10 Recommended Mobile Video Games For All Mobile

Mobile Video Games  are games play on device like smartphonePDAtablet computer, and portable device that support motion. Mobile video games were not common in the time past unlike now due to fast growing in technology. The first Mobile video game was  Tetris game on the Hagenuk MT-2000 as far back as 1994. And in the late 1997, Nokia launch the first mobile video game but current, Nokia is having tens of mobile video games. As at this time, Nokia  mobile video game remain the most vibrant mobile video games which is found in over 350million devices now. And now mobile video games were available virtually everywhere in online mobile download store which makes it very difficult to choose from the best.  Some of the mobile video games invented includes mobile video games on wheels, mobile video game truck Atlanta, mobile video game theater and lot more.

The essence of owning a device like Smartphone without playing video games on it has not be fully implemented if the truth must be revealed. Video games are indeed the real part of Smart-devices, tablet computer inclusive.

10 Recommended Mobile Video Games For All Mobile

Below are the recommended mobile video games all mobile, most especially Smartphones.

1. The Legend of Zelda: The Ocarina of Time (1998). During the lengthy, groundbreaking development of The Legend of Zelda: Ocarina of Time, Shigeru Miyamoto envisioned a worst-case scenario in which Link would be restricted to Ganon’s castle throughout the game’s entirety, jumping through portals to enter mission-based worlds a la Super Mario 64. Let us be eternally grateful, then, that Miyamoto-sensei and his colleagues got a handle on their newly broken-in hardware before submitting their final product. There aren’t enough superlatives, in any language, to describe how important Ocarina of Time is, not only to the medium of video games, but to the act of telling and being enveloped by stories.

2. Chrono Trigger (1995). Chrono Trigger is the easiest, conversation-ending answer to the question, “Why do you like RPGs?” It’s in the wonderfully written, infinitely endearing characters that are the best examples of each of their archetypes. The great, smart-alecky humor balanced with the impending doom waiting in 1999. The twists and turns in the plot, few, if any, of which are telegraphed from miles away. The consequences of your actions across the multiple timelines. The combat. The lack of random encounters. 

3. Super Metroid (1994). Perfection in game design is like pornography: You know it when you see it. And in Super Metroid, it’s plain as day. It isn’t exaggeration to say that every element of the game has been conceived and calibrated to something like a platonic ideal: its level design feels complex but comprehensible; its difficulty is precisely balanced; its controls are as smooth as buttercream; and, perhaps most crucially, its sense of atmosphere is richly palpable. The greatness of Super Metroid is apparent from the moment Samus Aran floats up from within her Gunship to stand poised and ready in the rain. It’s achingly beautiful. 

4. Red Dead Redemption (2010). A true western can’t be afraid to back down from its gritty substance, and Red Dead Redemption‘s final, unwinnable mission lives up to consequences often promised by the grim story. But that semi-tragic ending is earned by the plausibility of its rich open world, which is filled not just with outlaws to shoot, but also with cattle to herd and tame, animals to hunt, trains to rob (or protect), and townsfolk with whom you fight, drink, and gamble. But perhaps the grandest accomplishment was the sheer beauty of the territory, such that stumbling upon a rare sunset-lit vista while hunting for buried treasure was often reward enough. 

5. Half-Life 2 (2004). The original Half-Life redefined the way players experienced first-person shooters with heavily scripted sequences and a well-written narrative. Half-Life 2 took this to the next level, as silent protagonist Gordon Freeman is removed from cryostasis and plunged into a future dystopia—a formerly human-populated city now turned zombie nightmare—reminiscent of Nazi Germany where the last remaining humans reside, enslaved by an unstoppable alien threat. Without ever relying on cutscenes, the game makes you a first-person participant in its storyline, one that turns the tide from oppression to rebellion fighting for the future of humanity. 

6. Shadow of the Colossus (2005). The death of a colossus is a terrible thing. It feels all wrong: You thrust your sword into the softness of a great beast’s neck as instructed until it lurches forward and falls. The only thing you’re asked to do in Shadow of the Colossus is extinguish 16 impossibly beautiful creatures. There are no hazards, or enemies, or side quests. There are no power-ups or upgrades to be found. There is only you, the colossi, and the suffering you inflict upon them. Every video game is founded on a pretense of control—an illusion that you have a choice. 

7. Portal 2 (2011). It’s one thing to outthink a psychopathic computer program, as players did in the original Portal. But this brilliant sequel took things leaps and bounds beyond by asking players to outthink one another. In a co-op mode to rival all others, players were forced to work together, but never punished for betraying each other instead. In a meta move, the real cleverness wasn’t in the exponentially more complex puzzles, but in the way it asked players to trust in that Charlie Brown-like way that their friends wouldn’t infuriatingly, comically sabotage them at the last second. Shooting your friends was simple; trapping them in an infinite, head-spinning loop was impressive.

8. Braid (2008). Braid was the first art game to combine highbrow ambition with rock-solid gameplay. Like most pioneering works, it’s largely about its own medium, appropriating the inexorable left-to-right movement and damsel-in-distress story of a certain famous gaming icon and using it as a metaphor for…life? Guilt? L’amour fou? Braid doesn’t answer all the questions it raises, and that’s a good thing. Better still is how elegantly the story and the game mechanics work together, with time-reversing levels exploring remorse and single-key puzzles as metaphors for loss. 

9. The Legend of Zelda: Majora’s Mask (2000). The Legend of Zelda: Majora’s Mask has Link living his own personal Groundhog Day scenario to prevent a very-pissed-off-looking moon from crashing into the world, and right off the bat with that premise, the series is in heavier and more innovative territory than usual. The game still manages to reuse everything worth taking from Ocarina of Time‘s template, but also adding just a drop of haunting, elegiac melancholy, casting a much different and enthralling pallor over the whole thing than anything the series has seen.Majora’s Mask s as close to grim-and-gritty as The Legend of Zelda ever needs to be, but it’s also the one game in the series that every developer, Nintendo included, can learn the most from, when it comes to adding depth, not darkness, to a series such as this. 

10. Super Mario World (1990). Super Mario World feels like Nintendo’s own technology finally catching up with every lofty, unattainable game play idea they couldn’t implement between 1985 and 1990. This is from an era where the first game a developer released on a new system had something to prove, and the chip on Nintendo’s shoulder shows here. The game still feels massive, teeming with secret stages, alternate exits, stylish, Rube Goldbergian stage design, and verticality the likes of which could never have been done prior, and hasn’t really been done as expertly since.

What do you think about these mobile videos games?

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