Thanks to the technical improvements, Days Gone is better than ever on PC. It still has the issues with pacing that irritated us in our original review, but the faster loading times at least help a bit...Days Gone is worth checking out for anyone who wants an open-world, post-apocalyptic, story-driven adventure and doesn’t mind a bit of filler. The slow start might turn off some players, but those who stick it out will find an engaging story and an interesting spin on the zombie horror genre.

Wrath of the Druids has a lot of the same shortcomings as the main game. The story is too concerned with political intrigue that isn’t that intriguing, the landscape is mostly barren greenery that’s unexciting to traverse, and the overall game hardly hovers above the average baseline it rests upon, just to name a few of the overlapping problems. But Wrath of the Druids does leapfrog the base experience because of its relative focus that organically slices off the astounding amount of bloat inherent to a game that large. It doesn’t magically make Assassin’s Creed Valhalla a better game, but it does show that sometimes, a smaller serving can make a huge difference.

Its levels are far too structured for me to believe in its weird world, while its secrets are more laborious to uncover than they are fun. I had a reasonably enjoyable time with New Pokemon Snap, though it’s still a missed opportunity to do something with these creatures other than beat them up.

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As it is, RE Village is simply a good game with excellent production value.

Returnal is unambiguously and thoroughly an outstanding game. Mixing the RPG progression and ever-evolving suite of roguelite hooks with a frenetic third-person shooter results in a new experience with two halves that make each other better. As it did with the PS3, Vita, and PS4, Housemarque has once again provided Sony with another launch-era hit and in doing so has created a rewarding, replayable, and revolutionary game that’s hopefully the foundation for other future AAA titles that are as clever with the roguelite blueprint.

Nier Replicant ver. 1.22 is an excellent spin on the traditional hero’s journey and will give Nier Automata fans a new appreciation for that title. It’s a lovingly crafted rerelease and will delight both new and old players alike.

Oddworld: Soulstorm took Oddworld Inhabitants over two decades to fully realize so it’s disappointing that it came out in the state that it did. Numerous bugs are just one part of the problem as its lack of a quicksave and unwieldy controls cause a lot of easily avoidable irritation. Solving its one-of-a-kind sneaky puzzles can be fairly gratifying at times and its impeccably animated cutscenes are nothing short of amazing, but this is a mixed batch of Soulstorm brew that deserved more time in the production factory.

When you take the time to explore, you’ll find a surreal, beautiful game waiting for you. But, again, SaGa Frontier does an absolutely terrible job of making this clear. Fortunately, SaGa Frontier Remastered takes much of the frustration out of this. You can save anywhere, and there’s an autosave, you can speed up movement in the overworld and battles too. This is the best way to experience an often overlooked masterpiece, and I hope that SaGa Frontier 2 gets a similar treatment in the future.

Gnosia isn’t a game for everyone. You’ll likely loop over a hundred times before you reach the conclusion, and the repeated dialog and loops where nothing happens will infuriate impatient gamers. However, this unique blend of RPG, visual novel, and social deduction game hits like nothing else and is one of the Switch’s hidden gems.

This game has no roadmap to wait on or microtransactions to dodge, as People Can Fly has focused solely on making a damn good third-person co-op shooter with a huge variety of weapon and ability combos that keep the action aggressive and satisfying. Sure, it doesn’t innovate in any huge way and its many flaws are tough to ignore, but Outriders is a blast from a simpler past and I love that.

Paradise Lost doesn’t have any gameplay systems to keep players engaged and loses some of its potential because of it, but it does use its space well for its storytelling. It creates an otherworldly setting designed to simultaneously wow and disgust players as they make their way through gorgeous, yet heinous structures designed for evil. The stories within these structures are elegantly told for the most part as they reflect and strengthen each other along the way. Shooting Nazis in the face is almost always a blast, but Paradise Lost doesn’t resort to violence to make its point. Instead, it explores these horrors and wraps that inhumanity around the tragedy of a grief-stricken orphan, a rarity in the medium that demonstrates that how gaming can portray such evil needing to shoot at it first.

Myths of the Eastern Realm is so repetitive because it changes almost nothing about the repetitive game it was based upon aside from the setting. This expansion could have been a chance for Ubisoft to address criticisms of that core experience by implementing a more varied toolset, moving away from block pushing, and allowing for more freeform exploration all while taking fulling advantage of Chinese mythology. Instead it makes all the same mistakes, which are more unforgiving this time around. Immortals itself was already awash with unoriginal ideas and Myths of the Eastern Realm is only following that trend, making it a derivative expansion of an already-derivative game.

It Takes Two is one of the most delightful and ceaselessly entertaining co-op games I’ve played. Hazelight offers so many exciting levels, abilities, set-pieces, and mini-games, but does not let this extreme level of variety affect its quality. Every new idea is introduced to the game with care and used in a way that players can enjoy, before promptly being recycled out for an even better one. That this is the developer’s first platformer is staggeringly impressive, and I can only hope that this won’t be its final flirtation with a genre it’s clearly head over heels for.

The Ancient Gods Part 2 is the least impressive segment in Doom’s rebooted trilogy with its stages, level of difficulty, and slightly off-kilter story beats that all come in just below the previously established baseline. But it’s still one heck of a high baseline since the strategic, blazing-fast gunplay and ever-growing lineup of unique demons still have no equal in the first-person shooter space. The Doom Slayer was directed to rip and tear until it was done and now that it is indeed done, he has earned his rest even though his final showdown wasn’t his finest ripping and tearing.

Fans who love Monster Hunter exclusively for the hunts will likely welcome the raised emphasis on taking on major monsters as quickly as possible. However, Rise is missing some of the worldbuilding of Monster Hunter: World, which will make it feel a bit emptier for players who prefer to stop and smell the roses.

Aside from annoying mega canids that can loop their stun-lock attacks and a handful of interesting weapons, Murder on Eridanos doesn’t add many new gameplay features to its arsenal. It’s mainly just more Outer Worlds, but that’s not a problem when the quality is this high. Interviewing witnesses and potential suspects is a chance for players to more actively engage with its branching dialogue systems and focus on Obsidian’s knack for writing bizarre, loveable, and hilarious characters that appropriately skewer corporate capitalism. It hones in on The Outer Worlds’ strengths and is an excellent way to send off one of the best RPGs in years.

Like its predecessors, Resurrection isn’t for everyone. Different difficulty levels help soften the blow, but if you’re playing on anything tougher than Paige mode, you’re going to die. A lot. Still, it’s tremendously satisfying when you finally beat a hard-as-nails boss or a tough stage, even if the sheer number of enemies and obstacles to overcome often feels unfair. This is a good-looking remake with plenty of new sights to take in, even if I’ve got a feeling that most won’t get to see them.

Super Mario 3D World + Bowser’s Fury is an excellent combination of games, offering both co-op Mario mayhem and a 3D Mario collect-a-thon in a single package. While Mario 3D World might not be Nintendo at its most creative, it’s still a must-play multiplayer game for Nintendo Switch owners, and Bowser’s Fury is much more than just the cherry on the cake.

Little Nightmares 2 succeeds in building on the foundation that the original game laid out. The folks at Tarsier Studios have expanded on the story and lore with new characters and settings, added gameplay mechanics that don’t overcomplicate the action or bloat the pacing, and proven themselves worryingly imaginative when it comes to thinking up dastardly denizens of a perfectly grim world.

The Nioh Collection confidently slashes through these minor oversights because it is still a definitive duo of difficult classics that play, look, and feel better than ever before. Even though its sequel is easily the superior, more varied title, both are still genre-defining action RPGs that provide so many engaging encounters that crush players to a pulp as a means to make them work for their euphoric victories. Few games can master this balance and maintain it after dozens or hundreds of hours and this collection has two such titles, doubling the amount of pain while also simultaneously doubling the amount of satisfaction.

If Control was “weirdness, perfected” then Control: Ultimate Edition is weirdness, perfected and fully realized. Bundling all of its content in one place is a decent proposition as it was supported supremely well after its launch, but the technical advancements are what make this “ultimate edition” so ultimate. Its swift combat is finally stable enough to move at the pace it was supposed to originally move at. The immersive world is made even more immersive with its many visual upgrades. Control was so obviously built ahead of its time as these enhancements aren’t just surface-level touch-ups; they’re instrumental improvements that help this game become its fullest self and the best Director of the FBC it can possibly be.

“Disjunction” sounds like a made-up word, but it is used to describe something that has a “lack of correspondence or consistency,” according to the dictionary. And that is an apt description of this game that wears this word as its name. It attempts to blend two diametrically opposed gameplay systems — a novel concept — but does so sloppily, resulting in a disjointed, discordant, and disappointing experience that substitutes repetition for depth. Hotline Miami and Metal Gear deserve to be fused together to form some sort of upgraded cyborg, but the two have just been haphazardly fused into a mass of bloody flesh and rusty metal that’s better off left in either a biohazardous waste bag or the scrap heap.

The Medium is a step in the right direction for Bloober Team and I hope that it’s a sign that the studio is moving out of its comfort zone. It’s definitely the most dynamic title from the devs so far. At its best times, The Medium channels Silent Hill, but the rough pacing and limited gameplay outside of puzzle-solving hold it back. Additionally, the unsatisfactory ending leaves a sour note that detracts from the overall experience.

Shovel Knight was an example of an indie platformer that did hold up its end of the deal on both ends and that comparison doesn’t work in Cyber Shadow’s favor. Its boss fights and soundtrack can compete with other modern indie greats, but the rest of its gameplay inherits many of the antiquated parts that have been stripped out in other thoughtful throwbacks. This dichotomy makes Cyber Shadow a lot like its protagonist as it is made up of parts both old and new. But unlike Shadow, Cyber Shadow is made up of obsolete pieces, resulting in a rusty, defective cyber ninja that’s stuck in the wrong time period.

The bald, barcoded assassin has had many hits in his 21-year career, but even though it might be his last for quite some time, Hitman 3 is one of 47’s best executions yet.