Inkonbini spent its five-hour runtime talking to me – not with me – and I never felt a part of this town’s culture or its inhabitants' lives in the way the writing says I was. Customers would enter my store, hit their marks, share their golden lesson of the day, and the shift would end. I’d do the same thing the following day, and the following day, until Makoto’s final shift arrived and the game ended with a cheery but unearned celebration of my week at Honki Ponki. It’s a disappointing konbini experience for someone who genuinely cherishes them in Japan. It is neither narratively nor mechanically engaging, and though Makoto seemed to enjoy each shift, I rarely did.

Everyone will approach Tomodachi Life differently, and that is what makes it such a unique experiment. However, if you don’t have the time or creativity to imagine and engineer unique dynamics between tens of Miis, Living the Dream’s removal of the social features cannot serve as a safety net as it did with the 3DS release. And sadly, outside of the daily dose of comedy, there isn’t much more to buoy this release.

It's never been easier to get into the competitive Pokémon scene, and playing Pokémon Champions has been a highlight of my last week. Champions seems to be designed for people like me, who are familiar with competitive battles and want an easier way to participate. However, it also makes moves to cater to completely new players and extremely seasoned players, and by trying to satisfy all three audiences, it fails to properly serve either. With minimal content and a pressure to collect Pokémon in mainline games, it works best as an additional mode for the main series. As a standalone product, it's a game confused about its own goals. And much like the in-game status condition, that confusion only hurts it in the long run.

The primary draw of Reunion is seeing Max and Chloe reconnect and make up for lost time. The game delivers on that front; their heartfelt interactions sometimes made me forget the game’s other shortcomings. The manner in which Deck Nine sends these two off into the sunset – again, the version I unlocked – is truly wonderful. The rest of the package is overwhelmingly familiar to Double Exposure and takes a step backward in some cases. As much as I love Max and Chloe, everything around them seems to fall apart when they come together; Reunion is, sadly, no different.

I am a big fan of cinematic platformers. I appreciate this attempt at taking the mechanics and presentational focus of the genre and applying them to a fun cartoon. That part of the game, alongside the platforming and puzzles, works well and is attractive. Unfortunately, the frequent sneaking slows the game down and is a barrier instead of a fun series of challenges to overcome.

I love that Milestone is experimenting with new ideas within the arcade racing formula, and while the story didn’t land for me, I applaud the effort at narrative in a genre that frequently doesn’t even try to add meaningful context to its races. Even so, difficulty spikes and arbitrary objectives combine with overly convoluted mechanics to rob Screamer of some of its fun. It’s worth experiencing to see a developer try something new, but this race track might just have too many turns to be a winner.

[Crimson Desert is] a beautiful, exploration-rich open-world game that’s a clear technological achievement, hampered by a cornucopia of little frustrations and a stark lack of narrative depth.

Fatal Frame II: Crimson Butterfly Remake is frightening with its near-constant jump scares, oppressive atmosphere, difficult enemies, and arguably too much darkness. But more so than fear, the emotion I frequently grappled with was frustration.

For the God of War completionist, there is a story incentive to play through Sons of Sparta. It builds on Kratos’ character well, shows a part of his life we have not had the chance to experience, and there is at least one small detail related to modern Kratos and his son that I am glad I learned. But it underwhelms on nearly every aspect of Metroid-inspired design without outright failing. Controlling Kratos, fighting, and exploring just isn’t particularly fun on a basic level. A just below perfunctory genre experience alongside characters and in a setting I admit I like spending time with.

I want to say there’s something enjoyable, interesting even, buried beneath the flawed execution of Code Vein II, but that something is the corpse of other games in the genre this vampiric creation is feeding on for inspiration.

Bloodlines 2 is a let-down, but not irredeemable. Despite a sparse open world and a story that's inflexible until the later hours, there's fun to be had here. Action and stealth gameplay help fulfill the vampire fantasy, and strong performances from the voice cast make the noir narrative one that I didn't mind revisiting each session. My 22 hours with Bloodlines 2 were mildly entertaining, but like an insatiable vampire, I'm left feeling a little empty.

I know the charm of Swery games (and, to a lesser extent, Suda51 titles) is how utterly bizarre they are, but any chuckles Hotel Barcelona’s quirky sense of humor may elicit were drowned under a sea of head-scratching and outright bad design and storytelling decisions. No matter how many secrets it may have or surreal moments it assaults players with, it’s all wrapped around a dull, limited, and flawed core gameplay experience. You don’t have to go home, but you shouldn’t stay here.

My feelings about the music extend to the whole of Baby Steps, I suppose. I see what they are going for. I understand why and how it’s funny. And I appreciate how unique it is, but I would be lying if I said I enjoyed it. It’s a truly singular experience, something we will always need more of in games. Some will enjoy struggling to climb sandy dunes and laughing at their friends falling down the same cliffside for the hundredth time, but no amount of creative appreciation will change how I felt playing Baby Steps. Every time I put the controller down, I dreaded picking it back up.

For all those complaints, however, I do admire that Nintendo tried and arguably succeeded at creating something unique that could not really be ported to another platform even if Nintendo wanted to. Nintendo does not automatically get credit for making something different, of course – the game still needs to be fun to play and give you reason to play – but I will always appreciate Drag x Drive for being unlike anything else and working better than I expected.

The ideal way to play FBC: Firebreak is as a group of three friends on a Discord call, coordinating moves and synergizing kits, which is a decent way to spend an afternoon. Unfortunately, it's difficult to achieve anything similar while matchmaking, and even then, there's just not much to do. On paper, I don't mind the lack of story, competitive modes, or procedurally generated content, but when the gameplay isn't engaging or interesting enough to keep me playing, the lack of other game modes is especially glaring. Recent updates have eliminated the tedious grind for upgrades, but the lack of a strong foundation underneath leaves FBC: Firebreak with too little, too late.

Despite a disappointing launch, Madden NFL 26 isn’t unsalvageable. I would imagine many of these problems will be fixed through post-launch patches, but that doesn’t change the fact that despite how strong its fundamentals appeared to be prior to stepping onto the field, much like a nervous rookie, this entry just wasn’t quite ready for primetime.

Shadow Labyrinth is such an odd concept that I optimistically assumed it came from a specific, focused creative pitch, but it's one of the least focused games I've ever experienced. The story, art design, and structure are messy and underbaked. It's middling at best and maddening at worst. It doesn't have enough Pac-Man for fans of that franchise, and its Metroidvania elements are too weak to appeal to fans of the genre, so why did they make a Pac-Man Metroidvania? After spending 40 hours with the game, I still don't know, and that makes it difficult to recommend.

Though it’s a beautiful game, with an excellent Sicilian dub to boot, [Mafia: The Old Country] unfortunately leaves a lot on the Don’s table, failing to rise to the promise of its premise.

Destiny is a fiction and gameplay I deeply love, and I’d be delighted to continue to invest time in its characters and adventures. But the bloat of currencies and systems on display at this point is a major turn-off, and The Edge of Fate’s new additions and changes don’t make me feel compelled to play more. I’ll continue to cheer for the game to grow and expand, and I believe there’s some strong potential to this new saga focused on issues of freedom and pre-determinism. But the current thrust of this expansion just isn’t working.

Mostly, I am just happy that there is a good Mario Party available in the Switch 2’s launch window. It’s not a game I see myself booting up on my own, but as a means to get a party going with players of all skill levels, I am glad I have it on the metaphorical shelf.

Cracking each puzzle is rewarding, but the true excitement comes with trying to complete all the bucket-list items in one fly's lifespan.

Wheel World is an amalgamation of boring races and exploration, poor storytelling, and often clumsy gameplay that never felt great. Its unique art style and excellent soundtrack feel wasted on what’s here, and the premise of the game is more exciting than anything that actually happens. When I crossed Wheel World’s finish line, I felt nothing about what I had accomplished, instead feeling more excited to get off this bike for good.

It all feels like after-school study when you just want to be entertained. All the hallmarks of a first-party Nintendo release – overflowing charm and impressive technical aptitude – are here. A lot of thoughtful work went into Welcome Tour to make me understand and acknowledge its $10 price tag, but it’s just not a tour I would recommend taking.

I consider myself a MercurySteam fan, and even after gleefully closing the game when I saw credits (and deciding the lengthy, extended final quest for the true ending was not for me), I remain a fan. Blades of Fire feels a bit like the developer’s attempt at bringing something new to what has now become the overpopulated Souls-inspired genre. It was unsuccessful in this instance, but some of its ideas around combat and the world it created are exciting. They just couldn’t overcome the parts that made me want to give up on the game.

I don't regret my time with Atomfall. It knows what it wants to be, with a reasonable scope and solid shooting mechanics. But issues with the skill system, its underbaked stealth, and an unengaging narrative are asterisks too large to ignore. Like the world it depicts, something exciting and unique lies at Atomfall's core. I just wish it wasn't walled off by my laundry list of frustrations.

Jot’s big adventure is presented as a children’s story, and it’s hard not to feel like a kid playing it in the best and worst ways.

Though the developer has some horror highs in its catalog, The Casting of Frank Stone rests six feet at the bottom of it.

Despite my hangups, Flintlock: The Siege of Dawn never plummets to being actively bad. Instead, it coasts along a solid line of mediocrity that results in a moderately good time. It often feels like it wants to say or do more but is held back by its scope and execution, not to mention some technical hiccups. Though it occasionally shows flashes of brilliance, Flintlock: The Siege of Dawn falls short of achieving true godhood.

Still Wakes the Deep is a relatively short game (I completed the campaign in under five hours). The story is strictly linear, akin to some of The Chinese Room’s other games, with no collectibles or secrets. While it’s true that the game builds on the setting, atmosphere, tension, and body horror, it flubs the most crucial aspect: the moments when you actually face the creatures. It’s like if The Thing was “from another world,” but it’s revealed to be E.T. due to how harmless it is. In the end, this romp through an infested oil rig might look slick, but it spills over and slips when it matters most.

It’s barely been a week since I first installed XDefiant, but I don’t think I’d miss it from my hard drive. While the gameplay at its core is fun enough, the game is barren compared to most other shooters—including the free ones—with even bare-basic modes like team deathmatch and free-for-all or features like a ping system or skill-based matchmaking nowhere to be found. Its maps are well-made, sure, but with no rank to strive for, daily missions that ask me to commit to playing ten whole matches, and very little to look forward to in the battle pass, I don’t understand why this game would gain any traction over others beyond the fact that it's free.

Beating the entire game takes less than two hours, but it still somehow manages to drag. You can return to the game’s six stages to try and get higher scores, but I had zero interest in doing so. The arcade games of yesteryear sometimes lacked depth, but they at least had a hook that stuck with you and kept you itching to return to pump more quarters into the cabinet. Teenage Mutant Ninja Turtles Arcade: Wrath of the Mutants strives for the greatness of the influential arcade hits of the past but falls well short. Thanks to uninteresting and annoying gameplay, repetitive enemy and boss encounters, and grating audio design, Wrath of the Mutants is little more than a shell of the series’ glory years.

Encouraged by Aggro Crab to try the game out on Steam Deck, I was impressed with how well Another Crab’s Treasure performs on the handheld PC device. Its visuals popped on the smaller screen, and the performance rarely dipped below 30 FPS, often climbing higher, even to 60 FPS at some points. Locking the Steam Deck’s FPS to 40 ultimately made for the smoothest experience, and Steam’s cloud saving worked flawlessly, making Another Crab’s Treasure an easy game to play at a desktop or on the couch, Steam Deck in hand.

With a brief runtime of a couple of hours, Open Roads is a respectable tale that sometimes feels ready to hit that higher narrative gear before easing off the gas again. Although visually pleasing and well-acted, the emotional impact is muted. While I didn’t mind sitting shotgun as Opal and Tess had lighthearted debates over the semantics of trailer vs. mobile homes and reminisced about old flames, it’s not a road trip that will stick with me for the long haul.

Almost nothing in Rise of Ronin is outright bad, but it is Exhibit A in any argument about why action games are not dozens of hours long or why open-world designs do not fit every mold. For all the inspirations the game wears on its sleeve, it never rises above them, and thus feels like a title in search of an identity and desperate for a specific kind of player. It’s sometimes a good time, just not for a long time.

It’s a shame so many problems weigh on this otherwise enjoyable adventure. Even with the screen-crowding, bugs, and depth-perception troubles, I still look back fondly on the superb level design and movement mechanics. But because of those important detractors, Penny’s Big Breakaway lands as a solid 3D platformer unable to swing to the great heights it felt destined for.

Suicide Squad is technically sound, and the action can be fast, frantic, and occasionally fun. The game could be considered a deconstruction and satirizing of the superhero concept. But for me, the whole thing feels mean-spirited, pessimistic, and glib. In other media, I’ve generally liked the irreverence of the Suicide Squad tales, but everything in this game feels less about laughs and more just joyless. I suppose it can be fun to piss all over any sense of genuine heroism in a comic book-inspired tale, but it can’t come as a great shock when some fans like myself just aren’t interested in the bloody and smug results.

The saving grace of these extended gameplay encounters is that the combat is reasonably engaging, and interactions between characters will likely delight existing Granblue Fantasy fans. Relink is unlikely to be any newcomer’s favorite game. Still, the basic gameplay is fun and keeps you moving along the treadmill, especially if you have a gathering of like-minded source material fans to help you slay its biggest figurative and literal dragons.

By rigidly following Dragon Quest traditions, we end up with flat, cartoonish characters who inhabit a repetitive, cyclical world. But The Dark Prince plays to its strengths to deliver a solid RPG experience with a cozy narrative seasoned by a long list of charismatic creatures and entertaining dungeons.

SteamWorld Build is a unique hybrid that entertains for a time. Its early hours are fun, thanks to how well it uses simplified genre staples to create a more arcade-friendly gameplay loop, a sentiment bolstered by a solid tutorial and intuitive control scheme. Regrettably, SteamWorld Build's campaign overstays its welcome. The lackluster story and rigid final objectives turn what was initially an engaging experience into a tedious grind.

Persona 5 Tactica is a fun time for someone who’s looking for a more casual strategy game. The Phantom Thieves are just as charming as ever, and the newly introduced characters mesh well with them. It’s not an essential experience in the same way that Persona 5 Strikers was, but fans who aren’t tired of Persona 5 yet will find plenty to like with Tactica.

This year’s COD is a threadbare expansion masquerading as a sequel and an embarrassing way to mark the series’ 20th anniversary.

When I rolled credits on Lords of the Fallen, I felt no joy aside from being happy I was done, which is a shame because its first half left me excited for what was yet to come. A beautiful world, distinctive two-realm mechanics, excellent voice acting, and combat that feels good when not over-encumbered by enemies and artificial challenge, create a solid bedrock. But Lords of the Fallen fails to impress beyond that, instead growing more and more frustrating the further into Mournstead adventurers travel.

While there is room for improvement, the return of this odd pairing with their new bag of tricks is entertaining. Your mind won’t be changed if the style of the previous game wasn't for you, but patient gumshoes should be satisfied with a capable follow-up.

Super Bomberman R 2’s best parts are the ones carried over from older games in the series. Messing around with friends in local and online matches is still fun, and if that's all you're interested in, it's a fine enough experience. Unfortunately, that’s a small portion of the game, making it hard to recommend.

Following the innovative and pleasantly surprising NBA 2K23, I expected Visual Concepts to build upon its success and introduce even more improvements with its latest entry in the long-running basketball series. But instead of mirroring the Black Mamba's gradual rise to permanent relevancy, NBA 2K24 sadly feels like a stop-gap – a quick hit to temporarily satisfy diehard fans. If this continues, the series could veer closer to a forgettable imitation of Kobe's signature move: a fadeaway into obscurity.

I was ready to love WrestleQuest, and some enjoyment can be found for those with the patience and fandom to fireman carry them along. But the imaginative ideas die by a thousand cuts that hold Muchacho Man and his friends back from world title contention. The game has cool ideas; it just needs more refinement and a serious reexamination of certain systems before it’s ready for the big time

This is a shame because there's a fun game here – it's just trapped in a hollow shell. Its final sin is having a miserable story hardly even worth bringing up. It's boring and bad; we can leave it at that. There's room for games that want to recapture some old glory – to remind you how cool games used to be – but to do that, you have to add something new to the conversation. Neon White is a great example of a game that did this right. Bomb Rush isn't interested in adding anything new. It just wants to have the same conversations we've been having for years. Jet Set Radio was cool. Go play that instead.

The improvements to the fundamental gameplay in Madden 24 continue to pay dividends with some of the most authentic football the series has ever seen. But, like an ill-timed penalty, the dreadfully slow menus and funneling toward tedious minigames wipe out any forward progress and move the series backward overall.

Double Dragon Gaiden: Rise of the Dragons has some aggravating design choices that prevent it from reaching the heights of similar comebacks like TMNT or newcomers like Young Souls, but this is a respectable return for the Lee brothers. If you’re hankering to punch goons in the face, a good time can be had as long as you bring a measure of patience.

If nothing else, AEW: Fight Forever has potential. I’m happy to have a more arcade-style wrestling game, especially one based on a major promotion. The gameplay has a strong foundation, and when it's firing on all cylinders, the action channels the simple fun of the ‘90s and early 2000s. The rest of the package just needs to catch up. Until it does, even the most passionate AEW fans may have a hard time sticking around for this main event.

This meter is somewhat emblematic of my overall experience of this game. Ideas that were once novel are outdated or uninteresting by today’s standards. While Story of Seasons: A Wonderful Life is a welcome update to a classic farm sim, stripping away nostalgic fondness leaves you with an experience that feels lacking in the genre's modern landscape.

Even with its twisted takes on nostalgic ride designs and copious whimsical fanfare, I was left feeling deflated by Park Beyond's business-oriented objectives and lack of investment in unbridled player creativity. For a game that endeavors to push the limits of your imagination, it's a little too concerned with whether you’re tall enough to ride.

Looking at the world of Redfall, I become sad by its wasted potential. For every great location, there are a handful of forgettable ones. The result is an empty-feeling game with several puzzling problems, like a lack of proper stealth takedowns, a tedious quest and waypoint system, and the inability to pause gameplay in single-player mode. Rampant technical issues hinder brighter moments, including frequent server crashes during multiplayer, inputs failing to work, broken animations, and numerous other bugs that make playing Redfall a frustrating experience. For a game about fighting the undead, Redfall feels soulless in all the wrong ways.

While I applaud Tron: Identity’s unique structure, I never found myself drawn in and engrossed in the unfolding story. Everything feels authentic to the Tron universe, and fans like myself should appreciate new wrinkles in the setting. But even with some interesting ideas, I was ultimately a User who couldn’t manage to marshal a lot of interest in these Programs and their problems.

Minecraft Legends battles to blend its open-world adventuring with the intricacies of real-time strategy, a war that sometimes detracts from the overall fun you can have. Even so, its gorgeous environments and clever world-building inspire familiar creativity that makes up for its growing pains. Where other strategy games feature more profound complexity, Minecraft Legends has heart, and it’s hard to resist its charm. Mojang’s first expedition into this genre occasionally holds your hand too tight. But when its grip loosens, there’s a vibrant world of combat challenges to discover, ultimately making it an enticing endeavor.

EA Sports PGA Tour captures the intricate nuance of golfing. However, the systems struggle with what a user can reasonably decipher from a mere analog stick, leading to a frustrating experience. EA Sports PGA Tour is a game at odds with whether it wants to compete with rival 2K’s realism or veer closer to its own more arcade roots, and in the process, lands its first drive on this new round in the rough.

Akka Arrh is an interesting experiment. Despite its shortcomings, Atari fans can still find some fun in this blaster from the past – the game just comes with a big asterisk. As much as I’m excited to see a lost piece of gaming history revitalized and brought to modern consoles, overwhelming visuals and confusing, abstract game mechanics bring the experience down.

Horizon Call of the Mountain is a good showcase piece for PlayStation VR2. It is the game to use if you want to show off your new technology to friends and family. There is even an unlockable mode perfect for this, which is a passive journey on a canoe through a robot-infested jungle. What holds the game back tremendously, though, is Call of the Mountain's overreliance on climbing. The smaller parts of the game, fighting robots, making items, and looking around, are highlights. Pulling yourself up a mountain isn’t, and that’s where you spend most of the approximately six hour experience.

Deliver Us Mars’ protagonists quickly cobble together a space shuttle that barely manages to get them to their destination. A similar story feels true of this game. A gripping narrative fuels gameplay that otherwise feels functional but underbaked, making my time on the planet a mixed bag. Deliver Us Mars shines best when it lets you absorb its story, but expect to stumble over several design craters along the way.

Purple Lamp showcases a clear adoration for SpongeBob SquarePants, with jokes, deep cuts, and characters that brought me back to my childhood. And when they weren’t forced or overused, they worked well in the narrative. I especially loved hearing that one fish scream about his love of chocolate, and hearing “My leg!” brought me great joy. When The Cosmic Shake is at its best, it sounds, looks, and plays like the kind of game I would have begged my parents to buy me growing up. But when it falters, it’s boring. It’s a game I recommend to fans of SpongeBob SquarePants with ease; for those looking for a great platformer, though, better options lie elsewhere in the sea.

Even if Sports Story was polished and bug-free, it would still fall strikingly short of the first title in the series. The new sports don’t play well, the fetch quests are tiresome, and the story is tedious and less charming than that of Golf Story. What remains of the retro golf experience is fun, but the whole game feels like a textbook example of being unable to deliver on lofty ambitions.

It’s this buildup of minor annoyances that makes it hard to recommend Dragon Quest Treasures. The experience is driven by charm and nostalgia, but if you don’t have an existing appreciation for the series, there isn’t much here that I could recommend over most other open-world role-playing games. It’s an experience that would greatly vary depending on the player; in other words, one player’s Dragon Quest trash is another player’s Dragon Quest Treasure.

Despite multiple shortcomings and my general aversion to the game’s writing, High on Life has occasional glimmers of potential. I’d like to see a sequel polish and improve upon this foundation. I’m always itching for more creative takes on shooters, but High on Life is a reminder that “different” doesn’t always mean “good.”

These various problems aside, though, The Callisto Protocol is still doing a lot of what Dead Space did, for better and worse. And to that end, there are moments of fun, even if, in contrast, they’re light on genuine terror. I’m okay with The Callisto Protocol being another version of its spiritual predecessor, but it struggles to nail even the basics. As a result, I’m underwhelmed, annoyed, and disappointed. If you wanted anything more out of this second crack at making a new sci-fi IP in survival horror, or something markedly different that acknowledges just how far gaming has come since 2008, The Callisto Protocol is not your answer.

Harvestella’s systems feed together in a way that forces you to engage with nearly everything it offers, whether you want to or not. But those slice-of-life activities are mundane and get in the way of letting you enjoy the RPG elements on your own terms. Maximizing a day’s schedule is sometimes rewarding, but the sluggish pacing makes it tough to stay engaged for the long haul. Harvestella forces you to do a whole lot to complete comparatively little. At 70-80 hours, it’s one of the biggest chores I’ve played in some time. That’s unfortunate because the combat, story, and characters are decent enough that, in a more traditional RPG framework, they’d shine brighter. As it stands, squeezing this fruit isn’t always worth its small amount of juice.

Plenty of people can put up with a bit of ugliness if there’s still a pretty good time to be had overall. For Modern Warfare II, the good time offered by its multiplayer and in glimpses within its campaign may be enough.

Gotham Knights didn’t wow me with its overly familiar objectives, combat, and activities, but it didn’t leave me sour. It’s fun to control some new heroes as they brood over Gotham from its building overhangs and uncover hidden plots against its people. Those heroes are right to wonder if they’re living up to a vaunted legacy. And even if they’re not quite up to snuff, Gotham has enough baddies to punch to make for a good time, whoever you are.

Ultimately, New Tales From The Borderlands feels like more of the same and fans of the first are likely to enjoy this, but given it’s been nearly eight years since that first one, I wanted more of an evolution.

There’s a famous saying from former footballer Gary Lineker that “football is a simple game – 22 men chase a ball for 90 minutes – and at the end, the Germans always win.” I want to make a similar assessment of EA’s yearly soccer game: FIFA 23 is a good game – it’s flashy, fun to play, and has a lot of modes – but in the end, you realize it’s mostly the same game you’ve been playing for years.

Ooblets offers solid fun, and I enjoy its cheerful tone. I only wish playing it didn’t feel so much like work. Despite the pride I had in my farm, clearing checklists eventually felt more laborious than satisfying. There’s fun to be had as long as you’re willing to work for it.

I just wish I was rewarded with a bit more humanity and meaning to my struggles by seeing them create that memory for themselves.

I applaud Digimon Survive for being a dark, harrowing, and wonderful visual novel, and subverting what I thought a Digimon story could be. While I wish the combat evolved as much as the surrounding story presentation, it’s not enough to deter someone from seeing the narrative through. Don’t expect a tactical masterpiece, but rather a well-made melancholy tale depicting Digimon in a light they haven’t been in before.

My party of seven felt like a little army when explosive Arts and flashy Ouroboros combos lit up an already-chaotic battlefield. And the quality-of-life improvements like customizable shortcut hotbars and in-game GPS streamlined menu-surfing and traversal. Still, the narrative and world designs left much to be desired as critical plot twists are frustratingly obvious, character growth is virtually nonexistent, and navigation in each uninspired environment proves to be a tiring exercise. Xenoblade Chronicles 3 is a double-edged sword that needs a bit more sharpening.

Despite my misgivings, Madison still offers a respectable evening of frights and is worth a look for fans of psychological horror. It succeeds in building tension and puzzle variety, stumbling when it becomes obsessed with bamboozling players with head-tilting solutions and stopping their hearts with lame jump scares. But when the game hits right, you’ll be glad no one caught the look on your face.

While Industria’s atmosphere certainly nailed what it was going for, the monotonous gameplay and rushed story left me dissatisfied. Still, I loved the ambiance and backdrop, and I wouldn’t mind if Bleakmill took another crack at it – the rest of this world just needs a few more cogs added to its machine.

Card Shark features an attractive art style, subtle writing, and a promising premise. But I couldn’t get past my dislike of the core gameplay encounters and the endless teaching segments. I applaud the effort to pull together a unique concept, but the accompanying frustrations mean I have to discourage a sit-down at this particular table.

The good news is future updates can address most of my more minor gripes, but the game is an unbalanced mess at release. Developer Saber Interactive’s commitment to fan service is commendable, and die-hard Evil Dead fans will find this release enjoyable. However, it’s hard to see the lasting appeal for the rest of us.

Children are much more capable than we sometimes give credit for, and Kao’s by-the-numbers design would likely bore all but the most nascent of gamers. Kao the Kangaroo isn’t a total disaster by any means. It just feels aggressively average and forgettable which, sadly, has been the case for the mascot for years.

I want to like Salt and Sacrifice, and in some stretches, I do. I enjoyed exploring the world, concepts of hunting and crafting, and the moody atmosphere, which kept me continuing for dozens of hours. But its clunky progression systems and many maddening enemy encounters quickly make the fun times easy to forget.

Pretty visuals can only get you far, however, and Eiyuden Chronicle: Rising doesn’t offer enough entertaining or unique content to keep it from being anything more than a passable RPG. At the very least, it introduces the Eiyuden world and some characters involved in Hundred Heroes, but that’s very little incentive for putting up with tedious gameplay and boilerplate characters.

Sadly, Trek to Yomi looks and feels noticeably outdated for such an aesthetically pleasing game. And its archaic gameplay can’t be completely covered up by its artistic black-and-white filter. Trek to Yomi tried to reach the heights of lauded Japanese filmmaking, but unfortunately, it falls almost as flat as its 2D combat plane.

Stranger of Paradise is the strangest Final Fantasy game yet, bounding wildly between awful and fantastic. If you can tolerate Jack (and that’s a big ask), the excellently crafted combat is worth a look. You may be coming to this game for the story and Final Fantasy experience, but it’s all about combat and little else.

LKA made the best recreation of an Italian setting I’ve ever seen in a game and I wanted nothing more than to enjoy it. However, LKA’s love of Italy is the only warmth I felt in Martha is Dead. The rest left me feeling as cold as Giulia’s dead sister.

Like a 20-year-old combatant, Sifu comes out of the gate strong. Its core combat feels excellent, and the moment-to-moment action looks better than most Hollywood blockbusters. Sadly, as you progress, the action begins to show its teeth and eventually becomes a tiresome grind. Sifu deserves props for its incredible sense of style and tone, but it is also a great example of why growing old isn't always fun.

Windjammers 2 is an enjoyable throwback that proves its unique sport is still a blast, but the thrill is fleeting. I’m happy to see it return; I just wish it gave me more reasons to step on its court more often.

I rolled credits on Pupperazzi after a few hours, having completed almost all of the objectives in that time, and I have little reason to go back. However, my brief time was stuffed with lighthearted amusement, marred only slightly by a few annoyances. Its animated levels, playful attitude, and pleasing premise make Pupperazzi a wonderful game to jump into when you just want to escape and play with pretend puppies for a while.

Rainbow Six Extraction converts much of Siege’s content library into an approachable co-op shooter, providing a tense environment for players of all skill levels. However, in a series of industry-defining hits, this installment feels incredibly safe and markedly less gripping than its predecessor.

Chorus can be an entertaining space combat adventure at times, but the mediocre moments take a considerble toll.

Ruined King is a conventional RPG set in the League of Legends universe with an exciting lane system that smartly reconstructs the standard turn-based loop. Still, a forgettable story about good vs. evil and reiterative backdrops are apparent drawbacks. The action and imaginative characters do their best to keep the game’s 20-30-hour time sink enjoyable. Still, players that aren’t already fans of Riot Games’ flagship franchise are better off skipping this entry.

The Gunk deserves a fair bit of criticism and only a little unreserved praise. The connection between the characters holds up the story, sucking up goo is strangely satisfying, and the mechanics work as intended. However, I wish the world felt more distinctive and better realized. The environment has the potential to be a vibrant kaleidoscope with brilliant hues and unearthly forms. Unfortunately, it doesn’t quite hit that mark. All said, The Gunk is a competent romp through space, but not a stellar one.

In many ways, Bright Memory: Infinite feels like an extended tech demo. The jaw-dropping action and stellar graphics would serve as a great selling point for any new platform and almost appear too good to be true. Developer FYQD Studio proved some killer concepts but didn’t evolve them across a more complete adventure. Short games aren’t inherently bad, but Bright Memory: Infinite leaves me wanting so much more and is full of unrealized potential.

Even though I liked the racing in Riders Republic, overall, I can't say I enjoyed my time with it. It's a missed opportunity of a game, focusing on all the wrong things, making for an experience worth skipping.

Playing NHL 22 is like watching a predictable team. On the one hand, there’s comfort in knowing what to expect. On the other, it’s not fun seeing the same plays over and over again.

Nickelodeon All-Star Brawl is a complicated package. Its core combat and attention to character detail are great, but everything around that is bone dry. Playing as these lovable Nicktoons may interest some, but I didn’t want to stick around for the no-frills matches. Hopefully, Ludosity and Fair Play Labs can keep adding to Nick Brawl post-launch and flesh out what's missing while getting Nickelodeon’s full backing to make it a better product for the fans.

In spite of its lack of polish, I enjoyed The Good Life. It has some rough edges, but these can contribute to its charm, and it’s undeniably entertaining when the story is purposely silly or when I had time to just breathe in the world. The Good Life has heart, even if its features don’t always work together and its design holds it back.

Jett: The Far Shore shines bright in some narrative-heavy sections, and its visuals can be impressive, but – despite starting off full of potential – it fails to fulfill its promise. Sadly, Jett’s finale, much like my time spent piloting its interstellar spacecraft, feels more unfulfilling than thought-provoking.

FIFA 22 might tout next-gen visuals and solid gameplay, but there aren't enough exciting changes to differentiate it from last year's experience.

When Lost Judgment stumbles, it never recovers. While there's a lot to love in the story and gameplay, at the end of the day, its issues become too much to ignore – especially when those issues are messy and irresponsible.