Loadout on PlayStation 4 is not without its issues, but overall it remains an energetic, madcap shooter with a violent sense of humor that delights as often as it disgusts.

When playing alone or in offline multiplayer mode, Tetris Ultimate nails most of the basics. Unfortunately, it doesn't go far beyond them.

Part solid execution and part missed opportunity, Tetris Ultimate is hard to judge. If all you want is a good version of classic Tetris for your new console, this one will suit your needs well. The low price is nice and the gameplay options provided are a nice touch, but it doesn't do enough to earn the "ultimate" moniker.

Swiss Bank-building fun is provided for the truly dedicated, but there isn't anything here with lasting value or appeal.

There's nothing like Elegy for a Dead World, a muse in the guise of a narrative creation tool in the guise of a video game, and it’s within those layers that you find the treasures.

Ironically, the most fun part of the DLC is a quest to fill a special urn, purchased from weekend vendor Xur. It's a five-step quest in the vein of the Exotic Bounties, with a nice, varied set of objectives and no level requirements.

If you're interested in The Dark Below, you know what kind of game Destiny is. You're okay with the grinding. You have a like-minded clan that you play with frequently. You've been level 30 since October. You spend two or three hours a day racking up resources just in case.

The Talos Principle is an absolute joy to play, packed to the gills with expertly designed puzzles and enough ancillary content to make any history of philosophy buff salivate. But all of that is almost beside the point in the face of the game's thematic ambitions.

Secret Ponchos is well worth falling for, if only because playing as The Killer and using cover for a speedy reload is the closest a game has ever come to depicting the first Metal Gear Solid boss fight from Revolver Ocelot's perspective.

Shadows: Heretic Kingdoms has many unique qualities that both elevate and iterate on the traditional mechanics of the genre. With time and enough developer support, the game could even become an unheralded standout in a space dominated by a few big names.

As memorable as it is to navigate tilting rooms with only a few hanging lamps to light the way, it is that spider that most embodies Limbo's somber spirit. The later puzzles are complex and clever, but they don't haunt the heart. The finale feels abrupt because it returns to the first hour's imagery, having abandoned it for long enough to have altered your personal connection with the game from an emotional one to an intellectual one. And yet the end offers insight into a backstory left otherwise untouched--enough of it to inspire another playthrough, this time ever so much wiser than you were before.

With Juju, the developers at Flying Wild Hog have cobbled together a charming adventure that never surpasses its inspiration but still manages to provide a generally inoffensive romp through gorgeous fantasy worlds. Unfortunate difficulty spikes may keep some youngsters at bay, and the repetition is discouraging regardless of your age, but there's still some innate appeal to this cute and competent platformer, which gets the job done with minimal fuss.

When The Crew puts you into races with good AI, and you get to race through interesting and varied environments, you get the feeling that you're playing a good game. When you struggle to find people to join your crew online, balk at the outdated graphics, and shake your head at the AI and the occasionally unpredictable physics, you realize: The Crew isn't that good after all. When you can't play due to server issues, you find a new game to play and leave The Crew in your dust.

It's not the revelation that Lara Croft and the Guardian of Light was--it's a bit too glitchy and dated to herald it a new classic, in spite of the welcome addition of four-person online play.

It's not the revelation that Lara Croft and the Guardian of Light was--it's a bit too glitchy and dated to herald it a new classic, in spite of the welcome addition of four-person online play.

There is, of course, the off-chance that the trilogy might be someone's first exposure to the life and times of Phoenix Wright, or at least their first exposure in a great many years, and it's as refined a jumping-off point for that as can be expected. For anyone for whom this is their third, four, or fifth time around, there's nothing new to discover, aside from the convenience of having all three games in one handy digital package.

Didn’t EKO Software learn anything from the record industry--that the trick to luring fans with greatest hits collections is to add at least one new song, even if it’s terrible? This is not a director’s cut, but rather EKO Software’s aspirational idea of a Game of the Year Edition.

How to Survive: Storm Warning Edition rewards the procrastinating zombie enthusiast who’s been curious about the game and its add-on content.

It's a triumph of tight plotting, wild imagination, and sure-handed direction. It's a game that never flinches in taking its story and its chain-smoking protagonist everywhere it can.

If you have enough friends to fill up a lobby, there’s plenty of fun to be had with Defenders of Time. Otherwise, you’ll be left angrily waiting around for someone, anyone, to jump online.

Game of Thrones is off to a slow but not uneventful start, with an almost unfairly large heap of teases and promises for the next episode. The pacing is true to its source material--slow, taking its own time--but the payoff for major scenes is worth wading through.

It may have started out as a minigame, but with its original take on the Toad character and a large number of enjoyably tricky puzzles, it's great to see it in the spotlight it so truly deserves.

My thumb, however, stands testament to the game's greatness, throbbing in pain as I enter the seventh consecutive hour of geometric action.

Telltale and Borderlands are the peanut butter and chocolate of the current gaming landscape, creating a piece that is too rock-solid in its own convictions to be labeled simply as a mashup.

Speakeasy being just a simple, ignorable bad game could be accepted, but the fact that it had to drag a fantastic premise down with it is criminal.

Its flaws are too numerous, and its strengths seldom manage to work in concert. The end result is more disappointing than it is entertaining, which is a real pity if it means another 25-year delay before someone takes the next crack at doing the concept justice.

The Binding of Isaac: Rebirth may first catch your attention with its insane setting, surreal monsters, and irreverent references to Christianity, but the speedy, varied gameplay and seemingly neverending new features (which include multiple endings and new bosses after you take out mom the first time, so the replay value is nearly infinite) are what keep you coming back for more.

Poor internet functionality is, thankfully, a blight on an otherwise incredible game. Between the Masterpiece Collections, which are short demos of the classic games that inspired Smash Bros., the many fighters and stages, the deep character customization for fine-tuning your fighters to suit your play style, and the extensive screenshot editing tools, there’s just so much to do.