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The result is a more honest, considered reflection of our conflicting tastes and opinions as PC gamers.


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This list represents what we think are the greatest PC games you can play today. We wanted to celebrate the breadth and variety of PC gaming, and so, for the most part, have restricted ourselves to one game per series. You'll also find a selection of personal picks: games we individually love that didn't quite make the cut.

If you're looking for a list of the games that helped shape PC gaming as we know it, try the 50 most important PC games of all time. Steven Messner: Path of Exile has quietly become one of the best action RPGs around thanks to its almost incomprehensible depth and wildly different seasonal leagues, where whole new systems are introduced.

But the best part is its character customisation and spell crafting system. Path of Exile encourages players to make marauders who let spell totems do all the killing for them, witches who melt hordes with a fiery beam, or duelists that cover every inch of the map in a deadly rain of arrows. John Strike: Tiberian Sun's best mod brazenly shames the original Firestorm expansion in almost every way. Evan Lahti: There are disturbingly few places in video games where I can cut an evil clown in half with a quad-barrelled shotgun.

Hordes of monsters trickle into the map, magnetized to your position, and you mulch them with buzzsaw-spitters, incendiary shotguns, rocket launchers, or a microwave cannon that heats enemies from the inside until they burst. The dynamic slow-mo system adds so much, dampening the chaos just enough—granting extra moments to take aim or take in the sight of an intestine flying across the screen. Tripwire is a skilled digital gunsmith, and the detail lent to particle effects and reload animations holds up wonderfully even under the scrutiny of these plentiful, slowed-down sequences.

On higher difficulties, enemies adopt different behavioral triggers that make them genuinely harder to handle. Wes Fenlon: The precision and teamwork it takes to play Killing Floor 2 at higher difficulties is especially thrilling. It was pretty bad, but I appreciated the option.

Phil Savage: A coming-of-age platformer starring an anthropomorphic cat returning home to a dead-end town after dropping out of college. I particularly love the frequent use of minigames as a way to highlight the need to escape the monotony of day-to-day responsibility. Andy Kelly: A beautiful, heartfelt story brought to life by flawed, nuanced characters who just happen to be talking animals.

It says something about life, but always knows when to crack a joke—and always with perfect timing—when things get too heavy. Philippa Warr: Deadly Premonition is always a gamble of a recommendation. It's a gamble worth taking, though, because if you get on with its strangeness and its idiosyncrasies, it rewards you with a weird and beautiful experience of a kind you don't often get in gaming. Yes, the cars handle horribly. Yes, the PC version has crashed on me extensively. Yes, it starts off more as an irritating pastiche of Twin Peaks.

Yes, it has frustrating quicktime events. And yes, some reveals draw uncomfortably on lazy tropes. But within that is a supernatural-tinged mystery that alternates between survival horror third-person shooter and a horror comedy investigation. None of the game's shortcomings were dealbreakers for me and several of the characters I encountered as I hunted for the Raincoat Killer have stayed with me for the best part of a decade. Pip: Stick Shift is my go-to example of a game which invokes complex subject matter while also being really fun to play.

As per developer Robert Yang's description: "Stick Shift is an autoerotic night-driving game about pleasuring a gay car. It's also a game where you move your mouse rhythmically, working your car to a climax. Phil: Frontier's galactic sandbox treads a fine line between excitement and tedium.

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Ferrying pesticides to an outpost six lightyears away! However you decide to play, though—whatever amount of excitement you desire—Elite is still a masterfully crafted spaceship simulator. I love the design and feel of its ships, particularly the holographic UI and peerless sci-fi sound design. Andy: Whether it's a chunky cargo hauler or a nimble fighter, every starship in Elite has its own distinct personality. They're all a delight to fly. Even the most mundane task feels wonderfully tactile.

But developer Level-5 has done fine on its own, creating a rich fantasy world with a cast of vivid characters worthy of the Ghibli name. This is a sweeping JRPG about an usurped boy king on a quest to rebuild his kingdom and reclaim his throne. It's also one of the most colourful, vibrant games on PC.

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Wes: The cutscenes are remarkably Ghibli and full of pep and puns, but what really made me fall for Ni No Kuni 2 is just how many systems it layers atop systems, like a big-budget JRPG of old. The sprawling kingdom builder is the centerpiece, with characters to recruit and buildings to construct and upgrade. Pip: Mu Cartographer is initially obtuse. But once you start tinkering with all the different buttons and dials on the interface you begin to see how to explore the strange map.

The peaks and troughs of digital noise on your display suddenly turn into recognisable shapes as you tweak the settings and find the sweet spot. Stepped pyramids rise up where seconds ago all you could see was a fuzzy mess. Phil: Guild Wars 2 is full of clever quality-of-life features—it's still one of the few MMOs that's figured out how to let you easily play with friends of a different level.

The flow and pace of its maps are a thing of beauty, too. Groups expand and contract naturally, as people wander off to explore on their own, before coming together for a small-scale event or organising to complete a single map-wide objective. You get all the joy of cooperation without the need to commit a significant amount of your time. Just turn up and play. Then, when you eventually get tired, go off and do something else. There's also no subscription, and none of the expansions have raised the level cap, so you're free to come and go as you please, playing at your own pace without ever worrying that you're falling behind.

You can play for hours every week if you want—ticking off the hardest achievements and earning the rarest loot—but I'm happy to log back in every six months or so, safe in the knowledge that I'm ready for whatever's next. Tom: I have fought huge dragon bosses and a marionette the size of a skyscraper, and I didn't need to grind for hours for the privilege. Guild Wars 2 earnestly tries to reinvent the MMO by reshaping the bullshit grinding and levelling systems that had become rote in the genre.

Wes: I'm about as bad at this surprisingly deep baseball game as I am at real baseball, but as a lapsed fan of America's pastime I appreciate how good this rendition is. It walks the line between a hyper-detailed sports sim and an arcadey NBA Jam-like, with simple controls but tons of nuance in pitching and hitting. Chris Livingston: The customization is great, letting you change everything from player abilities to team logos, and its Pennant Race mode makes every online game feel important. Samuel Roberts: You start in an abandoned office with a narrator telling you what you're supposed to do next.

If you obey his instructions it will lead you to an ending. But if you don't, you'll discover many more fascinating, exciting little stories. Phil: An antagonistic dialogue between a man with no body and another with no voice. Weird, funny and full of ideas. Pip: Games often struggle with comedy. The Stanley Parable manages to be consistently funny as well as whip smart. Wes: A chill, surprisingly hilarious party game I can play for hours. Everyone joins in on a smartphone and gets a phrase to draw on the touchscreen, then writes their own descriptions of everyone else's drawing to trick the crowd or simply get the most laughs.

It's like millennial Pictionary, so inevitably people draw a lot more dicks. James Davenport: The back-and-forth struggles of Nidhogg were already unpredictable, but bows, axes, swords, and daggers transform simple fencing standoffs into tense, sweaty battles for control. Nidhogg 2 is an excellent way to graft friends to the couch.

Evan: A see-sawing melee mess. No PC game produces more smile-yelling than Nidhogg 2. Pip: Stephen's Sausage Roll and I are on a break. I can't remember exactly why, but I know that I definitely rage-quit the sausage-grilling puzzler a while ago and haven't become sufficiently not angry to go back. That isn't a criticism, though; this is the puzzle game I recommend to the friends who want a real challenge.

Evan: It's turn-based MMA with walking tanks. Unlike XCOM 2, the durability and modular design of mechs makes for drawn out, back-and-forth exchanges that become micro-stories of attrition and mettle. You trade blows with an Atlas, weave and evade it, it cleaves off one of your body segments, you circle around, knock it down and KO it with a face stomp. I love BattleTech's degrees of failure.

You might complete all objectives but lose your rare, damage-boosted PPC, put a pilot in a two-month coma, or have to spend every nickel you just earned fixing up your battered Highlander. The campaign wrapped around BattleTech's granular combat is a bottomless well of procedurally generated missions with a heartwarming story of underdog regal revenge at its nucleus.

Joe Donnelly: Following some less comprehensive annual instalments, Football Manager gives us the most sophisticated soccer management simulation yet, where success is no longer determined by match performance alone. Piss off the wrong combination of players, and you'll risk a dressing room revolt. Suck up to the most popular, and you'll isolate your fringe stars.

You need to balance influence and social standings to prevent the beautiful game from turning ugly. Pip: I don't think many people can consciously identify a 'fast-moving rhythm action space beetle combat game with a heady metal album aesthetic' void in their lives. But it exists and Thumper can fix it. Phil: The dark, grungy synths and unusual time signatures create a fascinatingly ominous soundscape that draws you into the claustrophobic, reactive action. Thumper offers a mesmerising blend of palpable dread and empowering mastery—at least it did for me until the later levels, which required a degree of dexterity I'm not sure I possess.

James: That scarab scrapes down the interdimensional highway at the centre of Thumper with so much speed and ferocity that the game almost literally breaks apart by the end. Nod your head to dull the pain. Andy: The problem with simulators is that they're often badly designed, technically janky or both. But Euro Truck Simulator 2 is neither of these things. This is a deep, polished, and immensely playable driving game set in a vast, mostly accurate replica of Europe.

You can drive seamlessly between countries, and there's an understated beauty to the scenery that passes you by. It's also incredibly atmospheric, especially at night or in the rain. There's no better game to play while listening to music or catching up on podcasts, and it's deeply customisable too, meaning you can make each road trip as realistic or accessible as you like, depending on how deep you want the simulation to be.

That's not because I love weigh stations—they're fine, if that's your thing—but because America's vast, terrifying emptiness feels more isolated, more epic, and, dare I say, more romantic. Euro Truck Simulator 2, on the other hand, is dense and busy, but also muted—it's altogether greyer and more moodily atmospheric. Both games are fantastic, and which one you prefer is likely a matter of which style of road trip speaks more to your personality. How many simulation games can you say that of? Samuel: It turns out being the captain of your own spaceship is stressful as hell, but you'll take part in some great stories along the way.

FTL is a superior mix of roguelike and strategy. While Into The Breach is taking its place in my life, this is still one of the best space-set games around. Wes: It can make for a great party game, too. Put someone in the driver's seat and let the crowd make choices. Suddenly half your ship is on fire and you've accidentally vented one of your crew into space. Chris: This grim and unforgiving open world FPS never turns you into an invincible superhero.

No matter how much gear and weaponry you scrounge from the irradiated exclusion zone, you're still mortal and fragile, alone in a terrifying world of mutants, monsters, and roaming factions of AI-controlled humans.


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This lends Stalker an unending tension and fills every encounter with dread. From start to finish, there's a sense that at any moment you could meet your unceremonious end. Wes: People are making mods and maps for this game like it was released a year ago. That's awesome. But what really strikes me about Doom 2 is how fun it still is, and how different it feels from decades more advanced shooters. There's a purity in how it moves, how it sounds and the minimum frames of animation it takes to sell firing the super shotgun.

Pip: Twenty years after its initial release it's still a real pleasure to revisit the film noir world of Manny Calavera, travel agent of the afterlife. Nowadays I play purely for the story so I keep online hints at hand for when progress stalls. Samuel: There's a long tail to Vermintide 2 if you're willing to stick with this four-player Left 4 Dead-alike set in the Warhammer universe.

It looks prettier than the first game, offers more in-depth character progression, and has much better combat. Phil: It feels really good to stab up a rat, and if that's not worth a spot on this list, I'd love to know what is. Samuel: This spooky adventure game has a group of young friends inadvertently unlock a supernatural force on a haunted island.

The relationships and various tensions between all the characters feel very real, and the dialogue is funny and poignant. These characters feel like they could've been people I went to school with. Phil: The snappy, fun dialogue makes Oxenfree feel more theatrical than realistic, but that fits perfectly with the eerie mystery and interpersonal drama.

Pip: I added Grey Alien's card-game-slash-Regency-romance to our Top discussion list, then reinstalled the game and spent three hours of the Top discussion playing this in the background. I'm fighting the urge to play it again now instead of finishing this incredibly short paragraph about why it's good. The solitaire aspect is really strong, it's super easy to play just one more round, and the story is light but charming.

Are we done? Can I boot it up again? These ramshackle weapons carry you through a filthy, atmospheric corridor shooter set in the depths of the Moscow undercity. The tunnels hide mutant creatures and nests of horrible spidery things, but the most dangerous enemies are the human clans trying to scrape out a living in the post-apocalypse. The world building in Metro: Last Light is dazzling to me—the little snapshots of human civilisation that show how there are children in these underground settlements who never knew the world before it got into this bleak, decrepit state.

And the story features some unforgettable moments, such as an early flashback that shows—from the perspective of the pilots—how a passenger plane was destroyed in the nuclear blast. It commits to showing the horrors of what a nuclear war would do to the modern world, and I'd recommend it to absolutely anyone. Steven: Square Enix's from-the-ashes MMO enjoyed another stellar year following the release of Stormblood, a revolution-themed expansion that whisks players across the sea to Eastern-inspired worlds that add much richness to an already great story.

Though its endgame has become a predictable grind at this point, Final Fantasy 14 is still able to keep things exciting thanks to the steady pace of new bosses, dungeons, and raids to clear. Each one is just as memorable as the last thanks to a stunning soundtrack and beautiful world design. Pip: Cosmo D's first-person jazz hotel exploration has you poking around a converted mansion and uncovering the secrets of its former owner, celebrated pianist, Peter Norwood.

Musicality shapes the whole experience, warping the space and affecting the denizens. As you dig around you'll also discover the game's sense of humour via visual gags and surreal chats with guests and visitors. It's sandbox in the truest sense, and the feeling of loosing an arrow into a line of galloping cavalry still holds up. Phil: You start with nothing: left for dead in a town with few weapons, no supplies and barely any gold.

From such inauspicious beginnings, you're free to do just about anything. Hunt bandits, befriend lords, rob pretty much anyone. Or, if you don't fancy leading hundreds of soldiers, just go fight for prestige in the arena.

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New challenges are constantly being thrown at you, forcing you to try new units and tactics, and the story isn't bad either. When you're done with all that, you can take your newfound skills online, which still has a huge and dedicated following. There's a bottomless pit of tips, tutorials, and strategies online, meaning new players have a decent chance of catching up. Tom: Maybe a game like Stellaris will knock this classic spacebound 4X strategy game out of the Top , but not this year. It's hard to beat a game that's so smart and complete, and that can generate so much strategic intrigue with every campaign.

The AI is so cunning that former PC Gamer staffer-turned-developer Tom Francis once wrote an entire book about one of his attempts to thwart it. Singleplayer games don't get much deeper than this. Chris: There's an engrossing amount of depth to the management simulation of Prison Architect, where building a workshop for inmates to make license plates doesn't mean they'll just walk in and begin working.

First they'll need training, which requires classrooms, which require instructors, who require work and class schedules and their own facilities. Oh, and metal detectors to make sure the inmates don't smuggle out tools to use as weapons against guards or other inmates, or to tunnel under the walls of your prison. It's not easy building and managing a small city where most of the population is plotting escape.

Andy: I love it when things go to shit in management sims, and Prison Architect is enormously fun to watch and manage when disaster inevitably strikes. A streak of black comedy runs through the game, and there's something darkly hilarious about a riot erupting—these cartoonish little characters shivving each other, starting fires and beating up guards.

Something as simple as a fight in the canteen can be the flashpoint for a full-scale riot, and trying to suppress it safely and quickly is a real test of skill. But that doesn't mean you can't have some fun observing the chaos before rolling your sleeves up and stepping in to deal with it.

Pip: An adorable Ghibli-esque aesthetic—particularly the opening cutscene—gives way to a rock hard Metroidvania platformer. Your eyes are as likely to tear up with emotion as they are with absolute fury if you fail a boss one too many times. Tom: It looks like sugar but tastes like salt. Ori is not the moonlit animal paradise it appears to be at first glance. The art is absolutely gorgeous. It's a hazy, dreamlike world of artfully twisted overgrowth and spike pits. The movement is so quick, precise and responsive I just want to squeeze it, even as it stabs me repeatedly in the heart.

Approach with caution and keep some hankies and a swear jar within reach. Chris: A survival and crisis management sim about building and sustaining city in a frozen world. In addition to providing food, warmth, and shelter to your citizens, you have to provide them something much trickier: hope for the future. That's immensely difficult when people are starving, freezing, and working themselves to death under your direction, and the choices you face are grim ones that never leave you feeling like a hero, even when things work out.

Frostpunk is a game that asks two questions: 'How far are you willing to go to save lives? Tom: 'Maybe I should start another Crusader run': seven words that could take up 60 hours of my life. Diablo 3 is still a stellar action RPG that has only become more generous year on year after its unsteady and controversial launch. The necromancer is a fantastic addition that calls back to Diablo 2 without nostalgically retreading the same ground.

If you want to smash up thousands of monsters for gold and loot, there aren't many games that do it as well as Diablo 3. Samuel: A superb hack-and-slash game that rewards mastery with feeling like a badass. It's pretty much the first place I'd send anyone new to this genre of game that has its modern roots in Capcom's Devil May Cry series. This, from that game's creator, is funny, stylish and satisfying to learn.

Its sequel, which Nintendo published, doesn't come close to matching the original. The range of weapons here fits together perfectly. Phil: The fast-paced combat is yet to be bettered, and the world and story are equal parts stylish and absurd. Pip: The rhythm combat in this game is so polished that I love it even when it's at its most stressful. You have to move on every beat or risk losing your cash multiplier, which means there's no downtime to plan your next move. Is a multiplier all that important, you ask?

Wes: This would be a great roguelike in its own right, but it's almost unfair how cleverly the musical element is threaded through exploration and combat. Try dungeon dancing to your own music for a new challenge. Pip: I bounced off Sunless Sea so hard when it first came out—I remember clunky combat and irritating resource grind as core objections. Returning to the game with the Zubmariner DLC I found myself well and truly suckered in—devoting hours to pottering away in the Unterzee, drinking in Failbetter's expert prose and luxuriating in the art style. Sunless Skies is shaping up to be another step forward so I'm singing Sunless Sea's praises now, lest seas be eclipsed by skies in the near future!

Tom: Baldur's Gate 2 is still a magnificent achievement. Few RPGs since have been as broad, deep or fully featured as this sprawling classic. It's a great party RPG too.

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Few modern games would be brave enough to implement a morality system that causes party members to fall out with you and leave the party—the closest you might get is Wrex's rebellion in Mass Effect. Phil: After the slightly too long tutorial dungeon, Baldur's Gate II hits the ground running, setting you loose in the massive city of Athkatla to earn money to fund the next leg of your journey. Phil: A vast, beautiful mystery that's equal parts intriguing and relaxing, Fez is a puzzle-platformer that forgoes enemies and peril, instead offering a pleasant adventure about a strange world full of questions to answer.

At its most basic, you rotate between four 2D planes, shifting the world in order to create a path to the next door. But over the course of the game, you'll solve riddles, uncover secrets, and even decode languages. Fez is a tantalising puzzle box just waiting to be unlocked. Samuel: Take a journey around a steampunk-infused world as Passepartout, Phileas Fogg's indispensable assistant. Then, whether you succeed or fail, take the journey again and again, and see all the places and stories you missed the first time around. While it feels made for mobile, you should definitely pick it up on desktop if you've never played it.

Like the rest of the games in the series, it's a beautiful big RPG with a cast of characters that span from annoying Vaan to awesome Balthier. This entry is the only one with the excellent gambit tactics system, which lets you program your party's AI to blitz dungeons and bosses with satisfying efficiency. Samuel: You can fast-forward this version of the game, too, giving the combat the pace and catharsis it desperately needed back when it came out on PS2.

Pip: This is the third game in Matthew Brown's hex-grid logic puzzler series, and it's the best of the bunch. The 'infinite' part of the title refers to the fact that it can generate infinite puzzles if you want to keep playing. But the real joy, and the reason I keep replaying it, is the set which Brown has hand-crafted.

Absolute puzzle bliss. Tom: The saddest spaceships in games must travel the galaxy looking for a new home in Relic's classic RTS. If you love brain-scrambling 3D battles then this is the only strategy game that really delivers. Deserts of Kharak is excellent too, but I'd sooner play a game bold enough to deploy Adagio for Strings in a scrap. Pip: I have spent north of 2, hours in this game. You do not need to know how much money I have spent in this game. But that investment, both temporal and financial, was because this MOBA continued to reward me. There's a rich esports scene, a daft and creative community, the ability for friendships to blossom and for groups of players to cross pollinate as friends of friends move in and out of your teammate invite list.

I only stop by occasionally now, but Valve continues to offer interesting updates. Turbo mode is my favourite addition in recent times, not least because it affords newbies a space where they can try characters out without as much pressure as a normal match. Samuel: It's a phenomenon I'd recommend trying to anyone who plays on PC, even if they bounce off it. That tension of landing in this world and seeing what plays out is an experience everyone should have. Evan put it best last year, so allow me to repeat it here: "it compresses the time and space that survival games like DayZ give you, forcing you into contact with other players and out of your comfort zone.

Andy: I play PlayerUnknown's Battlegrounds as a stealth game, moving carefully between cover, keeping out of sight, biding my time. But the thrill here is that the 'guards' are real people, which makes sneaking under their noses even more exhilarating. Tom: This one has slipped down the list this year, largely because in recent times we've seen developers pick up the immersive sim baton and run with it—see entry number two in this list for the results.

Deus Ex is still a classic, though. Even though the visuals, UI, dialogue and sound design seem more creaky each year, the scope for experimentation and emergent player-authored action is still impressive. Phil: It's creaky for sure, but Deus Ex's freedom still feels remarkable, as does its level of respect for the player. But Deus Ex thrusts you into a paranoid world where everyone has an agenda and every command should be questioned.

New Vegas is the best for reactive storytelling, Fallout 3 has my favourite side quests, and Fallout 4 feels the most refined when it comes to combat, presentation and world design. Even if the choices towards the end didn't produce outcomes I was happy with, I loved journeying around that world with Nick Valentine and Piper. And taking on the role of pulp-style hero The Silver Shroud represents my favourite superhero experience in any game. Evan: There's nothing quite like Fallout's setting. Its cynical, post-apocalyptic, Atomic Age sci-fi is dripping with black humour and absurdity.

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