The Jimquisition Game Of The Year Awards 2019


[VHS tape being loaded into a VCR] [static] There’s a very special time of year where we all come together in happiness, and merriment, where we forget our troubles and our cares, and no one ever brings up Rise of the Skywalker. That time is not now, Rise of the Skywalker was fucking absurd. Welcome to the Jimquisition Awaaaaaaaaaards! [magic tinkling] [static, chiptune music intro] Yes, it’s the Jimquisition Awards where we give out the awards for the best games what I’ve played and what I liked the most. It’s me, not you, me. These are MY ideas, okay? It’s a very simple process, we do this every year. We pick five games. Five Best of the Year. They’re all in equal standing. That’s how we do it here, we pick five games. Five. One, two, three, four, five. Five games. Five, and they are the best games of the year. They win the Jimquisition Awards. There’s five of them. So what is the first in the five of the ones that we’re doing? That’s right, it’s Resident Evil Twooooooo. [whoosh] Whoooossshhhh! Justin, when you edit this, can you have like a whoosh effect? And have the word or the logo go whoosh! …Winner! Whoosh! Resident E- Capcom has been on a tear in recent years, pumping out quality titles with minimal bullshit tacked on. Resident Evil 2 continues that tradition with style. A complete re-imagining of the classic PlayStation original that modernizes the gameplay while retaining the horror vibe in a way that makes it arguably far scarier than it ever was before. While it retells the story of Leon and Claire’s zombie-filled shenanigans, it raises the action quota with slick third-person shooting that provides an effective compromise between slow, panic-inducing survival horror and the more combat-focused efforts of Resident Evil 4 and beyond. Like an old school horror game, avoiding enemies is preferrable to kicking open doors and roaring in guns a-blazing as limited mobility, durable opponents, and scarce ammunition make protracted battle a bad idea. For the most part, this works to create some incredible tension. Though at times, the ability of the enemies to close distances and grab you with stunning precision can be more annoying than spooky. But for most part, Resident Evil 2 is just satisfyingly horrifying. The zombies look deliciously hideous and sound disturbing, backed up by amazing lighting and shadow effects that infuse everything with a remarkable intimidating atmosphere. And speaking of intimidating, the ever-present threat of Mr. X stalking the Raccoon City Police Station always on the lookout, provides some of the most thrilling paranoia since Alien: Isolation. Resident Evil 2 demonstrates that bad tank-like control schemes, awful environmental visibility, and barely-functional combat is not what makes old survival-horror games scary, contrary to popular belief. Even with gun in-hand and shooting mechanics to back it up, Capcom’s astounding re-imagining of RE2 is beautifully horrific as well as a complete treat to play. Wow, what a great award show this has been. I hear that Geoff Keighley’s kicking a dildo in jealousy as I speak. The next award goes to a very good game, what I like, which is why it’s here. It’s Disco Elysium! [whoosh] Whooooosshhh! Well I, do I have to keep doing the, I feel like I should, it feels good when I- Disco Elysium is the kind of game that comes along once in a blue moon. A unique rarity, this detective tale is unlike anything you will have encountered in the RPG space. You’re a cop who partied so hard you can’t remember your identity, but unlike your typical amnesia story, getting your memory back might not be all that important to you. In fact, it could be an opportunity to be who you want to be, to start over, become a superstar cop who busts perps with style, a slick, no-nonsense professional, a communist, why not? However, given the bleak nature of the world and the many pitfalls along the way, it’s more than likely that, whatever you want to be, you’ll end up a complete garbage fire of a human being. Kinda like real life! Most of the game is dialogue, as you attempt to solve a murder case with your no-nonsense partner, Kim Kitsuragi. An array of memorable and enjoyable characters can be interacted with, and you’ll rely on the outcome of dice rolls to succeed various skillchecks while talking. What makes Disco Elysium so enjoyable, is that even failed checks can be entertaining and propel the story forwards. Most famously, you may try and come off as suave and sexy when chatting up a woman, only to fall a roll and blurt out “I want to have fuck with you.” Disco Elysium is funny as hell but grimly serious when it needs to be, and consistently enthralling throughout. Various speech and action skillchecks pertain to a vast number of abilities that can be enhanced with skillpoints and clothing options. Things like Inland Empire, which governs one’s ability to introspect and have gut feelings, or Authority, which allows the player to assert dominance more often. The more one invests in these abilities, the more powerful the abilities themselves are at influencing the player character. In fact, you can end up in arguments with your own skills, and they debate each other as they chip in to offer advice, coax you into responses, or otherwise aid your success or orchestrate your downfall. Your abilities are just aspects of your persona, after all. You can also acquire and equip thoughts along the way. And if you equip these thoughts long enough, they’ll become ingrained ideas with permanent stat boosts and penalties. For example, if you keep referring to yourself as a superstar, you’ll gain the thought “some kind of superstar” which, when first equipped, reduces your logic because it’s not a rational thought. Equipped for long enough, it still inflicts a logic penalty, but your skillcaps for various other abilities increases. It’s a great way to flesh out your character’s beliefs and persona in a way that has a mechanical impact. Disco Elysium can feel like playing a pen and paper RPG with a person naturally responding to your decisions so deep and comprehensive is the writing. And while the game tells a story of murder and deceit with a sense of dark humor, it’s also highly politically charged, with lengthy examinations on the absurdity of “advanced race theory,” the nature of communism, and the relative ‘merits’ of centrist viewpoints, and it manages a few solid gut punches along the way. Ridiculously clever, brilliantly written, and always compelling, Disco Elysium is an absolute masterwork. [Off-screen voice muttering]
Yeah but I just think it’s like, if I don’t do it, I won’t know it’s there. (off-screen) Doesn’t matter, doesn’t matter, it doesn’t matter, it’s fine. Up next, it’s… Fuck! I’ve forgot it. I’m not doing, that’s not a bit. That’s not a bit. I’ve forgot what it was. Bloodstained! [Whoosh] Ritual of the Night. Wh– I wasn’t gonna! [static] Bloodstained is the Castlevania we’ve waited for that Konami was too stubborn to provide. A true successor to the series that gave us Symphony of the Night, Bloodstained: Ritual of the Night is brimming with creative energy so obvious as to be palpable. A visually gorgeous action platformer with an absolutely incredible soundtrack delivering a Metroidvania experience that delights from beginning to end. While you could easily describe the game as “Symphony of the Night but a bit different,” that’s precisely why I love it. In the vacuum left by Castlevania’s absence, a number of indie games have swept in to fill it, but Bloodstained does so with an added level of authenticity and style that cannot be quite matched. With tons of weapons and gear, abilities stolen from each enemy in the game, and a shedload of fun secrets dotted around a large and inter-connected castle, Bloodstained is packed with content designed to encourage even less-obsessive players to go for 100% completion. There’s tons to uncover, and it’s loads of fun uncovering it all. I absolutely love the monster designs in this game as well as some of the extravagant environments. I also appreciate that while it can be challenging in the early goings, as you build up your character, you can become ridiculously powerful to the point where starting a new game+ is a hilarious curbstomp in your favor. Few games allow you to become truly devastating, but this is the kind of game where it absolutely works. It’s a vibrant, gorgeous, engrossing action-platform experience that takes a few well-aimed potshots at Konami to boot. I’m glad I backed it, and I’m eager to see more. This game’s bloody brilliant, mate. What’s the next award? It’s The Outer Wooooooorlds! [whoosh] Put that in your accolades trailer, this is prestigious these awards are prestigious. Hello? [static] The Outer Worlds, like Bloodstained, is a spiritual successor to a critically-acclaimed game that provides a familiar touch with a lot of added vigor. Obsidian’s unofficial follow-up to Fallout: New Vegas, The Outer Worlds is simply better than its predecessor, in every single way. Its combat mechanics are rock solid, its story is wonderful, it’s bright and colorful visual style is appealing as all heck, and the supporting companions are just too likable for their own good. I mean it really is Fallout: New Vegas but better. A first-person shooter RPG with an expanding list of side quests, lots of characters to interact with, loads of weapons and armor to find, mod, and upgrade, a metric fuckton of skills to invest in, and a wry sense of humor supporting a story that mercilessly parodies unchecked rampant capitalism. You can see why I like it. One of the very early moments in the game involves a worker breaking the law by committing suicide, thereby vandalizing company property. That’s the moment this game had my undivided attention and it didn’t let go until I finished the game and was sad there wasn’t any more. The overt space capitalism of The Outer Worlds provides a very bleak atmosphere, but the witty writing and wonderful characters frequently punctuate it to stop things getting too miserable. And then there’s Parvati. One of the most adorable and relatable characters ever. It’s hard not to love her. The Outer Worlds is the kind of rich, flavorful, consistently-rewarding, solo RPG that the mainstream seems all too afraid of publishing these days. It takes what people used to love about Bethesda’s games, and does all of it better. All of it. Better writing, better combat, better performance, it’s just better. Obsidian built better worlds, like Weyland-Yutani, except it’s good! Not like Weyland-Yutani. Which was bad. And last [laughs, keeps laughing] and by.. no means.. least.. It’s A Plague Tale: Innocence A Plague Tale: Innocence is one of the biggest revelations of the year for me. I expected a creepy, skin-crawling horror game about swarming rats, and while A Plague Tale provides plenty of that, it offers so much more on top. As Amicia de Rune, players spend much of the game engaged in tense stealth gameplay as they keep Amicia’s brother Hugo out of the hands of the Inquisition. Meanwhile, that plague of killer rats frequently pops up to provide environmental challenges and some really icky moments. Ueeeuuugh. The stealth is quite linear in this game, and some may find that a detriment, but I personally highly approve. There’s generally only one way to sneak past enemies, one set path. I find that the linearity only enhances the atmosphere, as it allows the game to pace things so that enemies are always juuust about to catch you and if you keep moving, you can juuust stay out of sight. It adds a level of nerve-wracking pressure that can be as frightening as any traditional horror. Meanwhile, the rat swarms are dealt with by using fire to clear them away, or corpses to distract them, corpses upon which they’ll gather with nightmarish speed and ferocity. I adore the main characters and the overall plot. Amicia is a previously rather privileged kid who barely knows her isolated brother, but needs to get over her impatience with Hugo and learn to grow up fast as they navigate a hostile and treacherous world. Some truly haunting imagery enhances the whole affair, with gruesome war-torn battlefields and pastures filled with piles of plague-ridden animal bodies providing a disgusting but unforgettable glimpse of an unforgiving, brutal medieval world. Peppered throughout the stealth and rat puzzling are some sling-based combat sequences and a few thrilling chase scenes that have stuck in my memory since I last experienced them months ago. A Plague Tale is an evocative, scary, and ultimately endearing game with a moody visual style, wonderful voice performances, and rats. Lots and lots of rats. A Plaque Tale has stuck with me ever since I played it, and I don’t think it’s going away any time soon. And that’s why it’s one of my Games of the Year! So there. Raaaaaaaaats. [vacuum noises] That’s like the.. I’m sucking the awards back in because I’ve done them. You got that. What a great awards show it’s been, everyone. We’ve given out our five awards to the five Best Games of the Year and we didn’t give on to Death Stranding. Because it was rubbi- [static] Speaking of rubbish, next week it is the one time of year that people really come to my channel for anymore, it’s the Top Ten Shittiest Games of 2019 We’re doing our top ten shittiest games of the year, and.. it’s gonna be a good one! Not for any of the games in it, because.. they’re bad. They’re almost as bad as Death S- [static] So anyway! That’s it from me, tatty bye. Have a good one. Byyyeeeee. Thank God for me, byyeeee. Support us on Patreon please, byyeee. You don’t have to but it would be nice, byyyeeee. (quietly) I hope you liked the awards, byyyee. (quietly) bye, bye, bye, bye… You’re shaking your head. Are you not gonna shrink me down with an effect? [static, chiptune music outtro]


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