Most started, all unfinished. This is my games backlog. Oh, and i've got some more conventional resolutions too, but I wont bore you with my reasons for why I enjoyed 2007, so don't worry.

Presumably i'll be typing the exact same things a year from now unless I get a major personality-transplant, but there's nothing drastic there so i'll try them a little.I'm also going to be unemployed in a month's time, ending whatever hopes I have of buying something nice like, I dunno, more games to not play. If anyone wants to employ me or just send me money randomly for fun, please get emailing immediately.

Finally, Happy New Year to anyone reading or subscribing, and thanks for being here reading this.

UK comedy and US Drama, that's just the way it works. 30 Rock, 'Earl and Scrubs kinda mess up that ideology though, so they're notably absent, but also close contenders for being included all the same. Like everything else i'm into though, I really don't get to watch as much TV as i'd like, often having to pick up the DVDs for something of a second chance. That said, here's some of the stuff I have enjoyed this year.

Okay, so the first-half of Season 2 offered little exciting other than the mere appearances of the rather sexy Kristen Bell, but with the first season and volume recently finished airing in the UK and now out on DVD around the world, the phenomenon is only really just beginning. And rightly so, because alongside the somewhat original concept, the first season is effortlessly appealing, exciting and special. Littered with a handful of engrossing characters and plots, all alongside an obligatory mystery or two, even at it's worst, Heroes is still worthy productive viewing.

Fonejacker
As the increasingly simple concept of prank phone calls, it's hard to imagine how something so obviously sound-based would translate to TV, more particularly, as a series of half-hour episodes. Somehow it works, as the recorded dialogue between Kayvan Novak and the irritated public is a childishly surreal conversation of funny, with Novak assuming many identities including an African scammer, a cockney-geezer car salesman, and a fast-talking Irish salesman from an IT crowd with a long and dirty company name. But more than just voice acting, the humour comes from the victim's themselves and their responses. Random, childish, surreal, and yet, one of the surprise hits of the year.



The IT Crowd
The IT Crowd is a living example of why things should always be given a second chance. While the first season wasn't as bad as everyone made out, it was still nowhere near as good as past shows from the man that is Graham Linehan. Thankfully the second season expands on the laughs while still retaining the signature style of the first season, and indeed, the creator himself. As with all comedy it won't be to everyone's tastes, but it is easily one of the few examples where the sophomore season is better than the debut.

With the previous season set almost entirely in the shadowy and mysterious Swan Electromagnetism research bunker, the third season of LOST is undoubtedly very much a different show.

This is evident as early as the opening episode, with the show continuing it's infamous style of opening seasons with a bang. Here, the shock is just as incredibly sinister as that of the two seasons before it, so absurd, illogical, so...out of the blue. But assuming you don't put too much effort into nit-picking the scientifics behind the show, this blend of real-life and surrealism is the show's biggest asset, and the third season continues this ideology frequently. Things turn altogether more mysterious, and while the fans that want answers get them in handfuls, obligatory follow-up questions and mysteries are also included. The show's return to the outside, naturally, bringing the new sightings, discoveries and mysteries.

But beyond the actual plot and revelations, the season's biggest change is the introduction of not one new character, but a group of them. With 'The Others' being one of the show's biggest mysteries in the preceding seasons here they're given a chance to fully develop themselves, both as show mythology and individual characters. The end result is a season with a new clear focus, because while all of the previous characters and plane survivors continue to dominate the show, there's also that reminder and focus on these new characters. Desmond, one of the most prolific and pivotal characters to the events of last year is given a chance to grow here, and the fleshing out of his -and the other characters- personality against that of the existing characters are some of the best scenes of the season. After all, for all it's sci-fi absurdity and cloud-monster enemies, the centre and focus of LOST is always the characters. On that front, the season doesn't disappoint, and if anything, the finale only reinforces that notion.

With it's cemented series finale in 2010, LOST still has a lot of story to tell and ground to cover. The third season however, while once again different to that of the previous years helps end the opening trilogy with plenty of answers to past mysteries and questions, while once again, changing the show forever with a surprisingly daring finale. With Season 4 beginning in a month's time, hopefully the show can continue both it's creative momentum and success.

LOST is coming back. The 31st of January next year, once Christmas and New Year have passed and everyone is in a state of debt and weighing more than they were before. The perfect pick-me-up, especially to the fans who've been waiting since May for new episodes.

The ongoing WGA strike means that the season is going to be airing only half complete, with only eight of the initial sixteen complete. That said, if these eight episodes are anywhere near as good as their previous season, fans will be in for a real treat. Eitherway, here's the latest in what will presumably be a long-line of marketing from ABC. Enough to wet your appetite, but spoilerphobes may prefer to avoid.

With the Xbox360 in it's second year, and the Wii and PS3 both in their first, 2007 is undoubtedly the first chance of all three consoles to shine and show gamers their worth. The answer, for the Xbox 360, is a lot, if you don't mind getting a replacement console every now and then, while the answer for the PS3 is not much, despite an empty wallet and a shoddy conversion or five. The Wii, still the most wanted console despite now being it's second Christmas, continues to deliver nothing but promises and licensed tat, and while there's no denying the appeal of the console or it's respective technology, it's certainly not the gaming experience many of the gaming audience were probably expecting.

That said, altogether 2007 has been a fantastic year for gaming as all three consoles (along with regular competition from the PC) continue to battle, the winner, of course, always being the gamers and consumers alike.

Crackdown (X360)
As the first opportunity to take part in the Halo 3 public beta, and with a big-ass sticker on the front of the box emphasizing so, looking back, Crackdown for the X360 maybe wasn't bought for all the right reasons when it was originally released- always overshadowed throughout it's lifetime by that ever infamous four-lettered H-word. But beyond being a mere part of the hype-machine, Crackdown is one of the finest first-party games available on the X360.

While the game certainly conforms to the run & gun gameplay that the X360 audience is fond of, the game completely revolutionises the new-fangled sandbox genre that every game wants to be. Here, there is no story, cut-scenes or missions, instead, only a list of objectives lie in place that can be tackled whenever you're ready, allowing for freedom both physically and rather literally. But Crackdown places you in the shoes of an altogether different kind of game character, in essence, you're a superhero- equipped with the ability to lift up trucks and jump storeys, and with this comes a long overdue update and refresh of the platform genre- a twenty-first century update of one of videogaming's oldest genres with a living breathing city your playground. Turning structure, gameplay, and character abilities on their head, there's no denying Crackdown's innovation to both the sandbox genre and gaming in general this year.

Super Mario Galaxy (Wii)
Super Mario 64 was originally released in Europe in 1997, forever changing both the platformer genre and 3D gaming in general. Since then the technology and ideas have been bested by numerous titles, but the sequel to it for the GC, titled Super Mario Sunshine, would do little to improve either the formula or idea. Fast-forward to the Nintendo console of 2007 with a backlog of non-gamer titles, and Nintendo have a lot of work to do if they're to entice their long-term gaming fans.

Somehow, Nintendo manage it, and Super Mario Galaxy is easily the only killer-ap that the Wii has. Bringing the platformer genre into the domains of space is the title's biggest innovation, but more than just a refreshing change in setting, it completely alters your preconceptions of both the genre and videogames. Asteroids and planets allow for a fully three-dimensional experience, and the impact of the first moments of '64 are almost certainly included here, and then multiplied by a hundred. As ever the freedom included is absolutely immense, but the game also shares the rather easy-to-accomplish accolade of being the best-looking Wii title there is out there. That said, as with the rest of the game, particularly the sound, the visuals here and charming, full of depth, and most of all, contribute significantly to the overall experience. To use a rather horrible and cheap pun, it is out of this world.

The Orange Box (PC, PS3, X360)
Bringing together one the best single-player videogaming experiences (and it's two subsequent DLC episodes), the best online multiplayer of this year, and the most wickedly satisfying puzzler in ages, the game of the year is undoubtedly The Orange Box. Released by Valve, it is a single disc of everything that makes the esteemed developer's titles so good to begin with, combining all the different and unique subgenres of the first-person-shooter into one single package of absolute excitement and value.

The main depth of the collection naturally comes from Half-Life 2, and it's following Episode 1 and Episode 2 chapters. Now three years old and in an entertainment medium of constant change, there's no denying that HL2 isn't quite the visual charmer it once was. Regardless, it's environmental art-direction makes up for this almost alone, and what the game loses in visuals, it makes up for with both depth and enjoyment. It is immersion at it's finest, with the game's story taking place in front of you, and not in a pre-directed cut-scene that the industry somewhat unfortunately prefers. The dialogue, the characters, and the plot itself, ever fantastic and engaging, while the actual gameplay and content supplement it all oh-so nicely. The two episodes that accompany continue both the story and gameplay in new and imaginative settings, pushing an idea graciously further than required, thankfully, still making it immensely enjoyable and satisfying.

Portal, the other 'third' of the collection is the seemingly opposite. Set in overtly clinical science chambers, the game is more than a FPS in that there is no shooting, but rather, a puzzler. Given a weapon capable of creating entry and exit warpholes you're set about the task of completing #19 different test chambers, guided on your way by the AI voiceover and with no explanation or reason why, other than, rather notoriously, 'cake'. What starts off so incredibly simple and niche soon becomes a sinister trawl through ever more fiendish and dangerous rooms, ending with a battle against your enemy. As with it's HL2 sister there is a story here too, and while it does take a backseat to the more involved gameplay and structure to an extent, there is no avoiding it here whatsoever, as the last level will show you only too well. Theoretically it isn't even a story per se, only the one you make yourself, but with of the most darkly sinister dialogue spoken in a game (by your AI friend) it is there purely for your consumption, and consume it, you will.

The remaining disc-space is taken up by Team Fortress 2. Forget what the media's been gaffing about all year regarding Halo 3, because this is without a doubt the online multiplayer title of the year. Structured and based around a class-system consisting of Medics, Demomen, and Heavies, the game forces you to work together with others if you have any plans on winning. Naturally, each class has it's own strongpoints and faults, but the composition of these classes is what drives the game forward as the title suggests. But beyond this, the game features one of the most iconic, bizarre and surreal art-directions in a long time, and while it doesn't contribute much to an extent, the ensuing cartoon violence and dialogue is an absolute joy to both watch and be a part of. And it makes sense- if you're going to have a FPS with detachable limbs and heads, why not make it cartoon-esque? Maps, game design and the HUD itself benefit also from the simplicity of the game's visuals, and while the title is certainly a contrast to all the other macho shit currently within the FPS genre, it is certainly all the better for it.

Not just one game of the year, but in essence, five, and all equally successful and enjoyable in their design and experience. As an overall package it is the most complete collection of titles ever presented, and at £40, New Year sales will be rendered insignificant. Awesome in a box, this is it.

It's December, and that can only mean two things. One, is the constant reminder that Santa Claus Is Coming to Town, and two, is that if you're a blogger, it's a time for multiple wrap-up posts of the previous twelve months of events, posts and subject matter.

So here we are, with my three favourite albums of the year to start us off. Certainly it's more conventional to knock out ten or even five, but my indecisive nature kinda limits me somewhat, and besides, anything more than a top three is filler anyway, right?


LCD Soundsystem- Sound of Silver
Building on the success and core sound of the self-titled debut release, Sound of Silver is a follow-up with substance. Instrumentals of the previous album are given the backseat to make space for altogether more anthemic tracks, with sophomore single All My Friends being an obvious example. Someone Great follows a similar foundation, but that's not to say that the instrumental doesn't make an appearance or two throughout the album. Opening track Get Innocuous!- a cool seven minutes of synth pop (and possible the song of the year as far as i'm concerned)-helps provide what would otherwise seem like a long forgotten element of the band's sound, while the title-track also helps reinforce this. Punk is also given less record time for something altogether more chillout, but despite this, the band continue to merge indie and dance sub-genres to obvious success like no others can. Certainly this emphasis on new sounds to begin may seem a little alienating to those who fell in love with that previous recording, but the band's willingness to adapt, re-create and mature is an attitude only to be applauded and not faulted.

Bat for Lashes- Fur and Gold
Okay, so i'm obviously cheating by including this, but it's undeniable that probably the majority of the sales of this record occured in this year rather than last, when it was originally released in September. Nominated for the Mercury Music Prize 2007 and subsequently the favourite to win, 2007 has easily been the band's rise to exposure in the public eye- an end result somewhat long overdue as this album shows. With vocals from Brit-born Pakistani Natasha Khan, Fur and Gold is an emotional journey of the exotic, stepping aside from a conventional sound into something altogether more romantic and exciting. Straight up, the album was seemingly robbed of the prize, each full listen of it always enchanting and unique, and most importantly, somewhat unconventional throughout. This alone is shown through the pacing of the album and the differences between tracks, in a playlist that is always changing, but always remaining pleasantly surprising. From the frantic and upbeat Prescilla to the softly calming Sad Eyes, the album is a full forty minutes of adventure through sound and song.

Radiohead- In Rainbows
Due for release on traditional CD format at the end of the month, In Rainbows is almost more famous for it's download-only exclusivity and pricing than the the music itself. After all, Radiohead are one of the biggest bands in the world, and allowing fans to download the album for whatever price they want is pure scandal, at least in an industry far too-used to CD releases. But Radiohead are innovators, and stunts like this only reinforce that. The seventh album from a band who's past albums regularly slide into "best album ever" lists, In Rainbows has a lot to live up to, and thankfully, it does. Firstly for me it corrects many of the problems found within it's predecessor, the 2003 release Hail to the Thief. Obviously there's not much change in the band's sound, and still everything sounds very much Radiohead-esque, but the arrangement and pacing of the songs present on this recording make it the success it is, as well as, as ever, the band's continuing urge and emphasis to go further. Simplifying, the sound of this record is typically old, but expectedly fresh.

15 Step captures this ideology perfectly, following on from the beat-happy electronics of 'Thief while still acting as a promise of the remaining tracklisting, moving on, almost perfectly to Bodysnatchers, an evolved combustion of past glories, and certainly, an early highlight on the album. Nude slows things down again before making way for the subsequent Weird Fishes/Arpeggii, an upbeat soft pacing of synth and melody, so perfectly soft and dynamic it's just perfect, with accompanying strings and soft vocals (while mixed with awesome percussion) making for the most luscious musical combination ever imagined. Tracks #5 & 6 bring the intermission-and the piano, and the acoustic- before setting up for the remaining songs on the tracklisting. The soulful, open-ended Reckoner, the comfortable and bouncy House of Cards, and the progressive, moving forward Jigsaw Falling Into Place- the lead single, and, interestingly, the penultimate lead-up track to the big album finale. Videotape. The closing track, and the perfect finale for a great record. Starting slowly it builds up as the minutes pass, going from a mere piano/vox combination, before bringing the drum and the beat, before leaving the same way it entered, simple and easy.

The simple definition of In Rainbows is that yes, it does live up to the hype, and yes, it is another fantastic album from a band already renowned for creating them. It is exciting, sombre, aspirational and cohesively enjoyable. It is, without a shadow of a doubt, the album of 2007.