Majora de neoGAF ha transcrito algunas categorías. No tengo ganas de traducirlas así que ahí van en inglés.
Game of the year
Skyward Sword - There's nothing inevitable about the lastest Zelda being this year's best game. Doing it all again wouldn't have been nearly enough, but SS is about the unexpected. It re-engineers a formula most players think they know, and conjures surprise from ingredients both old and new. Initially, MotionPlus provides the novelty, and it's the finest example of motion-controller gaming we've encountered. SS is the greatest expression of the Wii's promise; it's taken 5 years, but Nintendo have finally delivered such precision, consistency and fun that you soon barely think about it.
Instead you enjoy SS's delicate remixing of classic Zelda structure. It recaptures a sense of mystery in its exquisitely designed dungeons and detailed overworlds, and familiar items turn up in the most unexpected of places. The game's backbone is the strongest ever Zelda storyline, a tale of maturity, duty and love, played out by characters who you delight in spending time with. Their scripts are deft and funny;their design and animation both weird and enchanting. And it's all drawn in pristine lines and rendered with a beautiful dappled graphical effect, blending technical skill wih artistic vision. The result provides more reward and delight in its span than any other game this year.
Dark souls - Never before has a fantasy rpg offered such contrasts, with cloud-splitting god beams and regal architecture above-ground, and fetid sludge and poison-spewing basilisks beneath; frustration and pleasure; confusion and epiphany. Director Hidetaka Miyazaki constructs a world sprawling enough to feel boundless, yet dense and sculpted enough to feel memorable. The damnable dying is simply Lordran's price of admission.
Skyrim - Few terms are trotted out to market a game as readily as 'epic', but only to a few does the term truly apply. Skyrim is one. The size of the overworld thrills through sheer scale, but in the careful plotting of its mountain paths, the variety of frosty terrain types, and the crafted nature of its interiors, Skyrim overs more than scope. it offers a world worth exploring.
Sonido
Portal 2 - Some might have found the Bristolian burr an annoyance, but the casting of Stephen Merchant as Chell's idiotic robot sidekick Wheatley - along with a garrulous JK Simmons as late Aperture Science CEO Cave Johnson - meant Portal's transition from blackly comic thriller to full sci-fi comedy was assured. But even when it's playing things straight, every audio aspect of Valve's title astounds: the clanking rattle and groaning metal of Aperture Science's abandoned innards conveys an almost disturbing sense of isolation and scale, while the infinite, pneumatic rhythm of a hundred weighted companion cubes flowing through a giant glass tube convinces you that you're trapped in a giant self-perpetuating machine. And while we might have expected a Coulton-written single for the credits, the Turret Opera preceding them was another baroque finish.
Yet Portal 2's real audio achievement isn't in these touches, but hidden in the puzzles at its heart. An adaptive music system gives each puzzle tool - the lasers, the gels, the plates, the cubes - its own musical beat, and turns the crafting of a solution into an act of composition. And when you slide, bounce and fling yourself to a room's exit, and all the music notes come together, it sounds like nothing less than a performance.
Skyward Sword - We defy you not to feel a swell of emotion at SS's grand theme, which opens with delicate harp and triumphantly ends with a full orchestra. But it's just one of the game's vast number of distinctive melodies and styles, from lilting ballads to percussive electronica, many with multiple dynamic layers that respond to the action. SS's scope has a score to match.
Dark Souls - Sparsely populated with clinking armour, crackling torches and sombre vocal performances that provocatively teeter on just the right side of hammy, FromSoftware's soundtrack is powerfully alluring. Clipped, metallic and dissonant, it acts almost like another enemy to overcome, sapping your humanity and leaving you feel as hollow as the character you are playing.
Editor
Nintendo - Dismissing Nintendo's efforts over the past year would be easy. Take its disdain for the App Store-like prices in its e-shop and Dsi-shop, for instance, which sees games released for a mere 69p on other platforms costing 5x as much. And the games that Nintendo have released, as superlative as many have been, have been agonisingly mistimed. The 3DS launch line-up had to rely on the relatively flimsy charms of nintendogs + cats and Pilotwings Resort as its flagships, so it wasn't until the end of the year's Mario 3D land, Mario kart 7, and OOT 3D that the handheld finally found the broad relevancy and buzz it needs.
Similarly, as Wii enters its twilight period, having enjoyed so few marquee Nintendo releases in the past couple of years, it was only late in 2011 that Nintendo released SS, prompting thousands of internet commenters to 'dust off' their consoles in anticipation. But though the games may be late, what games they are. Each one is polished to perfection, reflecting nintendo's attitude to quality and value, as well as its respect for its fanbase. Such an exemplary approach to game-making is something to which other publishers, many of which are apparently happy to put out rushed products in order to meet launch windows, can only look up to.
Ubisoft - AC Revelations, Child of Eden, Rayman Origins, Driver San Francisco, From Dust. Old Ezio might be getting severely creaky, but Ubisoft's keen eye for a marketing campaign almost let him off. other key releases emphasised its inspiringly catholic tastes - New Age toy From Dust, the happy-clappy Child of Eden and Rayman Origin's HD upgrade of the platformer - while its faith in Driver, when everyone else had given up on it, resulted in the best driving game since NFS Hot Pursuit.
Bethesda - In a world of publishers running after gaming's rapidly expanding borders or releasing me-too FPS's, Bethesda stands proud with a roster of distinctive , concept-rich games that make gamers care. Brink's concept may have surpassed its execution and it wass a pity that Rage's tech didn't extend to its design, but Skyrim's success is testament to an old-school attitude paying-off.
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