7 Best Games of the Year…1994

Look, for every year I do one of these things, a lot of important and beloved games get left in the dust. 1994 definitely felt like a transition year, as the 3D revolution was just on the horizon and certain late 16-bit masterpieces had not yet hit the market. Don’t get me wrong; there are many more than seven good or even great games from 1994. But once I had worked my way through the year’s most notable, interesting, fun, and/or influential games, I came to the conclusion that there are just these seven that represent the highest quality the video game industry produced in 1994. But of course, one of the best albums of all time, if not the best, came out in 1994: WEEZER (BLUE ALBUM). Elsewhere in entertainment, THE LION KING cemented the Disney renaissance, and on the bad-news-real-world front, the Northridge earthquake hit Los Angeles, killing 57 and injuring 8,700. I guess let’s talk about fun toys now.

Note: Previous entries in this series were built with North American release dates in mind. Since the 1986 installment, games are considered for the year they were first released, regardless of territory. Thankfully, there weren’t any major games lost in this translation.

#7 — DOOM II

Developer: id Software
Publisher: GT Interactive Software

When you get more of the same as it pertains to DOOM (1993), you’re getting more pure video game heroin injected into your cerebral cortex, so you can’t complain too much. So yes, DOOM II is just more DOOM; it’s almost more like an expansion pack then a full, overhauled sequel. In the spirit of a popular turn of phrase, it’s almost like a DOOM 1.5. It has many of the same enemies (plus new interesting ones, however) in similar environments (given some new life by the game’s Earth setting) with mostly the same guns (but the Super Shotgun is a welcome and awesome addition). And of course, there are just a ton of new levels to explore and kill demons in. The level design in DOOM II is larger in scope, sometimes to its detriment; it’s much easier to hit a wall (literally and figuratively) and not know what to do next or where to find the necessary key. Nevertheless, DOOM II is still DOOM. That’s gotta count for something.

#6 — MEGA MAN X2

Developer/Publisher: Capcom

While we’re talking about “1.5s,” MEGA MAN X2, like most MEGA MAN sequels within the Blue Bomber’s sub-franchises, doesn’t dramatically overhaul its predecessor’s template. It continues a much more elaborate story line than the original series and the fluid platforming action. There are new animal-man bosses that give X exciting weapons that can be used to great effect against other bosses, each level has hidden upgrades that make the game much more “beatable,” and finding all the parts of X’s dearly departed friend Zero actually yields a different ending. It’s MEGA MAN alright, and that’s why it’s great.

#5 — THE ELDER SCROLLS: ARENA

Developer/Publisher: Bethesda Softworks

For 1994, ARENA might as well be crowned the most expansive open-world RPG of the time. Its scope is incredible; its world map is huge, albeit randomly generated. Any kind of travel across all provinces of Tamriel (and the game does comprise all provinces, unlike later games) is really accomplished with fast travel, although wandering the wilderness can yield interesting dungeons and grinding opportunities. The wide array of races and classes echo what would come; in fact, many aspects of this otherwise simplistic game echo the huge, groundbreaking ELDER SCROLLS installments that would launch Bethesda into prestige. Part of ARENA’s appeal, as a huge ELDER SCROLLS fan, is its introduction of the series’ core elements and lore. And the other part is its investing dungeon crawling and combat with a wide array of possibilities. ARENA is a true role-playing game. It provides just enough of a story/quest framework and and a lot diverse mechanic options to allow you to build your character’s motivations and feel like you’re a part of the game’s world.

#4 — SYSTEM SHOCK

Developer: Looking Glass Technologies
Publisher: Origin Systems

SYSTEM SHOCK blew me away. THE ELDER SCROLLS: ARENA had a difficult climb into playability, much like a lot of the PC games of the era that require some significant investment for a significant reward (barring id’s games). SYSTEM SHOCK required just a bit more of that investment to even understand how to play it, and so its incredible achievements resonate even more powerfully. The Enhanced Edition of the game improves playability just enough while retaining the 1994 PC game’s idiosyncrasies, and the game’s space station setting actually comprises some pretty unique environments. SYSTEM SHOCK also essentially introduced the audio log method of storytelling, which it does really well. The game is not a shooter, but combat is really satisfying. And another aspect of its lasting appeal is the ability to slide difficulty for different aspects, like combat or puzzles. Among SYSTEM SHOCK’s spiritual successors are DEUS EX (2000) and BIOSHOCK (2007). Ultimately, it’s what could be called an “immersive” game, a virtual world fully realized by complex mechanics and a compelling story. SYSTEM SHOCK was incredibly ahead of its time, foretelling a certain kind of narrative game that wouldn’t come to prominence until, really, at least five years later.

#3 — SUPER METROID

Developer/Publisher: Nintendo

SUPER METROID’s “environmental storytelling” and moody, dangerous atmosphere make it one of the Super Nintendo’s most compelling games. In fact, there’s a reason why it often makes “best games of all time” lists. And although I found myself a little underwhelmed after playing it for the first time (due to its universally effusive praise), SUPER METROID’s beauty is undeniable. And that beauty doesn’t only apply to the game’s aesthetics or minimalist music. SUPER METROID is meticulously designed, truly developing the “Metroidvania” genre into what we recognize today. It’s incredibly fun to play and a powerful experience with mystery and alien secrets aplenty.

#2 — DONKEY KONG COUNTRY

Developer: Rare
Publisher: Nintendo

DONKEY KONG COUNTRY has been the subject of some negative revisionist history in recent years, despite its huge commercial and critical success upon its release. The very aspects that made it popular in 1994 (its pre-rendered 3D graphics and heavier platforming defined by a unique sense of momentum) are now the topics of criticism. That’s cool, but those very factors are why I still love the game. There’s a ton of nostalgia wrapped up in my love for DKC, since it’s one of the first games I can remember playing, but returning to it over the years cements its place as one of my favorite platformers. What looked so futuristic in 1994 now looks beautifully quaint; characters’ and environments’ smooth, primitive 3D now gives off a kind of claymation look. But the movement of the game is nothing like stop-motion. It’s smooth, weighty, and predictable, things that make a platformer playable. There’s plenty of frustrating challenge, but overall, DONKEY KONG COUNTRY is well-designed. And Rare’s reinvention of the classic character, addition of an entirely new supporting cast of characters, and development of diverse and beautiful environments cannot be sold short. “Game feel” and atmosphere is a hard thing to articulate, but DONKEY KONG COUNTRY’s vibe thrums throughout one of the most unique 16-bit worlds. And Rare improved upon it in DONKEY KONG COUNTRY 2: DIDDY’S KONG QUEST (1995)! I’m sure it’ll make an appearance on next year’s list.

#1 — EARTHBOUND

Developers: Ape, HAL Laboratory
Publisher: Nintendo

Nintendo has some pretty die-hard fans for their various franchises, but the way a vocal, if not huge, segment of its base loves EARTHBOUND is almost beyond the pale. But it’s for good reason. Known as MOTHER 2 in Japan, EARTHBOUND was North America’s only official exposure to the trilogy for years until EARTHBOUND BEGINNINGS (1989) was released on the Wii U Virtual Console in 2015. That is also a great game, but EARTHBOUND took the template to new heights on 16-bit hardware. I’ve mentioned atmosphere and game feel a few times in this piece, but nowhere is a more potent experience to be found in 1994. EARTHBOUND tells a magical story of kids navigating bizarre approximations of American locations and alien locales while fighting crows and Starmen with bats, yo-yos, and magical powers. EARTHBOUND is a brilliant mix of arcane americana, hilariously translated into an English script full of American references and turns of phrase. And, of course, its turn-based combat, ingeniously twisted into more open accessibility with a rolling health ticker that allows for last-minute actions in the face of certain death, weaves the entire experience together. RPGs that allow you to avoid enemy encounters always hold a special place in my heart, and ones that keep leveling/equipping/exploring relatively simple soar into potential favorite territory. EARTHBOUND does that, and it does so much more with everything surrounding its gameplay. Its an incredibly creative, unparalleled display of auteur-ish game design from creator and renaissance man Shigesato Itoi, although of course every video game (and indeed movie) is a collaborative effort. EARTHBOUND is one of the truly great video games, period, and a must-play.

In spite of my indication that 1994 was a “weaker” year, its best games are no less enjoyable or important. I’ve marked an increase in PC games making their way into my favorites, and this year was pretty evenly split between them and Super Nintendo releases. Sorry Genesis! There’s always next year…but then there’s also PlayStation next year, in a real way after its December 1994 launch in Japan. Hopefully it doesn’t take me eight months to make my way through my 1995 list!*

*Editor’s note: he always says something like this, but, ya know, life happens.†

†Note on the editor’s note: there is no editor. I wrote that. Sorry for misleading you to the conclusion that this is even a semi-professional affair.