This game is wasted potential. And it's really sad.
There is a great foundation, both in mystery solving gameplay, great visual style and interesting world.

But it's not a complete game. It feels at most like a demo, or a prologue to the actual game.
The cases feels like tutorials, with them all being relatively simple and easy to solve. They were somewhat brought down by some very weird visual spoilers that happen during all the cases, which spoil the killer before you're even done solving the case.
Still, they were fun enough to play through, as an introduction to the world and mechanics, but I was excited to get to the ACTUAL mysteries.

And then the game ended.

This game doesn't deserve to be called Baldur's Gate.

It's not a bad game as such, but it comes up short.

There's plenty of positive things to say about this game: The gameplay and combat is pretty good throughout more or less emulating 5e D&D combat with some changes, the game is pretty nice looking and the production values are generally high even if the over-the-top high fantasy aesthetics don't appeal to me personally. There's some good performances in the game as well and it's very impressive that the game is fully voiced (other than your PC in dialogue, which I don't count against the game). Overall the game is impressively ambitious. Some of these things are something of a double edged sword though, more on that later.

So, while most of my negatives will be very much up to taste, it is undeniable that the game is unfinished. The entire game is janky in every aspect of the game, but the further into the game you go, the rougher it gets. Then it almost completely falls apart toward the end. Performance takes a huge hit, weird glitches and bugs start appearing (both visual and gameplay), quests start breaking, dialogue scenes start breaking, enemies see you through walls, people start conversations with you from a mile away. It's really bad.
Your choices end up having very little impact in the end. Especially one persistent, very foreshadowed choice that you choose to do or not do throughout the game, ends up seemingly making no difference at all. Toward the end NPC interactivity drops significantly, wherein almost every NPC becomes an animatronic puppets barking single lines of dialogue, where you cannot interact with them, like you would in any other CRPG. It feels like companions stop participating in the story almost altogether, sans their personal questlines. Some of this is present before the final act as well, but toward the end is where it becomes very jarring. This is part of the aforementioned double edged sword for wanting to voice and animate all dialogue in the game.
It also feels like they cut an entire area out of the final act, an area for which you can see an entrance but can never access. That is fair I suppose, as they didn't manage to populate even what they had with meaningful content, I wouldn't want to see it spread out even further.

But then there's other CRPGs I've loved even though they've had lackluster or unfinished final acts, such as Tyranny. So what are the other problems?

I said that the gameplay is pretty good, but it has its own share of problems. In tabletop D&D 5e, the DM should be careful about making their combat scenarios too large, because the system scales pretty poorly and becomes a slog. Same is true here, and Larian was not careful about scaling their combats. There are many mass combats with way too many participants that end up being such tedious drudgery. It becomes more tedious when the game has its characteristic slowdowns where enemies just stand there for 30 seconds before apparently succumbing to analysis paralysis and skipping their turn. This game is so janky.
Then when it is your turn, you'll have to contend with some very bad user interface and user experience. Targeting your spells becomes maddening when the AoE indicator keeps wiggling and flickering around. Good luck not hitting your allies.
Sometimes the game just kind of freezes for about 5 seconds just to figure out what's going on. Sometimes the game will tell you, you have a 100% chance of hitting... and then you miss 3 times in a row. What?

Then there's the jank of party control, or more accurately lack of control. It's fine most of the time, except when you present me with areas with traps and hazards which are triggered by characters stepping on them, and then have my party step on everything without my say-so. Not to speak of when a party member just decides to stop following you for some reason. Where's Shadowheart again? Oh, she's on the other side of the map standing in front of a chest high wall every other companion jumped on top of no problem. This game is SO janky.
In general the quality of life and usability features of this game are very lacking. Inventory management and looting especially is a bane for the entire game.

I really don't like the camping system. You're just whisked away into a pocket dimension in an instant, a place that is always safe regardless if your camp is in the middle of a dangerous dungeon. No watches, no wandering encounters, no meaningful consideration for resources or safety. This may not be a big deal to many, for me this hurts the immersion of feeling like this is an adventure. For reference, if you want to see this kind of system done right, play Kingmaker. In fact, my general advice is to play Kingmaker instead of this regardless.

Then there's the writing, which is what I think truly makes this game unworthy of having the name "Baldur's Gate". It manages to be kind of entertainingly cartoony at best, and pretty bad at worst. The companions are a very mixed bag with middling highs and steep lows. So many of them have a kind of a "coolest guy ever" syndrome going on, where they have these incredibly over-the-top grandiose backstories. We're level 1 or 2, and my companions are formerly paramours of gods, right hands of an archdevil and the most notorious warlock-batman of the whole region. It's ridiculous, and so lame. There's a couple exceptions, though. Astarion and Shadowheart turned out to be ok as characters.
Oh and everyone wants to have sex with you, for some reason? I think Larian imagines that the end goal of any positive human relationship is to have sex. It gets even worse when all sorts of otherwordly being start wanting to bonk you as well. It's embarrassing, and juvenile.
The story and writing generally runs the gamut from tropey and shallow, to childishly melodramatic. Plenty of ironic detachment, Marvel-style smug quips, squeecore, and scenes where it feels like you're a receptacle for exposition rather than a character. If you're looking for something with depth, maturity, interesting character dynamics, or complexity you won't find it here. I think pretty early on there was a villain who wanted to kill a kid without a good reason other than she was just that bad? You won't find a character like Jon Irenicus in this game, I'm afraid.
Oh and the humor. I was afraid of seeing Larian -style wacky humor, and Larian provided. Comedy is probably more subjective than most other types of writing, but man the sort of 2010s style random internet humor stuff doesn't work for me at all
I'm not pretending that BG 1 or 2 were perfectly written. Both had their quirks and clichés, but it was much more nuanced and complex than this, especially for its time.
What the other Baldur's Gate games did much better as well, was portray a world and place with a reasonable degree of verisimilitude. You felt like a character inhabiting a place in the world. BG3 feels more like walking around a high-fantasy theme park. It seems like Larian really favors having big open maps where everything in the current section in the world is present seamlessly, but it makes plot points like "None of our scouts can find this place that's next door 5 minute walk away from here" feel really ridiculous.

I feel like this property was given to the wrong hands, or maybe shouldn't have been given to anyone at all. The game is fun, and impressive in many ways. However, Baldur's Gate deserved better than a 'just okay' CRPG with a big budget, low artistic ambitions, and all-encompassing jank.

I think anyone going into it should know that this is mostly a visual novel, with some light dice-game and resource management on the side. The gameplay is mostly there to pace the story, but it is clear that most of the focus went on the narrative.

It's a good thing then that the writing is good!
The game basically tells relatively linear stories of various characters which are separate threads you can progress by using your dice on them. At times the stories overlap, which was very neat. The tone is bittersweet with glimmers of humanity and hope, but thematically the game stays true to its Cyberpunk roots.

The ambiance of the game reinforces the stories nicely, with superb character art and good music / soundscapes. I would have hoped to perhaps see more 2D art depicting the environments beyond the 3D space station that functions as your 'game board' but what artwork is there is very nice.

While the gameplay is light and mostly 'fluff', it does do it's job in pacing the story, and creates a "one more cycle" element to the gameplay as you spend your dice and rest to get them back. It is just robust enough to not wear out it's welcome.

Not for Broadcast is a bit of a mixed bag.

On one hand, this game is an impressive experiment on bringing the old FMV games like Night Trap and Double Switch to the modern age, and does so surprisingly well. It is fun to play, and melds it's themes and story to the gameplay in a commendable way.
On the other hand, everything surrounding the gameplay is of very variable quality. The writing and acting of the FMV evokes the feeling of a hobbyist theater troop, and a novice director who couldn't decide what kind of play he wanted to make. There are visual novel type segments between the broadcasts that - while being relatively well written on their own - are at complete odds with the tone of the broadcasts, creating a bit of a jarring experience on the whole, and thus end up detracting from the experience.

This game does not know whether it wants to be an absurd comedy musical, a political satire, or a serious cerebral piece of art about censorship and government control. It tries to be all three at once and as such fails at exceeding at any of them. The comedy often tries too hard, the political commentary is quite confused and shallow, and the serious moments are impossible to take seriously due to the absurd tone the broadcasts take most of the time. This game really needed to pick a lane and stick with it, because it could not successfully meld it's themes with it's sense of humor. Disco Elysium this is not.

The game is however wrapped in the package of consistently fun and interesting gameplay and surprisingly many choices, and despite my complaints I enjoyed my time on the whole. I may still return to see what other paths the story could've taken with different choices.

If this game's direction could've stayed consistent, I would give it a glowing recommendation. Now instead my recommendation is a tepid one.

The things that this game does well are great.
The construction of the city environment, the atmosphere, the visuals, the sounds, the car handling. All of those things amount to a superb ambiance and a great foundation for the game. I have minimal complaints. I think you can get a fair amount of mileage out of just vibing in this city, taking in the sights and atmosphere.
Even though I'm going to complain a lot, I want to underline that those aspects are very strong.
How is this great foundation used, however? The game, and the overall experience? That's where the problems begin.

Instead of a twist on a driving delivery game like Euro Truck, the developers decided to instead make the game a vehicle for story. You're driving around not because you need to deliver packages, but to hit dialogue triggers. In essence this game is a walking simulator with more engaging movement mechanics.
The delivery of the packages presents no challenge, your skills aren't being tested nor is your performance rated in any way. You're going from A to B to C effectively just to hear the next dialogue sequence, and that's it.
A game like Euro Truck Simulator presents minimal challenge, but it's more than this. It has other advantages too, like being able to have your own music or podcasts on the background since there's no dialogue from the game to interfere with your experience.

So they made a narrative based game. That in itself isn't a bad thing. It's not what I would've wanted from the game initially but I still like a good narrative. I personally even like walking sims, so I can get on-board.

The problem is that neither the narrative nor the writing is very good.

The writing is not absolutely terrible, mind you. It's just inconsistent, derivative and boring.
The entire story is delivered in dialogue, and it drags on and on. It felt like nearly every dialogue sequence had so much filler that could've been cut. The writing felt like the work of a hobbyist writer who sorely needed an editor.
There's a lot of jokes that do not land. There's a lot of emotional moments that feel weirdly paced and un-earned. There’s a lot of emotional whiplash with how the tone seems to be able to hold no continuity from one dialogue to the other.
There's a lot of characters who are either one-dimensional bordering on caricature, or complete charisma-voids. Unfortunately, the main character is one of the latter, and her companion is one of the former. For the entire game you're listening to the least interesting character drone their way through every dialogue, and her companion prolonging this experience with variations of the same joke for the duration of the entire game.
There's world building that might feel fresh if you've never read a work of cyberpunk in your life. Even then it's very inconsistent in quality.
Overall, the writing and narrative feels like a mish-mash of ideas that were half-thought out. The main narrative is lacking as a story. It feels slow because there's not much to it. The game is mostly disjointed side-stories with a couple of hints toward a narrative throughline, but doesn't end up amounting to much. Could’ve been interesting, but ended up half-baked.
What makes this all worse though, is that it's all delivered in fully voiced dialogue, and the voice acting is a very mixed-bag. Not all of it is bad, mind you, some of it is even great! The main character's voice acting was unfortunately some of the worst in the game and it's what you're hearing for the majority of your time. When the character you're hearing the most throughout the experience is marred with bad delivery, it becomes a fatal flaw.

And a special note on the social commentary.
Cyberpunk is a genre that is inherently tied with class and social issues. A foundational idea of the genre is to depict a world where technological progress leads to more inequality, not less. A cyberpunk game with no social commentary is cyberpunk in aesthetics only.
However, the nature of the commentary in this game is so shallow and heavy-handed that it borders on satire. At times characters completely discard their established personalities, just so they can deliver messages that are about as profound as a typical political tweet. The world is filled with metaphors that are not only well-traveled territory by works that have come before, but also delivered with complete lack of subtlety. This hurts both the verisimilitude of the world and the impact of the message.
As someone who enjoys this aspect of Cyberpunk, and doesn't mind political commentary in my media in general, I am still disappointed with what I got.

So that was a lot of griping about the story. I still liked a lot about this game. However, the developers decided to make this a narrative game, and a narrative game lives or dies on it’s writing.
If only they would have used their foundation differently. There’s so much good to work off of. This game could’ve been great.

As it stands, this game is squandered potential. Impaired by the story it’s forced to serve

Of nearly all of the modern CRPGs I've tried, this one is the best. Better than Pillars of Eternity, Tyranny, Torment Tides of Numenera, Divinities, Shadowruns, Solasta. The only exception to this is Disco Elysium, but that game wrestles in it's own category altogether.
(Note: I haven't played Wrath of the Righteous yet, so this opinion may yet change.)

I've often felt that the more modern (3rd edition onward) iterations of DnD would be more fun on a video game than on the table, and this game seems to bear that out. It really feels like a sincere translation of the modern TTRPG experience: the extensive character building, the tactical challenge of combat, the character development power fantasy of 1-20 (ish, I only managed to get to lvl 18 by the end), combined with an enjoyable adventure story, world exploration and fun companions.

The scope of this game is immense and ambitious, which gives the game a great sense of adventure. You're given a relatively huge map to explore point-crawl style. Time passes during travel, and camping, lending to a certain amount of verisimilitude for the world, as the main quests do come with time limits (though the time limits never seemed particularly oppressive as long as you're prioritizing the order in which you do things).
The camping system in itself is the best I've seen in any CRPG; you assign party roles for watches, hunting, cooking, hiding the camp. Random encounters can take your camp by surprise, especially in more dangerous areas. This is an important part of a TTRPG adventure to me, and too many CRPGs opt to turning resting into some kind of an automatic heal-button, but not this game. You companions even have small conversations during camping, which adds a nice bit of flavor. It really does feel like taking a party to an adventure, much more so than any other CRPG I've played.

The gameplay is classic CRPG fair of party based dungeon crawling and tactical combat. The main difference maker here is that Kingmaker lets you switch between turn-based and realtime with pause on the fly, which is something I hope every modern CRPG does from now on. You can use real-time when you know a few on the fly commands combined with party AI will get the job done, and turn on turn based for more challenging encounters that require more granular control of what your party is doing.
Those challenging encounters can be very challenging indeed, and the game does have some difficulty spikes that may feel jarring. Frequent saving is advisable because the game does not pull it's punches. I do think many people are overstating the difficulty though, I never really felt like I was sucker punched with a completely unfair encounter, and I never had to revert a significant amount of progress due to difficult encounters.
The combat is some of the more satisfying CRPG combat that I've played, mostly owing to the faithfulness to the TTRPG system. There's a wide array of tactical choices at your disposal, and the game tests your knowledge of it's systems regularly, though it doesn't always present information to you that well.
I do have to say, though, that at time the combat encounters can become somewhat of a slog. Some dungeons are quite long and consist of a lot of repeated encounters of defeating groups of the same enemies one after the other. The pacing of the game could do with some tightening, and though I appreciate it's immense scope, it doesn't really need to be as long as it is.

The main story is fun. It is nothing groundbreaking to be sure, but it sets a good stage for your exploration of the Stolen Lands, and the journey itself is satisfying. A lot of it is pretty classic fantasy stuff: trolls, owlbears, fey and kobolds and the like. Personally, I've come to appreciate the more classic tropes like this. Dialogue gives you a nice amount of options of using your skills and stats for certain dialogue options, and the game gives you nice freedom of roleplaying the kind of character you want to be. Each companion comes with it's own set of quests that resolve throughout the lengthy game, and most of them go through some nice development.

The Kingdom Management will be an acquired taste, to be sure. It doesn't feel tacked on exactly, and I wasn't annoyed by its inclusion, but it is also not particularly deep and I can definitely see how some players might it gets in the way of the actual adventuring content. There is an option to let the game handle it, I didn't test that option out so I don't know how that affects the experience and whether you end up missing some content if you do automate it. It was an interesting experiment, and definitely suits the story this game tries to tell, but it doesn't completely hit its mark.

Overall, this is a robust and faithful TTRPG experience in a video game format, and the most worthy successor to games like Baldur's Gate out of the modern offerings. The game is incredibly ambitious and I'm shocked at how well it succeeded in what it set out to do.