![]() ![]() ![]() It was, in other words, business as usual at this year’s Game Awards. Where “Elden Ring” represents the game industry at its most precise and expansive, “It Takes Two” is joyfully messy and leans far more experimental. It’s also narratively risky, as it delves into a relationship on the verge of disintegration, and it’s the most gleeful game about divorce ever created. “It Takes Two”, a wacky, colorful and blissfully erratic action adventure, won game of the year for constructing a world where puzzles, platforming and cooperation are paramount and constantly in a tug-o-war with one another. Last year was a celebration for a very different game. It has a reputation as a game for gamers, and it bested, among others, the more linear “God of War Ragnarök,” which led the field with 10 nominations and took home the narrative prize. It became something of a surprise hit - a surprise only in that Miyazaki games are deeply challenging - but it’s also a lengthy tour of exploration and punishing combat. “Elden Ring” is a game that, in the words of Miyazaki, deeply explores “mythos,” this time one imagined by “Game of Thrones” author George R.R. That “Elden Ring,” the latest from acclaimed director Hidetaka Miyazaki, a designer who believes in the artistry of difficulty, won game of the year signaled something of a return to form for the Game Awards. ![]() Later, Keighley exclaimed that he was excited that “all of us together get to experience the global announcement from one of industry’s most visionary studios,” before introducing Hideo Kojima’s typically cryptic “Death Stranding 2,” a visual feast but one that offered no discernible hints at where the story is going. While the game is hyped as one that will experiment with narrative, what we saw was a lot of violence, hints of magic and twisted takes on retro decadence. “It’s moments like this that get me excited for the medium,” Keighley said before introducing a clip from “Judas,” the upcoming game from “Bioshock” architect Ken Levine. ![]()
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