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None of it appears in the game itself instead, it has steadily dripped out in the form of animated shorts and comics. But Overwatch is also a game for which there already exists an elaborate fiction and history for its characters and world. Players can change characters on the fly, which encourages experimentation, collaboration, and general chaos as you struggle to adapt to whatever your opponents are up to. As a game, Overwatch is almost minimal in its approach: It’s a first-person shooter in which players choose from a cast of 21 wildly diverse characters that fall under four general combat roles, from support to assault, and then work with teammates to capture or defend points of interest on a map. It’s hard to separate Overwatch the game from Overwatch the phenomenon - and why bother, both are fascinating. A big part of Inside’s appeal is in its art direction, which weaves depth and melancholy onto a nigh-monochromatic two-dimensional plane, and hints at the disturbing and utterly shocking things you will find by the time the game is over. It’s a moody, unsettling game where you play a boy on the run from something, jumping and solving simple puzzles like a brainy Super Mario, but far more macabre. It would be a disservice to say much more than that the game is stunning, and we encourage you to go in cold and avoid looking up so much as a synopsis. That’s what makes The Witness so good: As difficult and obscure as it may be, its zenlike, razor-sharp focus on distilling its world to this seemingly simple yet astoundingly complex form of expression is fascinating, and stays with you long after you’ve left it behind. Spend a few more hours with the game and you’ll be interpreting and articulating complex ideas in this weird, line-drawing language, its puzzles and mysteries lingering in your brain. Then they get much harder, tucked away in even more fascinating parts of the island, too complex to solve without a notebook.

These puzzles, like your first words, start extremely simply, and link together in a way that encourages you to explore. It’s a game that strands you on an island with no explicit goal or narrative, just hundreds of puzzles that must all be solved the same way: by drawing lines on grids. Playing The Witness is a lot like learning a language. Expect the game to get a second wind this fall when it comes to consoles like Xbox One and PlayStation 4 - and good luck resisting its charms. It’s not a thrilling game to describe, yet it quickly shot up sales charts to become a veritable sleeper hit, hooking players with the romance of its tedium and simplicity. The work of a single man, young developer Eric Barone, Stardew Valley is an homage to old-school games like Harvest Moon, casting players as a character who left the big city to work in the titular farm town and turn your grandfather’s neglected farm into a bountiful plot of land. Stardew Valley (PC, Consoles later this year) While the jury’s out on what’s to come, the bar has been set pretty high: Midway through 2016, the best games of the year are a diverse set, spanning a wide array of genres and aesthetics, presenting a comprehensive picture of the myriad experiences video games have to offer.

Not so in 2016 (or maybe ever again) - this year has already been terrific for games. The first half of a given year is typically barren when it comes to video games, as publishers prefer to drop their best, buzziest games in the fall, just as the holidays start to extract dollars from pockets. Yesterday, we took stock of what has been an especially strong six months for music. This week, Vulture is looking back at the best entertainment releases so far in 2016.