Alex Wain's Top Films of 2017 (UK Release)

February 08, 2018 by Alex Wain in Films

2017 was perhaps the year of the noble failure for cinema. Failure from a variety of perspectives. Blade Runner 2049 failed, from a commercial standpoint, to ‘wash its face’ – the brilliantly simple industry analogy for a films net gross covering both its budget and marketing. Get Out failed to preach to anyone but the choir, judging from the continuous attention received by the ‘alt-right’ in the race relations conversation. The Death of Stalin failed to receive a significant cinematic audience in the one nation that needed to see it most. Oh, and Moonlight, well Moonlight failed to even get a best picture award without a ludicrous gaffe. Yes, 2017 was the year of the noble failure for cinema. Great art is often neglected in its own time, be it from a commercial perspective, a critical one or simply an inability to instantly enter the zeitgeist. 2017 was the year of the noble failure for cinema, but it was also a year that I am convinced will be remembered with reverence.

Matt Reeves appeared to bring the curtain down on this most resistant of franchises with a third act as impressively poignant as it is bombastic. Caesar, the messianic leader of the apes, leads a desperate struggle for survival against human forces determined on their extinction. Andy Serkis, the granddaddy of mo-cap, brings life and a sense of humanity to his performance as Caesar. An artificial computer-generated skin may layer Serkis during this performance, but the dignity and pathos he manages to project deserve recognition. The Apes franchise has always had the whiff of B-movie absurdity, but Reeves (and originally Rupert Wyatt) have achieved a rare feat in blockbuster film-making by maintaining the original concept and instilling a new sense of gravity. I cannot help but think of Richard Donner convincing audiences in 1978 that a man could fly. Taking in over $1.6bn at the global box office for the combined series, the Apes franchise is continued proof that intelligent popcorn entertainment has a market. Serious monkey business (sorry, not sorry).

Jump scares are cheap, a lingering sense of dread is built to last. My favourite horror-cum-thriller of the year and a welcome reminder that tired genres can still surprise. Set during an unexplained outbreak of a deadly virus, It Comes at Night is a survivalist end-of-world thriller that will linger at the base of your neck follicles long after you’ve finished watching. Drenched in an unsettling and claggy atmosphere of dread, the narrative concentrates solely on two families with understandable trust issues, guessing and second-guessing motives in the name of survival. Joel Edgerton is on reliable form as the stoic and patriarchal head of one family, continuing a rich vein of form with his customary understatement. It Comes at Night is likely only to be a footnote on a crowded genre page, but it is a considerable achievement for debut director and writer Trey Edward Shults.

Christopher Nolan continues to genre-hop, with a typically unconventional take on the war movie. Obsessed once more with time and the manipulation of it, Dunkirk confronts the historical concept and gradual mythologizing of the British stiff upper lip. Nolan’s soldiers just want a way out. The fight is lost and the only victory can be taken from getting away with as many pieces of themselves as they can carry. Nolan is both respectful of the event that Britain built its spirit of resistance upon, but ruthless in inspecting the reality of being cattle trapped for the slaughter. Un-showy performances all round, with special mentions to Mark Rylance and Cillian Murphy are the backbone of creating a believable portrayal. While not Nolan’s finest work, Dunkirk adds to an already varied canon.

As much a Western as anything else, James Mangold surprised both the comic book industrial movie complex and the wider cinematic community with this raw and unflinching conclusion to the Wolverine series. The near future has not been kind to Logan (or Wolverine). Living in a disused set of industrial buildings just over the Mexican border, Logan has become bound to a life of continuous struggle as he cares for the rapidly-declining telepath of mass destruction Charles Xavier. To make matters worse, his own powers of healing that have created an aura of invincibility are waning. Logan hurts and can be hurt. Not so much on the nose, as a punch to the nose, Johnny Cash’s overplayed, but undeniably haunting cover of ‘Hurt’ has never been more appropriate for appropriation. What is often missing from even the best of superhero movies is a sense of stakes, a sense of genuine danger to our protagonist. Logan convinces the audience that all cards are upon the table from the opening scene. A bold entry into a genre in dire need of caustic creativity.

The only entry on my list I have not seen in a cinematic format is typically one of the finest to look upon. Released to a limit run in cinemas, Mudbound is a Netflix-original production that most will only have had the opportunity to see on the small screen. Set following World War Two, Mudbound follows the contrasting receptions that two war heroes receive upon return. Class and more significantly, race, define the narrative in this withering and poetic production. Mudbound tightrope walks the viewer between differing emotions. Rarely have I been moved to tears and riled to physical-sensation anger by scenes just minutes apart. Dee Rees grounds the film in the economic reality of land ownership, with scenes of status quo racism often as impactful as Klan activity. Special mention must go to Mary J. Blige and again to Joel Edgerton as what might be considered a palatable racist; a man without malice and without determinable prejudice, but lacking in moral backbone. Mudbound makes the oft-argued case that all that is necessary for evil to triumph is for good men to do nothing.

Armando Iannucci made a welcome return to the big screen with this adaptation of the same-titled French graphic novel. Interspersing wry satire, pure abyss-black comedy and belly laughs, it’s difficult to remember the last time I was this enthralled by a cinematic comedy. Semi-historical, The Death of Stalin creatively recreates the power vacuum and subsequent struggle between Stalin’s underlings in the wake of his untimely death. Singling individual performances amongst such a wonderful ensemble seems unfair, but Simon Russell Beale is a rare performer on the big screen and his reptilian portrayal of Lavrentiy Beria, snarling and contemptuous, is something to behold. The Death of Stalin is, at time of writing at least, banned in Russia, branded ridiculously as propaganda by certain institutions of the state. Looking at the film as piece of art rather than as a commercial venture, this feels like a final satirical flourish that Iannucci could not have planned better.

This is probably the most controversial pick of my top ten, knowing that this film is forever associated with the alleged abusive behaviour of its star Casey Affleck. While the alleged behaviour is not said to have occurred during production of Manchester by the Sea, it haunts the legacy of what is otherwise an exceptional piece of filmmaking, and it has to be said, a towering performance from Casey Affleck. Lee Chandler is our solitary and ravaged protagonist, living in isolation away from his hometown of Manchester following an awful incident that leaves him unable to cope. The death of his brother Joe means Lee becomes the legal guardian of Joe’s teenage son Patrick, forcing Lee to remain in Manchester. Directed by Kenneth Lonergan, Manchester by the Sea is a study of grief and guilt, shot compassionately and with real nerve. This isn’t a world where redemption can be found easily. Manchester by the Sea is brave enough to ask the audience to consider if there are some things in life you just can’t recover from. Irrespective of his alleged abuse, Casey Affleck fully embodies his character in a performance that I have rarely seen the likes of. Bleak and honest, but with traces of real beauty, Manchester by the Sea is an essential watch.

The majority of films on this list can be categorised with relative ease, but Get Out could sit comfortably within three genres. Part horror, part black comedy (pun honestly not intended, but it’s staying) and part thriller, Get Out was arguably the best surprise of 2017. Starring Daniel Kaluuya, an actor of real magnetic presence, we join Chris as he visits his white girlfriend’s wealthy family in the country. A pleasant time is had by all. The end. Hah. Get Out satirises the worst of wealthy white America, scything away at the façade of pleasantries that mask the reality of current race relations with wit and unpredictability. Never letting the audience sit comfortably, Get Out achieves a genuine disquiet that left me often out of sorts with my own emotional reactions to events on screen. This power to leave an audience suspended between mirth and unease is the real strength of the film. Without going into detail, for risk of spoilers, I wonder whether Get Out would have been even stronger with the ending flipped. Jordan Peele addressed the subject and said he couldn’t bear to end the film on the note in question. Despite the worldview on show, the film never relents to hopelessness and this feels like the right decision. Described by a fellow Stick Around reviewer as world-view altering, my only fear is that the people who need to see and correctly interpret Get Out the most, will either never see it or miss the point entirely.

An entirely worthy winner of the Best Picture award at the 2017 Oscars, in spite of the farcical nature of the ceremony and the fall-out that enveloped proceedings (sorry, not sorry). Moonlight is a special achievement that circumvented the trepidation I had before viewing. Beautifully shot by cinematographer James Laxton and meticulously orchestrated by director Barry Jenkins, we follow the coming-of-age of Chiron through three different stages of his life. Despite its weighty subject matter, dealing with race, LGBT issues and poverty, Moonlight is immensely watchable from start to finish with hyper-real performances in contrast with artistic direction. I was drawn into the narrative and I was reminded of Boyhood, a film I narrowly prefer, as we journey through the stages of what felt like a very real life. Barry Jenkins is clearly a superlative talent, capable of building a reality the audience is dropped right into, without need of exposition. I am not qualified or educated enough to discuss the reality of LBGT life in the African-American community, but it struck me that Moonlight approached the subject with a confidence and grace that could only have been achieved by an African-American LGBT director and an entirely African-American cast. This isn’t to say that an outsider couldn’t have achieved similar results, but Moonlight has a really authentic feel.

It gives me immense pleasure just not be disappointed by Blade Runner 2049. A sequel 35 years after an original, and an original that was never crying out for a follow up. When initially announced, the news of a Blade Runner sequel was met with fear as much as anything else. The original Blade Runner was a one of a kind science fiction film with great levity and intellectual class, never imagined as the first of a franchise. Blade Runner 2049 did not need to be made and nor was the news that it would be made met with welcoming arms by just about anyone, especially yours truly. Thank fuck it was. Blade Runner 2049 is a titanic, staggering achievement, taking the best elements of the original film and grafting on new ideas. Denis Villeneuve, director of recent sci-fi success Arrival, wasn’t an obvious choice, despite the quality of his work, but here he excels balancing raw entertainment with weighty concepts. Told with breath-taking scope visually and immense sound design, Blade Runner 2049 is a feast for the senses, with Roger Deakins surely a shoe-in for best cinematography at the Oscars. 14th time’s the charm, eh? Ryan Gosling is back to his stoic best as blade runner K, a replicant designed to hunt his own people. K's counterpart Luv, played with icy indifference by Sylvia Hoeks, forms the backbone of the film alongside him. What most makes Blade Runner 2049 such a success is the decision creatively, I assume consciously, to be a sequel and an original creative property simultaneously. It wasn’t welcome and it wasn’t needed, but Blade Runner 2049 is an instant classic, superb in just about every facet.

Clive's Top 10 Films of 2017 (UK Release)

January 21, 2018 by Clive in Films

2017 was an amazing year for films, and probably my favourite yet. I watched close to 40 releases and thoroughly enjoyed over 30 of them. Picking a top ten was particularly difficult and I feel this is probably the strongest top ten of any year since I started watching far too many films back in 2015. Before I crack on with my list I'd like to mention a few films that only just missed out. There were many that came close, but Wind River, Star Wars: The Last Jedi, Hidden Figures and Maudie are perhaps those that came the closest. Here's those splendid pieces of cinema that made it:

The story of a boy who bullies a deaf girl and then, a while later, tries to make amends. It's a wonderful film. It tackles its subject in unexpected and mature ways and goes some dark places. Some have called it slow, but I feel dealing with the delicate matter of a person transitioning from being someone who is essentially horrible, to someone who feels regret and struggles to make peace with his actions, deserves the more delicate touch. Which is exactly what it receives here.

Christopher Nolan's foray into the war films genre. An incredibly tense film from beginning to end. All the interwoven stories worked well although their timelines were a little confusing at points, something I think a second watch will help. The film is the definition of a visceral experience. The sound and cinematography is fantastic, putting you right in the middle of the action and making you feel for characters that you know very little about. The simple story works, however I feel that it's one of those films where you come out having loved it, but then it doesn't really stick with you. This is the main reason it hasn't ended up any higher on this list. A fantastic piece of cinema, but I'm not sure it'll have even close to the same effect on a smaller screen.

Barry Jenkins' Moonlight, the coming of age story of Chiron, made quite a stir when it arrived and ended up clinching 2017's Best Picture Oscar. I loved Moonlight, it was full of amazing performances, had a beautiful story at its heart, and was shot with some of the most beautiful cinematography ever seen on the big screen. Why is it not higher on my list? Well, for me, the fact it was shot in such a stunning fashion where every shot is a work of art, took me out of the hyper-realistic nature of the film a little, and I think that was the prime reason that it didn't end up resonating with me as much as some of the films higher up on this list. Nevertheless, Moonlight is a film that no one should miss and deserves all the accolades it has got.

I delayed watching this because all the talk around it made me hate it before I'd even seen it. When I finally did watch it, however, and I was completely ready to hate it for being Oscar-bait, I unexpectedly fell in love with it. It's beautifully shot, I like the slightly understated nature of the songs and dance performances and I thought the chemistry between Gosling and Stone was brilliant. Yes, the dancing isn't technically perfect, but I think that's kind of the point, it brings some much-needed realism to a genre usually entirely based in fairyland. Completely stuck the landing in terms of its ending too. A gem.

Mosntercalls.jpegAMonsterCalls — 6. A Monster Calls

I felt sure after I'd seen this that it would end up in my top five at the end of the year but it's been such a strong year that it has just missed out. The story of Conor O'Maley's struggle to cope with his mother's terminal cancer was one of the most affecting films of the year for me. So much darker than I was expecting and all the better for it. It handles depression and grief in a realistic way, despite its fantastical nature, and never feels manipulative. Fabulous performances across the board, particularly from Felicity Jones, who brings across a vulnerability and anger that glues the whole thing together.

Jordan Peele's Get Out is a strikingly intelligent horror film. It's one of the rare films where I truly had no idea what was going to happen next, and I was genuinely terrified on many an occasion. The film obviously has a strong message but even if you weren't to consider that, which would be foolish, you'd have a brilliantly paced thriller that keeps you completely absorbed in its crazy, dark world throughout. Not only an amazing film, but also a razor sharp social commentary of our times. Uncomfortable and yet essential viewing.

The dialogue-free story of a man's survival on an island after a shipwreck. A beautiful film that is ripe for discussion of its themes and meaning. It's a quiet, meditative and contemplative study of life and its meaning. A heavy subject, tackled in a way that gives no answers, but makes you think about it in ways you never have before. The muted colour palette and basic animation style is stunning and suits the film perfectly, combining with an amazing soundtrack to provide one of 2017's most quietly moving cinema experiences.

Yet another animation! My Life as a Courgette is highly stylised with its brightly coloured claymation tinged with a deep sense of melancholy, but beneath the beautifully animated exterior lies a very real and raw film about love, friendship and the lack of family. A film that dared to be 65 minutes long, and is all the better for it. This one kept bouncing around my head for a long time after I'd seen it. A film that is in essence very sad, but also has a message of hope without a hint of cheese.

I fought tirelessly on our top five films of 2017 podcast to have this one included in our top five. My feelings about this amazing film are made more clear there than they ever could be in a small paragraph but here goes. Sean Baker, director of one of my 2016 favourites Tangerine, has graced us with an absolutely stunning tale of deprived childhood close to one of capitalism's biggest symbols, Disneyland in Florida. The child acting is quite probably the best I've ever seen, it's completely natural, and the way Baker always has the camera at a child's level is a genius touch that adds to the hyper-realistic nature of the film. Dafoe and Vinaite give unforgettable performances as the film's leading adults too. The film has an empathy for its subjects without forcing you to think one way or another, it shows you something that is happening, and lets you make up your own mind about it. It's a snapshot of a time, a sight into lives of the variety we probably have little exposure to, an eye opening tale of raising a child when everyone has already made up their mind about you.

Absolutely stunning. One that you really need to see in the cinema, so it's a shame it hasn't done very well at the box office. A film that is hugely stylised and creates a dystopian world that seems to have become more desolate since the original Blade Runner. Ryan Gosling is fantastic in the leading role and perfectly conveys the inner turmoil of his character in a way that isn't overwrought at all. The central story is gripping but everything around it is such a sensory overload that I doubt I'll ever forget watching this for the first time in a practically empty cinema late at night. The soundtrack drones and thumps, often focusing more on noises than any sort of melody, perfectly complementing this swamp of a world. The colours go from bright radioactive orange to a kind of dark, grey, muted metallic seamlessly and you feel like you're in some sort of strange dream, sat there wondering how on Earth something could be so gorgeous and yet so bleak at the same time. I came out of this one knowing I'd seen something special, and I firmly believe this is one of those films that will be looked back on as a classic many years from now.

What a year for film! Let's hope 2018 is as strong.

Thanks for reading,

Clive :)

Clive's Top 10 Albums of 2017

January 17, 2018 by Clive in Music

I've never listened to as much music as I did in 2017. I reviewed and rated, in an amateur manner, well over 100 albums, over 80 of which were actually released in 2017. That said, most of my favourite discoveries last year came out in other years. I got into David Bowie, Guided by Voices, Sleaford Mods, The Rolling Stones and Pink Floyd to name a few, and music has well and truly taken over my life. As for 2017 releases, there were lots that I really liked, but few that really blew me a way in a similar way to Bee Thousand and Station to Station. That probably speaks more for the amazing quality of those two albums than it means that the list below is in any way weak however, as I love all the albums below. Before we get into the list it's only fair I mention the albums that have cruelly been missed off and might have made the list on another day. These include Slowdive - Slowdive, Perfume Genius - No Shape, IDLES - Brutalism and Japandroids - Near to the Wild Heart of Life. Should you wish to read all 80 odd of my 2017 reviews you can head over to my rateyourmusic list here. If you'd rather read a slimmed down, better-looking and slightly better written top ten list, then scroll down and enjoy:

The definition of a grower. It takes time to dig out the gentle hooks from the up-front and dominating guitars but it's well worth the effort. It has a really Velvet Underground feel to it. I love how each track subtly builds on the last ending in the, perhaps a little overlong, Reprise with it's excellent, almost raucous ending. They do so much with so little.

Shins - Heartworms — 9. Heartworms

THE SHINS

It seems I'm higher on this than pretty much anyone out there in music reviewing circles. I think it's full of great melodies, interesting production and hooks that stick with you for days. It's an album that has a breezy, happy feeling, but without feeling cheesy. One that I've kept coming back to as the year has progressed, particularly as a morning album, and it more than deserves a place on this list.

ABlackMile — 8. A Black Mile to the Surface

**MANCHESTER ORCHESTRA**

This has a ton of production on it, which isn't always my bag, but in this case it sounds great. It's a really atmospheric and huge sounding album. The songs flow into each other in a way that doesn't make many of them stand out but there's a real cohesiveness to the album and some really massive moments. There is a lyrical theme throughout about a strained relationship with a father and a suicide attempt which is a little cryptic but interesting to decipher should that be your kind of thing. I found the more positive songs about his daughter (The Sunshine, The Maze) a nice change of pace from the very serious and heavy nature of the rest of the album. Definitely one of the most memorable albums for me this year.

WorldEater — 7. **World Eater**

**BLANCK MASS**

My second favourite electronic album of the year. I love how it blends electronic sounds with more organic ones creating a kind of strange squishy, hellish atmosphere that is still infinitely listenable. Full of amazing crescendos.

6. Music for People in Trouble

**SUSANNE SUNDFØR**

I didn't expect to rate this as highly as I do but it just keeps getting better with every listen. Magical vocals and melodies, and a really timeless sound. It's beautifully minimalistic, except for the end of Undercover which is a little overblown, and feels very cohesive as a whole. I like how the more avant-garde tracks (e.g The Sound of War) break things up too. One of the year's highlights and my go to relaxing listen of the year.

5. Oversleepers International

EMPEROR X

I remember seeing this dude live having never heard anything of his before and being a fan of his weird and charismatic performance. This is the first album of his I've listened to and I'm very impressed. Great, interesting lyrics and endless catchy melodies. I pretty much enjoy every song on here and how up-tempo the album is as a whole. Also, his transition from gentle singing to shouting is always great. The production is a little thin but it doesn't take too much away from what is one of 2017's most overlooked gems.

ADeeperUnderstanding — 4. A Deeper Understanding

THE WAR ON DRUGS

It's more of the same - to last album Lost in the Dream - but it's even better in my opinion. Less stand out tracks possibly, but more consistent throughout and I feel it better justifies its running length. Gorgeous instrumental sections, vocals that blend in effortlessly and an even bigger sound than the previous album make this a great experience to listen to. Great as background music, or for an attentive listening session.

ACrowLooked — 3. A Crow Looked at Me

MOUNT EERIE

A heartbreaking album about the loss of his wife. This is achingly sad and not an easy listen. It's so raw that the simple melodies and sparse guitar sound as if they were made up on the spot to enable him to express his feelings, which come through in his painfully honest and simple lyrics. For the 40 minute duration of this album, you're in Phil's shoes and you feel his heartbreak. You're never relieved by some catchy chorus or nice melody. It's not something I'm going to be listening to regularly, it's a little too heavy for that, but it's something that has a massive effect on me every time I listen to it. A truly remarkable album.

I'm kind of in love with it. It never repeats itself, it's crazy and it's one of the few albums that is manic enough to keep my brain quiet. Wacky may be the best word to describe it. It's an electronic album with a difference, you never know quite where it's going to go and no five seconds are the same as the last. Iglooghost has created something that really appeals to my inner child, but in a way that isn't cheesy whatsoever. In fact, it's unlike anything I've ever heard. An endlessly creative, insane journey that is not to be missed. Again, I feel this one has been unfairly overlooked. It's magic.

1. Reflections of a Floating World

ELDER

Wow. This blew my head off in the best possible way even on the first listen. Amazing riffs, a big, expansive sound and some really solid drumming make for a completely visceral listen. It feels like everything has been done to engage the listener and not to show off instrumental skill, which is something that often holds back the prog-rock genre in my eyes. The vocals, though rare, give a nice variation to the generally 10 minute running length of the tracks. Personally, I'd have cut short 'Sonntag' as I feel it's only track that doesn't go anywhere although its interlude type feel does perhaps heighten the impact of the final track, which is a truly emphatic way to finish the album. This album has single-handedly got me back into a variety of genres that I hadn't listened to in a while. It's one of those albums I've struggled to turn off when required because all the songs just seem to get better and better as they go on, just as you think the song has hit its crescendo things build yet further, seemingly impossibly. An amazing album.

Thanks for reading. I'm already excited to think what this list will contain in 2018!

Clive :)

The Top 10 Games Clive Played In 2017

January 14, 2018 by Clive in Games

Games is the one list where I can't restrict myself to one year of release. With indie games so often coming out a year or so late on consoles and me having no way to play them on PC, it seems unfair to disqualify so many games that I may end up loving from my lists. The fact console release dates vary just further complicates the issue. I've therefore opted for an approach of listing the top 10 games that I played that year, regardless of when they were released. This year five of the games in the list were released in 2017, largely due to the very strong year Nintendo has had! Before I start I'd like to give an honourable mention to another Nintendo game, Mario Kart 8: Deluxe, which I've fallen in love with again this year with it's release on the Switch. I loved it on the Wii U and it is testament to its brilliance that I ended up putting 30-40 more hours into it on the Switch despite having put a ton of time into it on the Wii U only a few years ago. It was a highlight of my Christmas break with the family due to the improved four-player split-screen racing and just generally brought a lot of joy to my year. It hasn't made the list simply because it is basically a port of Mario Kart 8, which I'd already played extensively on Wii U and which made my top five games in 2014 when it was first released. Without further ado, here's my favourite games I played in 2017, what a fun year it's been!

As a huge fan of F-Zero, I was excited to hear this was being moved to the Switch from the Wii U, where I enjoyed but didn't play enough of FAST Racing Neo. I really enjoyed FAST RMX's sense of speed, the hugely improved look since the Wii U entry and the wealth of tracks available. The game is fun to play but lacks a little personality when compared to F-Zero and also allows much fewer racers on the track at one time, which means races are somewhat less intense.

9. Everybody's Gone To The Rapture

**(Playstation 4)**

One of those experiences that stick with you. A peaceful game about exploring an abandoned town trying to decipher what has happened there. The story takes some unexpected twists and turns and required me to read up about it on finishing to discover a variety of different interpretations, but I like that in a story. It looks gorgeous too.

This one crept on here thanks to the amazing fun I had with it over Christmas with my family. Up to 4 players work collaboratively to keep up with restaurant guests' orders in the kitchen. A game that is really quick to teach people and an amazing time when you hit the 3-4 player sweet-spot. You end up hilariously shouting at each other before you decide a more sensible plan of action is required. This one had pretty much every one of my brothers and sisters in stitches at some point. Highly recommended, and now running as smooth as butter on the Switch.

On the show I probably often sound down about first-person shooters but I actually love the genre when it brings something new to the battlefield and has a strong single-player campaign. This one does both. The campaign kept me hooked, largely due to the great relationship between the player and his mech 'BT'. The way you can wall-run and battle other mechs one-on-one really gave the combat a fresh feel too. A really tight shooter and well worth the discounted price you can get it for now.

MarioRabbids — 6. Mario + Rabbids: Kingdom Battle

**(Nintendo Switch)**

I was sceptical as soon as this was rumoured, but on actually seeing some gameplay I was sold. The turn-based combat is much like a simplified X-Com yet much deeper than I expected. The Rabbids fit into the Mario universe surprisingly well and there are some really hilarious moments in the story (such as the opera boss). I didn't think that walking around the worlds outside of the battles really felt engaging enough but the great combat scenarios and fun progression more than made up for that. Probably my surprise of the year. An absolute stunner to look at too.

Two first-person shooters on the list? See, I told you I can like them! This one is just so fun and visceral. The replacement of that silly 'hide and re-heal' mechanic present in pretty much every FPS nowadays with the way more fun 'kill stuff and get health from it' mechanic really makes Doom stand out among other first-person shooters, rewarding a more gung-ho style. Probably the most fun I've had with a shooter campaign since Goldeneye on the N64, it really is that special. The way the stunning visuals and pounding soundtrack go together really gets the adrenaline pumping. It's silly cheap now so if you haven't played it yet you really need to.

Probably the weirdest entry on my list. This one went some really strange and interesting places and had me completely hooked throughout. Satisfying environmental puzzles, a gorgeous yet bleak look, and a story that stuck with me long after the game was finished made for one of the most affecting video experiences of the year.

I loved Splatoon on the Wii U but ended up loving Splatoon 2 even more on the Switch. The ability to play handheld meant I got in way more hours than on the Wii U and meant this ended up being my second most played game of the year behind only the huge Zelda: BOTW. They improved on the original in pretty much every way. There's more weapons, the specials are much more balanced and the single player was much more varied thanks to not being limited to one weapon. I think the 'it's too similar to the original argument' doesn't hold too much water when the whole idea itself is so unique, fun and packed with its own style. There's still a few niggles here and there but that doesn't hold this back from being easily my favourite online-multiplayer experience of the year. I'm not sure there's anything in gaming quite as satisfying as splatting another inkling with a bucket full of paint. So. Much. Fun.

3D Marios are historically my favourite type of game and so when Odyssey was announced at the start of the year my level of excitement was hard to contain. Thankfully, it didn't disappoint. A return to a less platforming heavy and more explorational style was welcome and the game just oozes joy. There's an unbelievable amount of things to do and although I don't particularly like the overworld map (I'd have liked something more like the castle in Mario 64) the worlds are so diverse you just never know what will happen next. The cap mechanic is brilliant, the fact everything wears caps is an utter joy, and some of the inventive things the game has you doing re just pure genius. Time will tell if it's my favourite 3D Mario (Galaxy and Mario 64 are tough to beat) but it's definitely up there.

BOTW — 1. Zelda: Breath of the Wild

**(Nintendo Switch)**

I'm usually more of a Mario man than a Zelda man, although I love both, but I just can't have Breath of the Wild anywhere but at number one. Nintendo completely changed things up and made me love an open world game more than I thought I ever could. You know why? Because it felt like a genuine adventure, not just a game that has a huge open world that has you essentially following a bunch of waypoints to markings on a map for its entire duration. In this game you put the marks on the map. In this game, adventures vary so hugely from one player to the next that it really feels like you're having your own adventure. In this game, you actually can go anywhere, which I feel is the first time this has actually been true. The feeling of climbing a tall mountain and looking out at the vastness of the world you can explore sprawling out beneath you is one of the best feelings I've had in any video game. The game definitely has some problems. The story is nothing special and a lot of the inventory management is clunky but the world is so fantastic that it barely matters. A genuine contender for my favourite game of all time, and I've got so much more left to explore. I'm not sure I'll ever completely stop playing it, and when I do, I sure as hell will never forget it.

Thanks for reading, and let's hope my 2018 list is just as strong!

Clive :)