It’s that time of year. Once again, as everybody gets prepared for the new year, we’ve been slaving away over a massive pile of indie games that got released in 2011 in order to bring you our very best. And what a year it was!

But make no mistake, like last year’s Best of 2010 article, this is no mere “top 10” post. There is simply no way that we, as indie game writers, could whittle down a list to a hard number. It would have been impossible, especially given that as editors of this fine site, each of us has a different opinion.

Instead, what you’ll find below is an amalgamation of picks from each of us. Myself, Dominic, Erik, Mazen, Rowan and Arsen each picked our top five to ten games of the year and we’ve thrown them into one big pile. So how does it work? Simple!

Each game that gets a single mention by one of us is given an “Honorable Mention” for the year. As games get chosen by more editor’s they move up the tier. The game that has the most picks is awarded “Indie Game of the Year.”

So, without further ado, here are our top picks starting with the Honorable Mentions:

HONORABLE MENTIONS (One Mention)

Atom Zombie Smasher

It may not get the love it deserves having released so early in the year, but there’s not a doubt in my mind Atom Zombie Smasher is one of the best games to come out in 2011. What I can only describe as a top-down extract/bombard ‘em up, AZS has a new piece of brilliance and hilarity lying around every corner of both plot and gameplay. Leave it to Blendo Games to come up with another bizarre, unique, and addicting as hell effort–Brendon Chung had become a master at all that it seems.
-Erik Johnson

Battleheart

Mika Mobile’s Battleheart is, without a doubt, the best iOS game I played all year. I spent countless hours on it, attempting to perfect my strategies and level up my characters in order to traverse its challenging stages. It was a mix of tower defense and adventure/RPG, and holy hell did it eat up my iPhone’s battery life. I recommend Battleheart to every single gamer on iOS, and I’ll be damn surprised if anyone hates or even doesn’t like it.
-Arsen Nazaryan

Brutal Doom

In terms of sheer time invested, Brutal Doom wins out by far as my mod of the year. Recently given the Gameplay Mod of The Year award by the Doom community, it’s easy to see why – it makes one of the best games ever made better. It’s loud, messy and utterly dumb… except that it isn’t. Dumb, that is. While this mod does shamelessly add rivers of gore, Mortal Kombat-esque fatalities and a button dedicated purely to extending your middle finger at your enemies, the weapons have all been redesigned and rebalanced to be more flexible and satisfying to use, and the enemies are faster, more aggressive and more capable than ever before. It’s compatible with almost every classic Doom level pack in existence, too. If you’ve ever enjoyed Doom, or any classic FPS for that matter, this is an absolute must-play.
-Dominic Tarason

Cursed Loot

The funnest game I played this year. I could not stop playing it, honestly. Cursed Loot was formerly Epic Dungeon, but it is both epic and cursed. Cursed because you can’t fucking stop playing it. Epic because that’s just how it is. I wish an overarching story was also present but I’ll take what I can get: a game I paid a dollar for and often play in favor of Skyrim when I just feel like hitting a dungeon without the bells and whistles.
-Arsen Nazaryan

Dungeons of Dredmor

A fantastically deep roguelike, with some dungeon crawling fun that immediately brought me back to my time with Torchlight (and Diablo prior to that.) Gaslamp Games has really put some options and variety into this game, it’s replay value is through the roof. Some may argue it’s because you die all the time (which is part of the soul-crushing fun anyway), but even if you swept through the game undying, you’d still want to play again with so many different play-styles to choose from.
-Erik Johnson

Gundemonium Collection

Perhaps this is cheating a little – I first played these games years ago – but the English-language Steam relaunch of this trio of little-known Japanese indie shmups is the first experience that most folks have had with them. Amateurish art and goofy subject matter might put some folks off, but in terms of raw gameplay, these three are bullet heaven for the bullet hell fans. Two horizontally scrolling and one vertical, there’s a ton of unlockables, extra characters, difficulty modes and alternative playmodes in this package. The localization brought in a ton of Steamworks-related features and a fantastic remixed soundtrack, too.
-Dominic Tarason

Nightsky

Nifflas’ games have always been soothing wonderful affairs but I think Nightsky is my favorite so far. It was so quiet, calm and minimal in its graphical style. It simply captivated me, there’s no other way to describe it. Of course, the gameplay was genuinely fun as well, and I loved navigating the ball through puzzles which were challenging but never frustrating.
-Mazen Abdallah

Pix’n Love Rush

Honestly, what’s not to love in Pix’n Love Rush? It’s in the name! Pix’n Love Rush was fun for me because of its simple yet addictive gameplay, its colorful retro aesthetic and its addictive soundtrack. I just picked it up and instantly had a blast. Collect the +, avoid the – and shoot the baddies while protecting the goodies. Simple, stylish and well executed.
-Mazen Abdallah

Project Stormos

I got into Project Stormos after reading about its Kickstarter, and I was intrigued when I first saw it. A platformer…with no platforms? It looked so liberating and fun to fly around the levels and when I finally got my copy I found it to be just that. I especially loved dashing through long sequences of orbs and falling, only to strike some generously placed orbs that would give me a boost and save me from impending doom.
-Mazen Abdallah

Really Big Sky

Really Big Sky was one of the shmups I found myself really remembering this year, and that’s saying something considering how many of them I go through. I got it in the Indie Royale ‘Really Big’ Bundle’ and started playing when I was blown away by the graphical style. I also loved the system of holding fire to charge up and unleash massive streams, as well as drilling through asteroids. I had quite a bit of fun with its procedurally generated levels. Overall though, I have to emphasize how great it looks.
-Mazen Abdallah

SpaceChem

This year opened with a bang: The sound of my head violently exploding after trying the demo of this amazing freeform techno-alchemical spatial programming puzzle. It wasn’t until a few months later that I finally drummed up the courage to buy the full game and proceed further, and each and every puzzle presented made me feel like a helpless moron. Perseverance pays off in this game, though, and idiocy turns to genius as you figure out your own brilliant solution again and again. The game has only gotten better since launch, with expanded tutorials, a built-in level editor and a developer-recommended shortlist of the best fan-made puzzles every week. The game looks to have a bright future, too, with it now being available for free to schools on request.
-Dominic Tarason

Starfarer

Technically Starfarer is still in alpha, with $10 getting you a preorder and access to the current playable build, which is far more fleshed out and stable than you’d expect of anything this early in development. While the game plans to expand later into a freeform space exploration, combat and strategy game of fleet management and mercenary warfare, the current alpha is just a game about space combat, and a damn fine one at that. While directly in control of your fleet’s flagship in 2D shooter-style, you are only partially in command of your fleet, and for once, that’s okay! You’re an admiral, not a nanny – you tell your captains what points need to be captured and what ships need to be sunk, and they’ll do it with surprising levels of intelligence, coordination and a visible sense of self-preservation. The game already boasts a small but talented mod scene, adding new missions to the scenarios included, as well as a range of new ship types to play around with.
-Dominic Tarason

Streets Of Rage Remake

Simultaneously one of the greatest triumphs and tragedies in the history of fan-projects, the amazing Streets of Rage Remake is far bigger than the title suggests. Rather than being a straight remake, it’s an updated, remixed combination of the entire classic Genesis/Megadrive trilogy with another full game’s worth of face-punching thrown in, just for fun. The end result is greater than the sum of its parts, and one of the best scrolling brawlers ever created. Despite the project originally having Sega’s blessing, this agreement was revoked by the corporation just days after release, supposedly in order to protect the release of a (frankly underwhelming) iPhone port of the original Streets of Rage. Fortunately, the game is still out there in the wild, and easy to find – even on some rather major sites.
-Dominic Tarason

Thundergut

Thundergut is one of those really straightforward action games you find yourself really enjoying. I read about Thundergut somewhere and started playing and pretty soon I was slamming into enemies over and over again. It’s such a basic concept to allow you to launch yourself into an enemy and then launch again in mid-air, but it made the game really enjoyable and I had plenty of fun with it.
-Mazen Abdallah

To the Moon

Very few games manage as much of an emotional impact as Freebird Games’ wonderful mind traveler, To the Moon. My favourite game of the year by quite a margin, it excelled in the poignancy of its storytelling without ever becoming too cutesy. It had fun with its gaming roots, laughed at its own subject matter and ultimately engaged the player in a way that was both original and exciting. In addition to all this – and despite providing little in terms of challenge or traditional gameplay – it’s the only game in recent memory whose questions lingered in my mind for days after the final cutscene faded.
-Rowan Davies

Trauma

I knew Trauma was a hit when I first played it at the 2010 IndieCade festival. The whole game may be a short experience, but it is so poignantly executed that I dare any open-minded gamer not to appreciate its methodology. It took a long, long time to come out, but the wait was worth it. Indeed, Trauma is a rather unconventional game not likely to be enjoyed by everyone, but it made the list for me the second I clicked on my last photograph.
-Arsen Nazaryan

Trine 2

Frozenbyte wowed us with the original Trine and there was very little doubt in my mind that the sequel would live up to the standards set by that first game. Besides being the most attractive title I’ve encountered all year – and it is beautiful – the gameplay here is as charming and inventive as ever. The physics puzzles are still the main foe, but encourage the player to fabricate their own solutions, using magic, grappling hooks or brute force to progress. On top of this the coop capabilities create a whole other dimension of fun.
-Rowan Davies

THE BRONZE MEDAL (Two Mentions)

Bastion

Bastion was a superbly enjoyable title. Its Morgan Freeman-like narration may have become a joke of sorts, but how its delicate narrative made me feel — alone and empty — is something I’ve yet to feel recreated in the same way by a game with as much beautiful color.
-Arsen Nazaryan

They might be called Supergiant, but Bastion was a game that was exactly the size it had to be. A tightly woven, story-driven and continually narrated isometric hack n’ slash adventure, this one is practically drowning in charm. Absolutely beautiful art, one of the best soundtracks I’ve heard in years. It’s the narrator that absolutely steals the show, though – his vocal presence extending far beyond the game itself and making it really feel like you’re being told a story that just happens to synch up perfectly with the action as you make it unfold. It seems almost certain that many games are going to try to copy this particular trick in the coming months, but it’ll take a great degree of skill to pull it off.
-Dominic Tarason

DLC Quest

Probably one of the funnest XBLIG indies I have ever played. It oozes fun at every turn and its parody of overused cliches provides a good laugh every now and again. DLC Quest was one of the most surprising games of the year for me.
-Arsen Nazaryan

Honestly, when I played this game a few months ago I didn’t think that it would be a “Top Pick” fopr me, nor did I believe that I would enjoy it so much. Despite its relative shortness, DLC Quest made me, literally, laugh out loud at times. Combine that with its tongue in cheek humor and constant berating of the DLC industry, DLC Quest easily became one of my favorites of 2011.
-Geoff Gibson

Minecraft

Since it officially released this year, it would be stupid not to include Minecraft as a contender. Minecraft changed a lot of things for the indie gaming scene, and it brought massive amounts of attention to struggling developers worldwide, a resurgence into an indie uprising. Notch’s story is one to look up to, he is now the equivalent of a rock star in our world and rightly so. But even without its explosive popularity, Minecraft is simply one of the best indie games of all time. It enables us to be creative and think outside the block.
-Arsen Nazaryan

While the game hit its popularity last year and was playable throughout much of it, it was only recently that Minecraft was given a 1.0 release. As such, given how much it has affected my own gaming habits and its affect on the indie game industry at large I would say it’s only fair that it be included. More so than that, though, Minecraft is, quite simply, a great game that pushes you to expand your creative side and that’s something I think all of us can get something out of.
-Geoff Gibson

Nitronic Rush

It seems that every year, the Digipen student showcase has something spectacular for us. This year, it’s Nitronic Rush, a game that I’d be telling you all to rush out and buy if it weren’t already free. A time-attack stunt driving game with a Tron-esque aesthetic, Nitronic Rush is unbelievably pretty, ridiculously fast and offers an amazing amount of control over your vehicle both on-road or airborne, thanks to a series of maneuvering thrusters bolted to the chassis and a pair of retractable wings for those really big jumps. An Xbox 360 controller is highly recommended if you want the full, intended analogue control over the car, but not really required unless you’re digging into the (extremely complex) challenge stages – there’s plenty of meat on these neon bones if you’re willing to play beyond the short-but-sweet story mode.
-Dominic Tarason

When I first saw Nitronic Rush, I couldn’t believe that it was a free title by a student group. When I downloaded it, I expected to play some buggy, half-finished clunker. Instead I got a racing game that reminded me why I used to love driving in car games. Driving in the game was smooth and satisfying, and the added jumping, boosting and even flying made for a wild ride.
-Mazen Abdallah

Superbrothers: Swords & Sworcery EP

Superbrothers is a fantastic art game. I say “art” game because that’s how I see it… even though it has made huge waves and brought about debates as to what constitutes an art game and whether Superbrothers is pretentious or truly special. However, given its look, its thematic concept, its music, and its gameplay, the game is a strong contender for iOS title of the year, so I will go with “truly special”.
-Arsen Nazaryan

The prettiest, most quality sounding game on the iPhone. Need I say more? Well if I must, it also brings a sense of gaming nostalgia with it that has thoughts bubbling up of the Zelda series. It’s adventure gaming on iOS perfected, with wondeful artwork and some of the best music/sound effects I’ve encountered on any platform. It really goes above and beyond as a game in a mobile department.
-Erik Johnson

Where is My Heart?

Where is My Heart? was one of the best PSN indies of the year. It was cute and quirky, but most importantly: it offered a different perspective… in more ways than one, really. Where is My Heart? calmed and soothed the soul, and it rarely ever wanted to frustrate you (although, realistically, it sometimes did).
-Arsen Nazaryan

Where is my Heart amazed me the first time I saw it. It was love at first screenshot! When I got the game, I was simply entranced by it. Interestingly, it had no soundtrack, only the quiet noises of the forest. That made it so much more serene for me. The characters were adorable and the settings were vivid, and I became immersed in the world. Although the level mixing made me dizzy, I still found the gameplay concept to be innovative, and I found myself questioning every step.
-Mazen Abdallah

THE SILVER MEDAL (Three Mentions)

Orcs Must Die!

Tower defense is a genre I’m mostly burnt out on. There’s been some impressive hybrid offerings this year, such as the number-crunching Sanctum and the precariously stacked titan that is Dungeon Defenders, but it’s Orcs Must Die that really clicked for me. It says a lot when a game can hold my attention for seven hours start to finish, only for me to jump straight back in on the next difficulty setting up. It seems wrong to even call the game ‘Tower Defense’. For starters, there’s no towers (of the buildable variety). The gameplay has far more in common with The Horde (1994) and Tecmo’s Deception (1996) than anything, giving a far more hands-on, arcadey physics-driven feel to the proceedings. Mazing and number-inflation out, mass cruelty to bouncing, grumbling cartoon orcs in.
-Dominic Tarason

I’ll start this by saying I’m not a huge tower defense fan. Honestly most of them bore me. Orcs Must Die!, however, was quite different and, at no time, did I really feel the game was a tower defense game. Perhaps it had to do with the third person action perspective but I had a lot of fun running around the very intelligently designed maps and layng down all of my various traps and towers.
-Geoff Gibson

I’m not a huge fan of tower defence, but if a game is handled well enough I believe it can appeal to everyone, regardless of genre. Orcs Must Die! is that game. It hooks you in with its promise of physics-based cartoon killing and doesn’t let up until you’re orchestrating grand symphonies of death and destruction without a second thought. OMD! perfectly handles the balance between challenge and reward. Often you’ll feel massively overwhelmed, but that time-out is just around the corner and, following that, those Orcs are really going to get what’s coming to them.
-Rowan Davies

Terraria

While Minecraft may have started the recent block-building trend, I found Terraria’s 2D formula an incredibly worthy and different take on the genre. Terraria is just so charming and well done, it really deserves a spot on this year’s list. The adventures it offers are compelling and light-hearted, and it is difficult to imagine any Minecraft lover dissing the game.
-Arsen Nazaryan

This was the big surprise of the year for me. A tiny two-man studio come out of nowhere with a game to challenge the indie titan that is Mojang. The game is currently almost as popular as Modern Warfare 3 on Steam, and has sold well in excess of a million copies. Combining the familiar block-harvesting and building elements of the 3D giant, but giving just as much focus to the adventuring and combat. Terraria feels like a hybrid of Minecraft and the more recent Castlevania games, with loot, level and money playing as much a role as your ability to efficiently extract resources from the earth, Terraria really caught the attention of many who thought that Minecraft was possibly a little too ‘sandbox’ in nature. Better still, the game recently got an enormous free expansion update, literally doubling the length of the game from start to defeating the largest, toughest boss, and providing a stern challenge to all but the most dedicated and hardcore of players.
-Dominic Tarason

As with Minecraft, Terraria deserves a special mention just for it’s ability to tap into that creative part of us. More than that, however, it was the first game I would classify as a “Minecraft-like” that didn’t immediately attempt to be a carbon copy of Minecraft. The side scrolling, platforming feel with a greater emphasis on building and finding unique weapons is something that, even to this day, Minecraft does not offer.
-Geoff Gibson

RUNNER-UP

Frozen Synapse

If SpaceChem has the near-mystical ability to transmute blank-faced idocy into gleeful genius, then Frozen Synapse works the other way. Each and every turn of this incredibly tightly designed tactical combat game has you planning out your moves over and over again, meticulously refining your assault, and always settling for what seems like a foolproof, unstoppable maneuver that nobody could counter. And then you click the ‘submit’ button, and it matches your plan up with the other guy. No plan survives its first encounter with the enemy. Your sniper will be distracted by a fast-moving shotgunner. Your grenadier will fire into entirely the wrong building. Your rifleman will look ten degrees too far to the left and get flanked. And it never stops being hideously compelling, either against the AI or less predictable human opposition.
-Dominic Tarason

This year’s definition of a unique indie experience, Frozen Synapse came on with a roar as it exited a strong community-supported beta into an amazing launch. The core multiplayer goodness had me trading plays back and forth simultaneously with several opponents for days on end. The single-player campaign was hard as hell, but had a really compelling story that made you want to push through and discover more of the intrigue.
-Erik Johnson

A turn-based strategy game? I approached this with trepidation when I got the Humble Frozen Bundle (admittedly I had purchased it for the Frozenbyte games), as turn-based combat isn’t my thing. But what I found with Frozen Synapse was a very accessible, frantic game that was amazing for hours of fun that you could have while doing other things in the background. Add to that its neon effects and its smooth soundtrack and I was hooked.
-Mazen Abdallah

Almost a spiritual successor to turn-based squad shooter Laser Squad Nemesis, Frozen Synapse allows us once more to vanquish randoms on the internet in back-and-forth bloody combat. The interface is clean, the graphics are electroshock awesome and nailing a guy at fifty feet before he can knock out another on your team is something to be cherished. Each turn comes down to precision management of time and resources and every failure is compounded by lack of foresight. In short, it’s brilliant and we need to do all we can to keep its servers busy.
-Rowan Davies

INDIE GAME OF THE YEAR

The Binding of Isaac

Perhaps the eeriest of the bunch for me, The Binding of Isaac was the most surprising. I had no idea what to expect, and what I received… I’m still not too certain about it. It is a challenging and haunting experience but it delivers an all-around package that games ten times its price point fail to deliver all too often. Also, even more superb music by Danny B.
-Arsen Nazaryan

Who knew the follow-up to last year’s Indie of the Year would be even more fun? (At least for my tastes.) Edmund McMillan has again put together a game that’s extremely addicting, frustrating as hell, and full of WTF moments. Only this time instead of a tough-as-nails platformer it’s a dungeon-diving, permadeath-dealing roguelike that pits a sad, doomed little boy against his possessed mother and all the other horrors lying between his basement and Hell itself. There’s no saving (love), and each session guarantees to be different than the last. The sheer amount of breadth the title offers is also astounding. Everything including, items, boss monsters, standard enemies, endings, pills, rocks, and so forth. If it exists in the game there seems to be multiple variations of it–a lot of which are only discovered after being unlocked and subsequently encountered. On top of all that, it single handedly wrecked my Thanksgiving. So it gets my IOTY vote for 2011.
-Erik Johnson

How do you describe the Binding of Isaac in a single paragraph? I honestly don’t know. However, the Zelda-like game was, if nothing else, incredibly memorable. From its interesting demon monsters/bosses to the main character and story line, there hasn’t been a single game released this year that I would say brings about stronger visual memories. Wrap all that in a package of great, solid gameplay and you’ve easily got a game of the year contestant.
-Geoff Gibson

I’m a huge fan of Edmund McMillen and Binding of Isaac was wonderful because it bore his trademark artistic style, in possibly one of its most grisly incarnations. The characters horrified and delighted me. The game was so dark and yet so comical in its bizarreness (at least to me). And Isaac was a worthy McMillen protagonist. As with Meat Boy, I began to feel protective of the little guy and pity his plight while admiring his bravery. Of course, Edmund’s design and the Zelda-esque gameplay were half the equation, while Danny Baranowsky’s formidable soundtrack was the other half.
-Mazen Abdallah

This is something which I’m sure will make most people’s ‘best of’ lists for 2011, whether exclusively indie or not. The Binding of Isaac is the go-to game for a quick blast of action: always new, always unexpected, always fittingly grotesque. Edward McMillen and Florian Himsl have created something almost infinitely replayable here, with its extraordinary variety matched only by its excessive difficulty. Without McMillen’s trademark humour it may have suffered, but instead it still manages to remain funny and fresh fifty plays in.
-Rowan Davies

The way we devise this list of our Top Picks is that all of the editors are asked to submit five of their favorite games of the year and write a paragraph as to why they liked it so much. The game that is repeated across the most lists automatically gets our Game of the Year nod and anything else with more than one pick gets a Runner-Up spot. Everything else falls under Honorable Mention and you must know that every single one of them might as well be the Game of the Year.

We are well aware we may have omitted some amazing games, so feel free to add your own in the comments section along with your own explanation. We’d love to hear it and more than likely agree with you!

But without further ado and explanation, here is the DIYgamer Editor’s Top Picks of 2010:

HONORABLE MENTION

Shibuya (iOS)

I don’t think anyone has the right (especially Sony and that annoying little shit Marcus) to complain that iOS games are not up to par. The App Store in general took a huge step forward this year with the release of a multitude of successful indie (and mainstream) titles. Shibuya, by Nevercenter Games, was perhaps the most addictive of them all. I’m pretty sure I earned a grade lower than I should have in at least one of my classes because of this game. Nevercenter took one devastatingly simple concept and treated it with absolute finesse, adding polish and an excellent 5-track electronica soundtrack (by Millionyoung) to melt away all other thoughts. When you Shibuya, it’s only you and Shibuya, baby.

Arsen Nazaryan

(Buy it in the App Store)

Hero Core (PC)

Iji was one of my favourite games of 2008 (and 2009, for that matter), so I jumped on Hero Core as soon as it was released. It’s a much more modest offering, but a much more substantial game than it first appears to be. An ultra-minimalist Metroidvania, of sorts. Low-res monochrome graphics, a super-limited control scheme and a single-minded, speed-runnable goal hide a wealth of design cleverness, including a whole second campaign masquerading as a Hard Mode, and a multitude of bonuses and extras to unlock through extended play. The aesthetics may be minimalist, but there’s a keen eye for design at work here, and enemies and their shots are distinct and clear, despite the lack of colour.

Dominic Tarason

(Download Hero Core)

Chime (XBLA and PC)

Chime’s simplicity and zen-like need for concentration were completely hypnotic to me this year. Compounded by the fact that its publisher is completely not-for-profit, this indie title is something everyone should give a chance. With a stellar soundtrack including Philip Glass and Paul Hartnoll, everyone should experience this beautiful puzzle game. With elements of Tetris and other classic puzzle titles, this experience is a perfect storm of audio and geometric concentration. If you haven’t yet experienced it you really ought to.

Peter Eykemans

(Buy it on Xbox Live Arcade or Steam)

Recettear: An Item Shop’s Tale (PC)

It’s always bothered me in RPGs that item shops charge so much for equipment when my hero is trying to save the world from total destruction. But thanks to Recettear I now know why: because running an item shop is an adventure of its own. As the comically aloof Recette, players will have to manage their time between action-packed dungeon crawling for loot, and running a successful business selling said loot. And while the game’s humor begins as mere parody, by the game’s conclusion Recettear stakes out its own unique pedestal among the throngs of RPGs out there. From the colorful characters to the fantastic dual gameplay styles, Recettear is a truly fantastic game. Capitalism ho!

Scott Nichols

(Buy it on Steam)

Hydorah (PC)

This is not the greatest Gradius game in the world, this is just a tribute. It’s also pretty dang close to being better than the games it is paying homage to. A massive undertaking for one man, Locomalito has lovingly crafted a huge, distinctly retro and remarkably deep scrolling shooter in Hydorah. A broad range of weapons/power-ups, huge variety in levels, a branching campaign map and tons of secrets all held together with beautiful sprite-art and a stunning soundtrack (by Gryzor87). I bought Gradius Rebirth on the Wii earlier this year. A freeware game made me forget all about it.

Dominic Tarason

(Download Hydorah)

LIMBO (XBLA)

My LIMBO experience was beset with troubles. First, the game released while I was on vacation in Hawaii (and yet I couldn’t shake wanting to play the game amidst countless umbrella-clad drinks), and upon returning and downloading the game I was welcomed by the flashing three lights indicating that my Xbox would no longer like to be my friend. But three weeks later I got my system back and played through the game in almost a single sitting. Its clever puzzles, complete control of atmosphere and style and moments of absolute unexpected clarity truly make this one of the best games of the year for me. I first demoed the game at GDC back in March, and while I was completely absorbed into the game with thick headphones blocking out the chaos of the conference, I’ll never forget the absolute belly laugh I couldn’t contain when I was first killed by a bear trap.

Peter Eykemans

(Buy it on Xbox Live)

Spirits (iOS)

If you own an iOS device and you have yet to try out Spirits, then you need to get off Angry Birds and download Spirits now. Within a two-game lifespan, Spaces of Play went from making a good but generic game (Mr. Bounce) to making an incredibly unique game. Spirits defines “hand-crafted.” Its music, its artwork, its design, its feel are intertwined to evoke gloom and hopefulness subsequently. This year was a big step up for Spaces of Play and I can’t wait to see what leaps and bounds they will make in the future.

Arsen Nazaryan

(Buy it in the App Store)

Zombie Estate (Xbox Live Indie Game)

It’s easy to see why Zombie Estate would be on my list. Not only does it include zombies (an automatic qualifier, in my opinion) but it also gives such a charmingly unique perspective in regards to the camera and graphics. Combine all that with four-player, weapon upgrading fun and you have one of the best zombie games to get released in 2010.

Geoff Gibson

(Buy it from Xbox Live)

Kaleidoscope (XBLIG)

From a Dream.Build.Play finalist, it’s reasonable to expect a pretty stellar game. What you may not be expecting though is for it to be as adorable and infectiously charming as Kaleidoscope. Players take control of Tint, a cute bug-like thing as he embarks on a platforming journey to restore color to the world of Kaleidoscope. By collecting colored orbs in the level players gradually bring color back to the scenery. The restoration of color is accompanied by an amazing dynamic soundtrack that builds up adding new instruments with each new layer of color. And though Kaleidoscope is on the short side with only twelve levels, they are spread across four visually distinct worlds, each of which coming to life in the game’s coloring book art style. There’s just something about Kaleidoscope, when the world blooms in color and the music blooms with it. It’s digital joy.

Scott Nichols

(Buy it on Xbox Live Indie Games)

The Oil Blue (PC)

Vertigo Games’ The Oil Blue came out of nowhere at me. I had never read anything about it up until its release when Erik drafted up his article for DIYGamer. The demo left a huge impression on me and I decided the whole game would be well worth the undertaking. I was not mistaken. The Oil Blue is just unlike any other game I have ever played. It’s not about the graphics or style, it’s not about the story or music, (and I’m not saying those weren’t good but) it’s all about the gameplay. Half the time I didn’t know what the hell was going on, but I felt awesome doing whatever I was doing. Leveling up was satisfying and each machine handled differently. The Oil Blue is one of the best indie action-sims ever, and earned itself a spot on the list the second its demo was released.

Arsen Nazaryan

(Buy it from Vertigo Games)

Joe Danger (PSN)

Imagine if you were to take Excitebike and combine it with the dare deviling antics of Evil Knievel and that’s what Joe Danger is. From the moment I played Joe Danger I was immediately drawn to the pure amount of “fun” that the game contained. There’s no back story, no pointless control mechanisms. Just solid gameplay at its best.

Geoff Gibson

(Buy it on PSN)

Super Mario Bros. X (PC)

A strange choice, perhaps, but this one really came out of nowhere for me, and was the key inspiration for my current series of fangame articles. It’s an amazing piece of work – an impressive, full-featured Mario game in its own right, worthy of official Nintendo branding, but it goes significantly further than its peers in many respects. The intelligent split-screen multiplayer, the full-featured (but easy-to-learn) level editor and toolset, and now the addition of features and characters from other games are all giving the industrious level-creating community more to work with. I see this one continuing to grow and improve well into 2011. Hopefully it’ll provide incentive for other fangame developers to persevere, and aim high.

Dominic Tarason

(Download Super Mario Bros. X)

Game Dev Story (Mobile)

How can I not put this on the list? Game Dev Story was secondary only to Shibuya in my case. I spent hours in bed, in the bathroom, in the elevator, etc. playing the shit out of Game Dev Story. I got hooked, my friends got hooked, everybody got hooked. In large part, this is due to the overall theme; it’s a game where you make game. Can there be any more perfect of an idea? Though it was a port of a 1996 Japanese PC title, Kairosoft’s execution was brilliant regardless of the spelling and syntax mistakes that plagued much of the game. Who cares? The quirky graphics and strategic sim set-up helped skyrocket Game Dev Story to the top of the App Store, and it has earned itself a spot as one of the best indie games of the year. Sequel, anybody?

Arsen Nazaryan

(Buy it from iTunes or the Android Marketplace)

INCHES BEHIND THE GAME OF THE YEAR

Amnesia: The Dark Descent (PC, Mac, Linux)

I can safely say that no game has impacted me this year as much as Amnesia: The Dark Descent. I’m a big fan of horror games, but all too often the sense of tension in a game is demystified as new weapons and abilities are added to the player’s arsenal and enemies reduced to mere speed bumps along the path to completion. Not so in Amnesia. In Amnesia there are no weapons. The player’s only way to defend himself is to run and hide, preferably in a dark closet. But even the act of hiding, surrounded by darkness, causes the player’s sanity meter to slowly tick away. The atmosphere in Amnesia is oppressive in the most stunning of ways, with small creaks and sounds blending with dimly lit corridors to instill an unmatched degree of paranoia. In my own experience, in a well lit room, I couldn’t play Amnesia for longer than an hour at a time. And yet I loved every second of it.

Scott Nichols

My playthrough of Frictional’s adventure horror game is one of the few “experiences” I had this year, and that goes beyond the realm of video games alone. The developers took great pride in painstakingly constructing an immersive and truly frightening atmosphere for players to take part in. Big risks, such as taking away the player’s ability to defend himself, paid off in spades for this game. An indie that elicits a powerful emotional response and one that really ought to be played at least once by anyone who considers themselves a core gamer.

Erik Johnson

The Penumbra series were easily amongst the scariest games I’d ever played when they originally came out. When the first teaser videos for Amnesia were released, my faith in the developers was renewed and I immediately put my money down on a preorder. I was not disappointed. A lovecraftian psycho-horror spectacular with amazing production values for such a small studio, Amnesia kept me on the edge of my seat, and often leaping clean out of it for the full length of the story. The understanding Frictional have for the raw psychology of horror games is unparalleled – they know exactly how to get the player to look where they want, hide when they want you to, and make you dance like a puppet to their ghastly horror show.

Dominic Tarason

(Buy it from Frictional)

Super Crate Box (PC)

The beauty of Super Crate Box is its simplicity. The player’s only real goal in the game is to collect crates. Of course, there’s the secondary goal of surviving the torrent of enemies flooding from the top of the screen so players will want a weapon to defend themselves. The catch is that each crate players collect changes their weapon, with some significantly more useful than others. Pick up the minigun or flamethrower and you’re good to go, but get stuck with the pistol or, god forbid, the disc gun and you’ll want to scramble to the next crate as fast as you can. And even when players finally find that perfect weapon, since collecting crates is the only thing that gives points, there’s no way to reach for the high score without giving it up again. Players will constantly be switching strategies on the fly, adding a sense of urgency to an addictively simple game.

Scott Nichols

Released just over a month ago, Super Crate Box has fast become my go-to game for mindless enjoyment on my PC. The weapons, the level progression, everything about the game is a brilliant mash up of platforming shooting glory. The only thing that would make this game better was if it came out on XBLIG. I can only imagine how much fun it would be in my living room.

Geoff Gibson

(Download Super Crate Box)

VVVVVV (PC, Mac, Linux)

In a few years, when she’s old enough to, one of the first video games my daughter will play is VVVVVV. You can count on that. It perfects the platformer by seamlessly integrating individual puzzles and challenges into cohesive levels, each offering different takes on the versatile flipping mechanic. Forgiving in some places, tough as hell in most, the game consistently challenges you. I found myself screaming “that’s impossible!” on more than one occasion, but every time after a payment of Captain Veridian deaths and a bit of luck, I’d make it through and deem that the challenge was just almost impossible. It also boasts the soundtrack of the century by Magnus Palsson. Chiptune gold which quite simply takes the game from great to legendary in my eyes (and ears.)

Erik Johnson

VVVVVV jumped into existence at the very beginning of the year yet it struck me immediately as one of the most fun games I’d be playing for a long time. With precise puzzles and an exceedingly well executed control scheme, the game is wonderful in its simplicity. While I initially grumbled about its many difficult sections (like Veni, Vidi, Vici) I now look back on them with glowing pride. After the game hit Steam a few months ago, I played it all over again and thanked my fingers for being able to pull off that epic section without too much trouble. VVVVVV‘s tricks and timing will be stuck in my fingertips for the unforeseeable future and its fantastic soundtrack keeps my head bobbing to this day.

Peter Eykemans

(Buy VVVVVV)

Breath of Death VII (XBLIG)

Perhaps if Zeboyd Games upcoming title Cthulhu Saves the World didn’t release the very last week of December we would see the developer’s second throwback JRPG on this list. As it stands, we’ll just have to do with the dev’s first effort, you know, the one that boasts the highest demo to purchase conversion ever across the entire Xbox Live Indie Games Channel. Why? While it doesn’t reinvent the genre, Breath of Death VII presses a nostalgia button that triggers thoughts of early Final Fantasy titles while revitalizing the old school RPG. How? By making a farce of it. It’s the original writing and creativity in the parody that really makes the game unique. It even offers improvements from its predecessors such as a battle limit for each area coupled with the option to call for a fight. It also earns points for raising the bar on what to expect from the Xbox Live Indie Channel, not just shoddy clones and crap apps.

Erik Johnson

As a fan of the original Dragon Warrior games I was immediately drawn to Zeboyd Games’ Breath of Death VII which not only players similarly to the JRPGs of yesteryear, but also takes careful time to make fun of almost every inane aspect of the old genre. Seriously, this game was an absolute treat and I’m very excited to play Zeboyd’s next classic JRPG.

Geoff Gibson

(Buy it on Xbox Live)

Minecraft (PC)

This was a tough decision, because honestly I’ve barely played the game. Hear me out though. It earns my vote not for the simplistic brilliance the gameplay brings, but rather that it fulfills the proverbial “American dream” for indie developers. Find a solid concept and put a ton of work into it and good things can happen, really good things, like nearing a million copies sold just entering beta good things. Some have made it clear that they’ll never consider the game indie again given its current following from both players and press, but anyone who knows spit about this industry knows Minecraft’s indie roots are as deep as they come.

Erik Johnson

While Minecraft has technically been in alpha most of the year, its ability to be more engrossing and unique than almost anything else out there nets it a spot on my list this year. When I first downloaded Minecraft, albeit later than a lot of people, I disappeared for three days. It got to the point where other DIY writers were emailing me to see where I had gone. The only answer was underground. Minecraft satisfies that childlike desire to build a fort anywhere and on anything and allows you to hoard and create the world of your dreams. I look forward to the game’s progression going into next year and expect to disappear for at least another week into the depths.

Peter Eykemans

Not much that really needs saying here. Minecraft is the new hotness. While I’m not nearly as addicted to it as many of my peers, I’ve still played it at little bit every few days for several months in a row, and it keeps me coming back and looking for more. Combining tactile building, clever crafting and tense combat with that childlike sensation of building a pillow-fort to ward off imaginary monsters, it just presses buttons that no other game can.

Dominic Tarason

(Buy it from the Official Site)

GAME OF THE YEAR

Super Meat Boy (XBLA/PC)

Super Meat Boy is probably one of the hardest games I’ve ever played, and a constant source of anger and frustration. Wait, anger and frustration are a good thing? I’ll admit, they aren’t typically what I look for in a game. The difference in Super Meat Boy that makes it all worthwhile is that I was never angry at the game itself. The levels are expertly designed, and the controls accurate, so my failings in the game were all of my own doing. It never felt unfair. Every death was a learning experience, teaching me how to avoid a trap or properly time my jumps with moving platforms. Trial and error gameplay has been done before, but it’s Super Meat Boy’s pace that raises it from merely a fun challenge to the level of obsessive addiction. Just as my brain would begin to process why I had failed, Meat Boy would instantly respawn, ready to test my newfound knowledge. And once a particularly challenging level is conquered, the feeling is unmatched as you watch a replay of all your failed attempts running simultaneously. Nothing makes victory feel sweeter than reflecting on how hard you had to work to get there, and Super Meat Boy delivers this better than any other game. Ever.

Scott Nichols

I spent more time playing Super Meat Boy than I did any other game released this year, with possibly the exception of FIFA 11. Super Meat Boy packed tons of content through a variety of levels, notable indie characters with their own traits, and one of the best soundtracks I have ever heard in a game (Props to Danny B). There is no doubt in my mind that Super Meat Boy is the Indie Game of the Year 2010. Team Meat’s self-conscious but unpretentious effort to spread the indie love became one of the best games of the year, including the mainstream. Way to deliver on your word, guys!

Arsen Nazaryan

I’m a bit surprised myself to have more than one platformer on my list, but the love child begot from two of the hardest working guys in the industry simply can not be ignored. Edmund and Tommy thought they had something good here when they started on the project and boy were they right. Where VVVVVV strikes the old school nostalgia chord, Super Meat Boy mashes and warps it to its own devices. The game has you laughing at nearly every cut scene and cursing on nearly every level. Plus it’s completionist heaven, the sheer amount of content they packed into (and are still providing for) the game doesn’t get acknowledged nearly as much as it should.

Erik Johnson

Big surprise huh? Super Meat Boy had so much going for it that I’m positive this game will be on most people’s “Best of” lists. It’s challenging, adorable, very fun, and, most of all, uses a protagonist that is a skinless boy. How awesome is that? I guess the cherry on top would be all the amazing little touches the developers have added in like including multiple other indie game characters or the free level packs coming to the XBLA version.

Geoff Gibson

Super Meat Boy grabbed me in a way I never quite expected this year. I’d played the game on three different occasions at various conferences before it released and knew the game was going to be fun. But once I had the expansive world at my fingertips and could take my time exploring its nooks and bloody crannies it took me by the throat and never let go. As of this writing I have collected 100 bandages in the Xbox version and am sitting on 94 in the PC version. I have no explanation of why I put myself through the whole frustratingly-amazing experience over again other than the game is simply fantastic and will be remembered for years to come. And like a true addict I’ll go ahead and admit that I’ll probably do it all over again once it hits Wii.

Peter Eykemans

I bought Super Mario All-Stars on Wii a couple of weeks ago, and after playing for half an hour, all I could think was “these controls are far too floaty.” And it’s all Super Meat Boy’s fault. So thanks for ruining my childhood, Team Meat.

Mike Rose

(Buy it on XBLA or Steam)

So that’s 2010 from DIYgamer! We’re looking forward to an exciting 2011 with all the site’s power under our control and more great games to sink our indie teeth into.

What were your favorite games of 2010? Let us know!

Personally, I’m absolutely positive when making my won selections that I overlooked some games that probably deserved to be on it. For that, I apologize.

So, with that in mind, any predictions on what we chose? Sound off in the comments!

[DIYGamer's Top Indie Games of 2009]

Game Dev Story

Hence, we’ve put together this handy guide, answering all the most important questions and proving hints and a good walkthrough for how to get the most out of the game.

Looking for an answer that isn’t provided here? Simply leave your question in the comment section below, and we’ll be happy to help you out!

Which game genres and types work well together?

When it comes to creating your game, combining genres and types is usually a case of using your common sense. Initially, it’s best to use combinations that are obvious choices – for example, any type of RPG will always work well with the Fantasy type, while the Card Game genre works beautifully with the Dungeon type.

Once you’ve got a bit of money under your belt, you can then begin to experiment with more ‘out there’ combinations. Even if the combinations you pick don’t work so well, it’s still worth trying, as every time a genre or type hits level 2, you’ll receive 2 extra points to increase the stats of future games. Hence, leveling up as many different genres and types as possible is a great idea.

How often should contract work be chosen?

Contract work is useful in that it gives you development points, which can be used to level up your employees and boost the stats of your current game. When you first start the game, it’s a good idea to do one bit of contract work between each game project. Make sure to always choose work that is definitely going to be possible – anything with a time limit of less than 10 weeks, and you probably won’t get it done.

Once you get fully rolling, you may never need to do contract work, as your devs may well earn enough development points through build the games. At this point, it’s up to you if you want to do contract work or not – it does a good job of breaking up the main flow of the game, and keeping the addiction a little fresher.

However, there is one tactical aspect to taking on contract work. The best time to release a game is just before Christmas (around month 11/12), and games usually take around four months to develop – although this changes depending on how good your team is. Hence if it’s May, you may well want to take on a few contract jobs to let time pass a little, then start development in August so that your game will be ready at the peak of Christmas shopping.

When should I hire more/new staff?

When you first begin, it’s best to choose whichever are the best staff available to you. Make sure you fill every seat in your offices, as the more staff you have, the better your games will be.

Once you have the option of looking in more classy places for staff, do so immediately – well, as long as you have the cash. Getting rid of staff with poor stats feels harsh, but you’ll be able to find candidates with stats that are 5 or 6 times higher than your current lot, so it’s really not worth keeping them on – leveling them up that high will cost far more than it’s worth.

Check for new staff in between every game project, and by the tenth year, you should have a full team of workers with triple-figure stats. Make sure you take on a good range of skills – at the very least, have one sound engineer, one designer, one writer and two coders. Remember, however, that the better the staff, the higher their salaries will be, and wages disappear at the end of March, so making sure you have enough money to pay them all at that point is essential!

What’s the deal with hackers?

When searching for workers, you may come across hackers. These guys have ridiculously good stats, yet when you take them on, they turn out to be not so great. Basically, they’re massively talented, but don’t have any direction or focus. Take on every hacker you find, then use the Career Change Manual (bought from the salesman) to give them a proper job. Their stats will drop slightly at the point, but it’s still very much worth it.

What should I buy from the salesman?

Every year, a salesman will come to visit, bearing rather expensive wares. Initially you most likely won’t be able to afford the stuff he has to offer, but when you’ve got enough cash together, make sure you start to grab his boosts. You’ll want to buy the Fun, Creativity, Graphics and Sound Boosts, as these allow you to add extra points to your current game.

Once you’ve bought these four, do not bother with anything else other than the Career Change Manual. Buy three of these every time the salesman comes calling, as they are incredibly useful – especially if you want a hardware engineer (see later in the guide).

What console should I choose for my latest game?

This is where a decent knowledge of real-life gaming platforms from the last 20 years comes into play. Every console available in Game Dev Story is based on a real console, albeit with a slightly different name and design. Not only that, but the success or failure of each console is based loosely around how well its real-life counterpart did too.

With this in mind, it’s relatively simple to work out which platforms to develop for and which to stay well away from. Early in the game, developing for the Intendro consoles – such as the Game Kid and the Super IES – is definitely a good idea. Watch the Share percentages, and keep developing for a console until its share has fallen considerably lower than the rest, as purchasing licenses for the later consoles can cost a fair amount.

When Sonny enters the market, it’s a good idea to jump on the PlayStatus, as that keeps going for a good several years. By the time it has run its course, you’ll most likely have collected together the funds and the tools to create your own console. Make sure you put the maximum amount of money and effort into creating your own hardware, but also make sure you have a substantial amount of cash spare too, as console development takes a very long time.

Once your console is complete, make sure from that point on that you only develop for your own console – this way, the share will stay high and you’ll make the maximum amount of cash.

How do I get a hardware engineer for making my own consoles?

Perhaps the biggest secret in Game Dev Story, bagging a hardware engineer is simple – if expensive – stuff. The idea is to level up one of your staff to the max in every type of role. This can be done with a combination of development points and Career Change Manuals (from the salesman). Level your chosen character up to level 5 in whatever role they’re in, then use the Career Change Manual to swap their job to something they aren’t already level 5 in.

Level them up to level 5 in this role, then repeat until they are level 5 in every available role. Now use the Career Change Manual on them once more, and the Hardware Engineer role will now be available for selection. Choose this, and you’ll then be able to develop your own console.

How do I make sequels, and how often should I do so?

Sequels can only be developed if the original game made it into the Hall of Fame. Any game that manages to get a cumulative review score of 35 or over enters into the Hall of Fame, and you’ll then be able to make a sequel to it.

Sequels are very useful in that they start with plenty of points available straight away, meaning that the finished product will most likely be very highly rated and make you lots of money. There are two issues with sequels – firstly, if you make too make sequels to a row, your fans will grow tired of your antics and start to diminish. The way to combat this is to wedge a brand new game in between each sequel, to keep your games fresh.

The other issue with sequels is that you’re forced to use the genre and type of the original game, hence you won’t be able to try out new genres and earn yourself extra points for bumping future games up. It’s best to develop a sequel as every third game you make when you’re doing OK for cash, and when you’re absolutely rolling in it and there’s no money problems whatsoever, you may not even want to make sequels at all.

Who should I choose to write/design/create sound effects for my current game?

This is where having a good range of workers on your team pays off. Writers are always the best people to have script your game for you, while designers are best at graphics and sound engineers are best at sound and music. However, you should never use the same person twice in a row for two games – if you used a person in the last project, it will say ‘Prev’ just next to their name.

Having two of each type of worker, then, is a very good idea – although the likes of Producers and Directors will usually do a pretty decent job too. There’s always the temptation to use an outside source and pay a ridiculous amount for someone with very high stats, but most of the time it’s not worth it at all – choosing these guys can be very risky, as sometimes they’ll do a terrible job, then charge a ridiculous amount.

Just keep your workforce varied, and you should never need to outsource your projects.

Which advertising should I use, and how often should I use it?

Advertising affects both your company, and your current game. Using advertising during development is the best time to implement it, as it adds to both the hype of your game, and the fame of your company.

It’s only ever useful to choose the most expensive advertising going, as the less expensive options won’t add much to your fan count. However, when you first begin, it’s best to use whichever is ideal to your current budget – just make sure you use advertising at least one during each game’s development.

Once you’ve got plenty of money, use advertising lots of times during development, until the Hype rating for the game is close to 100. It can be expensive, but it’s definitely worth it, as your games will sell incredibly well.

When my staff ask to help, should I say yes?

During contract work, alway say no – the whole point of contract work is to earn development points, so using development points to speed up the process is pointless!

For game development, however, it all depends, as failure can result in lots of bugs to tidy up. Early on in the game, your devs will most likely not be skilled enough to pull this off with a success, so it’s best to say no to them. However, later on they’ll be able to do it with 80% success rate pretty much every time – at this point, you should always say yes, as these boosts can be extremely useful.

Hilariously, once you have the boosts from the salesman, you might as well say yes to your workers anyway, as the extra bugs can actually be useful! Each bug cleaned up will earn you one development point, hence if you have lots of bugs to clean up, this may give you the opportunity to use the various boosts you have bought and make the game ever better.

How do I get the Game of the Year award?

Achieving the Game of the Year award can be tricky, but if you focus on one project in particular – usually a sequel – it’s definitely doable. To be in with the chance your game needs to get at least 37/40 points in reviews – i.e. one 10, and the rest 9s.

Make sure all your staff are fully prepared and are not tired, then make a sequel to a very popular game. Give each job to the staff with the highest stats, then use each of the boosts you’ve bought from the salesman to send the stats through the roof. You should gather at least 300 points for Fun, then at least 100 for each of the others – possibly even 150 if you can manage it. Make sure to Hype up your game with advertising too

Each writer explained their reasoning for their choices, and because their are only a handful of us, we may have missed something you feel should be on the list. Glaring omissions? Tell us about it in the comments section. We’d love to extend the discussion to you. And don’t forget, these choices are taken across all platforms, so you’ll see everything from iPhone to Xbox Live Indie.

So here it is, DIYgamer’s Best of 2009 Editors’ Picks.

HONORABLE MENTION

AaaaaAAaaaAAAaaAAAAaAAAAA!!! A Reckless Disregard for Gravity

Dejobaan’s audacious title caught my attention, but I wondered if the game could live up to it. But of course, the name is a perfect fit. The game oozes original style. There’s just something about throwing yourself off a tall building and flipping off the gathering crowds as you fall past at terminal velocity.

Peter Rambo

(Download it directly from Dejobaan Games for $9.95 or from other major download services)

AI War: Fleet Command

I admit I haven’t played as far into this game as I would’ve liked to to give it a GOTY nod, but I vote for it over some of the other great ones I’ve played because of the philosophy the developer brings to the experience. The space RTS title does something that a truly good strategy title needs to do, evolve. The game has had free DLC released monthly since its launch and will continue to do so for the foreseeable future. It’s arguably the best post-launch supported title out there, up with the likes of Valve’s Team Fortress 2 and the like. It also supports up to 8 player co-op and competitive play.

Erik Johnson

(Buy it directly from Arcen Games for $19.99)

Captain Forever

As one of the most humble of not only developers but people I have ever come across, indie developer Farbs—whose real name is Jarrad Woods—created an astonishing piece of work that earned him first place at the 2009 IGF China. The game’s addictive mechanic of shooting ships, salvaging their pieces and building up your own was what kept me coming back since I became a subscriber. Farbs followed up this release with Captain Successor, which improves on everything the first one brought forth but Captain Forever takes the cake in this one, as it is inarguably one of the most important indie titles of 2009.

Arsen Nazaryan

(Play it at the official website)

Clover

So fun, so nostalgic and yet such a sting in the end. This Xbox Live Indie was my out of left field game of the year. I never saw it coming, ended up playing it over a couple of evenings and decided it was one of the best sessions I’ve ever had. The simple gameplay really took me back, it was relaxing and yet entirely engaging. As the hands-in-pockets orphan you wanted to explore every frame and talk to every interesting big-eyed npc as you stumbled through a faded, bitter and corrupt world.

Erik Johnson

(Buy it for 400 Microsoft Points in the Xbox Live Marketplace)

JUMP!

The only XBLIG title on my list, JUMP! is one of the few XBLIG games that I continually return to. It’s a fairly simple platforming game that is splashed with retro-goodness all over. However, what gives it such a unique feel, and a spot on my list, is its unique art style that truly evolves the restro sprite look for the 21st century. Seriously, the game is absolutely brilliant.

Geoff Gibson

(Buy it for 400 Microsoft Points in the Xbox Live Marketplace)

Shattered Horizon

Shattered Horizon was probably the best multiplayer game I’ve played this year, even amongst the mainstream games. It’s a simple concept: FPS in space, but it brings with it a uniqueness not found in the Halo’s and Call of Duties of the world, that being zero-G. With this unique perspective you can go anywhere and do anything. There’s no up, or down. Everything changes when your in space and no game proves this more than Shattered Horizon.

Geoff Gibson

(Get it on Steam or the Futuremark Website for $19.99 or $59.99 for 4 Copies)

Small Worlds

Small Worlds didn’t reinvent any wheels, but its perfection lies in its simplicity. The whole experience takes ten to fifteen minutes, but with a mere three pixel character, it encapsulates the wonder and thrill of exploration that modern games don’t always give you. Maps, GPS locators, way-points, we’re so often spoon fed now, but Small Worlds is just about finding what’s around the next corner. David Shute did fantastic work on this small title. It’s a pleasant diversion and a reminder that getting the most basic elements right is the foundation to any solid gaming experience.

Peter Eykemans

(Play it here)

Spelunky

The most impressive work by a single person since Cave Story. Derek Yu’s Spelunky took what’s so enthralling about Rouge-like RPGs and applied them to the platforming genre. Every game is different, and every death matters because you’re never going to be in the same situation twice. And because you can’t just throw your extra lives at a problem over and over again, you’re forced to master the controls to advance. Spelunky is one of the toughest, most rewarding games I’ve played in a while.

Peter Rambo

(Download it here)

Time Fcuk

The game that teaches us a valuable lesson about alternate versions of ourselves and boxes. Time Fcuk has a stark visual style and intriguing platform action that involves everything from gravity flips to layer changes. When I loaded TIme Fcuk up for the first time, I couldn’t get up without seeing it through. Alternate levels, alternate endings. This is such a simple game that accomplishes so much. If you want to ignore the story, it can be a simple run, jump, flip layers. But there’s depth to this flash title as well. Another solid outing from Edmund McMillen.

Peter Eykemans

(Play it here)

Time Gentlemen, Please!

Zombie Cow Studios’ sequel to Ben There, Dan That doesn’t have the best puzzles, and it certainly doesn’t have the best user interface. What it does have is humor, oodles of it. I had more fun playing through Time Gentlemen, Please! than any other adventure game this year because none of those other games featured Hitler’s army of dinosaur clones or asked me to save the world from future, evil versions of the main characters.

Peter Rambo

(Download it here for about $5)

Train Conductor

This iPhone/iPod Touch title that sits in the same vain as Flight Control and glpeas’ Carcophony on XBLIG brings a fresh take to the management mechanic. The Voxel Agents released Train Conductor only several days ago, but the amount that my iPhone has been powered up playing the game has earned me almost a third of the achievements that come with its Plus+ integration. Unmistakably addictive and delicately designed, the fluidity of controls in this title alone works like a charm. Mark my words, Train Conductor will become an instant classic and at its current price of $1.99 is a title no iPhone/iPod Touch owner should live without.

Arsen Nazaryan

(Buy it in the App Store for $1.99)

Trine

Trine was probably the best platforming game of the year. It combined the uniquen-ness of three separate characters each with their own skill sets and abailities that enabled you to get beyond certain obstacles. Additionally, the game featured some nice RPG-esque character development that provided more depth to the game than many traditional platformers. Wrap all this in a beautiful setting/story and you have one damn good game.

Geoff Gibson

(Buy Trine on the Playstation Store or on Steam, Direct2Drive and Others)

Zeno Clash

ACE Team’s first-person brawler is the first game I’ve played that gets close-quarters combat right. It’s set in a strange, beautiful world, full of even stranger characters. Games with Zeno Clash’s perspective are usually the stomping grounds for major game developers, and I love to see a small team of indie developers make a game that looks and plays better than most of the games released this year.

Peter Rambo

(Buy it on Steam or Direct2Drive)

INCHES BEHIND THE RUNNER-UP

I MAED A GAM3 W1TH ZOMBIES 1N IT!!!1

ZOMBIES, we’ll call it, is a twin-stick shooter that gained almost unequivocal success on the XBOX Live Indie Games platform. Perhaps creator James Silva had imagined a quarter of the popularity the game received, but because of the simplicity and terrifyingly hilarious soundtrack, this title is at the top of my list. It broke through the mold and spilled itself into the mainstream scene, initializing what I—at the time—felt meant the indie world was coming back with a boom. And, here we are today, with a hell of a year in 2009 for indie releases and an amazing one coming forth.

Arsen Nazaryan

Another surprisingly great game from the Xbox Live Indie collection. Relying heavily on power-ups, you shoot through zombies, among other monstrosities, on top of an ever changing, and often intentionally distracting background. Certainly the best dollar I’ve spent all year and possibly the best thing ever based on the opening song included in the challenging shoot ‘em up.

Erik Johnson

(Buy it on the Xbox Live Marketplace for 80 Microsoft Points)

Don’t Look Back

Terry Cavanagh’s stripped-down platformer manages to tell a heart-wrenching story with simple graphics over a few short scenes. Don’t Look Back is easily my favorite Flash game of the year. The platforming is tricky, but instant resets keep the game from becoming frustrating.

Peter Rambo

I played a lot of flash games this year, as I’ve been busy at a desk job. I discovered Don’t Look Back around the same time I found Today I Die (another great flash game), but Don’t Look Back turned into a greater overall experience with me. Its monotonous color palette, its range of ease to extreme difficulty, and the eventual section of the game that reflects its title are superbly orchestrated. It’s simple and quick, but it lingers with you. A great balance of simplicity, story and difficulty that everyone should try.

Peter Eykemans

(Play it here)

In the end, the top two games from our lists ended up in a heated tie breaker. I had to resort to averaging out their placement on our lists and our Game of the Year took the narrow win.

RUNNER-UP

Torchlight

Nothing turned me into a dungeon crawling loot lover faster than Diablo, until Runic released Torchlight. Not really a standard indie, with a high replayability and a great mod set that let’s you create and play with literally every aspect of the game. Really only missing a co-op mode to be a near perfect experience, but still far and away my best indie of 2009.

Erik Johnson

Torchlight is a game that resulted from literally a recipe to success. It had all the elements of an excellent title: engaging gameplay (lootfest anyone?), excellent RPG mechanics, and that old-school nostalgic feel of Diablo revitalized. Runic Games must have known a thing or two about how the game’s future would fare because this type of success was almost unrivaled. Especially for an RPG, Torchlight proved to be a phenomenally popular and well-bred game that had us RPG fans in a binge. With the impending multiplayer and new additions in the future, Runic is aware of where they are taking the game and this means nothing but good news for fans.

Arsen Nazaryan

Classically styled action RPG from some of the great minds behind Diablo and Fate. There’s little not to like about this game if you were ever a fan of Diablo, with an expansive underground dungeon and unique bosses. The only thing really holding Torchlight back was its lack of multiplayer, which, after Diablo 2, almost feels like it should be mandatory with these types of games now.

Geoff Gibson

Torchlight, much like its Diablo cousins, is a mouse-breaker. The kind of game where you can no longer keep track of the number of times you’ve clicked your mouse, because it would include a terrifying number of digits. For me, there isn’t anything more satisfying than the bodies dropping and loot exploding from corpses. Torchlight has a beautiful polish to it, and if it seems like a AAA publisher could have put it out any day. I’m still working my way through it, but it’s still the most fun I think I’ve had adventuring all year.

Peter Eykemans

(Buy it from Runic Games, on Steam or Direct2Drive and others)

GAME OF THE YEAR

Machinarium

You’d have to be crazy not to put Machinarium in your list. Having played the demo, I instantly encouraged friends to try it out. The response I received was overwhelmingly positive and upon the release of the full game, we at DIYgamer were some of the first to have it on hand. What made this specific point-and-click adventure stand out had partially to do with its art style, but even moreso was that it told a story with no words. To bring forth such an emotional attachment to the story by use of gestural dialogue, this is a no-brainer on the 2009 list. It exemplified that often people yearn to care about other worlds— not just their own. Amanita Design, thanks for the experience.

Arsen Nazaryan

The best adventure game I’ve played in a long time, and certainly this year’s Braid in terms of an indie art style that just blows you away. The emotion the game stirs despite taking place in a world full of machines along is enhanced by a great soundtrack, and the gameplay engages while you explore the reaches of the odd world.

Erik Johnson

Machinarium was a beautiful game that not only had an outstanding story (surprising because it had no dialog) but it also featured some of the best music and art I’ve ever seen in a game. Everything was hand animated and all the music was recorded explicitly for the title. Not to mention, of course, the brilliant puzzles held within the game. Machinarium was classic adventuring at it’s finest and a game that lives up to the high bar set by classic Sierra and LucasArts titles like King’s Quest and Loom.

Geoff Gibson

My first real games I disappeared into were the King’s, Space and Police Quest series. The level of detail and need to pay attention really stirred up my imagination and logic skills. It’s been many years since I’ve come across something as beautiful and intriguing as those early games. But Machinarium, while I was skeptical from the hype, delivered on all fronts. Its visuals are reminiscent of a kid’s book, and the unique characters telling their tales and woes in sketch are absolutely beautiful. Problems have quirky solutions, and just when you get stuck and have to walk away, you’re drawn right back in because you realize you knew the answer all along. Machinarium delivers a solid experience that makes you think, and therefore makes you feel.

Peter Eykemans

(We recommend buying it directly from Amanita right now, just $10 for Machinarium AND Samorost 2 through Friday)

Let us know what you think of our list and which games you would have added. In the indie world on a list encompassing all the platforms out there, it’s impossible to put everything on a five point list.