Road To Ballhalla is a delight. It rises above its inspirations to bring a new musical sensibility to the action puzzle genre. While some levels can be frustrating or even punishing, it never feels unfair — clearly a huge amount of thought has gone into balancing the difficulty, and anyone who brings a steady hand and a good amount of patience will find one of the most wonderfully kinetic puzzlers around.

I’ve no doubt that there’s a hardcore segment of gamers who will appreciate what Cursed Castilla is going for, and for these players, it will certainly do a great job of bringing back a late-’80s sort of arcade experience in a way that few retro-inspired projects accomplish. For most players, though, I feel that it’ll be viewed as a cute little oddity and little more.

Sure, it’s still awesome in scope and there’s a ton of content in the package, but it only offers minimal visual improvements, dated gameplay, and inexplicable legacy bugs. Unless someone defines their RPG experience by sun rays and water effects, this reissue just doesn’t represent a notable improvement over the original. Still, for those who aren’t yet Dragonborn, this is the best way to become so.

Just a bad use of Ubisoft’s talent pool, and a worse use of gamers’ hard-earned money.

Players in the target audience for these titles (like me!) who’ve been waiting for this storied series to come to console will find the package worth exploring even if there’s only one real reason to buy in.

Steep is a gorgeous game that was never able to keep my attention. On paper it seems to have everything it needs to succeed — multiplayer, a big world to explore, lots of things to do, different ways to play — but wandering the mountain and taking part in generic events lacks excitement and personality. I doubt I’ll remember it exists in a year, which is a shame because that moonlit landscape is just breathtaking.

This isn’t slick, soulless and focus-tested into insensibility. Let It Die is rough and engaging on a primal level, and intensely refreshing as a result. It’s also a shining example of a free-to-play title that doesn’t make lecherous moves on anyone’s wallet every five minutes. This game is less about paying to win, and more about playing to win.

Every one of the four levels is delightful and inventive, offering multiple ways to solve each problem and reacting logically to out-of-the-box ideas. It may be on the short side, but Expect‘s wit and ability to engage players more than earns it a place on the must-play PSVR list.

Dying due to confusing design rarely makes for good times, and this soured me on Stereo Aereo pretty damned hard. It’s unfortunate because I genuinely dig the overall aesthetic, and I definitely enjoyed the soundtrack. Even the relatively meager storyline has its high points. However, when the difficulty kicks into high gear, it all bubbles down into an overly busy, confusing and imprecise mess that I can’t wrap my head around.

World of Final Fantasy is a great-looking game with charm to spare and quite a few cool ideas under its belt, but it never quite nails the pacing and the excellent localization can’t save it from a pedestrian storyline jaunt through linear dungeons. It’s a reasonable option for anyone hankering for some Final Fantasy nostalgia or anyone who wants to overdose on cute and the colorful, but for everyone else it’s merely a decent JRPG with a few too many irritating lows.

Robinson: The Journey‘s developers have built a world worth exploring, and armed players with all the tools necessary to do so. While I wish the adventure was a little larger or that its price was a little more reasonable, it absolutely delivers on its premise. Thanks to PSVR, I was able to solve puzzles on an alien planet (that looks suspiciously like prehistoric earth) while hanging out with a heartbreakingly adorable baby T-Rex. This is the kind of experience that virtual reality headsets were designed for, and one of the best available showcases for the technology.

Any player with a taste for a medieval warlord’s life and a tolerance for dated graphics shouldn’t pass up the chance to sink their teeth into Mount and Blade: Warband. Though the PC version may be a bit easier to recommend thanks to the prevalence of mods and a more established community, folks without that option will do just fine on consoles.

For anyone happy with being dumped into horde-style arenas and expected to slam zombie brains across the room with a sledgehammer with a team of like-minded savages, it’s definitely one of the better options on the market right now. Players who crave more than just shooting might find that it doesn’t quite manage to deliver a captivating experience past this core competence, though.

Despite its roughness, The Last Guardian is absolutely worth experiencing for the beautiful relationship at its heart, and for the flawless manner in which the adventure closes. Ueda’s ability to develop smoothly-running games may remain in question, but his expertise in crafting ravaging narratives and developing deep bonds with minimal dialogue remains nearly unmatched. He’s one of gaming’s premier storytellers, and of the three experiences he’s created, this may be my favorite yet.

In the end, Shadow Warrior 2 isn’t a bad game, it’s just not a really good one, either. It delivers a laugh or two, but in a few years, I’ll struggle to remember that I even played it. Pick it up during a sale or during a dry spell in the new release schedule, but there are plenty of other titles more deserving of attention at the moment.

A laughably awkward ten-year jump forward and a climactic showdown against a foe whose motives utterly escape me. The project’s original director was Kingdom Hearts creator Tetsuya Nomura, and it seems some of his influence remains embedded in the final product — FFXV’s latter half feels like a different game entirely, and it’s a mess. FFXV’s inability to live up to its early promise might rank as 2016’s biggest gaming disappointment.

After one day of playing GoW4, I knew it was an awesome title. After one month of diving deep into all campaign and multiplayer modes, that feeling hasn’t wavered. The developers showed hints of brilliance with their remake of the original Gears, but no one could have predicted just how firm a grasp they had on the intricacies of what makes this series so special. Its few flaws knocked my score down a few notches, but the gameplay is well-paced, gorgeous to watch, and tremendously satisfying. GoW4 a system-seller and a must-have title for any self-respecting fan of shooters.

While Dead Rising 2: Off The Record outdoes its predecessor in terms of raw playability and the amount of content it offers, it’s just not as satisfying. Both Dead Rising 2 and 3 understand that these are games are fundamentally about helping people in a terrible situation, and they’re richer because of it. Frank West’s jokey manner fits the sandbox mode well, but his detached, ironic worldview doesn’t land the way the rest of the series does. In the end, this effort feels like a minor sidenote before the series put the best pieces together for Dead Rising 3.

While it does have issues, I hope that the brevity of Beholder’s appeal and the sloppiness of its translation don’t dissuade anyone from checking out one of the year’s more conceptually-ambitious indies. While I’ll hopefully never find myself in a position similar to Carl’s, I’d like to think that games such as Beholder help me to understand, even just a little, how a middle-class everyman can be coerced into performing heinous deeds, as so many throughout history have.

Dead Rising was never a great game — it’s perverse and didactic in equal measure, and an exciting concept delivered with almost no artistry or craft. Why not put in a little extra effort to fix it, rather that just running it on superior hardware? The sequels offer a clear roadmap for the experience that Dead Rising could have been, but apparently Capcom had no interest in following it. It’s too bad, because even as a budget title, this reissue is just too rough to recommend.

This chapter isn’t the best (Chapter 2’s Sapienza still reigns supreme) but it’s a worthy addition. Four targets in heavily populated territory is a new twist for Hitman, and the fact that it was done without unfairly kicking the difficulty up or sacrificing player-paced preparation should be commended.

Dishonored was already amazing, and this sequel bests it on every level.

If you never played the Ezio Assassin's Creed games, this remaster is a superior way of experiencing it. If, however, you played them before, I'm not convinced that this remaster offers enough to make replaying them worthwhile unless you are truly that desperate for an Assassin's Creed game this year.

Dark Souls 3 was a wonderful coda for the series, revisiting the best parts of Soulsborne while skillfully buffing over the pieces that didn’t work. Still, the Souls tricks and tropes that have become hallmarks are no longer groundbreaking, and there isn’t much left for Souls proper to achieve. As such, the run-of-the-mill quality of the experience offered here just doesn’t cut it anymore. While I still hold some hope that the second (and final) piece of DLC will be more substantial, Ashes of Ariandel illustrates exactly why Souls needs to end for the foreseeable future.

In one sense, Small Radios, Big Televisions is a short, poetic exploration of humanity’s descent into virtual reality to escape the apocalyptic reality it’s created for itself. In another sense, the game is merely a brief environmental puzzler, thick with atmosphere, style, and enigma. Like any great art, it doesn’t tell players how to interpret it, but instead offers a layered, polysemic experience that can (unfortunately) be just as easily dismissed as appreciated.

The most puzzling thing about Lost Castle is that it makes mistakes it has no reason to. The games that obviously inspired it have already solved its design problems — Rogue Legacy showed how to do an upgrade-based economy perfectly. Dark Souls‘ enemies have weaknesses and the player can defend. The devs rival Isaac‘s dizzying array of items and weapons, but nailing one out of three aspects isn’t enough to recommend it. There’s some quality stuff in Lost Castle and I genuinely hope it gets fixes for its flaws. But, as of right now, it’s a decent-ish co-op title that’s borderline unplayable alone.

Despite the small number of tracks, what’s on offer here is highly accomplished, and Hatsune Miku: Project Diva X’s attempts to bring something new to a rather static style of game are both successful and engaging. Players who can find something to love in Miku’s musical leanings will definitely want to check out their goddess’ latest incarnation.

Hawken may not make the grade as a mech title, but when stacked up next to other free-to-play FPSs, it doesn’t have anything to be ashamed of. The combat is faster and less impactful than I would have liked, but it’s still solid, and I spent more time with it than any other online FPS since the first Titanfall. While there’s not much chance I’ll eventually unlock everything in the game, Hawken has me thinking about going back and spending more time with an F2P FPS, which has never happened before.