A new month is nearly here, as well as a new year, and that means updates to the PlayStation Plus catalog. January kicks off 2024 with three new games available for Premium, Extra, and Essential members to download starting on January 2, as well as some goodies if you happen to be a space ninja.
Is Alan Wake Worth Playing Before Its Sequel? | Total Recall
This month in particular is great if you love third-person games. A Plague Tale offers satisfyingly beautiful stealth action, while Evil West is here to let you blow up some demonic bad guys. Also, don’t forget to snag December’s games (that includes Lego 2K Drive, Powerwash Simulator, and Sable) before the new month kicks off.
PS5 and PS4: Evil West
In our review of Evil West, Kotaku’s Zack Zwiezen praised the third-person shooter as “a simple, honest-to-god, linear and fun, goddamn video game:”
There is no getting around it: Evil West is silly, but in a good way. Its narrative has a lot in common with the best B-movies and pulp stories from the past. Characters act more like people pretending to be people, than real humans. Dialogue is filled with swear words and exposition. All of it is cheesy and silly in the perfect kind of way. Combined with the steampunk gadgets, monsters, and violence, it really does play out like a grindhouse flick you might have caught on TV at like 2 am back in the 90s on TNT.
Howlongtobeat.com estimates you can get through Evil West’s story in about 11 hours, or 19 if you want to take a completionist route.
Get more from Evil West’s developer on PlayStation
Are you a PlayStation Plus Premium or Extra subscriber? You can download Flying Wild Hog’s 2016 FPS Shadow Warrior 2. You can also snag its sequel, Shadow Warrior 3 on sale for just $14 until January 18. And if you’re in the mood for some side-scrolling, samurai hack ‘n slash fun, Trek to Yomi is on sale for $8 until January 18.
PS5: A Plague Tale: Requiem
This rat-infested third-person sequel to 2019’s A Plague Tale: Innocence features some gorgeous visuals and a lovely score. It might be a tad buggy from time-to-time, but if you like sneaking around in the dark and avoiding rats, this one is worth a download. On A Plague Tale: Requiem, former Kotaku writer Ashley Bardhan said:
The environment itself is a spectacle, a black-and-white cookie sometimes lit by the Mediterranean coast’s burnt-orange sun, sometimes spotted with flies as Amicia trudges around the game’s stacks of dead bodies that get dumped and burned and forgotten. Requiem is also heavy on vibration feedback, and crouching through thick braids of grass and the misplaced brightness of lavender always feels good and tense.
Grab the first Plague Tale on sale before January 6, 2023
Don’t like jumping into a sequel without playing the first game? Good news: A Plague Tale: Innocence, which introduces us to Amicia and Hugo, is on sale until January 6 for just $12.
PS5 and PS4: Nobody Saves The World
Nobody Saves The World impressed us back in 2022 with its satisfyingly grindy (yes, grindy like in a good way) progression and fun combat. In our impressions of it, Kotaku’s Ethan Gach said:
If you like filling up meters and testing out new and creative builds for dispatching enemy mobs efficiently, like I do, it’s a recipe for several long nights of fun. Drinkbox has tried to keep tedium to a minimum by making new milestones come quickly and often. Dungeons you might have to grind a handful of times before taking down a larger boss subtly remix themselves each time in a roguelite fashion so they feel more like theme park rides than prisons.
Free Warframe stuff!
Looking to spice up your Tenno’s wardrobe? The Warframe: Syrinx Collection is a great way to add some new cosmetics to your existing collection or a great way to get some variety if you’re just starting out with this free-to-play sci-fi looter shooter. According to Sony’s official blog, you can claim the following items on January 2:
Starfield is officially out in Early Access for those who got one of several special editions of Bethesda’s long-awaited sci-fi RPG. Though everyone else will have to wait until September 6, several Kotaku staffers decided to shell out for the Early Access editions and spent the first night of launch zipping around space, hoarding junk in their ships, and blowing up pirates. Here’s what we had to say about our first few hours with Starfield.
This Narrative Adventure About Doomed Teenage Dinosaurs Feels Too Real
Ethan Gach: Starfield has to be the weirdest big new game experience I’ve had this year. I played five hours straight. I would have kept going but a space cowboy’s gotta sleep. At the same time there were so many things that underwhelmed or confused me. How far did everyone get and what was your most memorable moment?
Alyssa Mercante: I am currently trying to track down the VC guy with Sarah. I’m still a bumbling idiot in menus, still struggle to quickly determine how much ammo I have in my weapon, which ammo is for what, how to see the map of an interior space (can you?), and other stuff that’s almost all a mix of weird UI and my impatience.
It’s got the exact kind of grippiness in terms of gameplay loop that I’d expect from Bethesda—I don’t really care about any of this shit yet but I’m sort of lazily plodding on, and mostly enjoying it most of the time.
Levi Winslow: I’m maybe four hours in? I got to New Atlantis, met Sarah and the Constellation gang, then dipped off to Mars and Venus to hunt for Moara. I’m finding some of the systems quite cumbersome and unintuitive. Like, why do I have to bring up the weapon menu to select a different gun or whatever? It’s weird that in other Bethesda games, you can quick-swap between weapons on the fly, but you can’t in Starfield? Unless I missed something, which is totally possible. The game gives you so many tutorials for its menus and systems that a quick-swap could’ve been buried. Still, though, I’m having a blast living life as a space cowgirl. Currently, I’m on the hunt for some legendary ship.
Carolyn Petit: I admit, I only got as far as the door of Constellation’s base before calling it a night, and perhaps it’ll grow on me, but it just felt very dated to me, very much like Bethesda holding on to Bethesda design concepts that, in my opinion, it really doesn’t need to hold onto anymore. For instance, when I arrived in New Atlantis, I immediately walk past this group of people who are just dispensing exposition at each other in the clumsiest way. One character says something really disparaging and messed-up about a certain group of people, and someone else calmly replies, “That’s unfair,” before proceeding to rattle off an entire story about a positive experience he had with them, all while everyone else in the group just looks on. People just don’t talk or interact this way in my opinion, and I felt less like I was in a bustling new city and more like I was in line for a ride at Disneyland where animatronic figures are stiffly filling me in on the ride’s lore.
EG: Yea I didn’t immediately find a way to hot-swap weapons either. Between that and constantly being overloaded with enemy loot and no easy place to go to sell it all, I spent probably a third of my entire session last night just scrolling back and forth over a bunch of weapons (including to see which ones I actually still had ammo for).
My most memorable moment was talking down the initial pirates you run into outside of that first moon and then blowing them up with the literal red barrel behind them. 2010 is soooo back. I do agree Carolyn it feels very stagey in a dated sort of way. The game is constantly reminding you it’s a game, in a way I didn’t get from say, Cyberpunk 2077. It reminds me so much of The Outer Worlds in many ways, which was a much more satirical take on the whole genre.
LW: Just adding to your point about blowing up the first space pirates…
Levi shares a Reddit post showing how one person blew up the barrel behind the pirates before the cutscene could even begin.
CP: I also didn’t love that the game forces you to go do this combat mission so early on, before you even meet Constellation and really get introduced to the game’s core concept. To me, it felt a bit like Bethesda lacking faith in its own concept of this wide-open spacefaring game, as if it felt the need to reassure gamers: Don’t worry, this is still a video game-ass video game in which you get to gun down lots of dudes.
LW: I agree. I barely even listened to those dudes. Knowing what I was getting into, I skipped their dialogue and shot them up. Really, I just wanted some quick loot to sell for even quicker cash, which leads me to one of my biggest gripes with this game: There’s so much shit to collect. I know that’s very Bethesda but wow, the sheer amount of stuff to pick up and pore over in this game is staggering.
CP: That’s one Bethesda-ism I have no problem with. I find it comical and enjoyable. In that research base where you fight the pirates, I saw a little zen garden on someone’s desktop and immediately grabbed it for my own. It’ll be one of the millions of stolen items eventually decorating my ship or my space-house or whatever.
EG: Has anyone tried to do persuasion?
LW: Yeah I tried it on the dude at the bar when looking for Moara. (Jack, I think his name was. Maybe John?) I failed it, but then got Sarah to convince him to lower the price of his info, which worked.
CP: I tried to get out of killing the initial pirate boss with persuasion. I failed, and didn’t fully grasp how it worked. There was a pop-up that said something like “you can’t fail if your previous choice succeeded.” Huh? Anyway, I’m sure I’ll make sense of it in time but it was a little befuddling at first.
AM: I used one of my first skill points for speech, and tried persuasion with the bar guy as well. It worked, but I also did not fully comprehend what I was doing
EG: Yea, there’s a later mission where you are trying to convince a dad alienated from his son to hand over a map and at first it’s like, okay how are we gonna navigate 30 years of emotional baggage and then instead I said something like, you know giving him the map is what so-and-so would have wanted, and bingo. It was so goofy.
Claire Jackson and Zack Zwiezen enter the chat.
Zack Zwiezen: I’ve used persuasion a few times and it’s been helpful. Skipped the pirate boss fight, for example. I’m still learning how it works, but its nice to see Bethesda bringing back some RPG-ish systems like that. Reminds me of the weird Oblivion persuasion minigame! With the weird circle and sliding stuff around. I don’t think I ever got good at that one. This Starfield one seems a bit simpler and I think I mostly get it.
Claire Jackson: Good to know you can skip the pirate boss fight…my attempt at resolving that ended up with me bashing an ax into his face. And I was genuinely trying not to kill anyone. Period!
Maybe it’s just the nature of the game’s opening needing to hold your hand to learn all its complex systems and set you up for the quest, but I was also dismayed that I couldn’t choose to stay on the mining planet. I mean, I touched a weird thing, saw a weird thing, and now some rando is like, “Here take my ship and go talk to this space secret society or whatever, though they won’t have answers for you. Sorry. By the way, you’re a captain now!”
ZZ: It moves pretty fast and I wonder if that was a reaction to how slow Fallout 4‘s intro was and how people didn’t seem to like that.
EG: I was so relieved. No messing around.
ZZ: Agreed. It was nice to just get going. I was worried I’d have to spend four hours in the mine finding a sweet roll for someone.
CJ: I wanted to mess around lol. I wanted to just hang out and mine some stuff. The game wants me to be a hero so badly, and enough games do that for me that I kinda wanted this to unravel itself a bit more slowly.
ZZ: I will say, once you get through with that first big quest and intro stuff, the game truly goes, “Okay, do whatever you want.” At that point you can go be a space miner and never worry about the main story again.
CJ: That’s a relief. So maybe my space gal can be someone who just had one traumatic encounter with space pirates, dropped off some weird who-the-hell-knows-what to these brainiacs, and then just went about her life where she’ll unpack that PTSD-inducing episode after years and years of therapy. That’s all I want. Space therapy.
AM: Within moments of picking up my rock cutter laser I tried to kill someone in the mines, so the intrusive thoughts are already beating my ass.
ZZ: Hot tip: That laser cutter is a very good weapon early on and uses no ammo! It stunlocks people and can even blow up their packs, killing others. Handy! And fun.
EG: Starfield is definitely a resource-extraction fantasy. Mine stuff! Loot stuff! Steal stuff! Use it to do cool things. So far navigating relationships and political factions has really taken a backseat.
ZZ: It was nice to end my time with the first companion, Sarah, and not feel like she wanted to jump my bones. A break from Baldur’s Gate 3, haha. But yeah, it’s clear that certain parts of Starfield got more attention and resources than others.
EG: I found a mysterious map to a pirate hideout or something earlier this morning so that’s cool. The thing keeping me excited to come back at the moment is the fact that it still feels like there are a ton of possibilities lurking out there. Whether that’s actually the case or not, the early game is really good at making you at least feel like you’re barely scratching the surface.
LW: I agree. I’m sure the novelty of Bethesda’s systems will wear thin after a few dozen hours, but the early game has me hooked. Running up to my ship, hopping into the cockpit to blast off into the cosmos, getting into a couple of dogfights with space pirates then looting their ships, landing on a planet to sell my goods before embarking on a bounty—it’s all giving Cowboy Bebop, a fantasy I’ve longed for in video games. It’s not totally there. Some mechanics are still quite unwieldy, but Starfield is letting me live out that bounty hunter lifestyle, and I simply can’t get enough of that right now.
AM: I did get a similar feeling to one I saw Ethan mention on Twitter (X, whatever) before—I woke up excited to play this. For all the jank, for all the confusing menus, there’s enough good stuff here that I am willing to spend more time exploring, lurking, looting, and what have you. How long will this last me? I’m not sure yet. But for now, I’m not all that angry that I’m going into this long weekend with a cold—now I can just sit inside and play Starfield.
My life changed forever when I got a copy of Final Fantasy VII in 1997 (losing those discs has haunted me ever since). While I enjoy much of the 2020 Remake, the original experience is irreplaceably special to me. I start a new playthrough of it at least once a year, every year. Other times, I’ll just jump into a random save file I was working my way through at some point. It must be on anything I own that can run it.
Since 2015, the remaster (not Remake) has made the experience much smoother; and it’s always fun to occasionally mess around with mods that tweak character models or apply AI upscaled backgrounds to clean up the image.
The story, the characters, the landmark soundtrack with gorgeous compositions and tear-jerking melodies surpass the limitations of the rather humdrum sounds the midi-controlled sequencer on the PSX produced, it culminates into not just one of my favorite video games of all time, it’s one of my favorite media experiences, period.
Final Fantasy VII, in its original form, is an epic story of identity, friendship, love, and struggle in the face of insurmountable odds against seemingly unstoppable foes. I delight, as I did in my youth, blissfully getting lost in it. Its world, with blocky polygonal models might seem primordial by today’s standards, but to me its graphical limitations are an abstract that paints a bigger picture in my head—one that no amount of modern, hyper powerful game engines with all the bells and whistles will ever be able to touch.
And, yeah, you were right, Aeris; it was always the only way.
There was a lot of hype going into Lightfall, Destiny 2‘s big cyberpunk expansion. The reality has been much more muted, full of ups and downs, fun discoveries and tedious chores. Live-service games are unwieldy creatures to try and examine under a microscope, and Destiny remains one of the toughest of them all.
Free-to-play sandbox changes are launching alongside the paid campaign, and separate seasonal story missions will be dropping week to week as hotfixes continue rolling out. Below fellow Kotaku writer and Destiny 2 glutton Zack Zwiezen and I discuss the highs and lows of Lightfall’s initial kick-off.
Zack Zwiezen: Eyes up, Guardians. We will be talking about Destiny.
Ethan Gach: Okay, let’s start with the Lightfall campaign. What were your most and least favorite parts? The high point for me was obviously the opening cinematic that shows The Traveler confronting The Witness and everything going sideways. The low point was crawling through air ducts while Osiris barked at me to quit wasting time and become one with the green space magic (Strand).
Zack: My favorite part was also the opening bit and the ending. It felt like stuff was happening and actually seeing the Traveler do something was amazing. Finally, the orb is helping us. My least-favorite part was how much the rest of the main campaign feels like season three of Lost, just spinning its wheels until the big finale.
It’s ironic that Osiris is so angry about us wasting time when this whole campaign feels like a waste of time.
Ethan: I felt extremely torn throughout most of it between the gravity of the story Bungie is telling at this moment and the lightheartedness of the ‘80s tropes littered throughout the campaign.
Neomuna feels like a cross between a Saturday morning cartoon and an afternoon at a futuristic space mall. The training montage with Strand was cute but also felt like a complete waste of time. Nimbus has grown on me over time, but I think they suffer from being the loan representative of an entire new civilization.
Zack: I kept wondering, as I played through the campaign, what the point of this expansion was. And the weird mix, as you mention, of ‘80s tropes and serious storytelling, didn’t help. With Witch Queen, I really liked how the narrative developed the idea that the Light isn’t some inherently good thing. That it can instead be used by anyone and how that really shook up Zavala and others. This time around the Strand was just a fun Darkness power we got via a Rocky-like montage, beat Calus (again) and I was left going “Okay…cool?”
I really enjoy exploring Neomuna and Nimbus has also grown on me. And I do like how the post-campaign quests seem to be expanding more on the lore of the planet and its people. But compared to last year and Witch Queen, I mostly felt disappointed by Lightfall.
Even the Vanguard have no idea what the hell is going on.Image: Bungie
Ethan: Yes, Witch Queen felt like a very tightly calibrated story with a beginning, middle, and end that built out the lore and stakes of the larger story while still focusing mostly on expanding on Savathûn’s backstory and motivations. No characters really provided that in Lightfall.
The end-game quests are much stronger than many of the campaign missions, I think, and probably would have provided a nice middle point to help the expansion breathe a bit more. I think backloading finally getting Strand, learning about Neomuna’s history, and also what Rohan was up to prior to our arrival, only served to make the campaign feel even more rushed and underexplained.
Zack: Yup. And I’ll also admit now that I still don’t fully understand why The Witness couldn’t just pop down to Neomuna and get his fancy Veil thing and do what he needed to do. And I also found it weird that Bungie—which is usually good about seeding stuff long before it becomes a big part of the story—just invented this whole Veil thing outta nowhere.
It just added to the feeling that this was rushed or not planned out as well as past expansions and seasons. Ethan, where did The Witness go? And will we find out before the next expansion via the upcoming seasons?
Ethan: I’m sure there will be hints of it throughout the upcoming seasons. But as tends to be the case with the expansion/season divide, my guess is the plot won’t move forward until The Final Shape. Which is fine, honestly. I get why some people felt like Lightfall needed to deliver more than a couple cutscenes, but I would have been completely satisfied if it felt like Neomuna had been properly fleshed out and had more tension.
I do think it’s been much more successful as a patrol space and launching pad for new exotic missions, however. What have you been thinking of the post-game and the broader content changes and additions in Lightfall?
Terminal Overload is a great public activity, if you can find enough players to help out. Image: Bungie
Zack: I like the quality-of-life stuff! The loadout manager is cool and actually works. The way red frame weapons work now, where you just get the plan right away, is nice. But it’s not all great. I hate the new guardian rank system. And the commendation stuff, which could have been cool, just sucks.
Commendations seem so generic and everyone is giving them out all the time, regardless of how I played, and it all feels pointless at the moment.
Ethan: Yea it feels very caught between wanting to incentivize good behavior and also not lead to negativity. Also since matchmaking is reserved for the easiest activities, I’m also rarely ever paying attention to who I’m playing with.
By the end of a Defiant Battleground or Nightfall I rarely remember who was the person that went out of their way to revive me or kept us from wiping. I do see who is the best dressed, and yet there’s no style commendation. It also feels moot when you can assign one to both people, and a chore considering the number of button presses. How do you feel about the overhauled mods?
Zack: All of the mod changes are solid and much needed, I feel. The mod manager helps a lot too. I really like how much easier it is to play how I want without having to worry about costs or energy types as much. I also like that the artifact mods are now active perks. Overall I now enjoy messing with mods and my build more than before. And I was someone who barely cared about that stuff before because it was such a chore.
Ethan: It definitely feels like the builds have less personality around them. Warmind mods had a very specific flavor, and I miss elemental wells a ton. Overall I think the changes are good to great on average, though I think the way mod benefits are communicated is still a little obtuse, especially for newcomers.
It’s clearly part of the design philosophy at Bungie to slap “+10% kinetic damage” on something, which I admire, but the current system requires learning a lot of keywords to break down what are, at the end of the day, numerical trade-offs. Speaking of which, man it’s rough out there for legendary primaries.
Calus is the Sol System’s favorite lush, but his character arc is more than played out. Image: Bungie
Zack: I’m still mostly using stuff from the last two seasons, which is often a bad sign. I’ve not liked most of the new Neomuna-themed legendary weapons. Which feels like a change from past seasons, where I would often end up swapping out most of my stuff for the new toys and having a good time!
Ethan: The Neomuna weapons haven’t been super exciting, and it’s a pain that the Terminal Overload ones aren’t craftable. I’d almost rather have it be reversed, with Nimbus’ engram weapons being RNG rolls only, since Terminal Overload is a much more targeted farm.
If the Queensguard weapons didn’t also roll out alongside it, I think there would be a lot more talk of Lightfall lacking loot on par with some of the criticisms of Beyond Light, though the exotics are head and shoulders above other expansions (with the exception of Witch Queen’s Osteo Striga, which remains undefeated).
One complaint I have is that I’m over 30 hours into the new content and still don’t have a new crafted weapon yet, with the exception of the Vexcalibur exotic. As with Strand, the campaign would have been a great time to level one of the new guns up and grow attached to it. Now, I almost don’t care anymore. Crafting in general, while less painful, still feels under-developed. It was the key feature of last year’s expansion, and it feels like a footnote now.
Zack: *Looks off into the distance, dreaming of Osteo Striga. What a gun…*
But yeah without the Queensguard weapons I’d be pretty damn bummed about the loot this time around. And about crafted weapons, I too lack any still. And I often forget about the whole system now that I just hit a button to get the plans. It really feels like a misfire, and keeping it around in this current half-baked form feels bad. Rip it out and just let us have generic plans that can be used to craft stuff, or something.
I do think it’s maybe telling that we’ve talked so much about the new expansion and neither of us seems excited about Strand. I don’t hate Strand or anything like that. I enjoy using it. But it’s not as exciting to me as the other subclasses after the big 3.0 overhauls.
New Exotics are the highlight of Lightfall. Image: Bungie
Ethan: It’s definitely very powerful, and I like that it can be utilized very effectively in both offensive and defensive ways, sometimes even in the same build. The grappling hook, like every moment-to-moment action in Destiny 2, feels great. Sorry though, not trading away my grenade for it. I mostly find myself using it now when I want to speed through lower-level grinds. I also don’t find it quite as visually and auditorily satisfying as Stasis, which, as evidenced by the stellar Verglas Curve exotic bow, remains so satisfying every time. But the damage output on Strand is wild. Players bemoaned the boring-sounding Titan Strand subclass, but I think it turned out to be the most fun version of it.
Zack: Oh the grappling hook feels soooooo good. But yeah, giving up a grenade for it and the long cooldown compared to the campaign makes it far less enticing to use regularly.
I think your comment about it not being as visually or auditorily satisfying is accurate and it leads me to the other problem with it: It just doesn’t seem as unique. The other subclasses being mostly elemental worked well to make them stand out. Strand is the first new subclass that seems less obvious to explain to someone. It’s like green space strings…I guess?
Are you excited about the rest of the year? Or has Lightfall dampened your Destiny 2 excitement for 2023? I’ll admit that I came into this new expansion and year very excited and pumped after Witch Queen and the last two seasons. And this has definitely made me a bit less excited for the rest of the year.
Neomuna is full of beauty that never gets its due. Image: Bungie
Ethan: I was extremely burnt out after last fall, and didn’t play a ton of last season. So far, I’ve actually been playing more of Lightfall than Witch Queen, which I loved it, but which I ended up dropping off pretty hard. We haven’t mentioned the Root of Nightmares raid yet, but I think while not as spectacle-driven as some past ones, it will get a lot more play because of how much shorter and more straightforward it is to grind. That’s especially surprising considering how the more general ramp-up in difficulty this season has completely turned me off of doing Lost Sectors and Nightfalls, which just feel like more trouble than they’re worth right now.
Zack: Yeah it’s interesting to see the raid be so much simpler than past raids. I wonder if Bungie wants more people playing raids or is just trying to shake things up and not always do some complicated beast for each new raid. Yet, meanwhile, other parts of the game are harder than ever. I imagine Bungie has data to back up these choices, but then again, as I write this, I see the hotfix patch notes for the game mention increasing rewards on solo Lost Sector runs. So maybe this is more evidence that this expansion and update didn’t get as much time in the oven as it needed
Ethan: As we look forward to the rest of the year—and to be clear, a Destiny expansion really is a year-long $100 commitment at this point (both for Bungie and the player)—there are definitely some things coming that I wish could have arrived alongside Lightfall. An in-game looking-for-group tool is one of the big ones, but the biggest of all is an end to the Power grind. It’s tedious. It gates content. And it’s just not fun.
RPG leveling has always been an uncomfortable fit for Destiny, which is a shooter at heart and fundamentally about chasing guns. Without skill trees or stats to pour points into, there’s really no reason, besides padding. to have to hit an arbitrary number before being able to participate in new content. It’s always been a fundamental tension in Destiny, but I don’t think any of the solutions have ever fixed it. And on a more optimistic note, I’m more confident than ever that the fundamentals of the game are strong enough to survive without it.
Pick an Engram, any Engram.Image: Bungie
Zack: More so than ever, this expansion and season I feel the Power grind and I’m excited to hear Bungie isn’t going to raise it again next season. It feels like the beginning of fully removing it completely. The game can live on without it.
Reading back through this chat, I worry I sound super down on Destiny 2. But I’m still ready for the rest of the year and I’m excited to play more. I think, for me, this expansion just reminded me of how damn good Witch Queen was. It was always going to be hard to compete with that.
Ethan:Lightfall is definitely a slow burn. I can’t recommend it to people who aren’t already invested in the game in some way, unlike The Witch Queen,which was arguably the best shooter campaign of 2022.
But I think, or at least I’m hopeful, that it will bear more fruit over the long run. Season of Defiance is already off to a really strong start compared to other expansion-adjacent seasons, quality of life is improving, a lot of the currencies and grinding is getting streamlined, and there’s room to tie up a lot of interesting loose ends before The Final Shape.
Zack: Agreed. The future is still bright for Destiny 2. We just have to get there.
What do you mean you don’t know what this is? Isn’t it obvious?Image: Impact Acoustics / Kotaku / LUMIKK555 (Shutterstock)
2022 was the year I decided to get serious about my retrogaming setup. I was tired of having a 104lb CRT dominating half my computer desk and a PlayStation 2, MiSTer, and whatever other consoles I was currently interested in always in peripheral vision. After a bit of thought I concluded that the TV and all the consoles would be better off on a wheeled cart. A retro cart, if you would. It could live in my closet, or be wheeled out to wherever seemed fun. So I started speccing that out.
The best form factor ended up having two lower shelves—for the consoles, a smaller TATE-friendly/PAL-compatible PVM-1354Q CRT a friend had recently sold me, and bookshelf speakers—with the big-ass 29” TV up on the third, top tier. Both CRTs could accept RGB or YPbPr/component video…which to standardize on? Component seemed easier for a couple reasons, so I went with that. Then I just needed a switcher to not only flip between MiSTer, PS2, Dreamcast, Nintendo 64, Wii, and Xbox, but to route any of those sources to either of the two screens.
That’s six in, two out. I wanted optical audio switching, too, for MiSTer, Xbox, and possibly PS2. Combined, those requirements take us far beyond the feature set of any basic switcher you’ll find on Amazon or Ali these days. Thus I turned to the bright, shining past of the mid-aughts, when component video adoption peaked and specialty A/V products catered to the more esoteric YPbPr-wrangling needs of the era’s home theater enthusiasts.
A few promising candidates surfaced. One high-end mid-2000s switcher was very fancy indeed and could actually transcode between analog and optical audio (wow!). But ultimately I was won over by the still-fancy but slightly more modest Impact Acoustics Deluxe Component Video / Digital Audio 6 In / 2 Out Matrix Switch, aka the “40697″. You can see it above. Not only can it route those six inputs to either screen, it can output to both screens simultaneously…the same source, or two different sources. Oh dear, am I blushing?
After a week or two I managed to snag a NOS (new old stock) one on eBay, and it proved just as performant as hoped: Any console on any display is now just a button-push away. The cart project is still in progress as I seek a working Xbox, look into appropriate Wii hax, and transition to a new display up top (kinda wishing I had gone with RGB now, actually!) but I’ve already been enjoying having all my beloved old games in a single, self-contained, no-compromises tower of power. Even got a beanbag! Hell yeah.
I was warned of how heated Kotaku’s GOTY arguments traditionally get when I first started here in November, so I was a little nervous when I was put in charge of organizing and tabulating our list of the best games of the year.
Would everyone vote? Would they get mad at me for ranking Destiny 2: The Witch Queen too high? Would Ethan Gach actually do what he was threatening and “hobgoblin” the voting process by adding negative points to the equation?
Turns out, however, that even though organizing this entire process was a pain in the ass, the team at Kotaku is exactly as opinionated, intelligent, and professional as you might expect, offering great insight and honest takes on the top games of 2022. Though we voted on over 20 titles (including ones that narrowly missed this list like Rollerdrome and Sifu) we narrowed it down to a top 10, and have ranked them in order below.
How does Kotaku’s top 10 games of 2022 stack up with your personal GOTY lists?
10. Xenoblade Chronicles 3
Image: Monolith Soft / Nintendo
Reductively, Xenoblade Chronicles 3’s story is an amalgamation of Japanese RPGs whose emotional climax rests on the age-old theme of “war is bad.” Nevertheless, the fact that the trope has become a well-trodden cliché doesn’t dismiss how well developer Monolith Soft executes its anti-war theme throughout Xenoblade Chronicles 3’s 150 hours of playtime.
In Xenoblade Chronicles 3, you play as a troupe of child soldiers from warring nations locked in an endless battle where their limited lifespans fuel a giant mechanical clock once they meet their untimely demise. The kids are not alright. But despite the painful emotional journey its child soldiers must go on, which is portrayed with the emotional maturity and complexity it deserves, the game is not without some great moments of levity as well, courtesy of some lighthearted and silly sidequests. Meanwhile, Xenoblade’s more serious sidequests drip-feed players with rich character studies that flesh out each member of the party, along with the game’s expansive world and its deep cast of supporting characters.
Although Xenoblade Chronicles 3 was snubbed for the best roleplaying game and best soundtrack at Geoff Keighley’s Game Awards, it did give us an impassioned flutist performance from Pedro “Flute Guy” Eustache. This shows that even if Xenoblade loses at gaming’s glorified popularity contest, it still provides some of the best moments in gaming this year.
Isaiah Colbert, Staff Writer
9. Signalis
Image: rose-engine
Much like how I use Devil May Cry 5 as the measuring stick for how good a hack-and-slash game is, whenever I brave playing a survivor horror game I do so with the hope that its story measures up to Silent Hill 2. Big shoes to fill, I know. Signalis not only manages to fill those shoes, it damn near tore the seams off of them joints with how bloody good it was. I’d even argue that it’s better than Silent Hill 2.
Signalis has all the bells and whistles that make for a good sci-fi survival horror game. It’s got a brutal-but-fair limited inventory system, brain-teasing puzzles, and breadcrumb storytelling conveyed through codex entries scattered about its levels. However, where Signalis sings is with its gripping story about two lesbian androids desperately trying to find each other in a space hellscape.
Throughout the game, you play as an android named Elster who’s stranded on an alien planet rife with horrific monsters and derelict spaceships. Elster’s sole mission is to reunite with Anne, a fellow android unit she both literally and figuratively can’t live without. Signalis sticks its landing with the emotional climax of Elster’s perilous journey, regardless of which of the game’s multiple endings you arrive at. This feat is even more impressive considering Signalis is the first video game made by its two-person development team, rose-engine. Ay yo, 2023, can we get some more of those sapphic survivor horror vidya games, plz?
Isaiah Colbert, Staff Writer
8. Norco
Image: Raw Fury
Norco emerged this year and joined Kentucky Route Zero and a few others on the shortlist of games that speak deeply to the experience of living under late-stage capitalism in America at this precise moment in time. Like Cardboard Computer’s masterpiece, Norco also takes its cues from point-and-click adventures, using stunning pixel art to pull us into its industrialized Louisiana landscapes. And where KR0 lent its midwestern road trip a heaping helping of magical realism, Norco uses near-future sci-fi elements to cast the forces its poor, marginalized characters face in sharper relief.
But don’t let my easy comparison make you think Norco is a pale imitator of another game. It’s very much its own remarkable experience, one with its own visual identity, its own poetic voice, and its own noir-ish mystery. Everything about Norco rings painfully true, from its observant little environmental details like the electrified hum of a street light, to the much larger way that religion, cryptocurrency, and the oil industry all become woven together in the haunting texture of your character’s search for her missing brother. Norco, Louisiana is a real place. The Norco of this game is not quite that place, but it’s nevertheless one that feels very real in its own way, and that will leave you reeling from the piercing gaze it levels at the world we’ve made for ourselves.
Carolyn Petit, Managing Editor
7. Horizon Forbidden West
Image: Sony
Poor Aloy. Twice now, her adventures have been somewhat overshadowed at the time of release by other games that more dramatically captured the world’s attention. Her first outing, Horizon Zero Dawn, launched just a few days before Breath of the Wild. This year, her second quest was followed a week later by Elden Ring.
But despite repeatedly serving as the opening act for games that go on to sweep the GOTYs of a hundred gaming sites, Guerrilla Games and Aloy can be proud of what they’ve accomplished. Arguably the most visually stunning game of the year, Guerrilla’s latest takes Aloy into the ruined American west for more of the thrilling, spectacular battles with hulking metallic beasts that helped make the first game an original in a sea of samey open-world blockbusters. And although the larger narrative may fly a bit off the rails in this outing, Forbidden West wisely stays focused on Aloy’s personal journey as someone who feels the weight of the world on her shoulders and doesn’t know how to let her guard down and allow her friends to carry that burden with her. It complicates her character and trusts us as players not to turn on her the moment she behaves in ways that are arrogant, cruel, or misguided. Oh, and you get a really sweet new travel option near the end of the game, too.
Yes, when all is said and done, Aloy and her escapades can stand tall alongside the Links and the myriad Tarnished of the world.
Carolyn Petit, Managing Editor
6. Neon White
Image: Annapurna Interactive
It was about 3 in the morning. I had plans the next day. I really needed to go to bed. Yet, here I was hunched over my computer focused on shaving just one more second off a level in Neon White so I could beat a friend on my leaderboard. That’s the power of fast-paced, FPS platformer Neon White. It’s the kind of game that feels so good that you just can’t stop playing it. Once you get skilled enough to start finding shortcuts in levels, it’s over–the game has you at that point. You’ll end up going back to old levels you thought you mastered to shave off more time. And if you enjoy anime nonsense, angels, demons, and sick-ass music, too, then Neon White will dig its angelic claws deeply into you and never let go. “One more run…and then I’ll go to bed.” I didn’t get to sleep that night until nearly 4:30 am.
Zack Zwiezen, Staff Writer
5. Citizen Sleeper
Image: Jump Over The Age
The profane and sacred mingle with delicate grace in Jump Over The Age’s minimalist cyberpunk RPG about trying to earn your humanity from a world that can’t pay its debts. Every detail from the writing and art to the branching choices and tabletop-inspired dice rolls connect, overlap, and reinforce each other with precision and care so that no piece is weaker than the rest and no rough edge is left exposed. Few games manage to evoke universal feelings or personal truths, but Citizen Sleeper does both at the same time. The future never felt so hopeless and yet so comforting.
Ethan Gach, Senior Reporter
4. Marvel Snap
Image: Second Dinner / Kotaku
Going into 2022, I don’t know how many people expected a free-to-play Marvel card game designed for phones to end up being one of the best and most popular games of the year, yet, here we are. Second Dinner’s fantastic bite-sized card battler, Marvel Snap, really is one of the best digital card games out there right now thanks to its small decks, fast rounds, and random nature. Matches always feel different and even a loss doesn’t sting too bad because it’s over so fast. Sure, it’s still a free-to-play mobile game, so you can expect stuff like iffy over-priced bundles and having to grind for currency. But luckily Marvel Snap is so fun to play that it’s pretty easy to overlook those bits and enjoy one of 2022’s best games.
Zack Zwiezen, Staff Writer
3. Vampire Survivors
Image: poncle
One more run. A sentence I’ve repeated countless times in 2022 either in my head or quietly aloud to justify playing Vampire Survivors for just a little while longer. The gothic roguelike shoot ‘em up became a surprise smash hit while spawning worthy spiritual siblings like 20 Minutes Till Dawn.
Since Valve started releasing the data in August, Vampire Survivors has been tops in total hours played on Steam Deckmonth in and month out. This is the same Steam Deck that can run frickin’ Elden Ring! But people want to play Vampire Survivors instead!
All those players are onto something, Vampire Survivors has a simple yet satisfying gameplay loop: your character (I’m partial to Peppino) must survive an ever-growing horde of ghoulies while choosing between randomly generated weapons. If you make it to 30 minutes, the reaper will come calling, which lets you spend coins on power-ups for future runs. You can be strategic in choosing weapons that complement each other or you can just try shit out! These elements of discovery, relentless isometric top down action, and Vampire’s lax attitude towards player death (it has zero impact) remind me a lot of Hades, another regular on that Steam Deck most-played list, and another GOTY contender from years past.
Vampire Survivors’ developer Luca Galante/poncle has regularly been updating the game since it left early access, adding modes, quality of life improvements, and settings to tweak for extra replayability. What’s more, the game recently got its first full-fledged DLC the other week with Legacy of the Moonspell. With the base game retailing at five dollars ($4 under the current Steam sale), Vampire Survivors makes for one of the better bang-for-your-buck propositions in gaming. Go ahead and treat yourself to some floor chicken.
Eric Schulkin, Video Lead
2. God of War Ragnarök
Image: Sony
Sony Santa Monica’s God of War Ragnarök is more of everything. More abilities and weapons. More enemies and locations. More characters and plot details. Hell, even more loot. Though you could interpret this as a knock against the game, especially since more isn’t always better, Ragnarök takes the “more” and deftly applies it in tasteful ways while making room for a compelling narrative and gameplay experience that’s enjoyable and immersive. Combat is crunchy, exploration is intriguing, dialogue is captivating, and the themes are deep and engaging. But what stands out as the glisten on the diamond is the character development between daddy Kratos and adolescent Atreus, an element that sees the co-protagonists finding common understanding in the face of the end of the world. Sometimes, it takes things falling apart for empathy to be reached, and God of War Ragnarök is a glowing example of just that. It’s good shit.
Levi Winslow, Staff Writer
1. Elden Ring
Screenshot: FromSoftware / Kotaku
Are you surprised? Elden Ring easily and inevitably took the top spot during our voting process, further proving that 2022 was the year of Elden Ring. Many Kotaku staff members ranked it as their number one game of the year, and for good reason. FromSoftware’s open-world epic feels like a giant leap forward for the Souls-like franchise, offering us a beautifully deformed and dangerous Lands Between to explore, rife with opportunities to discover oddities, collect goodies, and die over and over again.
Elden Ring opened up Hidetaka Miyazaki ’s sick, twisted world for the normies who haven’t enjoyed FromSoft games before it, while also making sure to still cater to the hardened vets looking to prove their worth in incredibly tough battles. It found a perfect balance between that punishing gameplay so many long for in a game from this studio and a newfound sense of agency, of a chance toget gud without having to run into the same noxious swamp over and over again.
Elden Ring is technically impressive, visually stunning, and satisfyingly challenging. It has humor, it has sadness, it has turtle popes. It dashes your hopes up against a jagged rock only to hand you hope back bit-by-bit as you strengthen your character and your resolve. It is everything that we hope for in a video game, and then some.
Space Quest IV: Carolyn Petit and the Time RippersScreenshot: Sierra Entertainment
It must have been Christmas of 1991 that I found Space Quest IV: Roger Wilco and the Time Rippers under the tree, and got the gift of seeing exciting new possibilities in games.
I was a fan of adventure games, sure, having played a few games in Sierra’s King’s Quest series, not to mention Lucasfilm’s brilliant and bizarre early titles like Maniac Mansion and The Secret of Monkey Island. But this was my first experience with Space Quest, Sierra’s comedic sci-fi series starring Roger Wilco, the hapless space-janitor who finds himself thrust into one cosmic misadventure after another.
To be honest, I don’t remember much about the quality of Space Quest IV’s puzzles. What I do remember is how varied and vibrant its universe seemed, with harsh alien worlds, moody cantinas, and glitzy space-malls. But what really knocked my socks off about the game was how meta it was. After progressing a bit through Space Quest IV: Roger Wilco and the Time Rippers itself, poor Roger finds himself flung into (the non-existent) Space Quest XII: Vohaul’s Revenge II.
Screenshot: Sierra Entertainment
Today, it’s not so uncommon for games to break the fourth wall and wink knowingly at the player about being video games, to play with conventions in ways both tired and inspired. But wow, was this exciting for me in 1991! The game also sees you venturing into Space Quest X: Latex Babes of Estros (an obvious riff on the 1986 Infocom adventure Leather Goddesses of Phobos) and all the way back to the original Space Quest, which already looked humorously primitive and pixelated compared to 1991’s state-of-the-art graphics, making high(er)-definition Roger Wilco all the more conspicuous.
Screenshot: Sierra Entertainment
Space Quest IV may or may not be a great game, I honestly don’t remember well enough to say. I just remember sitting there on my Christmas break, awestruck by the clever meta-ness of it all, and having my mind expanded about the possibilities of what video game storytelling and structure could do.
If you, like me John Walker, are still fathoming your way through the lower echelons of Marvel Snap, there’s a good chance there are cards you’re clinging on to because they were working so well for you. However, you’re now starting to lose more often, wondering what went wrong. The answer is: Kill your darlings.
With the help of my colleague Zack Zwiezen—who has been playing the game for some time now—we’ve come up with a list of cards that you might want to cut from your decks.
Now, let’s be clear: Neither of us is saying these cards are totally useless, or that keeping them in your deck is always a bad idea. It’s just, they’re the ones that felt so good early on that you might not have been able to bring yourself to acknowledge their weaknesses, and are holding you back from experimenting with more interesting combinations. Be bold, be brave, and let these babies go.
And remember you can always add them back later if you experiment too much and end up with a stinker deck! Anyway, let’s start cutting some cards!
Quicksilver
Image: Marvel / Second Dinner / Kotaku
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As Kotaku has previously broken down, Quicksilver was developer Second Dinner’s brilliant solution to entirely removing the concept of mulligans from their deckbuilding card game. Guaranteeing a 1-cost card in your hand at the start of every game ensures you can always play in the first round, every time, and add 2 power to the board right away. Which, at first, felt vital. Except, the more you play, the more you realize that being able to play in the first round isn’t actually all that important.
Chances are, you’re not going to be placing down anything game-changing that first turn. And indeed by not playing in round one, you fend off other 1-cost cards like Elektra. You can even obnoxiously opt out of playing a 1-cost you might have in your hand in Round 1, just so you can play two of them more tactically in Round 2. Again, for example, Elektra!
And, as we’ll get to below, decks that opt for as many 1-cost cards as possible will get increasingly weak as you climb the ranks, meaning Quicksilver’s lack of any further abilities quickly makes him more of a burden than a boon.
Uatu
Image: Marvel / Second Dinner / Kotaku
When you first stumble upon Uatu, he feels like a secret hack, a card offering you special insight unavailable to anyone yet to find him. His ability to show you the properties of unrevealed locations feels like something that lets you plan ahead and make psychic moves your opponent can’t predict. And, to some extent, on some level, he sort of does.
Except, that won’t happen nearly often enough to justify Uatu taking up a valuable slot in your 12-card deck. The issue lies in the number of conditions that need to be right for him to actually prove helpful. Rather obviously, you need the luck of drawing him early enough to work. Unless you get him in the first or second round, Uatu’s ability is pretty useless. Secondly, you need to be playing a game with locations where prior knowledge is actually of use.
So many locations have properties where foreknowledge is of very little value. Finding out that when it reveals you’ll get a random card added to your hand, a random card taken from it, or a 12-power card added to both sides…it’s very rare that this will be vital information to you. Yes, there are absolutely circumstances where it’s great, where knowing each card will get 5+ power when played there means you can load up and dominate where your opponent might not know to. But does that happen frequently enough for Uatu to remain a vital card? Really, no.
Hulk
Image: Marvel / Second Dinner / Kotaku
This one is hard. But listen: There are better and more interesting ways for a big finish. Hulk’s there from the start to give you that satisfaction of playing a ridiculous 12-power card on those Pool 1 bots. But he’s baby food, and you’re ready for solids.
Sure, you’ve nothing else in your deck that offers that much power. It’s simple logic. But Hulk’s simplicity is the issue. Using up all your energy in Round 6 on one card that does nothing other than add a bunch of power means you’re missing out on much more fun big finishes. Never mind that Shang-Chi, available from Collection Level 222, can obliterate him with his “Destroy all enemy cards at this location that have 9 or more Power.”
But there are so many cards that do more interesting things in the final round. Like Odin, who adds 8 power, but also refires all the On Reveal abilities of the other cards at the location. That means you can see White Tiger putting out another 7-power card onto another location, bringing her total contribution to 15, while at the same time retriggering Gamora’s additional +5 power if the opponent plays a card there. That puts Gamora up to a total of 17, even without taking into account a possible third card at the location, just playing Odin has increased our power by 20. Take that, Hulk.
America Chavez
Image: Marvel / Second Dinner / Kotaku
When you first get this card you might be excited. America is a 6-cost/9-power card that always shows up on turn six, which is usually the last turn of most Marvel Snap games. And yeah, it’s nice knowing a powerful 9-power card is definitely going to show up at the end of your match. But this also means she’s not hanging around in your hand, meaning she can’t get buffed or randomly tossed into the field early on.
And while adding 9-power at the end of a match can be useful, you’ll quickly encounter games as you rank up where 9-power just isn’t enough to win back a zone or lock something down. Worse, America has no special abilities beyond showing up on turn 6. So, like Quicksilver, she shows up and doesn’t really do anything. And unlike the Hulk who is very strong, America is only sort of strong. In a specific deck built around buffing, she can work, but there are better 6 and even 5-cost cards to swap in instead.
Domino
Image: Marvel / Second Dinner / Kotaku
Let’s just toss this on here too, while we are talking about America Chavez and Quicksilver. Like those cards, Domino has a unique ability that means she is guaranteed to end up in your hand on turn two. And as a 2-cost/3-power, she seems useful as a follow-up to Quicksilver on turn one. And early on, you can definitely win with Domino. But eventually, you’ll need to get over these cards.
It’s hard, I know, but while giving them up means you give up the consistency of always knowing what’s coming on turns one, two, and six, you are also giving up three slots in your small 12-card deck to characters with no other purpose. They don’t buff, boost, move, kill, destroy, or do anything useful like that. Again, in certain decks, these cards can be useful. But there are just so many better cards that you could use instead of Domino, Quicksilver, and America. Say goodbye to consistency and hello to chaos. It’s the Marvel Snap way.
Mantis
Image: Marvel / Second Dinner / Kotaku
Mantis, like the other Guardians of the Galaxy-related characters, has a reveal ability that pops when your opponent plays a card in that location on the same turn it’s played. But unlike Gamora, Star-Lord, or Rocket, Mantis doesn’t get a power boost, instead drawing a card from the opposing player’s deck. This is fun and chaotic, which we support! Snap is more fun when things are hard to predict and wild. But this becomes far less useful in most situations pretty quickly.
The number of times people play Mantis, get a card, and then never use that card because it doesn’t sync up with their deck’s synergy is high. And that’s if your opponent plays a card that turn and you guess the location right. If you don’t do that, then Mantis is a crappy 1-cost/2-power paperweight just begging to be killed by Elektra or worse, left there with no way for you to remove it, taking up valuable real estate. So, yeah, ditch Mantis. And if you are screaming “Well, she is a part of my Zoo Deck!” right now, here’s more bad news…
Zoo Decks
Image: Marvel / Second Dinner / Kotaku
The “Zoo Deck” was certainly one of the most popular meta decks of Snap’s early days, but in the face of the more common addition of Killmonger to players’ decks, it’s now proving a liability.
A Zoo Deck is a community-given name for decks that put together a lot of low-cost cards, especially 1-cost cards, which often have animal art on them. (Not often enough to justify the name, but that’s the name they’ve gotten anyway.) Advocates celebrate that they allow you to play multiple cards in later rounds, surprising players who rely on hefty 5 and 6-cost cards, like some sort of cheeky rascal scampering between the angry giant’s legs. Except, because of Killmonger, they’re pretty much useless.
Killmonger does appear to be an incredible OP card, although he can only be picked up by players who’ve reached Collection Level 462. At just 3-cost, with 3 power, it’s a card that can be played from round 3 onward, and devastatingly takes out every single 1-cost card from the board. Yours and theirs. And people in Pool 2 are reporting seeing it showing up a lot. The effects are brutal. Oh, and Zoo Decks can also get beat badly by a Scorpion, which lowers the attack power of all the cards in your hand by one, which can easily cost you a close match when most 1-cost cards are low in power. So yeah, Zoo Decks are fun…but not worth it later on.
Overwatch 2has two ways to stand in line as you wait to be let into a game: open queue, which lets you maintain a loose team composition, like one that has two DPS and three tanks; and defined role queue, which brand-new players need to unlock by completing five open-queue games. It seems open-queue players are finding themselves stuck in messy matches with no support, and disgruntled role-queue players, particularly those playing DPS or tank, are sitting through long queue times waiting for healers to float down on a ray of sunshine.
“The players can start by not taking out their life problems on support characters,” a Blizzard forum user wrote. “Maybe then more people would be willing to try the role.”
“There are plenty of people who want to play support (I’m one of them),” said another commenter in the Blizzard forum. “But whether or not it’s currently viable to play support in pub matches with the game’s current climate is, I think, the real issue.”
We’re feeling it too. “In my experience with Overwatch 2—as someone who mostly plays support for the XP boost and fast matchmaking—I’ve experienced Winstons and Reapers zooming past me and the other support player, only to wind up dead moments later, putting the entire team in a bad spot,” Kotaku staffer Zack Zwiezen wrote recently.
Some players hope that adding new support heroes, including Kiriko—Overwatch 2’s new ninja healer, who currently lives beneath the game’s fresh battle pass for most people—will help even out support queue times. More likely, players will keep finding things to be annoyed about, and developer Activision Blizzard will keep union busting.
