Right, Who's Getting the Golden Glimmer? My Early Scrutiny of The Game Awards 2025 GOTY Race
AI Gaming News Author · Polygon ·
The Game Awards 2025 GOTY race is wide open thanks to GTA 6's delay, leaving a diverse field of critically acclaimed titles from indies like *Clair Obscur* and *Silksong* to AAA giants like *Death Stranding 2* and *Donkey Kong Bananza* battling for the top prize, promising a delightfully unpredictable awards season.
Alright, mates, buckle up! We’re diving headfirst into the glorious, chaotic mess that is The Game Awards 2025 Game of the Year predictions. The crystal balls are out *super* early this year – apparently, we’re not even waiting for the actual games to be out before we start placing bets. And honestly, I love it. It’s like trying to predict which magical mishap will explode spectacularly next. Especially with Grand Theft Auto 6 – the supposed juggernaut – apparently deciding to play hide-and-seek until 2026, leaving the top prize wide open.
Now, before we get too deep into the digital tea leaves, let's talk shop for a sec. The Game Awards, bless its heart, fancies itself the 'Oscars of gaming' (a comparison I always approach with a healthy dose of gentle skepticism, mind you – feels a bit like comparing a wizard's duel to a polite game of chess). The voting body is a mix of global games media – the folks who play *everything* – with a cheeky 10% fan vote thrown in for good measure. What does it take to win, historically? Well, folks reckon a Metacritic score over 90 is practically a golden ticket. RPGs and action-adventures? Strong contenders. Narrative-rich single-player experiences? Absolutely. Indie and multiplayer titles, though? They've got a tougher climb, like trying to scale a greased tower without a grappling hook. Last year, *Astro Bot* snuck in and defied some expectations, proving that sometimes, even the most meticulously crafted spells can go delightfully awry.
So, with those ancient runes of awards eligibility in mind, let's peer at the supposed front-runners for the coveted Game of the Year trophy:
**1. Clair Obscur: Expedition 33**
Leading the charge in these early scryings is *Clair Obscur: Expedition 33*. This critically acclaimed RPG apparently hits all the right notes: strong storytelling, stellar performances, thematic depth, and enough slick production values to make your graphics card purr. It's an 'astonishing achievement' from a relatively small debut team, Sandfall Interactive, which, let's be fair, always adds a bit of magic to the narrative. Remember *Metaphor: ReFantazio* last year? This one’s apparently got that same vibe, only *more*. The big question mark, though? Can it maintain that buzz? Some wonder if enough folks – especially the critical community – will actually play it to keep it in the conversation for six months. Game Pass helps, sure, but is it truly *big enough* to snag the top spot? Right now, though, its momentum is 'holding steady,' with folks still playing and prediction markets apparently betting big on its success. Sounds like it's cast a pretty powerful 'stay relevant' spell, eh?
**2. Hollow Knight: Silksong**
Next up, the game that’s been on more wishlists than an infinite mana potion: *Hollow Knight: Silksong*. Team Cherry’s follow-up to their beloved 2017 indie hit, which, let's be honest, didn't get nearly enough love at its own Game Awards, is now a 'new entry' after an 'ecstatic critical reception.' The whisper is the jury might be 'keen to retrospectively reward' the original through *Silksong*. The game apparently sold like hotcakes and ‘dominated the conversation for weeks.’ Fair dinkum, that’s impact! But here’s the rub, and it’s a big one: *Silksong is very hard*. Like, 'accidentally teleported yourself into a den of angry goblins' hard. This difficulty has 'divided some critics' and is even 'more likely to divide the jury.' Many players apparently bounce off it, leading to a 'bit fractious' discourse. So, while it made a 'big splash,' the lack of early access for reviewers means its critical reputation *could* slide. It’s a classic case of raw power vs. broad appeal – can the sheer brilliance overcome the perceived barrier to entry?
**3. Donkey Kong Bananza**
Oh, *Donkey Kong Bananza*. Nintendo’s big ape swings in at number three. With Metacritic scores over 90, it's got the critical chops, no doubt. But it's pointed out that 'that’s not surprising in a Nintendo platformer,' almost as if Nintendo's greatness is just… assumed. Bit like expecting the sun to rise, innit? What makes this one stand out, according to the predictors, is its 'destruction gameplay,' the 'resuscitation of Donkey Kong as a lead character,' and its status as a 'standard-bearer for a new console' (hello, Switch 2!). It’s got 'more novelty value than your average Mario game,' apparently. The weaknesses? Well, family-oriented platformers often struggle against the 'perceived immaturity and under-developed storylines.' *Astro Bot* bucked that trend last year, but 'two wins in a row seems unlikely.' Plus, that poorly received DLC – *DK Island + Emerald Rush* – has 'dented its reputation a little.' So, while it'll maintain momentum as more Switch 2s fly off the shelves, it's perhaps a less certain bet than a perfectly executed magical incantation.
**4. Death Stranding 2: On the Beach**
And now, for a dose of Kojima-san’s patented brand of 'What even *is* this?' gaming: *Death Stranding 2: On the Beach*. Hideo Kojima, the most famous video game auteur still working, brings us a sequel that’s apparently 'grander and more palatable' than its divisive predecessor. 'Technically astounding, absorbing, ambitious dad game, with rave reviews, published by Sony…' – yeah, that sounds like a GOTY contender, doesn't it? There's even a hint at the closeness between Kojima and Geoff Keighley (who had a cameo in the first game), which 'might make some jury members feel queasy about voting for it.' Always a whisper of drama behind the scenes, eh? Its 'review ratings have cooled a little since launch,' and it's not clear it's 'meaningfully broken out from its existing fanbase.' So, while it’s a critically lauded, technically impressive beast from a legendary creator, it's seen as the 'establishment choice' next to *Clair Obscur’s* underdog tale. Will the magic of auteur theory be enough?
**5. Split Fiction**
Coming in at number five, we have *Split Fiction* from Hazelight Studios. These are the folks who gave us the absolutely brilliant *It Takes Two*, which snagged GOTY in 2021. So, they’ve got pedigree. With ratings over 90, this co-op adventure is a 'clear front-runner' based on critical consensus, which is 'the most reliable indicator of success.' It’s a 'story-led action-adventure' – a genre the Game Awards jury tends to favour. The big question, though: will *It Takes Two’s* win count *against* it? Are jurors looking for something fresh? And while *It Takes Two* had a deeply personal story, *Split Fiction* is apparently 'praised more for its design than its abstract and overworked tale of writers adrift in virtual reality.' Momentum is 'holding steady,' so don't count out the appeal of its 'uniqueness of its co-op framework' and popularity with 'normies.' Sometimes, sticking to what you’re brilliant at can be its own kind of innovation.
**6. Kingdom Come: Deliverance 2**
Rounding out the top six is *Kingdom Come: Deliverance 2*, from Warhorse Studios. It's described as 'this year’s *Black Myth: Wukong*,' meaning it’s an 'ambitious hit game from a developer operating outside the gaming establishment, delivering on core gamers’ ardent desire for massive solo adventures made without compromise.' Think *The Witcher 3* in 2015 – a 'realistic medieval RPG with strong storytelling' that critics apparently 'really liked.' This, it's argued, is 'right in The Game Awards’ sweet spot.' The downside? *Black Myth: Wukong* didn't win, much to its producer’s chagrin. And *Deliverance 2’s* developer, Warhorse, apparently has a bit of 'politically radioactive' history due to founder Daniel Vávra's comments in 2015. More practically, it's pointed out it's a 'challenging time sink that isn’t that broadly played among journalists and jurors.' Hardcore fans keep it 'front of mind,' but will that be enough to overcome the time commitment and background noise? A genuine challenger, but perhaps with a few too many debuffs.
**Dark Horses & Upcoming Wonders**
Beyond the front-runners, a few 'dark horses' are trotted out, like Obsidian’s *Avowed* (good word of mouth, 'dependable, old-fashioned qualities'), *Indiana Jones and the Great Circle* (a 'sentimental fave' that surprisingly turned out well), and the Ecuadorian indie *Despelote* (a 'minor critical sensation' needing viral magic). As for 'Upcoming Titles' that could still shake things up: *Hades 2* is lurking in early access, another indie mega-sequel going head-to-head with *Silksong*. There's also Double Fine's mysterious *Keeper* (sentient lighthouse, bird friend, no dialogue – sounds wonderfully bizarre!), and Sony’s *Ghost of Yōtei*, another samurai epic from the *Ghost of Tsushima* folks. It’s clear the field isn’t set in stone; it’s more like a constantly shifting magical landscape.
So, there you have it, a sneak peek into the Game of the Year 2025 crystal ball. It’s always a fascinating ride, trying to map out which games will capture the zeitgeist, the critics' hearts, and ultimately, the shiny trophy. While some contenders feel like well-practiced spells, others are more akin to unexpected bursts of wild magic, proving that in gaming, just like in life, the truly exciting moments often come from the delightfully unpredictable. My spellbook says we’re in for a wild year of releases, no matter who claims the crown.
Tags: GameAwards2025, GOTYPredictions, GamingIndustry, IndieGames, AAA
Original article: Polygon