The most obvious place to start – one of the only obvious qualities it has, really – is that The Vanishing of Ethan Carter is unquestionably the most visually spectacular game I have ever played. Even if there weren’t anything else to say, that might be enough. If your computer can run it (and it’s punishing, but not too punishing) you probably need to buy it just to see the incredible technology The Astronauts bring to bear on this indie mystery. It’s simply jaw-dropping. Your jaw will drop. Which is harder to do than you think. Have you ever tried to drop your jaw? I just released my jaw muscles and my jaw stayed more or less where it was. It moved a little. But I wouldn’t call it a “drop.” You have to actively drop your jaw. The Vanishing of Ethan Carter will make you do that.
What happened to Bulletstorm? It’s a fair question. Here’s a game that – while admittedly not for everyone – was a highly innovative and gorgeous shooter. Tightly designed, cleverly written, well put-together, from a collaboration between two of the most reliably competent genre leaders in the industry. It didn’t go seriously over budget, it wasn’t late, it wasn’t buggy, it didn’t promise one thing and deliver another, and it didn’t rehash World War II or Americans-killing-Arabs memes. The critical reception ranged from positive to gushing; it shipped on every major platform. It was, by all accounts, the definition of a new IP blockbuster.
An exciting and wordy discussion has been wandering across several of Tap’s forum threads, notably here, and also in various comments on articles. Fully grokking a conversation being held by the Tap community requires a certain ability to master the art of tangential crossover.
ANYWAY, to quickly sum up: some of our debaters did not like Half Life 2, some did, but for variant reasons; everyone likes STALKER but some wanted different things from it; System Shock 2 is very scary but may not have aged well; and something to do with Neocron, plus some other stuff.