no voice acting in the first entry) and the urgency with which everything is happening will hold your interest as you progress through the story. This game is filled with everything from basic psychology to mathematics to quantum physics, so it's not just a bunch of meaningless text to fill time. Every line is important later on.

The second format the game takes on is that of escape puzzles. You've probably played escape games before, and I often find they are fun but often meaningless ("Why am I trapped?"). 999 gives purpose to the typical escape game, and you feel like you've really accomplished something as you solve each puzzle.

I will not say anything of the plot; even with the warning at the top of the page, I cannot bear to let someone accidentally stumble across a spoiler on this one.

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8. Persona 4/Persona 4 Golden

Metascore
PS2: 90
PSVita: 93

Persona 4 is about a group of high school kids who try to solve a murder mystery in their small country town. This isn’t the most mind-bending game, and there really aren’t puzzles or crazy decisions to make due to it being a dungeon crawling JRPG. However, there are two reasons I still let this one join the list.

First off, the battle system is genius. That’s not something I contemplate, exactly, but it is worth noting. It manages to be both simple and deep in all the right ways, and I never got bored of taking out enemies.

Second, there are a few points in the game where your entire perception of things is completely 100% wrong. Your deduction regarding who is responsible for all the terrible things happening in your hometown, while logical, still manages to be fallacious. Time and time again. And the real cause of troubles is an even bigger surprise than all the other twists in the game. That being said, the final few hours of Persona 4 are incredible.

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9. Danganronpa 1 and 2

Metascore
Danganronpa 1 on PSVita: 80
Danganronpa 2 on PSVita: 81

There is no video here because everything I found either spoiled something or was too weird out of context. Just play this and the weirdness will all make sense. Kind of.

Frequently described as Phoenix Wright meets Persona meets Zero Escape (three of my favorite franchises), Danganronpa is a creepy teen life/mystery game in a mostly visual novel format. Game segments alternate between spending time with your friends and solving mysteries all while trying to escape a high school.

Danganronpa struggles a bit with its execution of puzzle gameplay. I love challenging puzzles as much as (or more than) anyone, but the player should never feel like a puzzle is unfair. Unfortunately, Danganronpa can sometimes feel this way due to its sometimes-too-large jumps in logic and a few terrible mini games. But don’t let that scare you away from a very unique and fun experience.

Again, my reason for including Danganronpa is twofold.

For one, the mysteries are pretty decent. There were a few really clever ones in there that got me to gasp out loud (or yell with excitement) when I solved them.

But my main reason for including Danganronpa is for the plot twists. As you’ve probably figured out by now, I love a good twist. Danganronpa has several of them. 

Usually all in quick succession. Twist after twist after twist. I remember thinking about the endings of both games for several days after beating them. Even the idea of playing them again and experiencing all the twists again is appealing.

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Honorable Mention: Mario Party (any of them)

Because I end up contemplating whether a few hours of fun was really worth losing all my friends.

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So there you have it. I understand the games that made the cut here are ultimately skewed in favor of the games I enjoyed or spent more of my time on. But then again, this is my blog, so you’ve gotta deal with it.