My top 10 favorite coasters

I once lived less than an hour’s drive away from Coaster Mecca: Cedar Point in Sandusky, Ohio. I rode my first coaster there. I fell in love with coasters there. And, like real life Mecca, I make a pilgrimages there, usually every four years or so.

It’s cold and dark winter, which means no coasters. But when it warms up, the screams of riders, the smell of hot asphalt, and the joy of climbing into the first coaster of the season will occur.

This is not necessarily a list of the best coasters I’ve ever ridden, but a list of my favorite coasters. When putting this list together, I thought about three things: the ride experience itself, the atmosphere of the ride, and personal context. I present to you my favorite roller coasters.

10. Griffon – Busch Gardens Williamsburg

Over the past 20 years or so, there has been an explosion of ride varieties, due to the globalization of the amusement park industry as well as leaps in technology and construction skill.

One of the most interesting ones is called the ‘dive coaster,’ and its hook is exactly as it sounds: it dives. Straight down. About 200 feet or so on average, depending on the ride. Furthermore, these coasters feature oversize tracks and few rows with many seats–between two and four rows and between six and ten seats, again depending on the ride. This means that some riders won’t have any track below them for the entire duration of the ride.

For some of you, that might sound completely insane. For those of us who love coasters, it’s a recipe for a great ride. Griffon is neither the tallest nor largest dive coaster I’ve ridden–the other two being Sheikra in Busch Gardens Tampa and Valravn at Cedar Point–but it is the first one that I rode, which counts in the nostalgia factor. It is also the best experience among the three, as it swoops under a bridge and features an exciting splashdown, and its ten-wide rows make the outside few seats truly special.

9. Raptor – Cedar Point

I can’t fathom being a coaster enthusiast prior to the 90s, as there was just too much innovation that happened during that decade. The biggest one was that of the now-ubiquitous suspended roller coaster designed and built by Swiss company Bolliger & Mabillard. Good ol’ B&M are titans in the industry today, as they should be.

But despite a few decades of honing their suspended roller coaster craft, the Raptor remains my favorite. You begin with a fantastic view of Cedar Point’s beautiful midway, and then are immediately plunged down and into a quick loop, and off you go. What sets the Raptor apart is its intensity: it’s unrelenting, has lots of inversions, and curls in and around itself which makes it seem even faster.

Certainly better than one of the ten billion Batman rides built by Six Flags. Design something new already for Pete’s sake.

8. Prowler – Worlds of Fun

I know that a lot of coaster enthusiasts love wooden rides because of their old-timey feel that is impossible to replicate by steel rides. They are simple, with few gimmicks, and each one is bursting with history.

Personally, I find this to be hogwash. You know what else is old-timey, impossible to replicate today, and bursting with history? Dying of smallpox. While wooden coasters won’t kill you, most are borderline un-rideable due to their shakiness and roughness. Steel is just a much better material.

That being said, there are newer wooden rides that capitalize on wood’s strength and minimize its weaknesses. One of those rides is the Prowler, my favorite wooden coaster that happens to be in my backyard of Kansas City. It’s not too big or fast, limiting its roughness, but it is devilishly compact, swerving and dipping like a panther in pursuit of its prey.

This is also, hands down, the best coaster to ride at night. It’s in the woods and purposefully not lit up. You can’t see anything.

7. Behemoth – Canada’s Wonderland

This ride is my most recent addition to my top ten list. I took a road trip with my wife and two of my best friends to a handful of theme parks last September, and this beauty was one of my favorites.

Like Raptor, this ride is a B&M ride, one of the so-called ‘hypercoasters’ due to its size. Hypercoasters are relatively simple: they feature no inversions, and have uncomplicated out-and-back layouts. But they are my favorite type of coaster, because they do the two best things a coaster can do better than any other coaster type: 1) speed and 2) airtime. Speed is self-explanatory–hypercoasters are fast because they are over 200 feet tall and feature large drops. And for those of you who don’t know, airtime is the feeling of weightlessness you get at the crest of the hill as you experience zero downward Gs.

Behemoth is a great ride, but what places it here is our experiences on it. We rode it a lot: in the day and at night, with no wait and a long wait, with all four of us and with a stranger or two. Two nights in a row, our train was the last to go through for that night. It was cold, we were tired, but our fraying sanity made for funnier experiences than should have been possible on a simple roller coaster. Long live Behemoth.

6. Apollo’s Chariot – Busch Gardens Williamsburg

A lot of parks are situated in boring places. Highways and houses are all well and good, but they do not make good scenery on a ride.

And while that doesn’t affect most rides–coasters are coasters, after all–great scenery can take a good ride to the next level. It’s part of why Cedar Point is so magical, and it’s part of why Canada’s Wonderland is, well, not.

Apollo’s Chariot is a great ride. It is B&M’s first hypercoaster, and while it doesn’t have as many bells or whistles as some of their other ones, its scenery takes it to the next level. There are no other rides near Apollo’s Chariot after you go down the first hill. All you see are trees rushing by, a lake beneath you at the turn back towards the station, the purple track glistening in the sunlight. The woods add a feeling of speed and immerse you in the ride.

5. Top Thrill Dragster – Cedar Point

Top Thrill lasts all of 17 seconds. You go out, you go up, you go down, you come back. The whole thing is in view. There are no tricks. It is what it is and that’s that.

But what it is is a completely unique and exhilarating experience where every part of the ride adds to the suspense and release once you rocket down the track. You can see every car as you wait, watching the faces of the riders before and after The Launch. Once you get to the station, sound effects and music keep up the suspense. You get in the car, continuing to hear the varying noises and a voice recording. Keep your arms down, head back, and hold on! You think you are prepared. After all, you’ve seen it a bunch of times as you waited your turn. Despite that, your heart races. The suspense is building.

You are launched from zero to 120 miles per hour in four seconds. You go 420 feet straight up, glimpse a beautiful view for two seconds, and go 420 feet straight down. Turns out you were not prepared for that.

Top Thrill is a ride that you must experience once, but should experience at least twice. It’s such a gigantic and unique rush that you need to ride it multiple times to fully comprehend the thrill. If that’s not a good coaster, I don’t know what is.

4. Mamba – Worlds of Fun

I was nine years old when I first rode the Mamba. It was my first Big Ride, my first hypercoaster. When I stepped onto the train after waiting excitedly, a voice came over the intercom…

Welcome to the Mamba, one of the tallest, fastest, and steepest roller coasters in the world!

Eighteen years later, there are taller, faster, and steeper roller coasters on this list. No longer does a disembodied voice boast that to a station of riders.

That doesn’t change the fact that the Mamba is a great ride. It has a fantastic, 205-foot drop that immediately shoots you up a second hill, almost as large, for some intense airtime. It ascends again, descending into a tight spiral with a cool effect. As you go down and around, the coaster supports get lower and closer to the train. When the supports almost seem close enough to lop your head off, you pull out of the helix, and then the coaster merrily sends you back a bunch of nice bunny hills before lunging back towards the station.

But what really separates the Mamba in my mind is my relationship with the ride, which at this point can almost vote. I’ve ridden it with friends, family, and total strangers. I’ve ridden it in rain and in sunshine, in daylight and in the dark. I’ve ridden it once in a trip, I’ve ridden it a dozen times in a day.

Yes, there are more intense rides, faster rides, better rides than the Mamba. None represent the coaster comfort food that is the Mamba. I know that ride inside and out, and I get excited to ride it every time I walk to the station.

Welcome to the Mamba…

3. Diamondback – King’s Island

I rode the Diamondback in 2011, during a college road trip in May. It was dreary, with slight drizzle going on every once in a while. We went there before school got out for the summer, so there weren’t too many kids there.

So, obviously, my friend John and I road this eight times in a row. Without any wait.

Diamondback is a B&M hyper, just like Apollo’s Chariot and Behemoth. It features an odd seat configuration–two up front and two elevated behind, but further each side so that the formation looked like a trapezoid. All four seats have a full view of what’s in front of you, and the side seats let you stick out your arms and legs as far as they will go.

Those seats were a revelation for me. They are the best seats that exist. And they made a great ride even better.

2. Maverick – Cedar Point

There’s nothing quite like riding the Maverick. Most rides either go big or go loopy (sometimes both), but the Maverick does neither. Rather, the Maverick feels like you’ve been placed on a metal stallion that has lost its heckin’ mind.

You start on a drop that’s greater   than straight down–meaning it curves back into itself–and off you go. You twist, you turn, you slide around a lake and between giant rocks, giving the appearance of even greater speed. While you go upside down, the ride’s signature sections are the instances that it snaps you sideways and back straight before you can comprehend it.

Then, halfway through the ride, you slow down into a shed and are catapulted from 0-70 MPH in three seconds. Outside you go again to finish the ride. The result is that Maverick never slows down, and the ending sections are just as quick as the first ones.

Ride it in the very front seat on your first ride of the day sometime. It’ll really wake you up.

1. Millennium Force – Cedar Point

There are few rides with the cultural significance of Millennium Force. Built in 2000, it is an icon that is known even among those coaster fans who have never been to Cedar Point. It represents the great coaster arms race of the time, and its giant sleek track have come to also represent Cedar Point in general.

To this day, it remains one of the biggest and fastest roller coasters in the world. It ascends to 310 feet, offering a stunning view of Lake Erie and the Cedar Point peninsula, a view that is unmatched by any other ride I’ve ridden. From there, you drop 300 feet, and then the ride is on. It reaches a max speed of over 90 MPH, and sends you zipping through tunnels, over hills, and hanging off overbanked turns. It’s a long ride, and it snakes through and around the woods and over water.

The Golden Ticket Awards are the amusement park industry’s Oscars or Emmys. There are a bevy of awards, including Best Steel Coaster. Since there are so many coasters, they supply a ranking of the top 100. Every year since its construction, Millennium Force has been either first or second. That’s 18 consecutive years.

Unlike some of these rides, I don’t have a specific emotional connection to Millennium Force. It’s just the best one.






I have no desire to see Whiplash again, and that’s a testament to how perfect it is

Whiplash is one of the best movies I’ve seen in years. Heck, it might just be one of the best movies I’ve seen in my life. Critics loved it, too; it has a 94% Certified Fresh rating on Rotten Tomatoes, and picked up three Academy Awards out of five nominations (one of which was for Best Picture).

Look no further for an example that financial success is no indication of the quality of the film: despite its critical acclaim, Whiplash grossed only $13 million domestically and an additional $35 million internationally. With a budget of only $3.3 million, it did make its money back and then some, but it wasn’t as if millions of people were rushing to see the film.

At its core, Whiplash is both a film about one human relationship, that of main character Andrew Neiman and his teacher Terence Fletcher, and about the relationship between Andrew and his drive to become the greatest musician he can be. The film explores the morality of certain types of teaching, how professional drive can affect a person and their relationships, and what it means to try to be truly great.

There are two lines that define the conflicts in the film. Fletcher presents one:

There are no two words in the English language more harmful than “good job”.

Neiman himself presents the other:

I’d rather die drunk, broke at 34 and have people at a dinner table talk about me than live to be rich and sober at 90 and nobody remember who I was.

Whiplash is as much a perfect movie as can be. It’s shot beautifully. It is wonderfully acted (with J.K. Simmons rightfully earning that year’s Oscar for Best Supporting Actor for his portrayal of Fletcher). The music is impeccable from every angle. The plot, pacing, and ending are masterfully done.

Like I said in the first sentence of this post: Whiplash is one of the best movies I’ve seen in years.

That I don’t want to see it again–at least, not for a long time–is just another feather in its cap.

The movie’s plot exists because of Fletcher’s abusive teaching style. The film’s most favorite scene is one of its best: it encapsulates the relationship between Nieman and Fletcher perfectly.

It’s also a great example of why I can’t watch this film again.

This scene is such a perfect recreation of what happens in rehearsals every day throughout the country that it is really quite uncanny. Music directors like Fletcher exist everywhere, and every musician who has continued to perform into their college years, like Nieman, has encountered a situation like this.

Well, not quite like this. Fletcher’s explosion of anger is greater than what most people see. But the brilliance of Whiplash is that all the emotions are there, and so believable. Even non-musicians can empathize, as similarly hard-nose teachers and coaches exist outside the music sphere.

Whiplash’s greatest strength is its uncanny ability to channel intensity directly into your soul from the pixels on the screen. You can feel Fletcher’s anger. You can feel Nieman’s cocktail of emotions in response. You can feel the effect of Nieman’s drive to be great on him and his relationships. You know the stakes in lots of movies. But to feel it? All the pretty cinematography in the world can’t substitute for strong emotional communication.

That is, I think, what makes Whiplash truly great. Yes, it’s well-written, well-acted, etc. etc. Those are all parts. The whole is a deeply emotional journey, and its glaring intensity is recognizable and persistent. Watching Whiplash is almost like having somebody yelling at you in your living room.

Not everything is sunshines and rainbows. Whiplash isn’t. It’s why it’s great. That I don’t want to see it again is proof of how great, proof of how well it communicates its emotions.

Sports games let us make unique connections with real people

Mario isn’t real.

Lara Croft isn’t real, either, neither the triangle-breasted adventurer of yore or the gritty explorer of today. Star Fox has no equivalency in reality. Rivia isn’t a thing, and Geralt of said Rivia isn’t, too. Luke Skywalker is vaguely real, in that a real life person played him in a movie, but there are too many degrees of separation there for Luke Skywalker to be real. Likewise with Mass Effect’s Miranda, whose shared visage with Yvonne Strahovski is purposeful–but it doesn’t make Miranda the character any more real in our world, the one in which we move and breathe.

Our connection to video game characters is well-documented and real, but the characters themselves aren’t. Making a character feel real is one of the great achievements of a developer.

Dragan Bender, however, exists both virtually and not. Bender was born in Croatia and grew to be a giant of a man, a 7′ 1″ behemoth who plays in the National Basketball Association for the Phoenix Suns, ostensibly because he can touch the sun if he gets a running jump.

I have never met this man, who would tower 15 inches over me. But Bender is just the best. I love the guy. I acquired him to play for my basketball team in multiple alternate realities.


Of course, I’m referring to a sports game; in this case, the game to which I am referring is NBA2K17. The game, which I bought on a whim during the Summer Steam Sale, has a mode where you take over as the General Manager for any of the 30 NBA teams or for one of a handful of hypothetical expansion teams.

The great thing about sports games is that, through interaction with an intermediary medium, sports games can forge a connection between the player and a real life person. It’s the transitive property at work: the player likes an athlete in the game, which translates to enjoying that athlete in real life. No other medium allows for this.

I’m incredibly fond of Bender, a spindly man from eastern Europe who can dunk a basketball by barely hopping off the ground. That fondness is a direct result of my virtual time with his likeness. The actual Bender didn’t play for my team (at least I hope not), but rather an avatar in his image.

And that bizarre connection can have very real consequences. Bo Jackson’s legacy is influenced in part due to his godlike status in the game Tecmo Bowl. Troy Aikman and Ken Griffey Jr.’s stardom was solidified by having legit video games named after them.

That video games can in some capacity forge a real fondness for real human beings through a digital avatar of that person is nothing short of amazing. It’s weird, too; don’t get me wrong. But it’s a great insight into the relationship between real people and a fictional world in which they exist, at least in part.

This is the best tweet of all time

For a good half decade, the social media landscape has been relatively stable. Facebook, Twitter, and Instagram are the Kings, and though others have risen and fallen (Vine, Snapchat), the bedrock has remained mostly untouched.

Importantly, though, it didn’t used to be that way. In the early 2000s, after the Dot Com Boom and when broadband internet gained widespread usage in the United States, entrepreneurs created a bevy of social media websites and services. Their names will conjure intense nostalgia for those who lived through it: AIM, Xanga, Friendster, Myspace. Generation X will not remember this, but at one point Myspace was as ubiquitous as Facebook is now.

One of the bands I was into in high school–The Afters–included a song called Myspace Girl on their 2008 album Never Going Back to OK. At the time, it was a sweet and quirky tune about how one of the band members met his future wife by finder her on Myspace after a chance meetup at a fast food restaurant.

Now, the song seems incredibly outdated, which is fascinating because it is only nine years old. Myspace terms like ‘Top Eight’ and a play on words about turning ‘Myspace’ into ‘Ourspace’ are bizarre, and after almost 15 years of social media etiquette having developed this seems more like a particularly egregious case of digital stalking than something that deserves to be a song.

The point is: back in the late ’00s, social media was new. Mark Zuckerberg created Facebook in 2004, and it wasn’t until 2006 that anybody could join; it didn’t turn from ‘place where high school and college kids hang out’ to ‘place where adults make racist remarks in the comments section of a news article’ until 2009 at least .

And Twitter–oh, Twitter–Twitter was a totally different place in 2007. People were just learning to use it. At the time, it seemed idiotic, at least to me: what’s the point of Twitter at all? It’s just the ‘status’ line from Facebook? Laaaame.


I joined Twitter less than five years later and it is so much more useful than Facebook has ever been, especially for my work with Royals Review. Suffice it to say, this status did not age well.*

*In multiple ways! Remember when statuses said by default ‘YOUR NAME is’ and then what you put? Then, remember when they got rid of the ‘is’ and you could use any verb you want? Now, your name is not even attached to any status–or ‘post’, I suppose it is now. Social media is whack.

Twitter was lifted out the primordial internet soup in 2006, and it will celebrate its twelfth anniversary this month. As for any social media service, it took people a few years to learn it and utilize it properly.

And that led to this, the Greatest Tweet of All Time:

Yes, that’s the official National Football League team the Los Angeles Chargers tweeting about needing to go to PF Changs. And before you ask–yes, that was the Chargers’ official Twitter account back in 2007.

How did this happen? Well, Rodger Sherman over at SB Nation looked into it and has an explanation. Essentially, Joel Price, a digital media employee for the Chargers, snagged the @Chargers handle and began tweeting both personal and Chargers things. After a few months he got his own handle, @joelprice, and the @Chargers account became the official account of the team, as is standard practice nowadays.

But they never deleted Joel’s early musings. So now, it just looks like the Chargers have an undying love for PF Changs.

This tweet is also just pure comedy gold. Everything is perfect. He’s not ‘so’ hungry; he’s ‘soo’ hungry. He could have said he needed to ‘meet his wife’ or ‘go with the wife,’ but he used the much more colorful ‘find my wife,’ as if exploration is a common precursor to food consumption for him. And PF Changs is the type of perfect specificity that makes comedians’ jokes work: it’s well-known enough that pretty much everyone has seen one or been to it at least once, but it’s off-the-wall enough to add a level of ridiculousness to it all that makes it even funnier.

Are their funnier tweets? Sure. Are there better ones? Sure. But this is the perfect tweet: it’s an insight into the history of social media, a hilarious declaration of hunger, and a bizarre anachronism all at once. It is the best tweet of all time.

How I made peace with my gaming backlog, and how you can too

There’s one word that strikes fear into the heart of every gamer. No, it’s not ‘microtransactions,’ though that is a scary one. It’s not ‘delayed game,’ because that is, in fact, two words. That is not a fun thing to hear, either.

No; the one word that truly strikes fear into the heart of every gamer is ‘backlog.’ Did you shudder? I wouldn’t blame you if you did.

For those of you unaware, a backlog is a game or games that a player has in his or her queue to play. That seems like a relatively simple concept, and it really is. You can only play so many games at one time, so if you ever buy more games than you have time to play then some of them will have to sit unplayed until you get to them.

This is all well and good, and plenty logical, but there’s a huge catch when it comes to games. You can listen to a music album in 45 minutes. A film will take about two hours to watch. Reading a novel will usually take between three and seven hours. Watching an entire 20-episode, hour-long TV series will take a little over 14 hours if you’re not viewing any commercials.

But games? Well, they are a different animal entirely. The website HowLongToBeat polls gamers by asking how long it took them to beat a game, and then lists the averages of the polls. The Legend of Zelda: the Breath of the Wild won Game of the Year at this year’s Game Awards. According to HowLongToBeat, the core story of Breath of the Wild takes a whopping 44 hours or so. Extras can take dozens more hours, and a full completionist runthrough could climb to almost 200 hours. Many modern games will last about 20-30 hours, but some may last even longer than Breath of the Wild because they are open-ended.

Add the longer time it takes to experience games to the fact that there are dozens of great games that come out every year and, well, that’s how you get your backlog.

Every gamer has a backlog. It’s just a fact of life. But here are three steps that you can take to make peace with that backlog.

STEP ONE: Don’t buy a game that you’re not going to play now

bastion supergiant games

Look: video games go on sale all the time. All the time. Digital sales, physical sales–games rarely stay at full price for very long, and even after they drop you can often find a great deal on a title that you covet. There are at least two major Steam Sales every year, during summer and winter. If you prefer your games in Xbox or Playstation flavors, though, they often have digital sales of their own. And with consoles, you get the benefit of choosing used games, which are cheaper anyway and offer an additional avenue for gamers.

While seeing that hot indie title in the Steam sale at just $4 might be tempting, and seeing that Xbox Live sale of that newish game for only $20 might also be tempting, keep in mind that you’ll see those games at that price again. Yeah, it’s a great deal! But great deals happen in video game land constantly.

So, unless you are going to buy that game to play now or play next, don’t get it. Even if you think you’ll love it. Even if your friends are telling you to play it. Don’t buy games that you’re not going to play now.

If you’re a big fan of that game’s franchise and you know you’ll play it at some point, sure, that’s an exception. But a big source of most gamers’ backlog problems is that they knowingly add to it. Cut out the initial purchase until you’re ready to buy it, and you’ve cut away at the core of the issue: you don’t have a backlog if you don’t have games sitting around in the first place.

STEP TWO: Utilize let’s plays and Twitch

XCOM 2 enemy unknown

Nowadays, Youtube and Twitch are huge for gaming. You can look up and watch pretty much any game that has ever existed. Just the other day, I looked up a Lego Racer let’s play (for Nintendo 64, of course) because I wanted to see the game again. Lego Racer is not exactly a thunderous title that everyone remembers, but it’s there. Of course it’s there. The internet is infinite.

Part of my problem with my backlog is that I don’t want to spend a few hours learning and mastering a game’s mechanics. Games are a lot more complicated nowadays, and the learning period for many big titles or RPGs can be huge. But watching somebody else play it gets around that issue, and it might help you learn faster if you watch somebody else use the varying systems first.

Look: you will not be able to play every single game that comes out, let alone spend a lot of time in them. Twitch and Youtube allow you to explore games that you’re lukewarm on, experience games you know you won’t get to, or expand your palette into games you wouldn’t necessarily play yourself. There are a lot of ways to use let’s plays and streams, so if you want to use that to attack your backlog, you can, and if you want to use that to prevent games from getting there in the first place, you can. You have a lot of freedom, so use it.

STEP THREE: play what you want

assassin's creed syndicate synchronize big ben

Every gamer has uttered the sentence our thunk the thought “I should really be playing Game X right now” before popping a different disc into the console or clicking a different game in your Steam library. I certainly have. This will give you a feeling of inadequacy, like you’re failing yourself in some way. Like you have a responsibility to play that other game.

But I’ve got a news flash for you: life is too short. Play what you want.

Yes, it is important to expand your comfort zone and play games you wouldn’t otherwise play, because that’s how you find new experiences. As much as possible, you should try to do that. However, you should never feel bad about not playing something. If you want to play another few rounds of PUBG rather than starting up Hellblade, because you’re in the mood for the former, go for it.

Games are entertainment and we work hard to have downtime in which to partake in said entertainment. So why on earth should you feel bad for playing a game that you like?

It is this mental shift which will truly help you with your backlog. No gamer will complete their backlog. That’s just life. There will always be games to play, games we’ve bought but never completed, that darn backlog. If you want to play some games on the backlog, do it. That’s great. You’ve bought the game, after all. And if you don’t? Who cares.

Sometimes a sunk cost is a sunk cost. Don’t stop it from letting you enjoy the game you’re playing now.


All screenshots are from games on my own backlog. I may never play them. So it goes.

My favorite game of 2017

It’ll be February this week. February! Of 2018!

Not too long ago, I shared my favorite movies of 2017. And about a year ago, I shared my favorite games of 2016. In a normal year, I’d be sharing my favorite games of 2017 right about now.

But, well, that’s not gonna happen. Sorry. Sorry! I’m sorry, sorry.

There are multiple reasons for this. The first one is that I really haven’t played that many games that came out in 2017.

The second reason is that I’ve put a lot of playtime into a few games. I’ve played almost 160 hours of Destiny 2. I put in 50 hours into Mass Effect: Andromeda. Ditto that amount for my favorite game this year. Now that I’m married, I don’t play as many games as I used to. That’s ok. But when three games take up over 260 hours of playtime, that’s a lot of time that could be put into multiple separate games.

The third reason is that I played a lot of games that weren’t released in 2017. I’m not a game journalist, which means that I don’t have an obligation to constantly experience the cutting edge. So if I want to play Rocket League, God bless its beautiful calculated soul, I am going to play Rocket League, or Overwatch Furthermore, I finished the tremendous DLC for Witcher 3 last year, which sunk about 30 hours of my time, and I played another 30 hours of Cities: Skylines, a neat game that I missed when it initially came out. Oh yeah: I’ve also put in another 160 hours into NBA 2k17, which just sort of happened. Sports games are inherently rewarding and easy to return to, and I think are a little underrated in the modern game pantheon.

The fourth reason is that one game I played just blew the rest of them totally out of the water, making a ranking somewhat anticlimactic. At some point in the future, I’ll probably write about my full 2017 list – I have yet to finish Zelda: Breath of the Wild, and I’ve got a few PS4 games like Hellblade and Uncharted: Lost Legacy to play as well. But for now, let’s cut to the chase.

GOLD MEDAL – Horizon Zero Dawn

Aloy horizon zero dawn sunset

My own screenshot, wandering the lands as Aloy


To begin: Horizon Zero Dawn has no business existing.

First, it’s a single player game. Games nowadays are extraordinarily expensive to make; a standard estimate for a studio’s expense is at $10,000 per head per month. So a team of 100 people working on a game for two years results in a $24 million expense, with no income for the studio until the game is released.  The industry has instead moved towards ‘games as a service.’ These are games that contain an open-ended gameplay loop and an opportunity to utilize microtransactions. Horizon Zero Dawn has an expansive world but nothing beyond replaying it in a new game to keep customers around, its only downloadable content a standard issue expansion pack.

Second, Horizon Zero Dawn features a female protagonist. Yeah, it’s a game in 2017, but that truly matters, and it’s still rare. Look around at the other big releases of the year–Zelda, Mario, Cuphead, Destiny 2, Call of Duty: WWII–none of them feature you, the player, as a female protagonist and character.

horizon zero dawn mountain

Third, and most importantly, Horizon Zero Dawn is a brand new intellectual property. Media, as a whole, has relied more and more on franchises. New franchises are awfully risky, let alone new franchises from somewhat unknown developers. Like I said a few paragraphs ago, games are expensive. To do something new and fresh, something that could fail, and take as many risks as Guerrilla Games did with Horizon is brave.

Horizon Zero Dawn is a video game overflowing with effervescent creativity; it fuses impeccable world-building, satisfying combat, and strong emotional weight to offer an experience that has stuck with me for months. That, I think, is its greatest quality. It is so boldly itself that you can’t help but be gripped by it. Like Aloy, the game is determined and confident in every facet. It is not perfect, but it does not need to be. There are other games which bear facsimiles to this one–open world games with endearing characters, good combat, and interesting narrative hooks. But none of them are Horizon Zero Dawn.

It is a wonder. It should not exist. And yet it does, and its wild success is appropriate and deserved. I love it.

Why do we consume media at all?

Do we partake in entertainment–watching films, playing games, reading books–in order to escape reality or help understand reality?

That question sure seems mutually exclusive, but it’s something that people tend not to think about most of the time until politics rears its draconian head: how often do you hear “I don’t want politics in my football” or “keep your feminism out of my games” or “stop pushing your agenda in my television.”

The people raising those complaints are definitely in the ‘escape’ camp. When they turn on the baseball game, they don’t want to think about their problems or muse about the recent topics in the news. They just want to watch some dudes play a game and engross themselves into some lighthearted entertainment. When they watch the newest Star Wars, they don’t want to see thinly-veiled political commentary: they just want to see Kylo Ren’s chest muscles gleaming in the starlight.

kylo ren and his beautiful man breasts

On the other hand, the best media helps us process trauma, connect with others, and explore what it means to be human. By definition, that cannot occur without tackling difficult conflict. Escapism isn’t only about politics, after all; some consume media in order to take their minds off a death in the family, or worry about disease, or to attempt to forget something unforgettable. Those who argue that we consume media in order to understand reality point out the utter silliness and impossibility for media to ignore troublesome or thorny topics, and assert that it is far more healthy to process a loss than to actively ignore it and allow it to fester.

I certainly empathize with the escapists’ point. Escapism is important in a modern culture where harsh news is just a click away and digital conflict can be prompted with a single scroll of a mouse. The world is full of awful things, and good things are a welcome and necessary respite. For instance, if you’re sick of Trump, it’s almost impossible to avoid him, so you probably don’t want to see pontifications on Trumpian policies anywhere or

Donald Trump in Home Alone because reasons

Yeah…this scene aged interestingly.

…well, that.

I also empathize with the other point. We can process pain, loss, and difficulties through media. It helps us explore our emotions in a safe space, a space that is fictional. It lets us try out methods of coping by living vicariously through the characters, and so helps us decide what we ought to do in our own lives. Fiction also puts characters in situations that stress their humanity in ways that we never will experience; sci-fi and fantasy are particularly great at this.

However, I do not think that both ideas are mutually exclusive. Sometimes, we want to escape, and some media does a great job of escaping. Sometimes, we want to experience catharsis, to sit in emotion and process it.

But also I think that there can be a kind of catharsis through escapism. We can avoid our own problems by immersing ourselves in other people’s problems. And even if the conflicts happen to be similar to what we’re going through, it’s different because we actively recognize it as fiction.

Regardless, we keep coming back to fiction and other entertainment. It does something for us that we can’t or don’t get elsewhere. And what you get out of it is deeply personal. Maybe that’s why it is important.