The 9 Best Video Games of 1997 Ranked

Throughout my experience of the video games of 1997, I was struck by just how much the “next generation” 3D exploration experience was tempered by more “traditional” modes of 2D and isometric viewpoints. That is certainly not a negative statement, as you shall soon see, but I write it to demonstrate that “SUPER MARIO 64-likes” weren’t yet being rushed out in the year after that game’s 1996 release, with some notable exceptions. First-person shooters were increasingly prevalent, original fighting games and sequels from the genre’s already standout franchises were flooding the market, and the PlayStation library was becoming quite formidable even as the Nintendo 64 struggled to keep pace with it. And of course, the PC platform trucked along as always, reveling in the best versions of those aforementioned FPSes in addition to strategy games. All these aspects and more are represented in the following ranked list of the best games of 1997.

#9 — MEGA MAN LEGENDS

Developer: Capcom

MEGA MAN LEGENDS was an elusive game for me growing up. I knew there was some kind of 3D subseries featuring the Blue Bomber and RPG elements, and in my head, I had built up this OCARINA OF TIME (1998)-esque 3D platformer. The reality of Mega Man’s first 3D game isn’t quite that lofty, but I was still tremendously impressed by my first experience with MEGA MAN LEGENDS, years removed from what I created in my outsized imagination. Like many games of its time, there is a certain jank to its controls for those used to more fluid schemes in the 3D space. But once I got used to it, the game revealed an extremely satisfying semi-dungeon-crawling experience, full of upgrades and tantalizing side quests and secrets. The way Mega Man’s capabilities slowly but surely improve is a totally satisfying sensation, and with a greater focus on narrative, character personalities and story developments actually engender likability and intrigue. The whole look of the game has also held up, as its style and colors layered onto the early polygonal graphics approximate the much more effective pixels of Mega Man’s 8- and 16-bit installments. MEGA MAN LEGENDS is not only a solid transition to 3D for a quintessentially 2D platforming series, but also a relatively fluid and open exploration-action game for its time and beyond.

#8 — KLONOA: DOOR TO PHANTOMILE

Developer: Namco

This write-up after MEGA MAN LEGENDS for KLONOA: DOOR TO PHANTOMILE, the first game in the cult classic series, is a great example of the one-two punch of 3D and 2D in 1997. Rendered with 3D polygons but played on the 2D plane, KLONOA is a unique platformer that is one of the most fluid and enjoyable games to jump and grab enemies in at a time when control schemes, especially for this modern player, could be incredibly frustrating. That latter part of Klonoa’s abilities, the grabbing, is what makes the game so unique. The rabbit-eared character, the mascot for a game full of imaginative designs and settings, can shoot out a ring to take hold of enemies and inflate them, with which he can shoot out towards other enemies and barriers or jump on top of for longer vertical reach. It’s hard to describe the sensation of doing this, but rest assured it’s the main reason why KLONOA is one of the best games of 1997. Augmenting this is the actually engaging depth of storytelling and the execution of the whimsical art style with polygonal graphics. KLONOA offers the perfect level of challenge, presenting obstacles that aren’t too difficult to overcome and don’t stand to ruin the smooth, even progression of the unique platforming.

#7 — AGE OF EMPIRES

Developer: Ensemble Studios

The first two Age of Empires games are not ones that I had any unrealistic illusions about because I played them endlessly as a kid. The sequel iterated upon the first’s concepts exceedingly well, but AGE OF EMPIRES is still a remarkable and accessible strategy game today. Released in an era of strategy games that were incredibly challenging in their opaqueness and reliance on relatively strict victory conditions, the Microsoft-published competitor feels more varied in its scenarios. To be clear, many of the campaign missions of AGE OF EMPIRES present a remarkable challenge to me. But the creative circumstances many present outside of the usual “start from nothing to build a big army” premise mitigates a truly repetitive feeling, although that default structure is also incredibly satisfying. And the themes of progressing through historical eras within different cultures is welcoming to a big history nerd like me. AGE OF EMPIRES is in many ways a game eclipsed and overshadowed by its successors, but within the context of 1997 and even to a great extent today, it’s an appealing strategy game.

#6 — CRASH BANDICOOT 2: CORTEX STRIKES BACK

Developer: Naughty Dog

Replaying CRASH BANDICOOT 2: CORTEX STRIKES BACK for what was probably the millionth time, although the first in a decent number of years, was a bittersweet experience. Having just played CRASH BANDICOOT for the 1996 installment of this series, playing 2 reinforced my opinion that it is a great improvement over the already fun (yet sometimes challengingly janky) start of the series. But I was somewhat disappointed by the fact that it was not quite the overhaul I remembered it being (maybe that’s WARPED; I’ll see when I get to 1998). Nevertheless, as you can see from its presence and placement on this list, I still greatly enjoy CRASH BANDICOOT 2. Its 3D obstacle course structure is immensely satisfying, and besides my muscle memory guiding me through many of the more challenging elements, Naughty Dog did improve the finicky controls and more “unfair” deaths of the original. The inclusion of a more extensive and optional collectible system revealing the “true” boss and ending, in spite of my inability to dive quite deep enough to reach 100 percent, also makes the game feel like a thoughtful follow up. Ultimately, CRASH BANDICOOT 2 is comfort food, of course tinged by some nostalgia, but I also wholeheartedly believe its running, jumping, and spinning through 3D alleys of enemies and traps is an enjoyable representation of this year in gaming.

#5 — TUROK: DINOSAUR HUNTER

Developer: Iguana Entertainment

TUROK: DINOSAUR HUNTER is another one of those games that loomed large in my secondhand nostalgia of this era (can you tell I’m filling in some big gaps of gaming knowledge with this series?). What I found while playing it, admittedly in the streamlined re-release from Nightdive Studios that nevertheless retains the general look and feel of the original (it’s a remaster with updated controls, not a full-fledged remake), is a perfectly fluid “boomer shooter,” as the kids call them today, in the vein of DOOM (1993). And who doesn’t want to shoot a bunch of dinosaurs? OK, I learned that a lot of enemies aren’t reptilian. But regardless, the freewheeling progression through big prehistoric levels, augmented by some very much present but not too frustrating exploration and puzzle solving, is immensely satisfying. I’m kind of getting the itch to play TUROK again as I write this, which is a great sign of course. And the blend of sci-fi imagery and weapons with the Jurassic (and adjacent periods) makes its aesthetic stand out in a crowded space of first-person shooters. TUROK is not a masterpiece, and my partiality to it may be colored somewhat by modern refinements, but from the many experiences I’ve had from 1997, it clearly stands near the top.

#4 — QUAKE II

Developer: iD Software

Another shooter benefiting from some light updates for modern considerations, QUAKE II in any form is quite impressive. Its predecessor (QUAKE [1996]) had fit into a new standard in the post-DOOM glow with 3D rendering and a vertical axis of camera control. QUAKE II improved on everything. Featuring even more evocative settings and enemy designs, the shooter’s gameplay structure of sending the player into huge levels with unique objectives makes the game feel so expansive and ambitious in view of its peers. Like TUROK, QUAKE II fits into the new boomer shooter designation in that it scratches the pure run-and-gun itch, but its nuances in mission goals and sheer satisfaction of gun feel put it ahead of that other superb FPS of 1997.

#3 — STAR WARS JEDI KNIGHT: DARK FORCES II

Developer: LucasArts

I’m going to sound like a broken record here. First of all, yes, another FPS ranks quite highly on this list. And STAR WARS JEDI KNIGHT: DARK FORCES II is a substantial improvement on its predecessor, the much more DOOM-like STAR WARS: DARK FORCES. But like QUAKE II, DARK FORCES II brings the shooting action into true 3D environments, and in so doing, creates large and meandering levels that fit so squarely into the appeal of Star Wars’ aesthetics. Its story and place in the greater (what is now “Legends”) Star Wars canon accents every location and its design, including non-violent NPCs, but of course the moment-to-moment gameplay is why the game is truly great. DARK FORCES II’s shooting and navigation has greater heft and engaging feedback and the inclusion of a lightsaber and Force powers totally change the game. Its puzzles are welcome challenges and add another layer to this game that is also at the nexus of the boomer shooter and next-generation FPS design. DARK FORCES II certainly appeals to me to a great extent because of its IP, but in any respect, it’s the best first-person shooter of 1997.

#2 — FINAL FANTASY VII

Developer: Square

FINAL FANTASY VII revolutionized gaming. It deserves its place as one of the greatest games of all time in its sheer influence, and sure, subjective superiority in gameplay. That being said, I don’t think FINAL FANTASY VII is the best installment of its series, let alone being one of the best JRPGs of all time in my pure gameplaying taste. These are caveats that have to be issued when talking about a game with such immense impact. Ultimately, though, I clearly enjoy FINAL FANTASY VII. Proceeding with an affected gravitas that I’m sure made a huge impact on angsty teens then and since, this leap into 3D for the franchise still isn’t quite an overhaul of Final Fantasy mechanics. The pre-rendered backgrounds and variable camera angles through which the player traverses the screens certainly create a different sense of space than the immediate 16-bit predecessors, but the control fits in with those earlier games. And of course, the turn-based battles, with the returning Active Time Battle system, still utilize expansive menus. So in terms of revolution, it does feel like FINAL FANTASY VII’s aesthetic and narrative developments made the impact on top of already established greatness. That being said, it’s not like its gameplay did nothing different. Materia, limit breaks, iconic minigames, and a large party keep the mammoth game from feeling too repetitive in the procession of turn-based battles. FINAL FANTASY VII’s emotional beats and world-building are full of compelling and earned moments, stewing with influence from other media and genuinely imaginative and original creations that had their own impact on media from music to film. For all my earlier qualifications, this game, laden with expectations and implications for future industry developments, is great. I guess I’m saying I think FINAL FANTASY VII is going to catch on.

#1 — CASTLEVANIA: SYMPHONY OF THE NIGHT

Developer: Konami

1997 was a big year for games considered “GOATs,” at least regarding the two games I myself found the best. At the tippy top, CASTLEVANIA: SYMPHONY OF THE NIGHT doesn’t quite reflect the en vogue changing gameplay styles, but its influence, to go down this rhetorical path once again, is gargantuan. Received with some tepidness at the time of its release by some close-minded magazine reviewers for not embracing the 3D zeitgeist, SYMPHONY OF THE NIGHT’s solidification of the genre now referred to as “Metroidvania” is masterful. Its moment-to-moment platforming is more fluid than anything else in the Castlevania series before (thank God) and using the various items, power ups, and weapons give a certain feedback that is hard to beat in 1997 or any other year. But it’s SYMPHONY OF THE NIGHT’s structure and RPG elements that make it notable in gaming history and pure in-the-moment enjoyment. Leveling, stat-changing armor and other equipment, and numerous secrets make the jumping and slashing all the more meaningful and variable. The game’s famous mid-length change (spoiler alert I guess) in flipping the castle upside down could have been a simple “mirror mode,” but the design of the second half of the game significantly changes the areas one may have previously explored, the context of them, and what is required to navigate them. Like previous games in the series, SYMPHONY OF THE NIGHT is also not without challenge. But perhaps because of the attention I paid to getting certain items and exploring every nook and cranny or perhaps because it is a more fairly balanced experience, it never feels like the punishment that is, say, CASTLEVANIA II: SIMON’S QUEST (1987), the nonlinear inspiration from within the franchise. And for all the contemporary rhetoric surrounding its look and plane of play, SYMPHONY OF THE NIGHT is simply gorgeous, utilizing sprite work and 3D models and backgrounds to create a darkly beautiful and diverse set of realms within the broad expectations one would have for “Dracula’s castle,” where the entire game takes place. At the end of the day, while Metroidvania may be a reductive phrase putting too much weight on two franchises, there’s no denying this game is a formative innovation in the development of the “platform adventure game,” a term that has gained steam in some circles. Regardless of its counter-programming in an era of 3D gaming or future influence, SYMPHONY OF THE NIGHT is a spectacular game to play to this day and it is my clear favorite for the best video game of 1997.