Dorothy's Top 5 Games of 2023
2023 was a remarkable year for gaming. The number of major, high-quality releases was truly astonishing, both in the AAA and indie scenes.
2023 was also the year I started leaning more into gaming as a hobby, beginning to do Twitch streams in April. Because of this, I thought I'd go through a few of the best games I played this year, and talk a bit about what made them so enjoyable. Consider this my "games of the year" list, like I know so many people are going to be doing this year.
My list is reflective of my own preferences and tastes; I tend to play a lot of RPGs, action-adventure games, and platformers, so you won't find a lot of fighting games or shooters in contention here. Feel free to comment or reblog with your own list - you don't have to write little essays about everything like I did, but it'd be fun if you did!
Honorable Mentions:
Pentiment (Obsidian Entertainment): Released in November 2022, but didn't play until this year. One of the most gripping and original RPGs I've ever played.
Persona 5 Royal (P-Studio): Released in October 2022 for Xbox, but I've been streaming it and having a lot of fun with @lakemojave and others.
Katamari Damacy Reroll (Namco): Released in 2018 for Switch, but played it for the first time this year and had a blast.
And now, the list proper.
Fifth Place: Hi-Fi Rush (Tango Gameworks)
There was a sort of game prevalent in the sixth generation of consoles which doesn't exist much anymore outside of the indie space. These were bold, bright, games which were unapologetically "video gamey," and wore their medium on their sleeve. Playing Hi-Fi Rush, I felt as if I was Anton Ego eating the titular dish in Ratatouille, and being transported back to that forgotten era of gaming. Hi-Fi Rush is stylish, hilarious, and deliriously fun, mixing the rhythm and action genres to create an experience unlike anything else currently on offer in gaming.
With addicting timing-based combat, a killer soundtrack featuring a suite of certified bangers (such as a cover of "Free Radicals" by the Flaming Lips, one of my favorite bands), and a delightful cast of colorful characters, Hi-Fi Rush carries the off-beat spirit of games like Jet Set Radio and Viewtiful Joe in its DNA, and had it been made 20 years ago, I do not doubt that it would have an animated adaptation airing on Kids WB.
By evoking the spirit of a bygone era while remaining utterly unique, and by virtue of its slick presentation and impossible-to-put-down gameplay, Hi-Fi Rush manages to punch far above its own weight and snag fifth place on my list.
Fourth Place: A Highland Song (Inkle)
A Highland Song came out of nowhere at the tail-end of the year and forced me to completely reevalute my game rankings. It is one of the most delightful and charming games I've ever had the chance to play, and has managed to do what I thought was impossible: create a roguelike experience that I actually want to see through to completion.
A Highland Song does this through its emotive embrace of the Scottish Highlands as a setting, with those ancient hills acting as both the main antagonist and a stalwart companion in main character Moira's journey to cross the mountains and reach her uncle's lighthouse by the First of May.
The Highlands are your dear friend. They will provide you food, shelter, and the tools you need to complete your journey. The Highlands are your worst enemy. They will deny you a safe haven when you're exhausted, out of energy, and being soaked through by torrential, bitterly-cold rain; they will give you tools long after you've passed the point where they would have been useful. The hills will preserve you. The hills will kill you.
It is in these contrasts that A Highland Song shines. It is a game about finding yourself, and pushing forward in the face of impossible adversity. There is an indescribable joy to spending days in-game exploring a section of the Highlands, trying to find the way forward, and finally running through one of the game's rhythm-based sections, triumphant Celtic folk music blaring in your ears as you finally find your way. All the while, Uncle Hamish's warm, fond recollections of Celtic folklore and Moira's descriptions of her family life make you want to push on, to learn more about this magical place and the people who inhabit it.
You will not make it to the sea in time in your first run through A Highland Song, nor likely your second or third. Yet each time Moira passes through the mountains, you learn more about them, become more familiar with the slopes and pathways that carve through these lands that are older than time. You will stumble, you will fall, and then, eventually, you will make it to the sea by Beltane.
Third Place: The Legend of Zelda: Tears of the Kingdom (Nintendo EPD)
How do you follow up one of the most important and well-regarded games of the 2010s, improve almost everything about it, and even correct its flaws? Tears of the Kingdom manages that and then some. The direct sequel to 2017's Breath of the Wild, Tears of the Kingdom follows that game's version of series lead Link through a melancholy journey through a world ravaged by unnatural weather, blight, and time. Link is himself nearly torn apart by the corrupting influence of returning series antagonist Ganondorf (voiced in this installment in fine fashion by Matt Mercer), and the hastily replaced arm granted to him by the sage Rauru grants him new abilities, which replace and improve upon the ones he possessed in the last game.
With these new powers, the game becomes a truly open sandbox. Link is able to build almost anything with his Ultrahand ability, and the Fuse ability not only virtually eliminates the previous game's major flaw, its weapon durability system, by allowing the player to turn virtually any weapon top-tier by properly leveraging fusion materials, it also creates a resource management loop that discourages being stingy with strong resources - since they can be used to create very powerful weapons. Meanwhile, the Ascend and Recall abilities open new avenues in traversal and speed up exploration through Tear's of the Kingdom's massive map, which not only uses the previous game's world map as a base - with lots of altered and added locations to signify the passage of time, including a host of explorable caves - but more than doubles it by also adding floating islands in the sky and a dark, hostile undergound below.
The intense focus on exploration, not to mention some of the best dungeons and bosses in Zelda history, make this a game I had genuine trouble putting down at times as I sunk hundreds of hours into it, as I always felt like there was something new to find around the next corner, or some new treasure to find deep in the underground. Tears of the KIngdom is a masterclass in crafting an open world experience, and easily secures a spot in my top five. It only places so low on this list as a consequence of some blemishes on an otherwise extremely polished and technically impressive product - specifically its story and progression, which feels too much like retreading the structure of Breath of the Wild and not enough like it's blazing its own trail.
Second Place: Cyberpunk 2077 (CD Projekt Red)
Let's get this out of the way first: Cyberpunk 2077 originally released, infamously, in late 2020 in what was essenitally an unfinished state. However, with its 2.0 update that fundamentally restructures how the game is played, as well as the massive Phantom Liberty expansion dropping this year, I feel comfortable regarding this game as a 2023 release.
I didn't expect to have Cyberpunk 2077 on this list. I certainly didn't expect to see it so high on this list. And yet, here it is. I went in with almost no expectations, and came out with one of my favorite games of the year, and one of the most thoughtful RPGs of the decade. Cyberpunk 2077's great strengths lie in its richly detailed game world and its extremely strong writing, both of which impressed me beyond any preconceptions I may have had, especially given how the game originally launched as a broken, buggy mess.
Cyberpunk 2077's Night City is as fully realized a game world as I've ever seen, brimming with detail and things to both see and do. It is incredibly immersive, and I often found myself forgoing the game's fast travel system in order to simply cruise the moody, neon-soaked streets on my motorcycle as I sped from one gig to the next, taking in little details like the ethnic enclaves in different districts, or how infrastructure differed in poor areas compared to rich ones.
Cyberpunk 2077 tells a story about struggling against impossible odds, and finding hope and beauty in a hopeless and ugly world. In a future where capitalism's atomization and hyperindividualization rend the flesh of society at-large, the life of protagonist V is enriched through the human connections they are able to make as they race against time to save themselves from the biochip in their head eating away at their existence - a piece of technology stolen and then impulsively inserted during their first big job, a job taken in pursuit of the ephemeral and ambiguous glory that comes with being a legend of Night City. Their deteriorating condition throughout the game, and the ever-present acidic commentary of rockerboy Johnny Silverhand, serve as constant reminders of the folly of chasing such impermanent glory.
Whether it's Johnny's former bandmate Kerry, whose insecurities lead him to ostentatious acts of violence and destruction, or Judy, who has suffered loss after loss and desperately tries to find a situation she can control and someone who won't use or leave her, my journey as V centered around finding these connections, and using them not only to save V's life, but preserve her humanity. These themes carried through with the Phantom Liberty expansion, which explores such topics as freedom, survivor's guilt, and governmental corruption and exploitation, and features a delightful turn by Idris Elba as a weary government agent burdened by regret. There are plenty of bombastic setpieces, cleverly-written quests, and moments of intense action, but the things I think I'll always remember are quiet, intimate, human moments, from sitting with and comforting a girl whose girlfriend just killed herself, or meditating with a monk who has no ulterior motive but to bring V a rest in the midst of a grueling situation.
All that to say that while I had a lot of fun with the gameplay, the game world and the writing were what made me fall in love with Cyberpunk 2077, what will likely keep me coming back to the game on replay, and what landed it at number two on the list. The only reason it didn't end up at number one was because there's just one game I played this year which impressed me just that much more - and even then, it’s a thin margin.
First Place: Baldur's Gate 3 (Larian Studios)
Here I must confess not only have I never played the original Baldur's Gate games - early works by BioWare, a company whose work I generally respect - I had until this year never touched Dungeons and Dragons or any ancillary media. Total blind spot! Never even saw the movie this year! I'd played plenty of tabletop, but never any DnD.
What a treat, then, to be introduced to the world and mechanics of DnD through such a game as Baldur's Gate 3. This game glistens with careful and thoughtful design, and proves the vibrancy and potential that still remains in the classic CRPG style. Baldur's Gate 3's great strengths shine in two major areas, which I will go in more detail about now.
Firstly, the game offers a truly remarkable amount of freedom to the player in allowing them to resolve a situation in a myriad of ways, emulating the flexible nature of tabletop storytelling to an extent I've rarely seen in the video game medium. Want to defeat a boss that's giving you grief by running up to him and shoving him off a cliff? Sure, that works! Want to stealthily surround an enemy camp with explosive barrels and then cast fireball? Ok, go for it!
The other side of this coin is that the game permits a lot of flexibility in permitting the player to truly fuck up royally, while keeping the narrative going and not forcing them into a game over because they "played wrong." Took too long to save some gnomes from a cave-in? Too bad, they suffocated to death! Allowed an important NPC, whose spell was protecting a community from a curse, to be defeated in battle and captured? Tough luck, all those people have died a horrible, agonizing death! It's your fault! Now keep moving. In Baldur's Gate 3, all of your decisions, good or bad, have consequences, and you have to live with them.
Baldur's Gate 3's other great strength lies in its character writing. Every major character, and many minor characters, are written with such depth and nuance, with varied motivations, backstories, and moral alignments, which the player can both influence and be influenced by. Notable standouts include Astarion, the cynical vampire whose acid tongue is a defense mechanism to not let anyone get too close and who delights in thumbing his nose at others and seeking power for himself, but who can be guided towards a more empathetic and caring place; and Shadowheart, the cleric of the dark goddess Shar who finds herself torn between what she sees as her duty to her goddess and what she knows deep down to be the right thing to do.
Every character in Baldur's Gate 3 has a story to tell, and they're all good ones. That alone would land it on this list, but combined with the astonishing freedom it allows players and its infinite replayability rocket it to the top spot. Baldur's Gate 3 is my game of the year.
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I just played and finished Gotham Knights for the first time
And I have a LOT of thoughts. I might go in depth on certain things in other posts, but I want to kinda go over my general thoughts and feelings about this game. Spoilers ahead for:
First things first, if you want this to be "Arkham: Gotham Knights", you are going to leave very disappointed. The game's reception was hurt pretty bad by comparisons it to the Arkham series. Arkham is a masterpiece. Gotham Knights is very good at what it wants to accomplish, but comparing it to Arkham feels unfair. I mean...I'm gonna do it anyways, but I'll compare them with the intention that the Arkham games and Gotham Knights set out to accomplish two different things
The Good:
•By far, the best aspect of this game is the scripted moments between the Batfamily. This game features Nightwing (Dick Grayson), Batgirl (Barbara Gordon), Red Hood (Jason Todd), Robin (Tim Drake), and Alfred. It's very clear this is the aspect the developers put the most focus into and it really pays off. It gives me the same feeling as reading "Batman: Wayne Family Adventures". If you just want to see the Batfamily interact and support each other, you're gonna love this game
•While it took me a while to get used to, I really fell in love with the art direction of this game. The skyline of Gotham City is gorgeous. I love the way the bright neon signs illuminate the low hanging fog giving everything a sort of colorful haze. And while I don't love every suit design, I think the customization let's me really like most of them. Batman especially looks really great in this game. His suit in this game is inspired by his look in the Rebirth comics and it translates beautiful
The Bad:
• I'm genuinely confused by the characterization of Mr. Freeze in this game. His motivations are all over the place to the point that I wonder if WB Montréal decided to combine Victor and Nora Fries into one character. At the beginning of the Mr. Freeze side mission, it's explained that Mr. Freeze had given up crime because Batman had promised to help develop a cure for his condition, but now that Batman is gone, he's back at it. Victor doesn't normally care about his own illness, he just wants a cure for Nora. But Nora is never mentioned in this game. Even weirder, nothing he does in the story is ever to cure his condition. SO WHY DID HE STOP CRIME IN THE FIRST PLACE IF HE DOESN'T EVEN CARE ABOUT FINDING A CURE AND HE JUST WANTS TO FREEZE GOTHAM!? It's just a weird creative decision to take
•Yeah so this one isn't a big deal, but at one point in the story, a cat sneaks into The Belfry and the Batfamily just kind of adopt it. It stays there for the rest of the game. You can't pet the cat. I know this isn't important, but it actually made me genuinely sad when I found this out
The Ugly:
•To call this game underdeveloped would be a compliment. I wouldn't call it unpolished, because the game runs perfectly as intended in my experience. I didn't encounter a single bug or crash. But the story and the gameplay feel half-baked, which really sucks considering those are the two main aspects of a video game
•In the gameplay department, combat is passable but the skill ceiling is REALLY low. It reallys very restrictive in what you're actually able to do, but the combat by itself isn't so bad that it isn't fun.
Traversal on the other hand is awful. All the characters use a grapple to get around, but there's no momentum, so you feel like you're barely moving. You stop and lose all momentum between grapples. Arkham also has a grapple gun but it allowed you to string multiple grapple points and keep your momentum through them so they'd be more fluid and you keep your speed going
The Batcylce is also not great. It's REALLY slow and despite the added movement lines around the screen to provide the illusion of speed, you're barely moving faster than the cars on the road. Again, compare this to the Batmobile in Arkham Knight. I did not love the Batmobile in Arkham Knight, and I outright hated the Riddler races, but it was fast and you could really feel the speed in it
Finally you don't actually unlock the ability to glide or any of the other weird traversal abilities if you're playing as anyone other than Nightwing or Batgirl until you complete the Knighthood challenges. Locking an essential traversal ability behind an option set of challenges is weird to say the least. I don't have much to say about gliding, it controls fine but feels slow compared to Arkham
•Lastly, the story of this game isn't bad for what is is, but is disappointing when you realize it had the potential to be so much better by including two characters who are absent from this game: Kate Kane Batwoman and Damian Wayne Robin. The game is set up as a sort of gang war between the The League of Assassins lead by Talia Al Ghul and The Court of Owls lead by Jacob Kane. Both of their child are members of the batfamily, but were weirdly excluded from this game. Including them as playable characters could have made the conflict more personal and interesting.
Additionally, Catherine Kane, Kate Kane's step-mother, is the current anti-vigilante Commissioner of the GCPD. Her daughter being Batwoman would be great character drama that goes completely unexplored. As is, Catherine is a one dimensional, underdeveloped character. And Damian could be shown as torn between the recent death of his father and the re-emergence of his mother in Gotham City. These characters feel like obvious inclusions for the story of this game but are missing without any explanation
In Conclusion:
This game has a lot working against it. I couldn't even fit half of my thoughts into this already way too long rant. The game is just average in the gameplay, mediocre in the story, but absolutely phenomenal in the inter-character relationships. I compared it to Wayne Family Adventures earlier, and if you love stuff like that and want more of the Batfamily being supportive and wholesome to each other, you'll love this game. And I think that's genuinely the main appeal of Gotham Knights. But if you're not interested in the characters and just want a Batman action game, it's passable, but you'd be better off playing any of the Arkham games
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It was the third night since Annika ran away from home, and her supplies were running low. She was out of her hideout gathering berries when she caught sight of her father entering the forest, his telltale aura glowing in the murky dark.
Ducking behind the foliage, Annika observed. She could only make out so much from the distance, but she clearly noticed the sad, tired slump of the illuminated figure. He'd probably been out all day looking for her, worrying himself sick. Annika tried to swallow back her guilt; she felt awful for her dad, but couldn't go home. Not yet.
Gabriel Blackbird had scoured every nook and cranny of Wyvern's Bay in the three days his daughter had gone missing, turned every stone, tried every spell in the proverbial spellbook. But nothing had come up with any results. There was only one location left to try, and it was the one place he simultaneously hoped to find but also not to find her: the Crooked Forest, notoriously known as the hunting ground of the Great feral wyvern.
And indeed, there were traces of beastly presence everywhere Gabriel looked: clawed footprints as big as truck tires; hot embers casting an eerie glow on a pair of gnawed skeletons (human skeletons, he noted); and even two large, scaly eggs tucked away in the depths of a cave. Gabriel would rather not be around when the mom of those eggs came back for them.
He was jolted out of his thoughts by a gust of wind coming from behind, closely followed by the thunderous clap of wings. Wand at the ready, Gabriel whipped around and gasped in horror at the sight before him. To his great misfortune, Wyvern's Bay's eponymous apex predator had returned to its nest.
And it was now staring right at him.
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Gah being a ac fan under Ubisoft is like being in a abusive relationship. The sexist and predatory executives, though I have heard any breast milk thievery yet
But seriously executives said why female assassins are barely used in the main games is because “Women don’t sell well”
We can point to Metroid and tomb raider, but also the fact Ubisoft have a cult classic beyond good and evil that have a female protagonist.
I get this sexist bs from Hollywood, but what in the nine hells with the gaming industry?
Not mentioned I pointed out the whole ac Japan game, current, very likely to be 70 bucks
Oh and there also doing a triple A Star Wars game
Reveal trailer: https://youtu.be/ymcpwq1ltQc?si=gG0o5ohLqXcx3ic4
Gameplay trailer if you have time: https://youtu.be/c7K2TA0bBpY?si=qEVVnnaAOCp0KXCc
But gaming subscription, now I have gamepass and it’s more or less Netflix of gaming. But I can digitally buy those games if I like it so much or physically get it if I can.
But fit Ubisoft, okay they got a Ubisoft plus thing (I don’t use it for obvious reasons) but but hardly any publisher got such a library, not to mention that gamers are the pickiest of consumers so the idea you can’t own a game isn’t going to work especially the shitshow WB is causing.
Sorry for the essay
I think the guy from ubisoft that said all that is getting the same treatment as the aussie guy that said 'workers need to shut up and do their jobs so other people could make more money/, something like that at least.
Only way they could manage that is if they did like WoW did at first with the game disc being like 5 bucks because you couldn't play it without a subscription, but there's worlds of difference between a mmorpg and AC I would think.
Also Star Wars game looks rad, gonna have to be on the lookout for the cinematics online after it comes out.
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