The Game Awards 2022 filled our cups with some much-needed optimism for the year ahead
all on the horizon. Though we cannot speak as to the quality of any of these titles yet, the prospect of a return to FromSoftware’s classic mech series alongside the most promising single-player Final Fantasy we’ve seen in years is possibly more than my JRPG-loving heart can handle.Despite an overarching trend towards iteration, we were also treated to a range of fresh titles aiming to carve out fresh niches within the game-o-sphere.
What was most striking about this diverse melange of new titles, however, was not a predisposition towards a certain style of gameplay de jour, but a refreshing commitment to diverse and vivid aesthetic statements. The colorful, absurdist world of Inflexion’s Nightinggale is boldly reminiscent of Lewis Carroll’s Alice in Wonderland while Earthblade’s luscious pixel art conjures evocative images of lurid jungles and foreboding temples.
The Game Awards seems set on perpetuating a narrow view of what a “prestigious” video game looks like. Though the Game of the Year award was well-earned by, titles that failed to tick the “third person prestige action game” box seemed to be widely ignored.
Though there has been slow progress in this regard compared to previous years, the contrast between the bold futurism of the ceremony’s trailers and the constrained traditionalism of the awards ceremony proper was palpable. Despite this, the future as a whole seems bright for video games. I came away from The Game Awards feeling a sense of profound excitement and hope for the future of games; something I’d not felt since the start of the pandemic. As I did in the before-times, I was able to watch a showcase of exciting trailers with child-like wonder in my eyes – no mean feat in this age of financial crisis and tribulation.
France Dernières Nouvelles, France Actualités
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