The best video games of 2023

“Since the release of Dark Souls in 2011, I have been enamoured with FromSoftware’s unparalleled ability to inundate players with both a vast amount of lore and throngs of indomitable foes to face, each more gruelling and remorseless than the last. Following two sequels, a plethora of DLC, a few remakes, and two stand-alone titles, players were left oblivious as to where FromSoftware would venture next. That was until 2019, when we saw our first glimpses of From’s latest foray into the fantasy RPG genre.

Despite an over-abundance of open-world titles in recent years, Elden Ring deftly circumvents the pitfalls that droves of Triple-A titles so often find themselves in. It guts the empty fetch-quests and bloated, tiring dialogue commonplace in other open-world games, and exchanges them for a far more cryptic and enthralling narrative design. Elden Ring’s prodigious, wondrous lore was carefully composed by the illustrious George R.R Martin (writer of the formidable A Song of Ice and Fire series) and the enigmatic Hidetaka Miyazaki, FromSoftware’s lead designer – in what is, in my opinion, a match made in Heaven.

As such, The Lands Between brim with detail. From the strikingly despondent Stormveil Castle grimacing over the cliffs of Limgrave, to the enchantingly sublime-yet-macabre Raya Lucaria Academy, scarcely illuminated by the cosmos – every corner, every crevice of Elden Ring feels ancient and deliberate as if it had always been there.

Many critics may rave about the profuse amount of weapons, the seamless combat, and the enthralling game loop. Yet, it's Elden Ring’s staggering lore, deeply entrenched with reams of worldbuilding that makes Elden Ring so absolutely singular next to other titles of its genre. So, take the plunge, foul Tarnished, follow the Guidance of Grace, seek the Elden Ring and become Elden Lord, you shan’t regret it.” – Ryan Houghton

“Lately open-world games have hit a point of stagnation, and that’s putting it nicely. I'm tired of meaningless chores in a world that doesn’t even look good. It's perhaps ironic then that FromSoftware, best known for stories about permanent afflictions, has broken this curse. The open-world design of Elden Ring serves the gameplay remarkably well - I never felt there was too much of a dull moment.

Each inch of The Lands Between feels unique and has its secrets densely packed away, and every place has its own distinct landmark - there are even locations designed like classic Dark Souls levels. There’s so much to explore and, while the game encourages it, it does not force you to visit every dungeon or to pick 612 random McGuffins for a side quest you stopped caring about hours ago. It trusts the player - I think all games need more of that.

Naturally, Elden Ring uses the now genre-defining Souls-like combat, that requires patience and skill, especially when it comes to the game's glorious bosses that are, of course, larger than life and immensely challenging. There are some new additions to combat too, such as a stealth system, weapon ashes (weapons art which give additional move sets), mounted combat, and new summons – one of which lets you mimic yourself.

All these tie together to make one of the finest RPG experiences for not only this year but potentially all time. At least until the sequel.” – Ryan Arnold

“I haven’t played it, but once the two Ryans get talking about this, they can’t stop. There was no way in The Lands Between they would have let this sit anywhere other than the top spot.” – William Lobley

“Kratos and his impossibly gravelly voice are back - someone getting him a lozenge because he's a bit Norse. The second and final part in the new-look God of War games sees Kratos and Atreus try to stop Ragnarök, essentially the end of the world. Like all good fantasy tales, they go on an epic journey meeting various characters and bonding as a father and son.

Many PlayStation exclusives commit the sin of being overly cinematic without much depth. Ragnarök has no such problem. The game features deliciously brutal and satisfying combat, as well as fun weapons such as a Leviathan Axe that can be thrown and recalled – much like a certain god’s hammer - and Kratos’ iconic Blades of Chaos from the original Greek trilogy.

It’s a brilliantly fun game with wonderful writing, epic fights and great side quests. I would go as far as to say the Norse saga is a duology of games comparable to something like Lord of the Rings - it’s meant to be experienced in full glory with snacks by your side and way too many hours suddenly gone.” – Ryan Arnold

“The townspeople of Tassing do not forget, nor do the monks of Keirsau Abbey. But you, artist Andreas Maler, have taken it upon yourself to solve a murder and save a life. The choices you make ripple through time, haunting your memories and actively changing the world and people around you. A fascinating exploration of cause and effect, personal turmoil, and faith, Pentiment is a slow burn that leaves a profound mark.

With an art style convincingly aping a 16th-century tableau, Pentiment is a visual joy full of character and feeling, and this graphical style also adds to the narrative. The use of different fonts for speech – from clumsy scrawls to ornate Gothic script – tells of people’s social standing and education, while the occasional spelling mistake and correction suggest an omnipotent artist’s hand at work. It’s a delight that something so clearly crafted - and lovingly so - can feel deeply real.

Home to long conversations, historical fact dumps and intricate religious rules, Pentiment could’ve collapsed under its own weight. But when approached with patience, this game reveals itself to be a true wonder.” – William Lobley

“Xenoblade Chronicles 3 rounds off the trilogy well. It sees a brand-new cast of loveable characters solving the mystery of why they fight in a meaningless war and what the organisation Mobius is up to. Developer Monolith pushes the Switch hardware to its limit with the epic open world – 'see it, go to it' is the creed here.

Xenoblade 3 improves the series’ combat system by placing all six party members in the fight, rather than just three, and characters are switchable on the fly for strategic combat. It also has a class system so you can experiment with a plethora of synergies.” – Ryan Arnold

“Faith: The Unholy Trinity is one of the best horror games in a long, long time. As bold as this claim sounds, it's true. The Atari-style graphics and creative sound effects make for a surprisingly terrifying experience with beautifully rotoscoped cut scenes adding to that feeling of unease.

The game casts you as John, a Catholic priest, solving mysteries and puzzles armed with nothing more than a crucifix to defend against the occult and unexplainable. If you ever feel like you're being watched, just remember: GARY LOVES YOU.” – Ryan Arnold

"Speed-running titles have grown prominence for the gaming hivemind, with ultra-high precision gameplay which tests the ingenuity and endurance of gamers being the ultimate challenge. Neon White is the epitomic scratch to this gamerly itch, quenching the widespread thirst for a high-octane, split-second shooter where manoeuvrability is paramount.

While lacking the absolute polish of other contemporary games, such as 2020’s Doom Eternal, Neon White delivers tough-but-fair, unfaltering high-speed gameplay that leaves you feeling, for lack of a better term, like a complete badass. An affordable title that delivers hours of blood-pumping, jet-fuelled entertainment.” – Ryan Houghton

“An alluring hybrid between a spectrum of gaming genres, Cult of the Lamb, in a bizarre turn, is best described as an amalgamation of genres. There are flavours of base management games, such as Don’t Starve or Stardew Valley, and a considerably stripped-back rogue-like, such as Binding of Isaac, with some light RNG sprinkled throughout to spice up enemy encounters.

From its wonderfully macabre hand-drawn style to its devilishly moreish base-building - that blends remarkably well with intense hand-to-hand combat, complete with plenty of dodge-rolling - Cult of the Lamb is an exciting, gratifying experience that skilfully delivers on an enthralling premise.” – Ryan Houghton

“The cuteness of TUNIC initially draws the eye, but it’s the challenging Zelda-meets-Souls combat, bread-crumb discoveries and knotty map exploration which has you hanging on until the credits roll.

Adding to the game’s sense of the unknown is the instruction manual, which is scattered across the world. Once picked up, it’s up to the player to decipher its meaning – the runic language and pictures channelling Japanese game manuals of yesteryear. A sharp and focussed little adventure, full of fox-like cunning and grace.” – William Lobley

“Pokémon Legends: Arceus is a delight from start to finish. Your character is hurled into the past, an ancient (yet familiar) Hisui region where settlers are finding their home. While you’re filling up the Pokedex, you’re battling spacetime rifts, rogue trainers, and several ‘Noble Pokémon’.

This game is different to the main series, which has become very same-same. The Pokémon developers did the right thing by shaking up the format – and the reviews really show how beloved this game is. Though the graphics are a little crunchy in places, it’s a fun, exciting and innovative Pokémon game. Hopefully, this isn’t the last we see of Pokémon Legends.” – Piper Huxley

“Cursed Karby memes aside, Kirby and The Forgotten World shows what the little pink ball can do when given a luscious 3D environment to adventure through.

With a fun little move set, cutesy foes and OTT boss encounters, I hope this vein of Kirby game takes hold and stays the course. It’s far from a hard game - it’s Kirby, after all - but The Forgotten World is a worthwhile outing, nonetheless.” – William Lobley

“Sifu is as intuitive as it is enthralling, chain together over 150 unique attacks, and use objects and your environment to your advantage while being steadily cautious of your mistakes – as death comes at a price.

Upon death, the player-character, Sifu, will age, making the player’s health weaker, but their attacks stronger, and so each encounter becomes increasingly treacherous. Sifu expertly the chaotic, exhilarating brawling of the beat ‘em up with the looming threat of consequences for carelessness – making this indie gem more than worthy of your attention this year.” – Ryan Houghton

“Cuphead stole my heart in 2017 with its rambunctious rubber hose hand-drawn animation, swingin’ jazzy score, and a vast cast of colourful characters, and The Delicious Last Course is simply a second serving of precisely what I loved about the original.

Kristofer Maddigan’s romping riotous score barrels back in for what is an even greater challenge than the original, Cuphead’s curtain call is as joyous as it is challenging, and yet we still are fervently hungry for more.” – Ryan Houghton

“Since DOOM, the FPS has been entwined with heavy metal music – but never to this level of success. Soundtracked by crushing riffs and some of the best metal vocalists around, Metal: Hellsinger is a breathless mosh pit of score-attacks and rhythmic violence, having you become one with the beat to efficiently off the hordes of hell.” – William Lobley

"The hit indie breakout of 2022. Vampire Survivors does away with the plot and just lets you have fun. You play one of many characters as swarms (and I do mean swarms) of enemies surround you and you must vaporise them with all your weapons. It’s also dirt cheap which is always a bonus." – Ryan Arnold

“Like good old Guitar Hero but replace the guitars with trombones and add baboons. Yes, really. Enjoy fan-favourite classical music, cool trombone facts, collectable cards, and baboons. You can also download custom tracks of your favourite songs. Did I mention the baboons?” – Ryan Arnold