Too Kyo Games easily could have set its niche obsessions of killing games, branching narratives, and mind-bending twists aside and created something that aimed for the widest personal audience in hopes that it would save the studio. Instead, it committed to what it knows, leaning into what has always made its leads’ work so memorable. Where others might have pumped the brakes on their ambitions, Too Kyo slammed its foot on the gas and hoped there would still be another route to follow when it reached the end. The Hundred Line: Last Defense Academy may not be for everyone, but anyone can see what it’s done and know that it’s earned their respect.

Horses is fine. It’s not particularly trailblazing, but it knows what it’s trying to convey, and it uses a pretty concise visual metaphor to get it across. It is gross to look at, but I only really mind that when its jittery framerate makes me queasy. I don’t believe it is as distasteful as Epic or Steam does, and I still am surprised that something that feels mostly tame and along the lines of an A24 horror film has caused such controversy. If Horses didn’t expose anything we didn’t already know about the dangers of a sheltered, puritanical lifestyle, it at least unmasked Steam and Epic as cowardly companies that can’t be bothered to actually vet the work they’re barring from entry. I wish we could’ve had the conversation those bans sparked about a better game, but Horses, at the very least, is fine enough to have deserved better than being locked out in the rain.

Kirby Air Riders is not deep. It’s not substantial. It’s never going to become the hearty dinner its curated clips or indulgent Nintendo Directs want you to believe it might be. Kirby, the godly creature that he is, can inhale an entire match and waddle straight into the next challenge without once wondering what he just ate. I can enjoy the rush, but I can’t live inside it like him. After an hour or two, the buzz wears off, the repetition settles in, and I’m left wanting something that lets skill accumulate or understanding compound instead of just teaching me to parse the screen more efficiently. After enough hours with it, I’ve learned to stop waiting for the game to transform into a meal and to simply enjoy the carbonated geyser it actually is.

Metroid Prime 4: Beyond is a good game made worse by some really bad choices. It features annoying characters who ruin the isolated and haunting vibes that this latest sequel strives so hard to create, and forces Samus to drive across a boring desert over and over and over again for no good reason other than forcing you to do some extra busy work to extend Prime 4’s runtime to around 11 hours for most people.

It’s over too soon and just one extra mode shy of what might feel like a more complete experience. If it follows the mold of Shredder’s Revenge, we’ll get a steady cadence of free updates and a paid DLC at some point. But for now, it does exactly what it needs to: add fresh tricks to a classic genre that makes it feel like you’re a ’90s Marvel action figure rampaging through a Saturday morning cartoon.

When a piece of media as earnest as Octopath Traveler 0 comes along—packed with wandering swordsmen, villains ascending to the Heavens, and more—it’s hard not to end up smitten. There is a belief that so long as you tell a story with your head held high and love for your audience, everything else will work out. And the damndest thing about that is that belief is correct. Meet this game with your own child-like sense of earnestness, and you will have an experience that you’ll not forget anytime soon.

Routine was announced over a decade ago at this point. So was it worth the wait? Hard to say, as I wasn’t waiting for it, but I can confirm that a decade after it was first revealed, Routine is a damn fine horror game that stands toe to toe with other heavy hitters of the genre.

In a vacuum, this year’s Call of Duty is a weird, really big, and mostly bad misfire that I doubt hurts the franchise all that much in the long run. But if we look beyond Black Ops 7 and consider the larger context, this might be the worst version of Call of Duty for Activision to have launched in 2025, as it’s going up against the super popular, grounded, and back-to-basics Battlefield 6.

In the end, I had a fine time with Dispatch. I liked it when I was playing it, looked forward to its next episodes when I wasn’t, and most of my biggest complaints with it I express with a shrug. Sometimes your experience with something is not that serious, and it’s nice to be able to leave something behind knowing you’d pick it up again if another pair of episodes dropped next week. And if no future episodes come, that would be okay, too.

Arc Raiders rarely eases up the pressure it puts on you. For some, that’s likely to be a dealbreaker. But if you’re game for something thrilling and you’re willing to tolerate loss, Arc Raiders is one of the most approachable and engaging examples of the extraction shooter yet.

Silksong still yields so much to see, and there are inarguably more nooks and crannies than ever to explore in Pharloom, but Hallownest’s elegant and understated mystique is absent here, and it is instead replaced by a labyrinthine behemoth–complete with many proverbial Minotaurs–though one that instills in you the pressure of obligatory completionism rather than the liberating sense of adventure.

The Outer Worlds 2 promises flexibility in storytelling, but when that flexibility comes from interacting with one-dimensional characters who inhabit such an unconvincing world, there isn’t much of a point to it.

Z-A is a game of trying new things and hoping for the best. Not everyone agrees on what the best course of action is, but nevertheless, Lumiose City has to move forward and carve out a future for itself, much like the Pokémon franchise has been trying to do in recent years. It has started abandoning long-held traditions, both in the games and elsewhere, in the hopes that it can be something greater than the corporate machine has forced it to be for so long. Maybe not every change is going to work for everyone, and it will take time for a series that was stuck in its ways for so long to find its footing.

Keeper isn’t a mechanically deep game or a complicated thing to play. Instead, Double Fine wants you to just vibe out with it for like three hours. Enjoy all the pretty colors, the weird shit, and hopefully, by the end, feel something. And to Keeper’s credit, by the time credits rolled, I did indeed feel something. It’s wild to think that a story about a lighthouse and a bird with no dialogue could make me tear up a bit at the very end, but that’s exactly what happened. I didn’t expect it, but the conclusion was a wonderful way to end this epic journey.

Battlefield 6’s campaign is too unevenly executed to make its vision as compelling as it ought to be, but it still works well enough to inflect the entire game with a healthy cynicism unusual for the genre. Though every multiplayer military shooter feels at least slightly callous when viewed from a distance, unending war modeled with a twinned desire for both realism and the rendering down of martial violence into sport, Battlefield 6 manages to make a natural home for its design ethos in that discordance. It finds the road to global ruin pretty exciting, and believes that you will, too. For the most part, it’s right.

I’m still chipping away at runs and cracking the foundations of Absolum’s world, but my short few hours or so with it have been more than enough to keep me banging my head against its stone gates. It is one of the most rewarding spins on both the beat-em-up and roguelike genres I’ve played all year. [Impressions]

Time Stranger sometimes awkwardly fumbles its way to the point it’s trying to make, but every time it shows its hand, it proves it’s willing to punch above its weight.

The Ivalice Chronicles isn’t the perfect version of Final Fantasy Tactics I can imagine in my head, but it’s unquestionably the best version of the one that actually exists. The Ivalice Chronicles, like its protagonist Ramza Beoulve, stands athwart history a flawed but uncompromising messenger with one simple plea: “Go back and play one of the best games ever made.”

Supergiant’s core design philosophy is still kinetic enough to cut through the noise, and unpredictable enough that I want to see where it goes. This is still Hades we’re talking about, II or otherwise.

Silent Hill f is ambitious in its desires. It asks for permission to deviate from the series’ traditional setting while offering up quicker, more action-focused combat. It leaves behind its titular setting in favor of a new horizon. It succeeds on all these fronts as a spin-off that explores Silent Hill’s classic gloom and internal psychological struggle, toying with themes of friendship, gendered expectations, commitment, and individual worth like a cat, or a fox, playing with its prey. It is a horrorscape I was terrified of and yet unable to look away from, one that’s resonated with me long after the credits rolled, and that quickly pulled me back in for another trip down the miserable foggy alleyways of this strange mountainside village.

Bugs, performance problems, a less-than-memorable villain, and a grindy endgame are disappointing for sure, but what Gearbox has put together is still a mostly fun, action-packed, and hand-crafted looter shooter that proves once again that this studio is still the best at making these kinds of over-the-top FPS RPGs.

One of Sonic’s best spin-offs in recent memory. The game is best when it’s focusing on being an extremely fun Sonic racer, rather than a billboard for other games and TV shows.

But unlike Ultimate Edition, which was a massive improvement over the original back in 2015, Reloaded is just a minor upgrade. The improved performance in both campaign and multiplayer, which runs at 120FPS now, is a welcome improvement. Still, when comparing screenshots side-by-side, it’s pretty tricky to spot the differences between Ultimate Edition and Reloaded. And I’m the kind of guy who was excited for the PS5 Pro, which I played Reloaded on. Yet even I can’t find much beyond the improved framerate to praise in this reheated remaster.

Shinobi: Art of Vengeance has all the right stuff at its core. The fluid action is a blast at its best, and the breathtaking visuals are a sight to behold. Unfortunately, the unfulfilling exploration and so-so platforming keep the game from hitting its full potential. It’s an enjoyable playthrough on a rainy day, especially for the person who wants a strong hit of Sega nostalgia or needs to decompress from more intensive games. But like spending time with someone who wants to be everyone’s friend, the experience feels a little too shallow for its own good. Shinobi’s long overdue return is easy to like, I just wish I could love it too.

Metal Gear Solid Delta: Snake Eater modernizes the classic mechanics of the original while preserving the breathlessly tense feeling of its stealth gameplay, and its painstakingly accurate recreation of the original’s aesthetic and vibrantly beating cinematic heart preserve so much of why these games have withstood the test of time. Should Delta be not just a one-off but the dawn of a new generation for Metal Gear Solid, it’s a promising one indeed.

Mafia: The Old Country’s story was good enough to keep me engaged to the end with its authentic portrayal of 1900s Sicily and its superb characters. It’s too bad, however, that while the narrative traveled backwards in time for its new setting, the gameplay mechanics went along with them.

This is such a delightful game, and so wonderfully intelligent in its creation.

I would hope the short runtime and cheap price tag would be enough for you to say, “Ah, what the hell,” and download it onto your PC or Switch, but times are tough, and not everyone likes to go into a purchase blind.