The best games of May include a poignant visual novel about acceptance, a photography game set in a police state, and a game about a shark.
Normally I’m sad to see May go, but all I can say to the May we’ve had this year is “good riddance.” Not that I expect anything to change or improve in June—I’m pretty sure our trajectory is purely downward at this point in our nation’s history—but at least a new month can bring with it the promise of new hope.
Before we look at the games coming up in June, though, let’s take one final look back at the games that did their best to make May tolerable. Only three games really earn a spot here, but two of them are genuinely great works that beautifully pull off more than most games attempt. And the third is just some dumb, brutal, frequently idiotic fun. Here are the best new games of May 2020.isn’t a happy story. It’s an honest one. There’s a good chance you will cry, perhaps more than once, but there are also moments of joy, love and triumph. Despite the artistry of its presentation, and despite a recurring sci-fi metaphor that adds a bit of depth to the story but never quite fully connects, this is a low-key, modest, human affair. Its observations about family and relationships are touching, grounded and real, avoiding melodrama or outsized pronouncements about human nature. Much of it is universal, sure, but the focus remains on Kasio and how her merely being who she is can disrupt her relationships with her family and the world around her. It’s a character study of a specific person in a specific time and place, but whose pains and struggle ring true throughout the ages.was instantly transfixing. From the start—when it seems like it’ll be the first visual novel totackle the cosmic conspiracy theory surrounding Nibiru, the so-called Planet X, the “dark star” of the Grateful Dead—I was locked into its churning sea of colors and the peaceful process of gliding my mouse back and forth. Those sci-fi trappings aren’t quite misdirection—they eventually wind up impacting the main plot—but they’re more metaphor than anything else, a dreamlike imagining of a black hole in space to reflect the inexorable pull and turmoil of Kasio’s life back on earth. The intellectual and stylistic hook of that opening cedes to something deeper, more powerful and emotional once the game focuses on Kasio and her life. I wound my way through it in two sessions in the same night, sifting through the life of this stranger, a life almost nothing like my own and yet with a few striking parallels. To paraphrase one of the greatest rock ‘n’ roll songs of all time, it moved me. It bridges the gaps between a handful of different mediums and artistic disciplines to create a sad, poignant, ultimately uplifting tale. It’s a short story told through words, music, pictures both static and moving, and through the direct action of its audience, who can only engage with it in a manner that comments on and reinforces some of the game’s central themes. It’s a smart way to use the language and expectations of games to tell a story that’s as beautiful and delicate, as powerful and painful, as life itself.Does this sound familiar? A city’s in lockdown after a crisis, its citizens wearing face masks for their own health. Heavily armed cops patrol streets rife with anti-cop graffiti. Institutions have violated their compact with the people, and those in power came down hard on those who rose up against them. It’s real life around the world right now, but it’s also the setting for, a beautiful photo game that contrasts the peacefulness of taking photos and making art with the fear and violence of a police state, and which came out a week before the protests inspired by George Floyd’s murder went global. The societal issues that people are protesting are timeless, sadly, and embedded at the very foundation of our culture, which means a game likewill always be timely—at least until society is transformed to the point of being unrecognizable. Playingover the last few days can be taxing, especially if you turn to games simply to shut out the world around you and ignore what’s happening. The added context of the last week also makes it exhilarating, though, and in a way that leaves me feeling a bit guilty and shameful—like a tourist who, instead of documenting real life oppression, is living in a fictionalized version of it. The events that inspired’s crisis are environmental—designer Naphtali Faulkner’s mother’s house was destroyed during the bush fires that raged through Australia last year, and the game’s dark red skies hint at a different kind of trauma than the one currently happening in America and elsewhere. It’s one that still looms above all of society, though; if we don’t tear our own cities down first, the worsening climate problem inevitably will. Despite the different disasters, and even with its futuristic, sci-fi trappings,
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