The 2024 Golden Globes represented a return to normalcy after a year dominated by strikes in the entertainment industry. Streamers continued to get recognition for their shows, with Netflix, Hulu and Max picking up a combined 12 television awards.

Max (formerly HBO Max) won the most awards, garnering four for the final season of Succession, including best drama television series. Best performance by an actress and actor in that category went to Sarah Snook and Kieran Culkin, who played siblings Roman and Shiv Roy on the series. Matthew Macfayden rounded out Succession's wins by taking home the award for best performance by an actor in a supporting role on television. Succession is available to stream through Max but was viewable direct on TV through HBO.

Netflix won for a range of shows, such as The Crown, which premiered its final season at the end of the year. The Crown actress Elizabeth Debecki took home the award for best performance by an actress in a supporting role on television for her portrayal of Princess Diana. Ricky Gervais won best performance in standup comedy on television for Ricky Gervais: Armageddon. Beef took home three awards, winning for best performances by an actress (Ali Wong) and actor (Steven Yeun) in a limited series, anthology series or series made for television. It also won for best overall in that category. The show was mired in controversy due to the casting of (and silence around) actor David Choe, who previously shared stories describing alleged sexual assaults.

Hulu's three awards came courtesy of FX-produced The Bear, which won for best musical or comedy television series. The show's lead actors, Ayo Edebiri and Jeremy Allen White, took home the best performance in a musical or comedy television series by an actress and actor awards, respectively.

A UK-based company called Clicks is introducing a new iPhone accessory at CES 2024 in Las Vegas that you might like if you loved BlackBerry phones. It's a case and a full physical keyboard in one that you can attach to the iPhone if you want a more tactile typing experience, which kinda brings back memories of Ryan Seacrest's Typo Keyboard from a decade ago. The company's creator keyboard sits at the bottom of the case and doesn't cover any part of the screen or any part of the device at all other than its back and edges. Instead, it extends the phone's length, giving you full view of whatever is on the display even while you're typing. 

That keyboard connects to the iPhone through its Lighting or USB-C port, depending on what model you have, and allows you to charge your phone as usual. It doesn't have a Bluetooth connection, but that also means it's not powered by a battery you'll need to charge. You can switch on its backlight if you want to use it at night or in the dark, and you can use a bunch of keyboard shortcuts if you want to navigate your device without using the touchscreen. To scroll down web pages, for instance, you can press the space bar. That said, its keys do look terribly small, and you may find yourself having a difficult time typing if you have larger hands and fingers. 

Clicks is founded by content creators Michael Fisher (MrMobile) and Kevin Michaluk (CrackBerry Kevin), who said that the iPhone keyboard was designed by "a dream team of tech industry veterans." Michaluk added: "We labored over every decision from exactly how the buttons should feel to the keyboard layout, ensuring it would be intuitive for iPhone users." You can order the Clicks creator keyboard from the company's website right now for $139, but shipping won't begin until February 1. 

Clicks

Set your calendars. Martin Scorsese’s latest and greatest, Killers of the Flower Moon, is premiering globally on Apple TV+ in just over a week. The film drops on January 12. It was originally released in theaters on November 20, which means it’ll be 12 weeks before arriving on a streaming service, which has become fairly standard in recent years.

We knew this would drop on Apple TV+, as Apple Studios financed the film and arranged for theatrical distribution. We just didn’t know when, and now we do. Incidentally, this is the first Apple-financed film to get a wide theatrical release.

Killers of the Flower Moon is a great match for streaming, as it's well over three hours long, which made for some frantic trips to the theater bathroom once the credits rolled. The movie stars Lily Gladstone, Leonardo DiCaprio, Robert De Niro and Jesse Plemons and is set in 1920s Oklahoma. The narrative is based on a true story and follows the serial murders of members of the Osage Nation tribe. There’s a lot more than that, but we ain’t about to start handing out spoilers like candy. Watch the movie. It’s good.

To that end, Killers of the Flower Moon has been nabbing up award nominations left and right, including 12 Critics Choice nominations and seven Golden Globe nominations. It was also named to the American Film Institute's list of Motion Pictures of the Year. Oscar nominations don’t drop until later this month, but it’s likely to make several appearances across multiple categories.

This is the biggest film to come from Apple Studios, but not the only notable release. Coda, another Apple original, actually won Best Picture at the 2021 Academy Awards. Apple is also behind Ridley Scott’s Napoleon and forthcoming releases by directors Jon Watts and Matthew Vaughn, among others.

Apple Fitness+ is adding new content for the new year. The workout service’s Artist Spotlight series celebrates the Super Bowl halftime show with playlists devoted to recent performers (including this year’s artist, Usher). In addition, new meditations, programs and Time to Walk episodes will arrive soon.

The Apple Fitness+ Artist Spotlight series dedicates entire workout playlists (across various exercises) to a single artist. In this case, it will devote them to several: Rihanna (available January 8), Britney Spears (January 15), U2 (January 22) and Usher (February 5, ahead of his performance).

Three of the four artists have been (or soon will be) Super Bowl halftime headliners: Rihanna in 2023, U2 in 2002 and Usher in 2024. Spears hasn’t had top billing, but she performed in the 2001 show, co-headlined by Aerosmith and NSYNC.

Fitness+ is also adding sound meditations. Apple says they’ll only include “light guidance” from the trainer, leaving room for you to focus on the “tranquil sounds of singing bowls and the deep pitch of gongs, all arranged to create a sense of ease.” There will be seven sound-themed meditations, arriving every week. You can choose between five, 10, and 20-minute sessions.

NBC via Getty Images

Time to Walk, Apple’s series of celebrity-guided audio walking experiences, is adding Al Roker. The Today Show weather anchor and co-host will share what he learned about mentorship, including a pivotal chat with his father. Other episodes will feature rapper and actor Common (who already works with Apple on the sci-fi series Silo), Trixie Mattel (aka Brian Firkus, RuPaul’s Drag Race), actor Colman Domingo (Rustin) and author / actor Lilly Singh will host episodes.

50 of Apple’s older Time to Walk episodes will be available on Apple Podcasts. Celebrity guests on the available content will include Prince William, Al Roker (again!), Patti LaBelle, Becky G, Simu Liu, Malala Yousafzai, Camila Cabello, Dolly Parton, Jason Segel and Shawn Mendes. Although the podcast version will omit guest-chosen songs and photos, you can still access those through the Fitness+ app. In addition, anyone who isn’t subscribed to Fitness+ can listen to 10 free Time to Walk episodes on Apple Podcasts.

Golfers will get some love from the service, too. Apple is adding a new workout program designed for links enthusiasts. The workouts will blend strength, core, and yoga training, focused on the specific strength, balance, flexibility and mobility golfers need. The workouts will feature (and were designed by) pro golfer Rose Zhang. “Whether people are new to the sport or want to advance their skills, I’m excited that the workouts in this program on Fitness+ will help users feel more confident in their swing and have fun on the course,” Zhang said. Fitness+ trainer Kyle Ardill will lead the videos.

Apple has partnered with Anytime Fitness, a US gym franchise, to offer perks to use both companies’ services. First, “prospective members” who try Anytime Fitness will get “up to three months” of Apple Fitness+ for free. In addition, Fitness+ subscribers who join the gym and sign up for at least a 12-month membership will get their first 30 days for no charge. The Anytime Fitness app on iOS will also integrate with Apple Fitness+ workouts.

Apart from the Artist Spotlight rollouts, Apple hasn’t shared specific launch dates for the new content. However, it said the new features will arrive “starting Monday, January 8.”

Jack Black is reportedly set to play Minecraft Steve. Deadline wrote on Tuesday that the School of Rock actor will play the game’s blocky protagonist alongside Jason Momoa in the game’s long-delayed film adaptation.

The Minecraft adaptation has been in development since 2014. It’s cycled through at least three previous directors (Shawn Levy, Rob McElhenney and Peter Sollett) and two missed release windows (2019 and 2022). Its current target date is April 4, 2025.

The writers for the project’s current iteration haven’t yet been revealed. However, adapting the sandbox building game into a plot-driven Hollywood blockbuster will allow for (and probably require) ample creativity from its scribes. A plot synopsis published in 2019 (which may or may not still apply) describes the film as following “a teenage girl and her unlikely group of adventurers. After the malevolent Ender Dragon sets out on a path of destruction, they must save their beautiful, blocky Overworld.”

Mojang / Microsoft

Black is fresh off a beloved performance as Bowser in The Super Mario Bros. Movie, where he showed the effectiveness of his larger-than-life comedic presence in gaming adaptations. IGN even noted that both of Black’s gaming roles — Bowser and Steve — appeared in Super Smash Bros. Ultimate.

Napoleon Dynamite creator (and Black collaborator on Nacho Libre) Jared Hess will direct. Deadline says production will start soon on the film, which hails from Warner Bros, Vertigo, Legendary, Mojang / Microsoft and On the Roam. Emma Myers, Danielle Brooks and Sebastian Eugene Hansen have signed on to join Black and Momoa in the cast.

It’s been a terrible year for game developers, but an amazing year for games. 2023 kicked off with a fantastic remake of Dead Space and the breakout success that was Pizza Tower, and by the end of the year we had dozens more games vying for our attention. There were some missteps along the way — if you'd asked me to predict this list a year ago, I would've mentioned both Redfall and Starfield — but overall it's been a packed year unusually low on disappointment.

We’ve never tried to name a single title as "the Game of the Year." Instead, it’s become a tradition to get the whole team together to talk about our individual favorites. So here are those games, presented in alphabetical order to avoid hurting any of our writers’ feelings. Feel free to sound off about what your favorites are in the comments; there are no wrong answers. Except maybe The Day Before.

Alan Wake 2

I rarely have time to finish games these days, but I devoured Alan Wake 2 in just a few weeks. For me and my limited gaming time, that felt miraculous.

I'll admit, I'm a mark for Remedy Entertainment. I've been following its work since the first Max Payne arrived on PCs in 2001, right as I was gearing up to head to college and building my first desktop PC. (It had a 1.3GHz AMD Athlon Thunderbird and an ATI All-in-Wonder Radeon GPU with a TV tuner. Yah, I was one of the cool kids on campus..)

Max Payne blew me away with its fluid slow-motion gunplay mechanics and immersive narrative. As a lifelong console gamer until then, it was a big step forward from something like Tomb Raider. Playing Alan Wake 2 brought me right back to my college days: Its storytelling is far more mature than Max Payne, but leagues more ambitious. I spent much of the game with a big stupid grin on my face, marveling at how the game balanced two different leads (Saga Anderson and Mr. Wake himself), an array of quirky characters, and some of the boldest gaming narrative choices in the last decade.

As Jessica Conditt said in her review, Alan Wake 2 works best when you're not in combat. I enjoyed chatting with the locals and digging up background details more than I did shooting a repetitive array of baddies. It also helped that I was playing it on LG's massive 49-inch UltraGear monitor, which at times made it feel like I was completely immersed in the game. It made the more idyllic environments in the Pacific Northwest seem all the more beautiful, while the scarier bits felt even more nightmarish. Get you a game that can do both.

Over two decades after I became a fan of the studio, I’m just as excited to see what Remedy is cooking next. It feels like college all over again. Maybe time really is a flat circle. Or maybe, as Alan Wake would say, it’s a spiral towards something greater, the accumulation of everything we’ve learned and all the mistakes we’ve made as we pursue the specter of perfection. Anyway, good game. — Devindra Hardawar, Senior Reporter

Armored Core 6

Elden Ring was my first foray into the FromSoftware universe since Chromehounds for the Xbox 360. Elden Ring is an all-timer and no more needs to be said about it, but coming off that I was a bit trepidatious about whether the developers could apply their learnings and innovations to something with a legacy like Armored Core. Silly me to ever doubt FromSoft, because they delivered a game worthy of their developer pedigree. While AC6 doesn’t feel like “Elden Ring with mechs" I'm honestly glad it doesn’t. The developers have done a masterful job of blending classic Armored Core depth, customization and combat with the scale, bombast and world-building they are known for.

Some of the bosses in this game felt impossible, like many of the best FromSoft bosses do, but as always there is a tweak to your gameplay style or strategy that can turn the tables in the end. The first actual boss fight with Balteus had me questioning if I was ever good at video games in the first place, and when I finally adjusted to beat him I had that same triumphant feeling of beating the best FromSoft bosses from games past. Something else less discussed, but still worthy of praise as well, is how FromSoft finds a way to make what is basically a radio play story feel important and impactful when mixed with the heavy action of the actual gameplay. In a game where you wouldn’t expect story or characters to have an impact, FromSoft does an excellent job making you care about its dystopian Mecha pilots and their handlers in a way I never expected.

AC6 is a game I couldn’t stop thinking about, and the one I probably felt the most fulfilled by following each session, after my heart rate dropped and my vice grip on the controller loosened. FromSoftware continues to prove that it's in a league of their own. — Justin Vachon, Lead Designer

Baldur’s Gate 3

The Game of the Year is my game of the year. I’ve dabbled with Dragon Age, spent a few nights trying to unravel 2002’s Neverwinter Nights, but Baldur’s Gate 3, while still unapologetically Dungeons and Dragons, smooths out the procedural part while still deciding the fates of heroes, villains and the world on the roll of a die. Plus modifiers.

The rules and numbers of D&D are all baked into BG3, but you can also just play it and let the rules take care of themselves. Even when I failed dice rolls (how things are decided in D&D games, pitting your character’s stats against “skill check” numbers), I was happy to see how this affected the story. Sure, you can save-scum (quicksave, fail, quickload and try again), but it eventually feels hollow when there are so many decisions to make.

I talked to a colleague about the game and he was leery about a game with so many options. He’d have to play, replay, choose different options, and feel short changed if he didn’t eke every plot twist of a game like BG3.

The game, the options, the side quests are all so dense with choices and branching paths that there are (almost) countless permutations, distractions and bad decisions to make. I found that oddly freeing. The game, divided into three parts, does block out parts of the world from act to act, but I never found that particularly limiting. In fact, it ensured I tied up the most exciting plot points or destinations before plowing further into the story.

Two tips: being evil is very much an option (as is a mid-game redemption arc) and be careful when you rest overnight, as that will tick the game’s internal clock over and could mess up your plans. Invaders, unsurprisingly, don’t wait. — Mat Smith, UK Bureau Chief

Cocoon

My day-to-day job is mostly behind the scenes, editing stories and scripts, dealing with technical issues and managing a fantastic group of reporters. All of which is to say I actually only have five bylines on the site this year. Two of them are about Cocoon — 40 percent, baby! It stands to reason, then, that it's my personal game of the year.

You can read my review of the game for some expanded thoughts, but here’s the summary, at least: Cocoon is a near-perfect puzzle game in which you play a bug and who has to jump between worlds to progress. It’s a laser-focused experience that only lets you play around with one or two mechanics at a time, but stretches each of its ideas to its natural conclusion. It's also dirt cheap and on Game Pass, so what do you have to lose? — Aaron Souppouris, Executive Editor

The Cosmic Wheel Sisterhood

The Cosmic Wheel Sisterhood is sexy, well-written and replayable, and it’s one of my favorite games of the year, from one of my favorite studios of all time. Deconstructeam is responsible for Gods Will Be Watching and The Red Strings Club, two vibrant titles about the limits of humanity and society, and The Cosmic Wheel Sisterhood brings these themes to a new plane.

The Cosmic Wheel Sisterhood is about building tarot decks, manipulating an election from afar, betraying a coven of witches, gaining power and seducing everyone. It’s bigger than anything Deconstructeam has ever made, with layered characters, branching narratives and strangely beautiful art. The witches, behemoths and otherworldly creatures in The Cosmic Wheel Sisterhood fill the game with life and interwoven relationships, while the deck-building mechanic is surprisingly dense and designed to encourage creativity. The game pulled me in and didn’t let go until it was done with me, and even still, I find myself happily returning to it. — Jessica Conditt, Senior Reporter

Dave the Diver

No matter if Dave the Diver is an indie game or not, it's still one heck of a good time. The pixel-soaked adventure breaks down into two main gameplay mechanics that shouldn’t mix at all, but somehow do. During the day you explore the sea, hiding from (or fighting) sharks and catching gobs of fish. At night, you run a sushi restaurant to sell those fish.

Each of these mechanics are completely different. When you’re under the water, it's exploration all the way, with mysteries around every reef and a constantly-shifting landscape. Running the restaurant is both a management sim, as you have to develop recipes and hire staff, and a fast-paced minigame that resembles the iconic arcade cabinet Tapper. This dichotomy is similar to another recent gem, Moonlighter. I loved Moonlighter, but Dave the Diver is even more addictive.

Both primary elements of the game are polished to a Nintendo-like sheen. In other words, it kept me up, night after night, as “one last run” turned into two and then three. But that’s just the beginning. As you progress through the occasionally hilarious story, Dave the Diver keeps adding new gameplay mechanics. Without giving too much away, there are mid-game additions that draw inspiration from Cooking Mama, Stardew Valley and others. Each of these elements are always a treat and never get in the way of the main gameplay loop. Also, you can hire a velociraptor as a server and Jason Vorhees as a sous chef. Good times. — Lawrence Bonk, Contributing Reporter

Dead Space

One of the best games of 2023 actually came out in 2008. The Dead Space remake landed in January and it stayed at the top of my GOTY list for the ensuing 11 months, slowly covering every other entry in globs of bile and blood. Developers at EA brought the terror and tension of the original Dead Space to modern platforms with thoughtful gameplay tweaks and a layer of visual polish, and in the process, they cemented the game’s reputation as an action-horror classic.

Dead Space spawned in an era of limitations. It was built for the Xbox 360 and PlayStation 3, consoles that were powerful, but still constrained in terms of processing power and graphics; they couldn’t support massive, open-world games filled with procedural generation and AI-powered encounters. Innovation at the time had to stem from a game’s mechanics, and Dead Space was the first action-horror blockbuster to remove the HUD and the power of a headshot, creating an immersive and terrifying combat rhythm.

The remake paid tribute to everything that made the original Dead Space a living legend. The USG Ishimura was cold and maze-like, with a few more mysteries added to its corridors, and some boss fights were updated to take advantage of high-fidelity mechanics, but it still felt like the Dead Space I remember. It felt better, even. In an age of living games and open-world blandness, the Dead Space remake showcased the supreme power of restraint in game design. — Jessica Conditt

Diablo II: Resurrected

Aside from the quick turnaround following the original, the wait time between new Diablo games is more than a decade. So to my surprise, in a year when we got Diablo IV, I found myself spending more time playing Diablo II: Resurrected. That's not to say that the latest entry is a failure, because despite a drop in players and cratering views on Twitch, Diablo IV’s story is the franchise’s best yet and Blizzard nailed the look and feel of the game. Unfortunately, despite having faced similar issues with Diablo III, its endgame still needs a lot of work. This is why in 2023 I’ve had much more fun playing Diablo II, or more accurately Diablo II: Resurrected.

Thanks to a superb graphical overhaul, the game looks how I remember it in my head instead of the chunky low-res textures it actually had back in 2001. But more importantly, Blizzard fixed a ton of annoying glitches from the original (like enemy mana drain being way too strong) while implementing a bunch of handy quality-of-life upgrades such as automatic gold pickup and the shared stash. But the thing I like the most is that, since it came out in 2021, Blizzard has expanded upon the core game with additional patches and balance changes that have injected new life into the game while preserving its spirit. This year, specs like elemental druid and martial arts assassin suddenly went from being underpowered niche playstyles to top-tier builds, essentially undoing 20 years of neglect. The addition of Sunder Charms also made a ton of single-element specs way more viable and the addition of Terror Zones turned item farming into less of a grind while increasing the challenge.

Sure, melee classes still need a bit of love (maybe recalculate how attack rating works or add some more AOE abilities) and the cadence of new content has ground to a halt in the run-up to and subsequent release of Diablo IV. But for an update to a two-decade-old game, Diablo II: Resurrected feels like a great homage to an all-time classic and a wonderful example of a remake done right. Now I’m just hoping Blizzard finds some time to finally finish Act IV or maybe even add a brand new chapter onto the best ARPG ever. — Sam Rutherford, Senior Editor

F-Zero 99

Nintendo has carved out a little legacy of remixing gaming staples with its 99 (or 35) series, and F-Zero 99 is one of its most thoughtful battles royale yet. (I’d put it second behind Tetris 99.) From afar, it looks simple: the SNES arcade racer, but with 98 other people. But the addition of a persistent boost meter (which doubles as a health bar) and the ability to bank “Super Sparks” that you can spend to access a limited-time “Skyway” fundamentally changes how you play.

Do you throw caution to the wind, use more power this lap and try to hold on from the front? Do you hang back, try to increase your meter by knocking out other players and risk an insurmountable deficit? Where exactly on the track should you activate the Skyway? Winning still requires skill and track mastery — it’s F-Zero, after all — but there’s a new layer of strategy and resource management. What was once a sprint now becomes a horse race. You make more moment-to-moment decisions each time out. And decisions are what makes a game interesting.

All the other things that made F-Zero great 30 years ago still apply. The Mode 7 style. That iconic music. The distinction between the four supercars. The honest test of skill — this entry is a little more forgiving, but if you screw up, no Mario Kart shenanigans are going to come and save you. The course selection still has clear peaks and valleys, but F-Zero 99 doesn’t try to revise the past: It honors its source material, then makes considered changes that present it in a new light. In an industry that is constantly rehashing old ideas, that’s commendable. — Jeff Dunn, Senior Commerce Writer

Humanity

In Humanity, you play as a ghostly Shina Ibu who barks directions at a horde of humans to guide them toward a goal. That all seems simple enough, but like all great puzzle games, developer tha LTD plays around with the concept and keeps building on it until the very end. What starts as a fairly peaceful rumination about the controlled movement of humans soon segues into imaginative boss battles and mammoth lightsaber brawls.

There's a deeper story than you might expect from a game that's ostensibly about sheep herding mindless drones. What will stick with me from playing Humanity is a sense of optimism, an idealism that our species can achieve anything if we work together toward a common goal. That, and having the chance to take control of an adorable ethereal pup. — Kris Holt, Contributing Reporter

The Legend of Zelda: Tears of the Kingdom

The Legend of Zelda: Tears of the Kingdom is a perfect game blending exploration, action, adventure, combat and puzzle solving. It looks and sounds beautiful, with Hyrule a wonderful clockwork world you just want to spend your days hiking through without a care in the world. The title’s standout feature, Ultrahand, enables players to construct anything they can imagine to help get them through tricky puzzles. Its technological prowess, given the limited hardware it runs on, has made it the envy of the game development and player world. I started 2023 having never played a Zelda title, and by the end, I’d sunk about 1,000 hours combined into Breath of the Wild and Tears of the Kingdom.

I don’t think it’s unfair to say that the game is also a lot.

Nintendo’s more-is-more approach means the triple-digit play times are a bug as much as they are a feature. This goes hand-in-hand with the freedom you’re given, which lets you play the game any way you choose. The two extra environments may have headed off complaints that it was a glorified DLC, but you can feel the stretching. The Depths is little more than a repetitious traversal zone while the Sky Islands are five puzzles repeated over and over. The company has found the limit of what a coherent single player experience can be, and then just wandered beyond it.

And then there’s the grinding, which extends well beyond the usual gripes around weapons degradation. If you want to reach the end game, you’ll need more than a wooden sword and shield, which means endlessly beating the mid-size bosses. Plus, you’ll need to put a shift in down the mines Depths to gather enough Zoanite to make Autobuild worthwhile. I kept my Switch offline ever since Nintendo nerfed the easy duplication glitch because I don’t have enough hours in the day to play. In fact, I’d pay good money for a “Grown Adult” version of the game where it respects your time more than the existing version does.

While I’m moaning, I might as well add that I hate how Lynels and Ganondorf can destroy your Zonai weapons during combat. If you’re not a gifted sword-fighter, and you’ve never quite got your parrying skill perfect, then crafting robot weapons was a neat workaround. The game lets you pick your preferred way to succeed, except when it really matters, when it eliminates all but the most tedious. I don’t think, after spending so long getting everything else done, I can be bothered to go back and defeat Ganondorf despite pledging to do it before the end of the year.

Still, perfect game, 10/10. — Daniel Cooper, Senior Reporter

Mario Kart 8 Deluxe Booster Course Pass

Even though Mario Kart 8 Deluxe will be seven years old next April, we don’t need a new Mario Kart game. The title is still just as entertaining as it was brand new, thanks in large part to the massive expansion of new tracks Nintendo began dropping in March 2022. And while the waves have been slightly annoying, mostly due to the constant questions about their release dates from my nine year old, the steady cadence that wrapped up last month meant new challenges were arriving regularly for over a year.

The Booster Course Pass is well worth the money at $24.99. It’s less than a new game would cost and you get a new game’s worth of tracks (48) for that price. Not to mention added characters like Kamek, Petey Piranha, Diddy Kong and Peachette – all Steele family favorites. But for me, the best part is revisiting modernized versions of tracks from older Mario Kart games, the ones that endeared me to the series.

Rainbow Road from Wii is an all-time favorite and one course that I’ll go straight to when I only have a few minutes to play. Courses like Waluigi Pinball and Peach Gardens from DS are a lot more fun expanded to a big screen and I’ve enjoyed the road trip through major cities from Mario Kart Tour, a game I never played as karting on my phone didn’t really appeal to me. There are duds, of course, like Mario Circuit 3 from SNES that don't really translate as well to modern racing.

Maybe there will be a new game that flexes the muscle of the new Switch, but I’m not sure what there is to improve. I’d be perfectly happy to keep paying $25 every few years for a collection of new tracks, whether entirely new or inspired by the past, as this is a perfectly fine way to keep the game fresh for those of us who still really enjoy it. — Billy Steele, Senior Reporter

Marvel’s Spider-Man 2

Like a lot of recent PlayStation sequels, Spider-Man 2 takes everything that worked about the original game and gives us more. There’s more of New York City to explore, two characters that you can swap between at almost any time, more moves and suits and superpowers to take on the many enemies you’ll encounter throughout the adventure. It feels like the kind of game that easily could have gotten overstuffed and collapsed under the weight of what Insomniac Games was trying to pull off.

Fortunately, that didn’t happen, thanks in large part to some of the best mechanics in recent gaming. Swinging around the city remains an absolute delight, and the fluid fighting really makes you feel like a superhero. The new web wings give you another new way to navigate Manhattan and its boroughs, and getting your hands on the fabled symbiote suit opens up yet another new set of battle mechanics. Similarly, the open world map feels vibrant and alive, with tons to do when you’re ready to give the main story a break.

Naturally, the symbiote also takes center stage in the storytelling, as Kraven the hunter gives way to Venom throughout the game as the two main villains you’ll contend with. It makes sense to have two main baddies since there are two Spider-Men in this game, OG Peter Parker as well as his new protege Miles Morales. Each Spider-Man gets plenty of story development and heroic action sequences, and the roster of supporting characters has been fleshed out as well.

Ultimately, Spider-Man 2 is pretty easy to sum up. It’s just plain fun, with a great story, delightful mechanics and a wonderfully detailed NYC to explore. Whether or not you played the original game, it’s easy to get sucked right into this one and feel like a superhero. — Nathan Ingraham, Deputy News Editor

Moonstone Island

Moonstone Island asks the question, “what if Stardew Valley, but with Pokémon?” It’s the same kind of farming and dating sim you know and love, but with turn-based battles instead of manually swinging a pickaxe. Any creature you encounter can be captured and forced to fight in your stead, and there’s an element-based weakness mechanic pulled straight from Nintendo’s iconic pocket monsters.

They already had me with that Stardew meets Pokémon hook, but the developers didn’t stop there. This is a legitimate open world game with a large map that resembles the sky islands from The Legend of Zelda: Tears of the Kingdom. There are dozens upon dozens of these islands and I had an absolute blast sequence breaking my way to dangerous locations in the early parts of the game, only to have my butt handed to me by high-level monsters. That’s my jam, right there.

I also love the art style and, in particular, the NPCs. The romanceable characters here are top-tier and, in my opinion, more interesting than rival farming sims. I want to be friends with the blacksmith Ferra and town scientist Zed. However, my heart belongs to the punk rock herbalist Gaiana. If anyone messes with Gaiana, they are gonna get a visit from a trio of level 99 Pikachus, er, I mean Capacibees. — Lawrence Bonk

Not finishing games

Finish a videogame? In this attention economy?! I honestly couldn’t tell you the last time that I actually made it to a game’s end credits. For as much as I enjoy the PS5 games I buy, there’s inevitably some real-life commitment that draws me away from them, or an unconquerable in-game skill challenge that saps my interest. Doesn't matter if it’s an indie like the therapeutically smashy Dysmantle or a AAA adventure franchise like Horizon and Assassins Creed — don’t even get me started on Seikiro or Elden Ring — I will invariably get bored at some point before the final boss and wander off towards whatever new shiny title comes out next.

As such, my 2023 GOTY is a toss up between Armored Core 6 and Baldur’s Gate 3, having played roughly the first half of each (multiple times, in BG3’s case). Sure, one is a frantic shooter pitting players against superior armed forces in high speed mobile gun battles, and the other is an inclusive high fantasy dating sim wrapped in an epic adventure RPG. They both offer me an opportunity to tinker, futz, fiddle and otherwise experiment with the physical rules and social mores of the in-game universe without demanding I clear the endgame content first.

In this way, every game becomes a Choose-Your-Own-Adventure game (my absolute favorite genre growing up) and I get to assuage the FOMO anxiety I experience while playing titles with linear storylines. I’m not reverting to a previous save because I realize I messed up an earlier quest or accidentally closed off a storyline, I’m reloading just so I can figure out what all the other buttons and switches I didn’t push and pull also do. I find that freeing. There’s no pressure to “get it right,” only the opportunity to see what might happen.

Between AC6’s mission-based format and the ease at which I can manage save instances in BG3, I can load up any scenario I’ve played so far and try it again differently — maybe see how well an energy weapon-based loadout would work or what would happen if I fought with different companions or modified spell lists. Even though I know that there is a climactic endgame struggle (that the dev team worked really hard to produce) to get to and all the new game+ rewards that come with beating it, neither title really pressures me into getting there.

If I want to go off on a tangent and try my hand at pickpocketing an entire town, I absolutely can — then Groundhog Day the timeline back to before I started and do it all again, this time maybe wearing a different hat. Each gives me the flexibility to interact with their content as I have time and interest. — Andrew Tarantola, Senior Reporter

NYT Connections

New York Times

Wordle, the little word game that could, took over the first half of 2022. Every day, we had a new puzzle to look forward to — and potential bragging rights that would connect us with friends, family and strangers on the internet. Though Wordle fever subsided in 2023, my thirst for a daily word game remained. Yes, I could keep playing Wordle, but just one game wasn’t enough. Even as a subscriber and active user of the New York Times’ Games app, I needed more.

I didn’t want something as time-consuming as the full crossword each day, nor something as involved as getting to the Genius level on Spelling Bee. I wanted to be done in 5 minutes or less, which is why Wordle and the daily Mini crossword were perfect. In June, the New York Times introduced Connections, and it hit that sweet spot of being challenging enough to engage my brain but remaining casual enough that I didn’t need to derail my work day to finish it.

Connections’ mechanics are simple. Every day, you’re presented with sixteen tiles, each containing a word. You have to group those words into four sets of four based on what they have in common. And, like the app cautions, these categories are always more specific than “5-letter words” or “names” or “verbs.” At first, the game was straightforward and almost too easy. A few weeks in, though, and I’ve found the puzzles can get challenging, thanks to devious setups. For example, one time the grid included words like “Apple,” “Dell” and “Intel,” which tricked my tech-obsessed brain into thinking they were company brand names. It turned out that they belonged to other groups like “Synonyms for information” or “Fruit,” instead.

I would be remiss if I didn’t point out that Connections isn’t a unique idea that the New York Times thought up. Various iterations of a similar word game have existed before. Redditors pointed out its likeness to an app called Red Herring, while the host of a British television quiz show called Only Connect asked if the Times was aware “this has been a TV show in the UK since 2008?”

Sadly, though, if not for the Times adding Connections to its slate of word games, I would never have come across Red Herring. And because so many of the puzzles I play daily are in the NYT Games app, it’s much easier to check out all of them in the same place instead of installing a new app.

My daily routine now involves opening NYT Games, finishing Wordle, Connections, the Mini crossword, getting the Pangram on Spelling Bee and then bragging to anyone who will listen. That way, I feel like I’m giving my brain a bit of fun exercise before I drag my attention to my inbox or Slack for the real work of the day. — Cherlynn Low, Deputy Reviews Editor

Pizza Tower

The best “Nintendo platformer” of the year didn’t involve Mario, Kirby or Donkey Kong. It wasn’t even made by Nintendo. Instead, it stars a balding pizza chef named Peppino Spaghetti, and its development was led by a guy who goes by the pseudonym McPig. It’s called Pizza Tower — and while you could crudely describe it as “Wario Land 4 on cocaine,” it is one of the most refreshing and joyously creative games I’ve played in recent memory.

I waxed poetic about Pizza Tower in a write-up earlier this year, so go read that for a more complete picture. The big thing is that it understands how every platformer is fundamentally about movement. For a platformer to be fun, that movement needs to grab you from the off, then give you the space to explore where it could go. Mario games know this. Sonic games often forget that last part. Pizza Tower gets it right. Little Peppino dashes like a freight train teetering off the tracks, slamming through (not around) every enemy and obstacle in sight. You can Do Poorly, but you can’t die, so you have freedom to push the limits. It’s a constant kinetic thrill.

But it’s more than that. In that charming Nintendo way, every level in Pizza Tower presents new ideas, so it never gets stale. The music is incredible. The animation is both grotesque and immediately expressive. (How many other games look like this?) The boss fights actually respect you. The ending sequence might be the best I’ve played in a decade. It all makes for a game with a distinct sense of character and identity; it has clear inspirations, but it’s not pastiche. It is completely in tune with itself, both in aesthetics and design. And it’s fun as hell. — Jeff Dunn

Star Wars Jedi: Survivor

Jedi: Survivor is a game that the best sequels aspire to be. It improves on every single aspect of the original and pushes its systems to new heights while introducing many others that only enhance the base game. Like the greats of Mass Effect 2, Assassins Creed 2, Half-Life 2, Portal 2, Jedi: Survivor never stops upping the ante and pushing what a game like this can achieve.

In an age where there is far too much Star Wars content for any normal human to consume, from movies, TV, books, etc. Jedi: Survivor represents an experience you can hop into with only knowledge from Fallen Order at your disposal, and even that can be recapped for you in a nice short video within Jedi: Survivor itself. Your experience will only be further improved by a greater knowledge of the Star Wars landscape, new and old, but it isn’t a prerequisite to have a great time with this game.

The story of Cal Kestis and his group of rebels grows larger and makes the universe and world you inhabit feel big in a way the first game didn’t. The souls-like combat of the first game returns here and is improved upon in every conceivable way. The Jedi power fantasy that I’ve always dreamed about in Star Wars games has finally been realized within Jedi: Survivor. Many times I ended a fight in a flurry of saber swings and force powers and resolved feeling like I could conquer the world. There’s one sequence in particular involving a towering Imperial walker that is one of the most exhilarating and well-executed set piece moments in gaming since the days of Uncharted 2’s campaign. I had to put the controller down for 10 minutes after just to sit in awe and process what I had seen Respawn pull off.

At the core of Jedi: Survivor is a story and experience that feels more emotionally deep and original than Fallen Order did. Respawn hits their stride with this game from a writing and especially performance perspective that makes its best characters shine and its most impactful story moments hit that much harder. By the end, you’ll be pining for the conclusion to the trilogy in a way that few Star Wars properties have been able to elicit in years. — Justin Vachon

Super Mario Bros. Wonder

There are a few sure things when it comes to me and Mario games: I prefer 2D over 3D, and Super Mario World is my all-time favorite. As such, Super Mario Wonder was high on my list of games to try this year — the first new side-scrolling Mario game in over a decade. And while I really enjoyed the “new” Super Mario Bros. entries for the Wii and Wii U, those games were also a little too slavishly devoted to Mario’s past. Not so with Super Mario Wonder.

Between the entirely redesigned and more involved character animations (Mario grabbing his cap when he goes through a pipe is particularly cute) and wild level designs that feel entirely unique to the series, Super Mario Wonder feels like the first side-scrolling Mario game to really do something new in decades. That’s largely thanks to the Wonder flowers that twist every single stage into a psychedelic version of itself, but the level design is inspired even before you find that flower.

Nintendo also shook up the overall world map a bit, letting you pick your way through stages instead of putting you on a mostly linear path. And as you’re in the Flower Kingdom, not the familiar Mushroom Kingdom, there’s a lot more variety in the themes for each world. (No, world two isn’t the desert this time!) There are plenty of familiar enemies — what would a Mario game be without red and green Koopa Troopas? — but almost every level has a particular baddie that requires you to reshape your approach. And the badge system is a great take on the familiar power-ups, letting you choose a boost best suited to either the stage you’re on or the way you like to play the game. Also, Elephant Mario!

I feel like I’ve barely scratched the surface of what makes Super Mario Wonder work so well, but hopefully it’s sufficient to say that it’s Nintendo at its best and most creative. That’s something I didn’t expect to see in a Mario game again. I can see myself playing Wonder for the next 30 years or so, just like I’ve played Super Mario World for the last 30 years. — Nathan Ingraham

Tchia

Tchia was the right game at the right time for me. As I sailed toward the sunset on a makeshift raft with rousing music filling my ears, I was filled with a sense of calm that I’d been seeking for quite some time. That was my favorite moment of any game this year, but the rest of Tchia isn't exactly lacking.

You play as a young girl who scours a New Caledonia-inspired archipelago in search of her kidnapped father in this open-world exploration game. While titles like The Legend of Zelda: Tears of the Kingdom aim to push the boundaries of the genre, Tchia is content to stay in its lane, albeit with some mechanics that provide plenty of opportunity to play as you wish.

Tchia can transform into a variety of fauna and inanimate objects thanks to her soul jumping ability. After you unlock the ability to summon a bird, you can take to the skies from almost anywhere in mere seconds. Each animal you can jump into has an ability, such as dogs digging, sharks biting and birds, uh, pooping.

There's not much in the way of combat. The only enemies you'll encounter are monsters made of fabric, and you'll need to use elements such as fire to dispose of them. But I didn't have a problem with that. Tchia is far more about the notion of discovery than slashing away at countless baddies.

This seems like a perfect introduction to open-world adventures for younger gamers out there. While there are some fairly bleak plot points, Tchia is a real charmer. It's an ideal length too, as a playthrough will take between around six and eight hours unless you go hunting for all the secrets and collectibles. Or you decide to spend a few extra hours simply sailing around these beautiful islands. — Kris Holt

With El Niño slated to drop a warm, wet winter on most of the US in the coming months, everybody’s going to need something good to read while the weather outside is frightful. Engadget’s well-read staff have some suggestions: our favorite books of 2023! We’ve got a phenomenal assortment of genres and titles for you this year, from horror and true crime to rom-coms and fantasy adventures, here to provide months of entertainment for even the most voracious reader.

Berkley

Final Girl Support Group by Grady Hendrix (Karissa Bell — Senior Reporter, Social Media)

I love horror movies but horror novels are kind of hit and miss for me. I was immediately pulled into Final Girl Support Group, though, which does a lot of winking and nodding at classic slasher flicks while creating a completely unique story.

If you’re a fan of horror, then you’re already familiar with the trope of the “final girl.” Grady Hendrix’s novel doesn’t satirize the final girl, but imagines what life might be like for them after the end of their movie. Each of the main characters is (loosely) based on the final girl of a classic slasher, though their storylines don’t feel contrived or predictable. It reads like a fast-paced thriller but, like so many of the best horror movies, it’s also a poignant reflection on trauma. It’s also the rare thriller where I found myself wanting more at the end of the story. Luckily, HBO has signed on to develop a series based on the book, so I may soon get my wish.

The Chromatic Fantasy by H. A. (Avery Ellis — Deputy Editor, Reports)

2023 was the year I undertook to read a lot more books written by or centering characters who were like me: which is to say, trans. I tore through Nevada and Dream of a Woman, recognizing bits of myself reflected back and seeing versions of me that could exist in the future; I just barely slogged through Testo Junkie, cringed with Tiny Pieces of Skull, gravely nodded along with Whipping Girl and sobbed as Stone Butch Blues kicked me in the heart over and over again. (There's more. Ask me for recommendations!) The canon of trans literature is unfortunately not huge, and I speedran a good portion of it, always interleaving comics, zines or manga between novels.

Enter The Chromatic Fantasy.

It popped up in the new releases section of the newsletter from comics mainstay Silver Sprocket, which was all I knew going in. What I got, in what I assumed would be a break from often-heavy trans narratives, was… the most adorable T4T romance I've ever read?? Jules and Casper have some truly cute us-against-the-world chemistry, which is only further heightened by their status as literal outlaws — get in loser, we're robbing rich jerks at swordpoint. The fantastical setting is best described as polychronistic: while mostly hewing to gorgeously rendered high fantasy aesthetics, there are, for example, landline telephones (such the better to flirtatiously twirl a finger through the wire of), and seemingly the corporation Starbucks, none of which is explained or needs to be.

The Chromatic Fantasy slips effortlessly between swashbuckling glibness (benefits of a protagonist who literally cannot die) and genuine emotion. And did I mention it's gorgeous? No really, it's jaw-droppingly pretty. Congratulations to H. A. on joining Leslie Feinberg in the hall of Authors Who Made Me Cry Ugly Tears This Year.

Tor Nightfire

Nestlings by Nat Cassidy (Valentina Palladino — Senior Commerce Editor)

Nat Cassidy hooked me last year with his excellent novel Mary: An Awakening of Terror, and his sophomore release is certainly not a slump. Nestlings follows Ana and Reid, a couple with a new baby who move into the Deptford, an ancient, revered Manhattan apartment building overlooking Central Park. It seems almost magical that they even won the competitive lottery to move to this otherworldly place. Both Ana and Reid believe their new home could be the answer to their problems: Reid, a struggling musician with a lackluster day job trying to care for his new daughter and his wheelchair-bound wife; Ana, a voice actor with bubbling resentments toward her baby after a traumatic childbirth left her paralyzed from the waist down.

But there’s no peace for the little family once they move in. Disturbing events leave Ana paranoid and wanting to get out, while Reid dismisses her concerns as he dives deeper into learning about the gothic building’s history. Baby Charlie never sleeps and constantly fusses, and things go from bad to worse when the young parents discover needle-like bite marks on their daughter.

What follows is an absolute rollercoaster of terror, filled with gargoyles, vampiric creatures, sore–infested, suicidal neighbors, cockroach-chomping real estate agents and lots and lots of bugs. Cassidy does a great job of drawing readers in with questions about what the hell is going on in this apartment building that’s so hard to move into but also seems to have no one living in it aside from Ana and Reid. The plot is enough to keep readers guessing, but you really stay for the tension Cassidy builds between these complicated characters. Ana and Reid’s relationship is put through every test, and I found myself loving each of them and hating them both at various points of the novel. Cassidy thoughtfully explores a lot of topics in Nestlings through the struggles of his characters: marriage, parenthood, postpartum depression, ableism, antisemitism, grief and much more.

I particularly enjoyed the nuanced discussions around being a caretaker, being a mother and all of the other things that can suck the life out of a person. There are many complicated ideas surrounding motherhood in this book: What does motherhood give to you, and what does it take away? How much control does a mother have over their child? Where does a mother’s influence end? Even with all of those heavy themes running throughout this book, Nestlings, in my opinion, is even more fun than Mary thanks to its consistent pacing, complicated characters, creepy setting and downright disgusting imagery. – Valentina Palladino, Senior Commerce Editor

William Morrow

Alex Carter #3: A Ghost of Caribou by Alice Henderson (Valentina Palladino — Senior Commerce Editor)

I watched Animal Planet like it was my job when I was a kid. So my inner child was thrilled to discover Alice Henderson’s Alex Carter series last year. The books follow wildlife biologist Alex Carter as she monitors near-extinct animal species in the field, while also encountering a new unsolved murder in each sleepy town she resides.

The latest installment, A Ghost of Caribou, takes our hero to the mountains of northwestern Washington state to track a single mountain caribou believed to have wandered down from Canada into the contiguous United States. But she’s quickly met with hostility and violence: activists and loggers are duking it out over protected lands and the townspeople are on edge after the murdered body of a forest ranger is discovered in a local park. On top of that, Alex learns a hiker went missing a year prior in the same forest in which she’s conducting her research. Alex is soon forced to fight for her life, while also trying to solve at least two murders that may or may not be connected.

I love a good cozy mystery, and this series feels like one step up from those genre staples. It’s a little more serious with more threatening baddies, but you still get a hint of a cozy vibe thanks to the very careful choice of setting and the wildlife element. You actually end up learning quite a lot about the star animals in these books, thanks to the author’s experience as a wildlife researcher herself. Alex is a well-realized protagonist with a clear moral compass and a deep devotion to the protection of animals and the environment, but she’s also entertaining to follow. And while each book takes her to a different locale to study another species, there are throughlines in the series that make you want to pick up the next installment to see what’s going to happen. The side characters (recurring ones like Alex’s father and her best friend, along with single-book individuals) are also colorful and engaging. I can’t think of a better series to pick up if you love mysteries and suspense novels, and also have a fascination with the animal world.

St Martins

Adelaide by Genevieve Wheeler (Sarah Fielding — Contributing Reporter)

At the center of Genevieve Wheeler’s debut novel is the titular character Adelaide, a 26-year-old American living in London who believes she’s found her very own prince charming in Rory. She’s sure he’s the love of her life, regardless of his complete disregard for her feelings throughout their relationship. Wheeler remarkably brought me deep inside Adelaide’s consciousness while seamlessly adding depth and a fuller story by jumping into the perspectives of both Rory and his ex-girlfriend Nathalie.

On the surface, it’s easy to put Adelaide strictly into the romance box, another story of girl meets boy. But, to do so belittles the nuanced experience of what it’s like to live a life of incredible moments of joy and piercing episodes of despair — namely to be human.

Adelaide deals with themes of trauma, friendship, heartbreak, mental health and, critically, the desire we all have to not just be loved, but to be understood. As a mid-to-late 20-something American living in London, it would’ve been difficult not to relate to Adelaide. But, these aspects of Wheeler’s novel made me reckon with the way I move through life and drove home the fact that — cheesy or not — we’re each the greatest love of our life.

Penguin Randomhouse

Project Hail Mary by Andy Weir (Cherlynn Low — Deputy Editor, Reviews)

Project Hail Mary may not have been released this year, but I only came across it in one of my numerous attempts to read more books in 2023. Try as I might, I just had a hard time concentrating, and nothing managed to hold my attention. On Libby, I borrowed and skimmed titles by authors like Blake Crouch and Stephen King — people whose work I always liked. And nothing took. I’ll admit it took me more than 10 pages to really get hooked on PHM, too. But once I began to absorb the premise, I devoured the book in two days.

In PHM, Weir tells the tale of a man in space, off to investigate a mysterious substance that not only proves that life exists outside of Earth, but also might lead to the destruction of our planet. His is on a suicide mission, with not enough fuel for a return trip. Yeah, the stakes are high.

I’m not a scientist, so I can’t vouch for the accuracy of the book’s finer details, but Weir’s evocative descriptions helped paint a rich mental image of the spacecraft. And though one of the characters in the story remained an amorphous blob in my mind, I still formed an inexplicable emotional bond with them, the way you might grow to love a boisterous pet.

As with most space adventures, PHM’s characters encounter numerous challenges and setbacks, making for a gripping read. Throw in likable characters, an emotional turn of events and a somewhat satisfying end, and PHM easily nabbed the title of my favorite book all year (not to mention a spot in my heart).

Simon & Schuster

The Future by Naomi Alderman (Lawrence Bonk - Contributing Reporter)

Naomi Alderman’s last book, The Power, was a very big deal. It made both Barack Obama’s and Bill Gates’ best-of lists for 2016, and it even spawned an Amazon Prime Video show. All of the accolades were well-deserved, as I had never read something quite like it. The book examined the corruptible nature of power and how it impacts gender, all while remaining a rip-roaring yarn about women who have the ability to control electricity.

Alderman’s latest and greatest, The Future, isn’t going to set the world ablaze quite like its predecessor, but that doesn’t mean it's not an absolute page-turner. This is for one simple reason. There are already a ton of speculative fiction books that examine near-future technology and how it could impact humanity. It’s a whole genre unto itself. Still, The Future is a fantastic example of this type of book, and manages to fold in recent events, from COVID to Elon Musk and the rise of AI platforms.

To that end, the novel revolves around proxy versions of many of our big tech companies (Apple, Meta, Microsoft, OpenAI etc.) and boasts a sprawling narrative with multiple protagonists, including a tech vlogger that hits a bit too close to home. There are doomsday cults, narcissistic billionaires, depression-inducing social media algorithms and, of course, plenty of technological advancements. The tech in this book isn’t pie in the sky. It’s stuff that’s five or 10 years out. Alderman is careful not to give a year for when the story takes place, but she does refer to actor Ryan Reynolds as a “silverfox” and, well, he’s 47 right now.

The story is fast-paced and involves, surprise, a potentially game-changing AI. There’s also more biblical allegory than you can shake a stick at. Alderman, after all, previously wrote a book that examined the life of Jesus Christ. The Future is tough to put down and well worth reading, even if Bill Gates didn’t put a review up on his blog. Yes, Bill Gates has a blog.

Macmillan

This Thing Between Us by Gus Moreno (Cheyenne MacDonald — Weekend Editor)

Every time I recommend this book to someone, which is fairly often, I usually throw in a small apology for what it’s going to put them through. Here’s me doing that now: sorry, this one’s pretty heavy! But damn, is it a powerful read.

This Thing Between Us is often described as being about a haunted Alexa-style smart speaker called Itza, but that’s only partially true. Really, it’s about grief, cultural identity and inescapable cycles of hardship. It’s told from the perspective of Thiago, who seems to be recounting for his late wife, Vera, the increasingly bizarre and horrifying experiences he’s faced after her sudden death from a freak accident. The apparent supernatural possession of Itza is initially positioned as the catalyst for the horrors that play out across the novel.

Thiago’s unraveling mental state as he grapples with the loss of his wife and a haunting that starts to take on a more cosmic quality builds into a frantic sense of dread. It’ll break your heart over and over. There are some pretty solid scares, too, with more than a few deeply unsettling moments that have lingered in my memory, popping back up when I’m driving alone on a dark country road or taking my dog out at night. While This Thing Between Us didn’t come out in 2023 (it was published in 2021), I didn’t get around to reading it until this year, and it’s probably the book I’ve thought about most since.

Simon & Schuster

Don't Fear the Reaper by Stephen Graham Jones (Cheyenne MacDonald — Weekend Editor)

Stephen Graham Jones is one of those authors who is just so good, you end up wanting to inhale his entire body of work immediately after finishing whichever book first got you hooked. At least, that’s how it went for me. I read one, and I needed infinitely more. So, I was beyond excited to find out that 2021’s My Heart is a Chainsaw — a love letter to slasher films and social misfits — was not only getting a sequel, but would ultimately be spun into a trilogy. Don’t Fear the Reaper, which came out in February 2023, is the second book in that series and it’s got all the heart of the first one, if not more.

Don’t Fear the Reaper continues the story of slasher-obsessed Jennifer “Jade” Daniels and the residents of Proofrock, Idaho, who four years prior endured a town-wide tragedy that irrevocably changed their lives. This time, because they cannot catch a break, a convicted serial killer known as Dark Mill South is on the loose after he managed to escape from a prison convoy nearby during a blizzard. And bodies are starting to pile up. In the first book, Jennifer/Jade’s acute knowledge of final girl survival skills took center stage as she tried to make people see the signs of a slasher in their midst before it was too late. Now, she’s repressed that part of herself and her protégé, a survivor of the previous book’s climactic event, has taken the torch.

It has all the elements of a good slasher story and tons of movie references for genre fans to latch onto. There are twists that will put your brain to work, plus a few moments that are purely supernatural. Like Graham’s other works, it also contains a lot of important subtext about being an American Indian. Jade, the final girl to end all final girls, is Native. So is the killer, Dark Mill South. In the end, Don’t Fear the Reaper is a surprisingly beautiful narrative about trauma (personal and generational), perseverance and healing. The third and final book in The Indian Lake Trilogy comes out in March 2024 — so you have just enough time to catch up with the first two before then.

FSG

Birnam Wood by Eleanor Catton (Amy Skorheim — Commerce Reporter)

I didn’t know much about Birnam Wood before picking it up — just that it had a Booker Prize winner for an author and a Shakespearean title that made me feel smart for vaguely remembering Macbeth. Turns out, it’s about the clash between an anarchist New Zealand gardening collective and a doomsday-prepping American tech-bro billionaire, which, had you given me a million guesses…

The story has plenty of meat on its bones, grappling with the Big Issues of environmentalism, capitalism, class struggles and the absurd ineffectuality of grassroots action in the face of unfathomable wealth. The main players in the gardening collective are idealistic but erratic Mira, her dissatisfied second in command, Shelly, and Tony, a Bernie-bro trust-funder with a self-righteous inflexibility that butts up against his desire for glowing recognition.

When Mira scouts out a vast plot of land the collective could potentially “borrow” for some guerilla farming, she meets billionaire Robert Lemoine who has already earmarked the property for his luxury end-time bunker. When he impulsively (sociopathically) decides to bank roll the gardening collective, the group has to make a decision. And at least one of them has to figure out what Lemoine is really doing out in the pristine lands of New Zealand’s South Island.

To talk too much more about the machinations of the plot is to give away some of the joys. But I will say that I ripped through the book’s 400 pages. Birnam Wood manages to meld the breath-holding pace of a genre thriller with the psychological archaeology of the best literary reads. And no other novel in recent memory has presented a better thesis as to what it may take to derail the runaway train of resource exploitation.

WW Norton

Girlfriend on Mars by Deborah Willis (Nathan Ingraham — Deputy Editor, News)

Girlfriend on Mars tells the story of a train wreck that I just couldn’t look away from. Told in both the first-person view of complacent stoner Kevin and in third-person of his girlfriend of 14 years, Amber, the story bounces between their two perspectives as Amber tries to win a reality show that’ll send her and another contestant on a one-way trip to Mars. The whole time, I was fascinated by whether Amber would win the contest and really walk away from Earth forever and equally engaged in watching Kevin’s descent into full-on agoraphobia as the one person he cares about essentially tells him she’s willing to leave the planet and him forever.

The two main characters are massively flawed, something that’s obvious right from the start, but you care about them finding some measure of peace and happiness regardless. Amber’s side of the story is a scathing critique of multiple parts of American culture, with the Elon Musk-esque billionaire funding the trip to Mars cutting corners and disregarding safety at every turn just to make a profit. Takedowns of the influencer world and the reality show obsession with watching beautiful people duke it out are well-trodden territory, but there’s an extra bit of grotesqueness to these proceedings, since the people flying to Mars are assuredly going to die there, sooner or later, and probably on camera.

Kevin’s story is a lot smaller, but the effects of his proximity to Amber’s growing fame are tough to watch — everyone wants a piece of her, which means they want a piece of him, all the while knowing that her success in the contest makes it more and more likely she’ll never see him again. The book is extremely readable, almost fluffy with its reality show tropes, but the last third is quietly devastating in a way that stuck with me more than I expected when I started. At first, Girlfriend on Mars feels as light as the image on the cover, but there’s surprising depth and darkness in these pages.

Counterpoint Press

Time's Mouth by Edan Lepucki (Nathan Ingraham — Deputy Editor, News)

As the title suggests, Time’s Mouth has some elements of time travel to it, but it’s decidedly not science fiction — or at the very least, it’s not just science fiction. Edan Lepucki has some experience straddling genres, as her 2014 novel California deftly straddled a post-apocalyptic setting with literary fiction musings on family and environmental breakdown. In the same vein, Time’s Mouth focuses on a woman who can revisit any time in her past and the effects it has on both her and future generations of her family. Like any good time travel story, moving back and forth in time ends up having unexpected repercussions, and they come together in a very satisfying way as, years later, her son discovers his daughter can do the same thing.

It’s not an easy story to put into words, involving a sinister California commune of “mamas” who worship Ursa and her time-travel gift. Being brought up in such an environment makes her son Ray want a totally different life, but he’s drawn back to her world when his daughter Opal independently realizes she has the same skill as her unknown grandmother. At first, I thought the story would deal with Opal and Ray’s life without intersecting back with Ursa, who Ray has completely distanced himself from. But when the two worlds collide again after decades apart, it leads to a stunner of a reckoning for the family. Time’s Mouth made me both wish I could revisit my past and see it from a different light while also making me thankful that I’m stuck firmly in the present, aside from my memories.

Podium

Beware of Chicken by Casualfarmer (Andrew Tarantola — Senior Reporter, AI)

It’s the same reason I don’t watch prestige dramas: The world’s on fire and everything is already terrible, why would I watch rich and powerful people be horrible to one another as entertainment? I simply don't have the emotional bandwidth these days to follow along the intricacies of courtly intrigue, betrayals and political maneuvering among competing noble houses, but I will spare an afternoon to read a wholesome isekai progression fantasy like Beware of Chicken.

Set in an alternate universe of Qi cultivation (wherein its practitioners meditate and partake in vigorous training to achieve superhuman powers and godlike immortality), the story follows Jin Rou, an initiate cultivator who is having a very bad day. First our protagonist finds themself isekai’d from a previous life in modern day Canada into the body of a Warring State period initiate cultivator — one who was just severely beaten by his fellow disciples. Not about to hang around the jerks who just bludgeoned the last version of him into putty, Jin Rou picks up, leaves his sect behind and hightails it to the most remote, least magical (and therefore least dangerous) region he can find in his new world, intent on living out the quiet life of a hermit farmer. Too bad for Jin, the universe has other plans.

In this three-book continuing series, Jin Rou’s efforts to remain anonymous prove comically ineffective — whether due to his steadily growing menagerie of human and spirit animal disciples or his inexplicably fertile farming efforts — especially after members of his former sect come sniffing around. If you’re a fan of massively OP protagonists like John Sutton from Battlemage Farmer and Saitama of One Punch Man, or are into LitRPGs like Path of Ascension, Mark of the Fool and Unbound you’re going to love Beware of Chicken.

Sphere

Once Upon a Crime by Fergus Craig (Daniel Cooper — Senior Reporter, UK)

It’s always fun watching a professional pretend to be bad at their job, because it requires so much effort. There’s an art to doing something badly in an entertaining way that doesn’t just spill over into tragedy, or worse. Now imagine how hard it is to write a book that’s intentionally bad that never wears out its welcome, and you’ll see why I’m in awe of Once Upon a Crime.

Once Upon a Crime is written by Fergus Craig, but it’s really the debut novel from Craig’s comic character Martin Fishback. Fishback is a middle-aged, middle-of-the-road middle-Englander who, after his forced early retirement, aspires to becoming a crime writer. His lowbrow taste may far exceed his talent, but that’s not going to stop him writing his own crime novel, damnit.

Fishback’s main character, Detective Roger Le Carré, is the most obvious case of self-insert fic you’ll see all year. He’s a sprightly all-star police officer with an old school sensibility (read: He share’s Fishback’s provincial tastes and attitudes) and a knack for romance. Le Carré is also the only man who can tackle the grand criminal conspiracies on the mean streets of… rural Exeter.

As well as the general bathos of trying to pass off a sleepy cathedral city as a criminal hotbed, Fishback is prone to a tangent. Not to mention needing to pad some sections of his book where he’s gone to Wikipedia to help add ballast to the word count. All of this may sound bad, but in the hands of a master like Craig, it threads the needle to perfection.

I didn’t even know the book existed until I saw it on a table in a book store in London, clocked the name and reflexively started reading. In about three hours, I’d devoured it, hooting with glee to the great annoyance of my children and the other passengers on the train.

Hay House Inc.

The Year of Less by Cait Flanders (Malak Saleh — Health & Fitness Reporter)

The Year of Less is a biography of a woman in her late twenties stuck in a cycle of accumulating debt. She decides to make a complete life change after racking up nearly $30,000 in credit card debt. Looking back, she can't even recall most of the things she's mindlessly purchased. Flanders decides to challenge herself and not shop for an entire year. For 12 consecutive months, she only purchases absolute necessities like groceries and gas for her car. Her endeavor starts small, with a ban on things like takeout coffee and new books. By the end she's gotten rid of 70 percent of her belongings and saved more than half of her income. She keeps her readers looped in through her online blog the entire way. By the end of her project, she achieves her goal of only making purchases that are in alignment with her bigger life goals. Flanders' story might make you want to create your own version of a personal shopping ban. Though you might not feel compelled to make such drastic cuts in every aspect of your life, The Year of Less could inspire you to spend more consciously. 

Mint Mobile, the prepaid mobile carrier backed by Ryan Reynolds, notified customers via email this weekend that their information may have been stolen in a security breach, according to BleepingComputer. That information includes names, phone numbers, email addresses, plan descriptions, and SIM and IMEI numbers — which could be used for SIM swap attacks.

After a Reddit user posted a screenshot of the email and questioned if it was a scam, the Mint account responded to confirm its validity and said a customer support number has been set up to handle questions about the breach. Hackers did not access customers’ credit card information, which Mint says is not stored, nor were passwords compromised, BleepingComputer reports. The company also said it has since resolved the breach and customers do not need to take any action.

The Game Awards are done and the video game marketing machine is winding down for the year, but this industry never fully stops. This week, we’re taking a look at what The Game Awards could have done better (a few things, it turns out) and breaking down some of the biggest announcements from last week’s show.

This week’s stories

Light No Fire

We’re gonna talk about The Game Awards a lot this week, but one of the biggest announcements from last Thursday’s show was the existence of Light No Fire, a new title from No Man’s Sky studio Hello Games. It’s a planet-sized, multiplayer game about exploration and community-building, and it uses procedural generation to fill every valley and mountaintop with life. At least, that’s the promise. There’s no release date for Light No Fire just yet, but Hello Games has been working on it for five years.

The rest of The Game Awards

Also at The Game Awards, we saw the reveal of a Blade game from Arkane Lyon, OD from Kojima Productions, Windblown from Dead Cells studio Motion Twin, and Exodus from Archetype Entertainment, a studio composed of BioWare, 343 and Naughty Dog veterans.

As for the awards, best narrative went to Alan Wake 2, best debut indie game went to Cocoon, and esports coach of the year went to Potter. Indie game Baldur's Gate 3 won game of the year, while Sea of Stars won best independent game over Dave the Diver, a title that was never indie to begin with. Got it? Good. Moving on.

Free Radical Design shuts down

Free Radical

UK studio Free Radical Design, which was working on the TimeSplitters revival, laid off more than 80 people and shut its doors on Monday. It marks another round of layoffs under Embracer this year — the holding company announced in June that a $2 billion funding deal fell through, and it’s spent the last few months closing studios and firing staff at places including Saints Row developer Volition and Chorus maker Fishlabs.

We can do better

The Game Awards

The Game Awards last week ran for three hours, hosted by organizer Geoff Keighley. It was fancy and packed with movie stars — which, honestly, is pretty weird for a show that’s supposed to be about video games. Between abundant ad breaks, rushed speeches for winning developers, and ample stage time for celebrities, this year’s Game Awards didn’t feel like a celebration of the industry.

I’m not the only one who noticed the imbalance. After The Game Awards, plenty of developers, players and critics expressed displeasure with its pacing and priorities. Of the show’s 180 minutes, speeches from award winners took up just 10 minutes, and developers were prompted to ‘please wrap it up’ after just 30 seconds.

Meanwhile, Jordan Peele and Hideo Kojima were given nearly 7 minutes to talk about their upcoming project that looks like it’s more movie than game. There were appearances by Simu Liu, Matthew McConaughey and actors from TV shows based on video games. The Game of the Year award was presented by Timothee Chalamet, for some reason. Gonzo the Muppet even got 2 minutes.

Keighley rushed through most awards by reading the categories and winners directly into the camera back to back to back. Announcement trailers were indistinguishable from ad breaks, and there was no time spared for the industry’s most relevant issues, like the upheaval of mass layoffs, the fight to establish unions, and the medium's relationship with conflicts in Ukraine and Gaza.

These topics would feel drastically out of place at The Game Awards, and that alone is an indictment of the show. If there’s no room to discuss, celebrate and condemn these topics at the industry’s most public-facing event, what are we even doing here?

The Game Awards organizers have done a great job replacing the embarrassment that was Spike’s VGX with a show that looks more like The Oscars — but the video game industry is not Hollywood. Where are our luminaries? What are our issues? How are we innovating? Making video games more like movies is not the goal — unless you’re Kojima, I guess.

There are a bunch of other events that give time to video game creators and broader conversations, such as the Game Developers Choice Awards and its Independent Game Festival competition, The Spawnies from Spawn on Me, Gamedev.world from Rami Ismail, and Day of the Devs. And there are always the showcases from indie publishers like Annapurna Interactive, Devolver Digital and Panic throughout the year. But with E3 officially dead, Keighley's two big shows — Summer Game Fest and The Game Awards — are now the premier industry events on the gaming calendar. There's a responsibility that comes with that position, and his organization clearly needs to strike a better balance.

Now playing

It’s been a strangely stressful time, so I’ve been relaxing with couch co-op in Halo: The Master Chief Collection. It’s familiar and comfortable, and the toggle between old and new graphics is still an absolute delight. I’d love to discover some new couch co-op games, so let me know in the comments if you have any favorites.

Netflix has published the first of a new twice-a-year engagement report called “What We Watched.” The first installment, launched Tuesday as a Microsoft Excel file, lists the hours viewed for every title (original and licensed) that has tallied more than 50,000 viewing hours. Although it’s an uneven performance comparison since episodic series will rack up many more hours than standalone films, this is the first ultra-detailed glimpse at what people watch on Netflix.

The first spreadsheet, covering January to June 2023, includes 18,214 entries of eligible content. The first season of the action-thriller series The Night Agent: Season 1 sat comfortably at the top with 812,100,000 hours during that period. Following (far behind) in second place was season two of the drama Ginny & Georgia (665,100,000 hours). Rounding out the top five are season one of The Glory (622,800,000), the inaugural season of the Jenny Ortega-led Wednesday (507,700,000) and the limited prequel series Queen Charlotte: A Bridgerton Story (503,000,000).

The J.Lo action flick The Mother was the top-ranked movie on the list, raking in 249,900,000 viewing hours and falling at number 20 behind a glut of multi-episode series. Idris Elba’s Luther: The Fallen Sun (209,700,000) came in at 26, while the Chris Hemsworth vehicle Extraction 2 (201,800,000) slotted in at 29.

Netflix

In addition to hours viewed, the spreadsheet denotes each title’s release date and whether it’s available globally. For curiosity’s sake, the lowest-ranking globally available item on the list is the 2020 comedy special Yours Sincerely, Kanan Gill.

Netflix stressed the importance of not using total hours viewed alone to determine a movie or series’ impact. “Success on Netflix comes in all shapes and sizes, and is not determined by hours viewed alone,” the streamer wrote in its announcement blog post. “We have enormously successful movies and TV shows with both lower and higher hours viewed. It’s all about whether a movie or TV show thrilled its audience — and the size of that audience relative to the economics of the title.”

Netflix says the new biannual spreadsheets will combine with its weekly Top 10 and Most Popular lists to paint a more comprehensive picture for viewers, creators and industry watchers.

You can rev up Excel or Numbers and download the inaugural Netflix spreadsheet drop here.