The GILM Awards 2017 Favorite Moment (SPOILER HEAVY)


Favorite Moment

The GILM Awards are alive with the sound of hatchets and sad robots!

What was the moment you immediately DM’d a buddy to talk about? What sequence had you tweeeting up a storm? What couldn’t you stop talking about? This is your chance to vote on what your favorite moment of the year was.

This category is for best moment, so there will be unmarked spoilers ahead. Please be specific! Some examples of what we are, and are not, looking for:

A Great Example: On the 6th stage, where Mario climbs the skyscraper and the snake eater theme song plays and the sun is reflecting off of the glass and you’re wearing an alligator hat.

A Could Be Better Example: The skyscraper moon

A Bad Example: The One Where Mario Just Really Collects That Good Good Moon

It’s all up to you now! Make your case, bold the title of your nomination, and we’ll see y’all in the voting round!


Q: Uhhh, sorry to ask, but... what are the GILM Awards?

A: Nothing to apologise for! Just head over to our pinned topic if you need a catch up! You can also find details on the process for the awards here.

Q: How do I nominate a game?

A: To nominate a game, you have to write the game in your post and bold it, ideally at the top of your post. If we don’t know what you’re picking, we can’t count it. You get one (1) nomination. For a game to be eligible for the voting phase, it must have two nominations.

Nomination: (GAME)
(Rest of Post, full of lists and good takes)

You can make a list as long as your arm, just be clear chose. We welcome thoughtful posts about how you made your decision and discussion, as long as we keep it positive and respectful.

Q: I disagree with someone else's choice!

A: As per our Code of Conduct, be considerate about other people’s perspectives. There’s no need to puff out someone else’s candle to make yours a little brighter. Negativity is only going to hurt your case for what you love. What’s said in the thread stays in the thread. The mod team frown deeply on people taking disagreements thread-to-thread, like bringing up a user’s nomination in a previous category in a case against the present one.

Q: Someone already nominated the game(s) I wanted to twice, what do I do?

A: We still want to hear your thoughts! Be mindful of what has already been nominated, but as always, this topic is a conversation, so feel free to write about other nominated games.

Q: When does the nomination process end?

A: The period of time to make your nominations will end 12/10/2017.

Q: Can I nominate ports, re-releases, or remasters?

A: Generally, only games that saw their first release in 2017 are eligible. Full remakes may be eligible, but games like White Day: A Labyrinth Named School, which is a full remake of a game released in 2001 from 2015 that was ported to PC and PS4 this year, are still not eligible if they are ports. Expansions on existing games that stand alone, like Uncharted: The Lost Legacy or Dishonored: Death of the Outsider are eligible, but please consider these games on their own, separate from their full game companions. Please see the pinned topic for more information on eligibility criteria.

The GILM Awards 2017 Favorite Narrative

When BJ Blazkowicz kills his dad in Wolfenstein: The New Colossus. I jumped up and cheered. It was good.


Hey folks, just wanted to jump in here before it gets HEAVY and recommend something that @videodante already helpfully did–blurring out spoilers. We forgot to mention this in the header, but we want it to be possible for users and moderators to be able to skim through this thread without worrying about seeing anything that could ruin a big game moment for them.


Nier: Automata
I would love to put everything from Automata but if I have to pick one it during ending E you play a topdown bullet hell shooter, killing off the end credits, in order to get a ending where you revive the 3 main characters of the story. At the end the game ask you to sacrifice your save data in order to help other players get past the battle with the end credits as you did


Super Mario Odyssey: returning to the Mushroom Kingdom

I knew there was a thing in this game that people were freaking out about, but I fortunately remained unspoiled,
and I can’t even begin to describe the noises I made when the credits finished and the Odyssey landed at the Mushroom Kingdom. It looks the same! It plays the same music! There’s paintings to jump into and they make the weird Mario music sting when you do! Yoshi’s even hanging out on the roof like I suspected he would be! It was just one extremely heartwarming moment after another.

And this is just the frontrunner of like, three huge moments I could pick from Odyssey, which I never thought I’d say about a Mario game.


Nier: Automata - Ascending the Tower/Ko-Shi battle


Towards the end of Nier Automata there is a boss battle as you’re ascending a tower where the game alternates between player control of 9S and A2. 9S is flying up the side of the tower in a flightsuit/mech, battling through bullet hell sections while A2 is fighting machines on a platform that is acting as a tram. Both of them, at various points in this sequence fight against a machine called Ko-Shi and when they reach the top the pace at which player control is swapped between characters is increased as both struggle against two newly fused halves of the Ko-Shi machines they’d been fighting separately. After they’ve defeated Ko-Shi the player is forced to choose between 9S or A2, leading to one or another very sad ending. It’s an extended sequence that is very well crafted, and because of the context of the game it rests in its very emotional.

Part of the reason it has such strong emotional resonance is that the music in this sequence elevates it for me–I alluded to this in the aesthetics category–and puts it so far out ahead of any other game. Likewise, with the fast cuts between character control and perspective.


NieR: Automata’s final credits sequence is absolutely my pick but I feel like the mere existence of that overshadows Wolfenstein 2 WHERE YOU GET FUCKING BEHEADED


It’s absolutely Wolfenstein 2: Wolfensteiner 's getting fucking beheaded and strapped to a new body.
That entire sequence had me hollering like nothing has ever made me do before, I was fucking PUMPED that it was happening before my eyes.

But since everyone’s doing Nier moments(rightfully), ima chime in with something underappretiated: the end to the sidequest of the two deserters, where the lady reveals she’s been constantly resetting her companion’s mind again and again until his minor character flaws are erased. Needed a proper good sit down after that.


At the end of Pyre if you win and give Oralech back his freedom, that moment when, after having bitterly needled you for wasting this opportunity that was snatched from him years ago, it’s made apparent that he never expected to actually receive it again, that he’d completely given up and was only lashing out in despair; at the moment you make that choice, all of his long-simmering rage and bluster falls away to reveal utter disbelief, vulnerability, and gratitude. It just really put every encounter you’d had with that character into a new perspective, I guess? It struck me really deeply, anyway.


Nier: Automata. Pascal’s Choice.


Since I know, for NieR, that Ending E will get its dues, I’ll instead make a case for the part that actually made me weep uncontrollably in that game even if I don’t really think it’ll fly for most other people.

In Ending D of NieR: Automata, after killing A2, 9S is left bleeding out at the top of The Tower. In this moment, you enter a brief, text-only sequence that includes the machine Adam, cradling his brother Eve, offering to take 9S with the machines as they leave Earth on an Ark to see what awaits them elsewhere. When I saw this choice given to me, I couldn’t stop crying, because to me this resonated with so much of the specific struggles of the game’s themes around “being human.” At some level, the frustration and irrationality of 9S during the entire leadup to ending D was an exercise in becoming human. Oh, you want me to listen to orders? Fuck you. You want me to assess this situation calmly? Fuck you. You want me to care about myself and my safety after I’ve lost the only thing I loved? Fuck you. You want me to admit that my struggle is worthless? FUCK. YOU. But in this, there’s still a clear self-awareness. It’s an act of rebellion for purely selfish motivations,
but it’s also one of the most humanizing sequences in the game. So when the machines offered a hand to 9S even after all of this behavior, it hit me that I had to say no - not because I felt 9S didn’t deserve it, but because the core conceit of humanity is that it will never be divine. The struggle to “become human” that so much of the androids and machines in that game strive for would be cheapened by such an easy act of forgiveness and ascension, and so as one final act of rebellion, I chose what seemed to me an analogy for damnation. “No, I can’t go to heaven with you, Adam, for I am a sinner and I must accept what I chose.” As an agnostic/atheist who was raised Catholic and still has a lot of cultural/spiritual connections to the culture and doctrine of Christianity, this moment crystallized a lot of my thoughts and feelings about what it means to “ascend” in this manner, to accept forgiveness from beings above humanity toward becoming something other than human, and it just kinda… paralyzed me. Here I was, unable to save a character I cared about and related to, because the act of salvation would simultaneously cheapen the struggle of becoming human.
I had a moment of clarity in this as well about why certain music - the “In Paradiso” of a requiem mass, the narratives ascension or the setting of Faust in Mahler’s symphonies, the resonance of Bach’s St. Matthew’s Passion in which Christ himself labors under the weight of his cross - immediately fills me with a mixture of rapture and deep, existential sorrow.
Humanity to me is wonderful in part because of its fallibility. But it is also wonderful in its persistence in fallibility despite its self-awareness. So I weep in moments where others can release themselves from the weight of the human experience because I feel I’m never able to do this. And so I damned 9S as I damn myself, and I am still thinking about my feelings on this sequence 6 months after it happened. Suffice to say, this is part of why Ending E later meant so much to me (“Do you think this was all ‘just a game?’”), but the “favorite moment” for me has to go to this one binary choice at the end of Ending D that made me learn so much about myself and feel so many things that I didn’t even know I needed to feel.

Someday I hope I can do a better job of writing about this experience, but for now, this word-vomit is what I’ve got.


Favorite Moment: Winner Winner Chicken Dinner from Player Unknown’s Battlegrounds

Tthe Winner Winner Chicken Dinner screen is my most memorable moment, and my favorite moment even if I’ve had nearly two dozen of them.

I remember my first Chicken Dinner, three people out of a squad down in the plains around Pochinki, before it was my city, crawling around trying to distract the opposition. The fourth player still up, our fourth player with five shots left in her pistol, all other ammo expended. I remember the end game screen popping up, sure that we’d come SO close and fallen short until I read the four most savory words in the English language.

I remember the first Chicken Dinner where I had the final shot—rang the dinner bell, if you will—in the hills north of Georgopol, our squad had played a half dozen games together at that point and were moving really well. After a long firefight with multiple DBNOs, crawling behind a rock, multiple shots ricocheting off my butt pan so a squamate could pull me up, taking a first aid kit, that squad-mate getting knocked out right when I fired the last shot.

I remember the vicarious joy I had when Austin and Patrick — I mean, Crowbar and Sickle — locked their chicken dinner down.

I remember going back to back: eating some Chicken, hopping back on the plane, having a low key jaunt from Stalber to Primorsk, and then at some point realizing that there were only nine people left and four of them were our squad, and then getting it done.

I remember my first Duo, the night Pochinki became Joel’s & my city, clearing out the whole thing, the circle being kind to us, and winning an incredibly tense 2v2v2 shootout in the hills to the Northeast of OUR CITY.

I remember my first Solo chicken dinner: in the fog, a spicy drop into my city because Joel had just logged on and we were gonna duo. We’d started playing Overwatch that week, and I told him about a really good highlight video. After protecting my city the circle was kind to me, so I spent five minutes holed up in a bathroom on the coast, watching this Overwatch highlight video on voice chat, and then noticed there were 19 people left. And then there were six people left. And then there was me, sneaking through the fog, getting the drop on the only person left alive, in the swamp, and icing them with an S12K.

There were a lot of great moments in gaming this year, but for me, the Chicken Dinners we made along the way were more memorable than any other.

The GILM Awards 2017 Favorite Big Developer Game

Sorry this ended up being long

NieR Automata Ending E


I think NieRs ending E is moment of forever. I don’t even know where to begin. Right before Ending E your going to see one of your main characters die. Maybe if your a 9S hater you would be happy about that. For me though it always hurt. It hurt me that no matter what one of these character will die. Not to mention 2B and Devola and Popola who also died. Then to have your Pods who who have been observers though out the game. They talk to you. Denying how this game had to end. They gave you another option. An option for a happier end.

THEN YOU HAD TO FIGHT THE CREDITS. Which isn’t amazing. Smash Brothers does this. But in this context you are fighting against the creators of the game. Denying their ending. Almost Fulfilling 2Bs wish at the very start of the game to kill god.Except you cant kill god by yourself. You die constantly.But every time you die. You get words of encouragement from other players. Stuff like “I did it so can you”. The game then asks you questions. For example IS IT ALL POINTLESS. You click No. Its amazing. After dying a couple of more times. You get an offer for help. From other players. When you accept it a chorus of voices get added to the credits song. Of course the players ships get destroyed. You see a notification in the corner saying (Players Data is Lost).
Then you beat it. You beat god.

You see the pods repairing our main characters. We don’t see a happy ending. The pods admit the same thing could just happen again. But they have the possibility for a happy ending. And sometimes the possibility of happiness is enough to keep you going. That really hit a chord with me.Then the kicker. The games asks if you want to help another play in need. Like how players helped you. Then you learn that you have to delete all of your save data to this. The game then says your never going to be thanked for helping a stranger is that ok. It hit me at the moment. That everyone who helped me made this same decision. They all choose to delete their data. To help me. A random human being. So I did the same. Then the game makes you watch as it deletes everything. Then the Pods say the final words. Thank You Playing. Then I cried in my bed for an hour. I’m tearing up writing this. Ending E will probably be my favorite moment in any medium forever.


NieR: Automata – Devola and Popola’s choice.

This one was tailor made to target people who played the original NieR and, honestly, the implications of the whole Devola & Popola story arc in Automata are so severe that I’ve been trying to unpack them since finishing the game. I’d been considering writing A Thing on it, if only for my own sake, so here’s as good a place as any to get some thoughts out, I guess? NieR and NieR: Automata spoilers somewhere within all of my incoherent rambling below.


In the first game, Devola and Popola are the primary quest givers that guide you through the story, only to show up and heel turn as you’re about to go and confront the Big Bad Guy. They give you the revelations about the world–tell you that everybody’s actually a “Replicant,” and that the shadowy enemies you’ve been killing are relapsed human souls (Gestalts turned Shades) of those Replicants trying to get back to their original bodies. They draw their weapons, you fight them, and ultimately end up killing Devola, prompting Popola to get maaaaaaad and try to blow everything up, but Emil takes the bullet.

There was a good article recently that touched on how this specific Devola and Popola Automata moment gets set up. The twins in Automata seem like they’re very deliberately portrayed in such a way as to remind players about the betrayal that happens in the first game; they look the same, they sound the same, they act the same, they have the same personality quirks, they even occasionally have the same lines of dialog when presented with similar circumstances (another tip of the hat to 8-4’s translation for keeping those lines in tact). So when Devola and Popola show up in front of 9S (again, just as he arrives at the doorstep of the game’s (presumed) Big Bad Guy) and draw their weapons, the (earned) natural reaction from veteran players moves quickly from “not again” to “well, of course, though.” The camera shows 9S flinch as they run towards him, swords out–but it turns out that they’ve decided to help this time around, and end up sacrificing themselves so that 9S can proceed.

The moment itself is good, but there’s a layer underneath if we think about it, right? Every time you meet Devola and Popola in Automata it feels as though you’re being shown a mirror of the Devola and Popola from the original. Given the lengths they go to make veteran players feel like they’re seeing the same characters, how are we supposed to react to the choice they make in Automata, given the choice that they made in the original? Is it safe for us to take the window Automata gives us into the thoughts of this Devola and Popola as a window into the thoughts of the first game’s Devola and Popola, or even every other, unseen Devola and Popola?

Just for a bit of background, Devola and Popola were a line of twin androids that humanity built to oversee Project Gestalt (a whole big thing), each pair designated to watch over a specific region of Replicants. Through one of the novels in Automata we see that the project began to fail for the Automata twins just like it did for the twins in the original–Gestalt relapses caused by Replicants gaining their own consciousness. The only difference between the two pairs of twins seems to be that the twins in the first game had Replicant Nier (the protagonist) and Gestalt Nier (the antagonist, aka the “Shadowlord”) in their region. The A to Z of all this is longer than I’m going to give it here, but the short of it is that it would appear as though the Devola and Popola in the first game were possibly the only Devola and Popola who could have even attempted to keep the project from failing.

The Shadowlord was basically Project Gestalt’s battery–a fact that, one would think, every Devola and Popola would have known. He was powering the Gestalts-turned-shades, thereby keeping the last flame of humanity going (but having difficulty doing so due to the Replicants gaining individuality). Devola and Popola help the player get to the Shadowlord, but then they turn against you on his doorstep. One assumes they knew that his death would mean extinction, so if that was their goal they would’ve just sat by and watched after helping him get there. The history we’re presented with in Automata is one where everyone believes that Devola and Popola “went crazy,” but that seems like the only inconsistency in the whole thing. The motivations of NieR’s Devola and Popola are never shared, but considering the similarities between them and the twins in Automata, it feels like we’re supposed to start to wonder. If everything’s the same except for one thing, then maybe that one thing isn’t actually all that different.

My tl;dr bunch-of-red-string-on-a-corkboard take after Automata: NieR’s Devola and Popola led the player to the Shadowlord because Project Gestalt was failing; they had some sort of last ditch plan in mind to try and salvage what they could, but it was never revealed or enacted because, uh, we killed them instead. By killing them, we doomed the human race (even if it was kinda looking like it was already doomed at this point, anyways). As a very NieR bonus, we also precipitated the genocide of the entire Devola and Popola line after they were blamed for the loss of humanity–save for the one pair that was spared, only to return and make us feel like garbage in the sequel.

This entire rabbit hole brought to you (and me… mostly me) by the above nominated Moment.


The payoff at the epilogue of Pyre sticks with me.

After you finish the last Rite and send the last person home, the epilogue begins. All of the characters you’ve interacted with in the Rites are there. They’re displayed like a heavenly choir. As you go from person to person, you learn what became of each of them. For some it’s bittersweet, like those trapped in the Downside for the rest of their lives. For others it’s full-on Lord of the Rings happy ending (Rukey and Sir Gilman being old sports/war buddies is the best). Either way, as you find out what happened to each person and the world around them, they fade away. Their stories are resolved. After the last person the game tells you about your character. And then that glorious bardic song which details your team starts to play over the credits while their portraits are portrayed in the stars and the entire endeavor feels as though it really mattered. Your choices, simple though they may be, truly changed this world. So yeah the epilogue of Pyre is my Favorite Moment.


Nier: Automata - Beginning Rout C

While several people have already pointed out Ending E I want to address the moment where the game really feels like it starts to really show it’s hand.

Spoilers Follow

By the time you have reached rout C you have already “finished” the game twice as 2B & 9S and if you had been following the marketing you probably are expecting "oh now I’m going to finally see A2’s perspective & learn what her deal is. Your thinking, there is something not quite right about YoRHa & I suspect that we may in fact be the baddies.

And then the moment you start your “third play through” instead of a slow melancholy scene like before it starts off with the Commander giving a rousing speech to the YoRHa soldiers who have out of the blue decided that the Nazi’s in Wolfenstein have a more interesting aesthetic than their lolita uniforms. This needles to say is pretty shocking but feels like it confirms what you suspected of YoRHa & the humans. In this game full of cynicism obviously the Humans & their murder robots were bad all along, one thinks.

Many thoughts start to happen once you get on earth of where the game may actually be going but every time you think you finally got it it makes a swerve. First with 9S you can tell something is off, the wold feels incredibly empty & quiet while your operator suddenly feels a lot nicer than usual. And then the virus happens all of a sudden & things go from bad to worse. First you have to fight all your allies, 9S & 2B kill themselves again which is fine because they uploaded their data but it still hurts, THEN they get accused of being traitors but seconds & weapons get drawn on them but seconds later it turns out all the soldiers & operators including yours are infected. You fight your way through your “home” as it is crumbling down only for it to be revealed that the commander, the one person 2B respects more than anyone is also infected & orders for 2B & 9S to leave so she may sacrifice herself.

And here is where we truly see who 2B is. She isn’t just an emotionless soldier who has bonded with this 9S boy. She has feelings & connections with people that are now about to die or have already & it scares her. Death matters now for the first time ever in the game because your body factory witch also holds everyones memories is about to explode. 9S has to drag 2B to their ships.


Because the plot twist is that you have just played a 14+ hour PROLOGUE. As the credits roll the tone has changed. 2B is much like Eve here over the loss of his brother. But then she sends 9S away to ensure she does not lose the last thing she has & cares about. Yet we then find out she too is infected & have to make that terrible walk across the map, & finally make it only for it to be revealed that there is no way for her to be saved, & as her final act she asks A2 who shows up all of a sudden to kill her & protect who is left, who is 9S.

And then 9S witnesses & completely misunderstands 2Bs death & in what feels like a split second goes from lovable sidekick to clear villain on the game before being thrown off a bridge by a giant tower emerging from the ground that now just resides permanently on the map.

At this point the game has basically landed a backside 1620 triple cork turn as if it were nothing & simply goes, “do I have your attention now?” and it does. It absolutely does. Every expectation I had has been turn flipped inside out and I’m not even sure what the game is even about anymore. The game just ups the ante there & keeps upping it afterwards which leads to the amazing sequence of Ending E. But I don’t think it would have been able to pull off any of the things that happen afterwards, the climb of the tower, Pascals decision, Ending C, D or E had it not done what it did with the beginning of rout C. The context for the entire game changes in just about every way after that sequence. The way we saw 2B, the way 9S was, A2’s roll in everything, even the commander & YoRHa as a whole. All of the revelations along the rest of the game go back to that moment exactly & I think it makes it even more powerful after the fact.


The first 10 hours of Wolfenstein II: The New Colossus

No but in all seriousness it has to be the part in Wolfenstein II where BJ visits his childhood home in Mesquite and has that conversation with his father. Like we already know this dude is an abusive piece of trash but to hear him say he sold out his own wife for personal gain is still rough.
BJ’s father is the embodiment of the type of American that game is constantly trying to warn you about, and he’s not some villainous caricature. He’s a guy we’ve all run into at some point, an angry, bigoted portrait of white mediocrity who’s desperate to step on every minority he can to try and make it out on top. It’s short-lived, but the catharsis brought on by this final confrontation between BJ and the man he’s tried desperately his whole life not to become is powerful


Favorite Moment: The Big Reveal (Danganronpa V3)

There’s a couple of other impactful scenes that also deserve to be nominated, but I have to place the focus on that moment – the big twist that the entire series is actually a long-running reality show. I was too busy freaking out as the bombs started to drop (V3 = 53 holy fuck) to really process what was happening, but in retrospect I’ve found that this moment has such staying power. Maybe it’s because of the sheer audacity of it – to straight up call out the expectations of the fanbase which is unprecedented in my experience. Or maybe it’s the statement itself that keeps resonating with me. And I think that Shuichi and pals’ resolve to find purpose in the face of an existential crisis was really cool too. All in all, this was far and away the most memorable payoff to a game I’ve played in a long time.


Completing Nightfalls as a Fireteam in Destiny 2

Drained of ability energy, weapon light and empty in my hand, I have no choice but to bring my fists to bear against Bracus Zahn, frantically throwing myself against him until he finally falls. Seven seconds left.

Brakion the Genesis Mind looms over my corpse. My team is dead. We’re all dead. As we revive, I pour all my hope and power into one final shot from my Golden Gun. A flash of light, and it finally falls–and my prize, the Rat King exotic, falls into my inventory. Five minutes, eleven seconds left.

Protheon the Modular Mind stomps right up to me, jittering and sparking. It unleashes a powerful stomp, and the force sends me over the edge of the platform we fight on. As I fly back, I give it a parting shot, a final and desperate gambit. My grenade impacts as I did, and the boss falls just after I do. One second left.

When I played the first Destiny, I stuck solely to single player story missions and matchmaking-enabled Strikes. I never had any friends or siblings growing up who played games with me, so my instinct was to just treat it as a single player game.

In January, I came out as trans, and this bit is important. We’ll get back to Destiny 2, I promise. Weeks before the game came out, I wiped my PS4 and made a new account. (My old one had part of my deadname in it.) This fresh start was empowering and affirming, and made my transformation and growth as a person over the last year feel more concrete.

This was all crystallized when the Destiny 2 PS4 role was added to the Discord. I tentatively added myself, thinking to maybe have a way to find someone to accompany me in Crucible matches from time to time at most.

What I found instead was a vibrant and welcoming subcommunity of people who I quickly became friends with. I felt immediately accepted, both just as a player and ad a trans woman. I have since logged 99 hours in Destiny 2, and only a small fraction of that has been solo play. Every morning I group up and tackle a few milestones, whether Crucible, Nightfall, or just a Flashpoint. It has been a beautiful experience and I wouldn’t give it up for the world.

It is in this group that I found the Morning Zoo, a group of us with either odd schedules or weird timezones. We happen to sync up, and play just about every morning when I get home from my night shift. With these teams I have defeated foes across the solar system from Earth to Nessus and back, and even delved into the Leviathan to fight the minions of Emperor Calus.

I’ll never get tired of the sound of victory, when that chest opens and spews its rewards into the air. Tokens, engrams, and plenty of glimmer. That moment of just catching our breath and laughing about our adventure. That feeling of being a team and conquering something great. It’s the most rewarding moment I’ve had this year, bar none.


I’m going to wait until the last minute to put my nomination in, but so far the two Super Mario Odyssey moments that are already in this thread are leading the pack from this thread.

I know there are moments in Breath of the Wild or Persona 5 that’ll top those if I think hard enough on it.