First 50:
51. Bug Fables: The Everlasting Sapling - Switch
52. Banner of the Maid - Switch
53. CrossCode - Switch
54. Total Annihilation: The Core Contingency - PC
55. Ultima Underworld - PC
56. Betrayal at Krondor - PC
Betrayal at Krondor is an RPG that is set in part of the Riftwar series of fantasy novels. The game carves off its own space in the continuity and manages to be reasonably impactful to the overarching narrative of the setting. This sort of approach is very rare with licensed games; most of the time they either adapt an existing piece of media to a game or have a very self contained story (most of the Star Wars games are a good example of this). The game was so well received by the original author of the novels that he adapted the game's plot as a novel. So, as can be guessed, the writing is quite solid. However, as a game it ends up having a lot of missteps.
The game opens up with the party needing to get to the titular Krondor, capital city of the kingdom. One of the party members has important information about an impending threat and must make it safely. This journey is chapter one of nine; the remainder of the game is acting upon this information as you track down the threads of the villain's plot. The writer for the game did his best to ape the original author's style; many people were convinced it WAS the original author who wrote it. The game has a very novel-like quality to its prose. During major scenes you have a full page of text with all the descriptions you would expect out of a novel, not just dialogue. There's even snippets here and there, like when you loot a body, encounter an enemy, or open a chest where the narrator describes how the characters are feeling about what's going on (e.g. feeling a bit guilty about the grisly task of looting bodies). These are neat for the first chapter, but quickly grow stale as there are only a handful of pieces for each action, so you've seen them all to death. It's the written equivalent of hearing you shout your attack name in a Japanese-developed action game over and over.
This prose structure extends to the overall structure of the plot. Everything really does feel like a novel was written first, then they built a game around it. The party splits up midway through the game and you bounce between the two parties as appropriate for the plot like you would on alternating chapters in a book. While it makes for good reading it makes a game's plot feel a bit unfocused (especially when you get to the end and see that one of the two split parties could have been relegated to some exposition). Additionally, there's a weird tension in the game's structure. The plot hooks indicate that you should be moving at best speed to do the main plot tasks. But you have a very large world available to explore, including some side quests. And you really do want to do these, because of how character advancement works. If you just follow the main plot you will be quite weak in the later game to your major detriment; those segments are tough with a party that's been properly stewarded, so coming in unprepared is a nightmare. This is exacerbated by the fact that there are a fixed number of combats in the game; you can't grind your way out of trouble if you're in over your head. While this is a nice feature when cleaning up quests (you can go through large sections in peace) it also means you have to make sure you get in adequate combats per chapter.
Speaking of combat, this is the game's biggest flaw in my opinion. Combat is turn and grid based; characters move one at a time in an order that has no real rhyme or reason to it, other than your characters will always go in the same relative order for a given party configuration. The main differences from combat to combat is the specific order of each participant. And this introduces the first of the artificially hard components of combat. See, all of your parties have at least one mage in them (out of three slots). Mages are balls in melee combat but obviously have pretty pimp magic. And several of the available spells are incredible (the stand out is the really cheap one that makes a given character invincible for a long time; if you want to trivialize the final boss use this). The balancing factor is that a mage cannot cast spells (and a fighter can't use a crossbow) if anyone is in any of the eight neighboring squares. While a nice feature against enemy mages it does mean that you usually only have one chance to cast a spell; right at the start of combat. Enemy AI tends to prioritize getting at least one character next to your mage, and if several go before you then you're guaranteed to get no spells going that combat. This is exacerbated by the fact that you are usually outnumbered in combat. While you tend to take out enemies faster than they can take you out, combat has this feature where you have two health bars. The first is stamina; no penalty to losing. But once you chew through all of that you start to lose health, and that lowers your stats. Thus, when you start taking health damage your defense and to hit is lower, which means you're going to take more health damage and it quickly compounds and gets you killed. So some bad rolls at the start of combat can set up a cascade. And one final weird thing about this system is that stamina does not naturally return to full over time; you need to stay at an inn or use an expensive consumable (most games with two health bars have the first one be easily gained and lost, while the real health bar is hard to regain; here it's easy to regain). The viewpoint is also this painful nearly side view (just enough tilt to have a second dimension to the grid) which makes a pain to move characters around (misclicks abound and further back the selection square blends with the gradient of the ground).
As a media project Betrayal at Krondor is quite interesting, and it takes an approach towards its story that you rarely see. The problem is that the reason you rarely see it is that it doesn't make for a good game. What separates games from other media is you're controlling the viewpoint characters, so you want more focus to be on them. A diversion here and there for more context is fine, but you don't want to do the kind of full two simultaneous plots thing that is appropriate in more passive media. Combined with combat that just isn't very compelling and you have a game that serves as a curiosity; I can't call it bad by any stretch of the imagination, but I also foresee that most people just won't gel with it. But I've seen that there is a group that will love every inch of it, and that might be you.