Rock Band VR’s not exactly a must-have, but it’s up there—at least for people who haven’t burned out on the plastic instrument genre. Me? As long as Harmonix keeps supporting it with DLC I’ll probably keep checking back in, snagging a few songs, and putting on a show.

The horror genre is one of slim pickings, and few horror games are done on the level of Outlast 2. Fog-filled streets, moonlit nights, and the shreds of the apocalypse—there’s some amount of fun to be had here maybe, and genre die-hards may find themselves playing through it regardless. But Outlast 2 isn’t the solution to the genre’s issues.

Watch Dogs 2 finally breaks with the "Ubisoft Formula" to create an open-world game that feels somewhat fresh and interesting. What a relief.

Man of Medan doesn’t tell the most unique story, and indeed you’ll probably unravel it long before the characters do. It’s unique in the telling though, and often that’s what counts more.

With better track design, more balanced difficulty, and a couple of new game mechanics, this follow-up does enough to make the first feel limited. There’s certainly no shortage of good arcade racing games, but Hot Wheels Unleashed 2 stands out amongst the crowded field.

Shardlight is pretty damned decent though. The story’s a bit more straightforward than some other Wadjet Eye games, it ends a bit too abruptly, and a few of the secondary characters needed fleshing out, but all-in-all it makes for an engaging six or seven hours in a world with some great ideas—a bit like Dead Synchronicity, except with an ending. Very grim. Very adult...I just wish Wadjet Eye’s tech matched its talents.

Rusty Lake: Roots is an excellent follow-up to Rusty Lake Hotel—grander, grimmer, and more gruesome than ever. The Rusty Lake games are quickly carving out a niche as my favorite point-and-click series of the modern era, with a bold confidence underpinning their unconventional and inventive world. I highly recommend picking up the pair for a night or two of surreal horror.

If you dig base management sims or simply want to fulfill your wildest Bond villain fantasies, Evil Genius 2 is worth picking up. It’s clearly a labor of love from developers who hold the original cult classic deep in their hearts—and I could spend hours setting up diabolical corridors stuffed with traps.

Victor Vran carves itself a healthy niche in the aRPG genre, making up for a silly story with excellent (and addictive) combat. "Click-and-watch-things-die" has never felt this good.

Skip it for now if you’re just looking to one-and-done each level, but if you were hoping for a sandbox experience? You’ve got one.

Event[0] isn't perfect by any means, but it might just be the most important indie game of 2016. It's certainly the most ambitious.

Just Cause 3 is a monument to excess. It’s Hot Shots. It’s Charlie Chaplin in The Dictator, if Charlie Chaplin had rocket-powered C4 in his boots. It’s that scene in Dr. Strangelove where Slim Pickens rides the nuke into Russia, except...well, no, it’s pretty much exactly that scene on repeat for 25-30 hours.

Where the Water Tastes Like Wine's slow pace may grate on some, but those who can acclimatize are in for a fascinating deconstruction of America, as seen through the myths, folklore, and scraps of history we tell each other.

For all that I'm down on Assassin's Creed as a whole, Syndicate is at least one of the better entries in the series. And there is admittedly a certain charm to familiarity—a ritualistic quality, as every year I load up the latest entry and proceed through its bevy of re-skinned content. “Hello, old friend. Nice to see you again. My, you haven't changed a bit."...But Assassin's Creed has long since been surpassed by its imitators, from Mad Max to Arkham City to Shadow of Mordor to Sunset Overdrive to Tomb Raider. What they lack in recreating a period of history, they make up for by offering something a modicum different.

Far Cry Primal starts with a great premise and then falls into the same, increasingly-tedious groove as its predecessors.

I don’t want to disparage The Turing Test too much. It suffers by nature of comparisons with other similar games, but perhaps unfairly. With its lightweight puzzles and plot, The Turing Test is one of those “Great-For-An-Afternoon” games, the ones that scratch a specific itch and go down easy. In this case, it’s the “I need something like Portal, but I’ve already played Portal” itch.

Play Rogue if you want more Black Flag. Play Rogue if you want to learn about the complex relationship between the Assassins and Templars. Play Rogue if you hated Unity and want a better Assassin's Creed experience this year.

Dead Rising 4 is no classic, nor even a great Dead Rising game. The series sold out. But if you can get yourself past that hurdle, you might find (like me) that you’re pleasantly surprised, at least for a weekend. Sure, almost everything that made Dead Rising unique is gone, but if all you want is bubblegum pop and more time to experiment with the game’s over-the-top weapons? Frank West (or faux-Frank West if you can’t get past the voice actor change) is ready and waiting.

Transformers: Devastation is a B-tier game that succeeds only by expertly capitalizing on its source material and your nostalgia.

Power through, and John Wick Hex can be incredibly satisfying though. That’s the flip side of the perennial difficulty argument. I’ve rarely felt more relieved than completing a segment of John Wick Hex on my last bullet and Wick’s last legs.

Headlander's retrofuturist aesthetic is creative enough to make up for the fact its underlying mechanics are anything but.

Cinematics start, they stutter off and on for the first few seconds, then performance plummets and both the video and audio will start to skip around and desync. Then you’re forced to listen to Edgy Revolution Guy give a sermon at half-speed.

Virginia's extensive use of jump and match cuts makes it the meeting point of games and film, though it's not the most successful of experiments.

It’s a good start. I’m not hooked like the first season of The Walking Dead or Wolf Among Us, but it’s looking like more of a slow burn with a lot of potential. Telltale sets up a lot of plot threads in this first episode, and it’s actually pretty impressive how many bit players they’ve introduced in just an hour and a half.

New Dawn oscillates between wink-nod silliness and dead seriousness in a way that’s disorienting and even unsettling at times, and I came away feeling the same as I did last time: Ubisoft needs to choose. It either needs to go full Blood Dragon or full Far Cry 2 realism again, but this uncomfortable gray area between earnest and flippant is (at least for me) unsustainable.

Is it a bad game? Absolutely not. On the contrary, Ubisoft's open-world template is perfect for churning out market-friendly games that tick all the boxes of "What People Want." Or, perhaps, "What You Want."...And honestly, Mad Max's formula is still to some extent "What I Want." Just not as much as a few years ago.

Call of Duty: Infinite Warfare occasionally rubs elbows with the best moments of its predecessors, but too much tedium and half-baked multiplayer make this one hard to recommend.

I hoped for better. I’m still plugging away at it, and I’m not willing to slap a score onto Rage 2 this early. That said, it’s not doing much for me at this point in time. I’ve found myself wanting to reinstall Doom and replay that instead. It’ll take half the time, and I think I’d probably have twice as much fun.