Aphelion is far from the next classic Don’t Nod game, but fans of the studio will likely have a good enough time with it. The concept and narrative execution are strong here, but so much of it is bogged down by gameplay segments that made me wish I could skip like a cutscene.

Rhythm Psychosis is a heck of an experience that, depending on how much you know about this stuff going in, can be a window into an unfamiliar world, a push down a rabbit hole you had no previous plans to enter. And that’s fascinating, and a cool central theme to wrap a whole music game around. Combine that with some brilliant localization for what had to be some mind-boggling source material, an admittedly strange but catchy soundtrack, solid enough rhythm gameplay (think DJMAX but a bit simpler), and some storytelling chops unafraid to tackle dark material in an empathetic way, and you have a deranged feast of a game to sift through. That said, having to grind out levels far beyond what the tracklist can reasonably support just to finish the story is criminal. Yunyun Syndrome’s momentum plunges off a cliff about halfway through, and that’s a real shame considering how much energy it has out of the gate. I feel like I’ve wasted hours of my life on this game despite loving it at first, and that’s a sense of conflict I wish I didn’t have to contend with.

Life is Strange: Reunion is going to make a lot of people happy and I don't begrudge any of them. There are people out there who waited a long time to give Max and Chloe a happy ending. However, as someone who watched Max Caulfield persevere through tragedy to build a happy life for herself, Reunion felt like a regression for this character. If the story was told well, I could overlook a lot of my personal hangups with the story. Unfortunately, I saw the potential of what they were setting up with Chloe and Safi, with Chloe's uncertain place in existence, with the nature of fate and the idea that some events are fixed and always meant to unfold. Reunion set up some tantalizing plot points and all of them underwhelmed.

People of Note has lot of heart. However muddied its story might be, I can't say that it doesn't have charm. Its turn-based battles are some of the best I've seen in an RPG in a long time, making the most of its musical motif. Plus, the musical performances go a long way toward making this game more memorable than it would have been without them. I wouldn't say it's worthy of topping the Billboard charts, but it's certainly worth a few plays.

If you’re a bigtime Marvel head and your goal is to maximize your collection of Marvel video games, then look no further than the Marvel MaXimum Collection as a hefty step forward in that endeavor. Pun intended. For a low price you get a fat stack of games, and if you ignore the fact that several of them are probably bargain bin occupiers in retro game stores right now, that’s not a bad deal from a collector’s point of view. You can hop online and have fun with X-Men, check out the other games out of varying degrees of curiosity, then admire the thing on your shelf once you’re done. That’s fine! Also, it’s easier than ever to hit your unsuspecting friends with Silver Surfer, and that’s always a hoot. Just don’t expect to set this bad boy up next to… any other reputable retro compilation.

MLB The Show 26 retains enough of what makes this series stand out that I still see it as an overall positive. New settings and quality-of-life improvements across the core modes are always welcome, and I’ll likely end the year with more hours in this than any other sports game. Still, I don’t think this franchise can sustain another year where it just treads water, maintaining the status quo without doing anything to elevate its game.

Despite my issues, there are feelings Super Meat Boy 3D gets right. It’s that same level of hard that begs to be conquered, cultivated in the original. And when I finished a particularly hard level, I got to see a marathon of my little Meat Boys failing all over the level until I finally got one of them through, and that part is as triumphant as it has ever been. Other dedicated people will conquer this game. I suspect some speedrunner will weave wizardry in their mastery of Super Meat Boy 3D and its levels. That said, this feels like a game in which you have to have more patience that ever to put up with the shenanigans that a fast-paced 3D Meat Boy game presents.

For a surprise, low-cost look into Rayman history, Rayman 30th Anniversary Edition is a neat little treat. But it

Crimson Desert is an exercise in excess, and it is worse for it. If you believe more is always better and are so enraptured by “world big” that you are willing to overlook substantial, glaring flaws (and there are many), you’ll love Crimson Desert. Perhaps the most damning thing I can say about Crimson Desert is that it is an enormous game with a ton of content, and I spent most of my time with it wishing I was doing anything else.

John Carpenter’s Toxic Commando feels like the kind of game I would’ve rented on the Xbox 360, for better and worse. It’s a simple, no-nonsense shooter that offers some classic arcade-like fun. That comes at the cost of narrative and mechanical depth, but it’s still a good time if you’re looking to restore that old school feeling.

It’s good to see Skunkape get to continue its revisitation of classic Telltale history, instead of riding off into the sunset after finishing the Sam and Max trilogy. It’s also neat to see this little oddity in particular not only come back, but do so with tweaks and even keeping the Team Fortress 2 interactivity intact. I hope this team gets to continue working on stuff, keeping that era of adventure games alive for as long as possible. In the meantime though, I’m feeling like I could get pretty good at poker.

Crisol: Theater of Idols shoots for the moon (or the Sun, considering the narrative) with some bold ideas. The blood curse is a cool concept and opens some doors, both mechanically and narratively. Not everything hits, unfortunately, and that brings the whole experience back down to Earth. It's unique enough that I won't forget it anytime soon, but not quite good enough to make me a Sun worshipper.

Romeo is a Deadman is an exceptionally strange game. Not only is it the strangeness players have come to love from Suda51 (a good thing), it’s strange in a way where nothing really quite comes together in a cohesive package despite offering some neat ideas. It’s almost as if, in a bid to be weird and whacky, Grasshopper Manufacture ran out of time to let it cook properly. For the cult followers, there’s plenty of zaniness here to sustain you with acceptable hack ‘n’ slash gameplay. For anyone else, it’s just a bizarre and hollow experience with shortcomings that are too hard to ignore.

Yakuza Kiwami 3 isn’t a well-reasoned, but flawed remake of an old PS2 game not easily playable anymore. It’s a meddled-with version of a PS3 game that already has an accessible PS4/PC remaster, which is being removed from sale for this. Major features are missing from the original. The story seems to have been changed in ways returning fans will take issue with, continuing a trend that’s upsetting more and more people. And to top it all off, this game (perhaps accidentally) is the tip of the spear of an effort to culturally rehabilitate a sex offender who is on the public record as going beyond “allegations.” Feels bad.

While a little rough around the edges in some ways, I had a blast with Don’t Stop, Girlypop! all the way through. It was nice and refreshing to play a shooter that wasn’t about ripping and tearing or doing weird military propaganda with bizarre concoctions of hyperrealism and Fortnite seeping out of monied crevices like bleeding gums. Instead, I bedazzled my shotgun like a true Y2K sicko without being asked for a single dollar. Some mechanics were a little funky, and the absurd (complimentary) flip phone dialogue segments were plagued with wooden acting, but the moment to moment chaos was a hearty dose of arcade-style energy disguised as an arena shooter.

MIO: Memories in Orbit takes place in a fascinating world, and its story is often beautiful. If there was no combat, it would be a substantially better game. But there is, and it is not. Like all Metroidvanias, MIO: Memories in Orbit asks you to imagine the Vessel as a place that was once wondrous. But I could not imagine a world where I was happy to play in its ruins, no matter how beautiful what’s left of it was.

Long story short, Phila Fantasy is cute. It’s a neat, simple action-RPG that sets out to do a few things, and accomplishes them well enough to offer a dozen or so hours of fluffy entertainment. If you like to run around a new world, bonk some monsters, and make some numbers go up, you can do worse. You can probably do a lot better as well, though. If you’re concerned about the limited time you have left on this planet, you might come away from this adventure a little frustrated. But if you’re the type of digital adventurer who likes to dip their toes into everything possible, there’s a nice little chunk of video game to enjoy here. Just don’t expect to find your new favorite this time.

The Legend of Heroes: Trails Beyond the Horizon feels like a stress test. Turns out when you introduce a dozen different plot threads across several sets of stories set in different geographical locations, bringing them all together is a massive, unwieldy task. There’s fun stuff in here between the annoying parts, like really cool special attack animations, interesting character developments, crazy monster designs, and world-shattering twists. But I wish so much time wasn’t wasted on achingly boring expository setup, non-optional side content with next to no substance, and a combat system that’s in the middle of an identity crisis. Falcom has done a lot more with a lot less in the past, and all this excess is wearing me down.

Routine stands out. It targets a specific aesthetic, a specific vibe, and a specific cadence, and it pulls out every stop to land on those targets. It does so with striking accuracy, making technology that feels real and of this world despite its fiction, simply due to the ways in which you interact with it and use it to solve problems and progress the story. It runs at a slow pace that won’t gel with everyone, and its lack of interest in guiding players is an observable filter as well. But those interested in the hardest of hard sci-fi, the challenge of powerlessness against ever-present threats, and the patience for environmental deduction have six or so hours jam-packed with all that stuff ready for them here. Routine has a niche appeal, but wears it like a badge of honor.

There is a shocking amount of things to do in Where Winds Meet. If you’re into gacha or are just okay with trying something for free that is pretty rough around the edges, Where Winds Meet does have a lot of content that can be fun to engage in, especially with friends. If you’re just looking for a solo adventure with a good story to digest and cool combat, you’ll probably be let down, as Where Winds Meet doesn’t quite hit the highs that plenty of other games do in the action RPG genre.

While I’ve had fun with Bubble Bobble Sugar Dungeons, I don’t think it really succeeds at its own premise. It’s kind of a good time despite itself, with the core of Bubble Bobble’s unique, arcade-flavored gameplay shining through all the weird, clumsy roguelike stuff that doesn’t work well at all. Part of the problem is a bizarre balancing act and poor communication of what your expectations should be, and the other part is how annoying it is to have something inherently repetitive made artificially even more repetitive by making it structurally more punishing. More clarity and intuitive access to the upgrades would have helped a lot, and made especially the earlier hours feel less grindy and arduous. The roguelike stuff just ends up feeling not just tacked on, but limiting as well. But hey, if Sugar Dungeons sparks a craving for the real deal, Bubble Symphony is a perfect pack-in companion to satisfy that sweet tooth.

Call of Duty: Black Ops 7 feels more like Black Ops 6.5. Everything from the in-game UI, to the gameplay feel of the core modes, are hardly different from last year’s game. There are a few meaningful changes to Multiplayer and Zombies, but they don’t overcome some baffling design decisions, which are tied together by the worst Black Ops storyline to date. Treyarch, for my money, is still the best studio making Call of Duty games, but Black Ops 7 is clear evidence that Activision and Microsoft need to give them more time to cook.

Marvel’s Deadpool VR doesn’t hit the immersive highs as Batman: Arkham Shadows did last year, but it’s still a fun superhero romp from Oculus Studios. The developers at Twisted Pixel make great use of the Deadpool IP, and there’s no shortage of havoc to wreak if you’re just looking for an action-heavy VR experience.

Some surprising quality-of-life additions, like the simultaneous Doominate prompts, add to an already solid package in that area. Plus, it's always easy and fun to dive into games as an audience member. The Jackbox Party Pack 11 may not go down as Jackbox Games' best overall package, but the effort to mix up the party themes is at least appreciated.

I had a lot of hope going into Full Metal Schoolgirl. My pitch for the review was simply, “hello, I would like to play this because it looks insane.” It seemed like some fun silliness to indulge in, and when it got started, the promise of a cathartic, satirical takedown of our soon to be apocalyptic real-life labor structures had me ready for something special. Then the dreaded Loop kicked in, and I realized this was going to be several hours of grinding and unseasoned chicken-coded combat. So it goes.

It’s basically the kind of greatest hits-style structure you’d expect from a quirky, arcade-style franchise game over a decade removed from its last major entry (unless you’re in the Apple Arcade mines). It’s got everything you’d expect to see but more of it, lots of unlockables, music DLC, self-referential content out the wahzoo, so on and so forth. It’s a lot of fun even if Katamari’s trademark weirdness isn’t so weird anymore, and it doesn’t really seem to have ambitions to redefine anything (not that it needs to). Aside from the whole crown thing putting me off, it’s been a blast picking away at the experience piece by piece. And listening to Lonely Rolling Star in the menu. On repeat. A lot.

Despite having a lot of verbs, stats, tinkering, and codexes, Ball x Pit feels brainless. I’m just clicking on things to make numbers go up, because numbers going up is the only way I’m going to get through a level. There’s no clever strategy or hidden breakthroughs buried off the beaten path, which is weird in an action game based on pinball you can mold into turn-based combat at one point. For all the gimmicks, ideas, and mechanics Ball x Pit has up its sleeves, it’s so focused on Being a Roguelike it misses the forest for the trees and corners you with stats from the jump. While Vampire Survivors makes me sidestep my own tastes, Ball x Pit simply reinforced them.

I’m not sure King of Meat has truly captured my interest in order to keep me coming back after my work obligations are over. It’s a cute, welcoming multiplayer action game with a lot of challenges and interesting mechanics. But it also feels like I’ve seen pretty much everything there is to see after a few days of playing. Hopefully with time there will be more variety with post-launch content additions and a robust player content creation suite. I might not be around for it, but I’ll always be grateful for my awesome, new Discord server tag, a sword paired with a simple word: MEAT.

Will I come back to LEGO Party! over time? In this case, it’s not up to me, it’s up to the folks I played with. I will say that’s part because these are the people I play party games with, and part because I probably won’t suggest it myself. LEGO Party! is a fine enough virtual board game, and is a particular standout in the ways it uses that LEGO license to the fullest. From the look and feel of the experience to the themes and ideas in minigames, the developers thought of damn near every way you could possibly think to incorporate LEGO into a Mario Party competitor. What holds it back is both how closely it adheres to the Mario Party formula, and how rough and unfriendly the minigames can be from a gameplay perspective, especially for younger or less experienced players. It’s a cute romp, but not all the way there yet.

I’ve come to really dig Atelier over the years after kind of avoiding them for a long time (time limits stress me out, I’ll be honest), so much so that I’ve imported the physical trilogy carts for Nintendo Switch and even pre-ordered the special edition for Ryza 2 back when I had the means to do so. I say that to emphasize the weight of my words when I state how much of a step backwards on the series’ evolutionary trajectory this experience feels like. Atelier Resleriana: The Red Alchemist & the White Guardian looks and feels cheap (I hate to go there, but it’s unavoidable) to play, and is full of what feel like kitbashed structural systems clumsily molded into a single player game that suffers from its connection to a failed gacha joint. It bums me out to say it, but that’s the vibe.

What we have at the end of the day is a strange, silly game that is a little too sure of itself to stick its landing effectively. It stretches itself too thin to be consistently funny and its story is clumsily told despite its put-on air of poignance. It has its moments though, and for as grumpy as I was by the end I still look back at its early hours with some fondness. Watching a dumpy nerd slide down a muddy hill is pretty funny the first few times; it just doesn’t stay funny as long as Baby Steps wants it to.

If Cladun X3 was tuned just a little differently, it could have been a perfect time-killing grindfest for me. Being able to pick some characters, customize them to my tastes, then take them into little bite-sized dungeons for some numbers-driven dopamine has “good time” written all over it. But having to sit and tinker with the Magic Circles for gains that feel disproportionately small compared to the time I put in, while being quickly outpaced by how fast the dungeons scale up makes the pace feel arduous. I like grinding to a reasonable extent, but what Cladun X3 seems to be asking is a bit too much. I respect the wild level of creativity its customization tools have to offer, but the ways in which this game demands time in exchange for flimsy rewards make it struggle to actually capture my attention.

A lot of the fun you can have with Dying Light: The Beast is what you make of it yourself. Exploring the world, unlocking the safe houses, finding cool new weapon modifications and crafting recipes, and generally getting lost. Nothing about the experience was groundbreaking, nor was it as enthralling or immersive as other open-world games. Instead, it was good fun you can enjoy in short or long bursts, whether you want to sink your teeth into zombie hunting or chilling as you wander the wilds and urban spaces of Castor Hills.

Reviews aren’t the place to weigh in on how to fix things, so I won’t do that here. Deep down I hope the developers who are making this are kicking down Electronic Arts CEO, Andrew Wilson's, door asking for more time, budget, or anything really. Developers tend to be super fans who love making amazing games. I believe that about EA Vancouver, but this is not good enough and hasn’t been good enough for years. The players who return year after year deserve better.

Despite the early promise brought by its measured sense of style, interest in intellectual concepts, and distinct combat system, Varlet falls flat in almost every way. It’s still an eye-pleasing RPG experience with fun combat, but all of its surface elements are just that: surface elements. The whole game is dressed up as something it isn’t, which is a shame. I’d love to play the game Varlet presents itself as, rather than the sterile, conveyor belt production line version of a Persona-inspired RPG it feels like.

NBA 2K26 is a good basketball game. It’s got a great on-court experience, and some of the rough edges have been sanded down. Still, issues that have existed for years still persist. Philosophically, not a lot has changed. I’ve enjoyed my time with it more than I did 2K25 and 2K24, but I still yearn for a more well-rounded and fulfilling basketball experience.

Back to the Dawn is a fascinating game at first glance, due to its uncanny mix of prison, animals, and laid back music. But as you dive into its systems and figure out what your goals are, you run into a sort of identity issue. Does this game want to be open-ended or not? It’s hard to tell, and the rush to complete goals within a strict time limit betrays the offerings of things to do and people to meet. This confusion between what this experience does or doesn’t want to be, and a surprising lack of personality beneath the surface, both made my time with this adventure feel laborious.

The Rogue Prince of Persia has all the style and flair that's expected of this series. The art is spectacular, the combat is fluid, and the parkour is as captivating as any of the other games in the Prince's long history. The 2D roguelite approach is novel and works in some big ways, such as the Mind Map being used to push the story forward and unlock new stages. However, it does lead to static level layouts that inevitably feel stale after multiple runs. On top of that, the focus is often going to be on using any collected currencies to upgrade the Prince's weaponry and passive abilities, which means using that same currency for cosmetics seems like a sure-fire way to ensure I never see those outfits...Even with its faults, The Rogue Prince of Persia is another strong outing for Ubisoft's long-running franchise, still fresh off of last year's overlooked gem, The Lost Crown. Evil Empire continues to up its game and it'll be exciting to see what awaits the team beyond the Prince's Oasis.

When compared to the other golf juggernauts in the video game landscape, the physics are poorly executed. Swings, timing, impact, and reads are far too inconsistent and hinder the enjoyment of the realistic aspects of the game far too much. Combine this with annoying camera angles, bad textures, and grindy gameplay unlock mechanics, and the air gets completely sucked out of the room...The main saving grace for Everybody's Golf Hot Shots is that Wacky Golf is chaotic fun with friends, especially if you don't care about winning. If you're going into the game expecting this to be a next step in the evolution of the series, though, I hope you've got a pretty high handicap, as you're going to need it.

Despite its loud style, Shuten Order doesn’t land with the same explosive impact as its predecessors. It has a more tame energy, and seems more interested in being a true mystery story at the expense of Too Kyo Games’ more absurdist tendencies. That stuff is still in there of course, but it’s almost like Shuten Order takes itself a bit more seriously. And there’s something to that train of thought, especially since the biggest boon from its anthology-like structure is a greater emphasis on character development compared to games like Hundred Line or Rain Code. Many of the gameplay gimmicks ring hollow, with generic puzzles and busywork interrupting the stuff you actually care about and threatening to drag the momentum down. I mostly appreciated the novelty of this approach, especially as a fan of short stories as a format. Let’s just do without the slider puzzles next time, please!

The Knightling offers a colorful world, fun characters, some interesting gameplay gimmicks, and a lot of Stuff to Do. The downside is an overall lack of “finish” that makes the more intense gameplay feel unrefined and inconsistent, and an open world structure that doesn’t do much to distinguish itself from peers. It’s a fun, cheerful platformer with plenty of personality and ideas, but perhaps doesn’t achieve all its goals as intended.

Particle Hearts is a puzzle game that plays primarily like a walking simulator. On the one hand, its puzzles are mostly rudimentary, and its narrative isn’t one that will move the needle. On the other hand, the game’s emotion-filled music and unique world of particles make exploring it a visual and audial pleasure that doesn’t overstay its welcome.

Madden NFL 26 isn’t the game I’ve been dreaming of, but it’s a meaningful improvement over recent games and actually addresses some of the issues I’ve had with the series for years. I’ll actually come back to this one throughout the NFL season to screw around with rebuilds in Franchise mode, and the Switch 2 version will remain installed for the novelty of playing on the go.

Unfortunately, Drag x Drive just doesn’t deliver the joy and excitement that I expect from a game developed by Nintendo.

Confusion within the mechanics hold Ra Ra Boom back from being an excellent debut from developer Gylee Games, and an excellent example in its genre in its own right. From its punchy, wholehearted aesthetic to its ambitious combat, there was tons of potential here. Unfortunately, while I still had a fun time, that potential wasn't met as I ended up just sticking to the beat ‘em up basics to get through, ignoring the bells and whistles almost entirely after growing tired of wrestling with them.

If you’re coming in from the first game, and you liked that one, we have great news: Demon Slayer - The Hinokami Chronicles 2 is basically the same kind of experience, with some small but meaningful improvements. Plus, Training Paths is an excellent new mode that gives you something to do if you aren’t interested in multiplayer. The story mode still has a lot of padding that isn’t fun or interesting to engage with though, albeit operating at a brisker pace. Newcomers can expect an exciting adaptation of the anime relative to other games of its kind, and a shallow, but thrilling combat system that’s more interested in spectacle than challenge or raw skill. CyberConnect2 knows how to make an anime look rad and play well, and at the end of the day, that’s the assignment.

In theory, I understand why people like Patapon so much. It’s cute, there’s a primal satisfaction in staying on beat, and the shrill “Pata-Pata-Pata-Pon” chanting along with your commands is something I can see being infectious in a Tetris Effect sort of way. But every time I played, all I could think was, is this really it? This is the PSP’s premiere music game that everyone loves? Parappa was sent to cross the rainbow bridge for this? How can I be this bored playing a game about music? These questions may haunt me forever. Or at least until I go back to the local arcade for a few rounds of Pop‘n Music.

As it is, Wheel World delivers what its premise suggests and that's a relaxing bike ride — nothing more, nothing less.

Multiplayer, to its credit, does offer more variety. You can play modes like tag or capture the flag, for example, in addition to the sandbox play. These are fun, but feel more like side attractions to the main way to play. And without more built-in motivation to keep engaging with the game, multiplayer doesn’t magically patch that breach in the hull.

Survival Kids is an interesting take on a popular genre, one meant for a much younger audience. At the same time, kids have been growing up on Minecraft for over a decade, so Survival Kids may not be giving the gaming youth enough credit. There are some neat ideas here, but ultimately the experience is a little too shallow for exciting play, regardless of how old you are. And retro gaming enthusiasts who may have been excited for an actual, new Survival Kids are going to walk away immediately.

While I wish that Splitgate 2 was a stronger, more confident evolution of the awesome concept presented in the first game, I can’t deny that I had some good fun just hopping in and shooting around for a few matches every night. Battle royale ultimately feels derivitave, but the modes I actually enjoed were able to scratch that FPS itch. I wish it was the kind of shooter that I could get completely lost in, but it’s not that. Still, it’s among the more interesting options in an arena shooter genre that’s pretty barren right now.

Bambas! has style and heart, but without clearer direction or refinement, it ends up walking in circles.

Survive the Fall is a fun game that does a lot right, but its rough edges, bugs, and optimization issues also mean it never reaches the heights it could. There are a lot of good ideas here, and patient fans of base management and survival games can find a lot to love. Sadly, that love is not unconditional, and your patience may be tested sometimes while playing.

There’s enough variety to the levels, both visual and otherwise, to keep things interesting, and Sandman Team does a good job of iterating on concepts in interesting ways while ensuring they don’t overstay their welcome. Through the Nightmares isn’t a long game — you can get through the whole thing in about five or six hours — but it is a good one with a unique concept, and it feels custom-made to be played in short bursts. It gives just as much back as you put in, and I appreciate that in a platformer like this. It probably won’t change your life, but it might just get you through a couple of sleepless nights. Sometimes, all you need is a little help from a friendly Sandman to make it to dawn.

As it is now, Battle Train is a fun ride, but maybe not everyone should ride these rails just yet.

I like the Tron universe. I’ve been following it since the beginning and have played quite a few games within the IP throughout the decades. Tron: Catalyst’s biggest problem is that it just doesn’t do enough to stand out in the series. The combat and look of the game are boring. The atmosphere and music are detached and out of alignment with the story. The light cycle is fun, but you’re very restrained in where you can use it. And ultimately, while the time loop makes the story and progression more interesting, that arguably worthwhile story is attached to a fairly humdrum action game wearing all of the expected components of the Tron aesthetic.

I wish the writing was a bit less shallow, which feels like a side effect of trying to cram so much in a small space and doing so with a sandbox-style structure. Visual novels benefit from guardrails preventing them from catering too much to the player, and Date Everything abstains to its own detriment. But it’s still cute and fun, and there’s no denying the dopamine hits and humor from each new character reveal. Sassy Chap’s debut game is a commendable effort, and more like this can only benefit visual novels as a whole.

I enjoyed my time with Welcome Tour. Just be aware of what you’re getting if you decide to buy yourself a ticket to this, Nintendo’s other museum. It’s not a bad game, it’s just not entirely a game; that, coupled with the higher cost if you want to experience all the program has to offer, results in a product that won’t be for everyone.

Kathy Rain 2 isn't bad. Its puzzle design is excellent, and Clifftop's artists made one of the best-looking pixel games around. It just doesn't live up to its full potential and plays more like a quick homage to classic genres than a well-considered mystery thriller in its own right.

There are things I respect about Tainted Grail: The Fall of Avalon. Its soundtrack, for one, is uniformly pretty good, and the game’s ambition is undeniable, but I can’t really say I enjoyed much of my time playing it, moment to moment. Occasional striking vistas and questlines can’t make up for a world that feels pretty inauthentic in its representation of a fictionalized version of Celtic culture, and the way you are forced to constantly wander it to complete straightforward missions makes it a space that is hard to enjoy exploring. And while there are interesting roleplaying narrative beats, that is rarely reflected in gameplay that railroads you into one of two playstyles.

Veterans of the series should only consider F1 25 if they're specifically interested in the expanded My Team mode or invested in the next chapter of Braking Point. Otherwise, if you're satisfied with F1 24, there's no pressing reason to upgrade this year.

It’s a bummer, because when Scar-Lead Salvation actually gets around to where it wants to be, this game can cook. The boss fights are awesome, the rooms that actually fill up with enemies really test your knowledge and reflexes, and again, the basic gunplay and combat mechanics feel great to engage with. It’s all the other structural stuff that really holds the experience back, and makes me wonder if this project really needed to be a roguelike at all in the first place. For a game that is clearly inspired by Returnal, we seem to have really missed the forest for the trees here. But points for trying, especially from a set of studios that haven't played in this space before. I’d love to see another shot, no pun intended.

By the end, Deliver At All Costs reminded me of the 2000s, where a good idea wouldn't realize its full potential, but it was still good for a few hours of entertainment. This is a game that would have fit in wonderfully in that era. In that sense, this game does offer a sense of nostalgia, just like its 1950s setting.

Blades of Fire is probably going to end up as one of those games people refer to as a PS2-ass video game (complimentary), and I feel that. It’s a kind of game that feels out of place in time, but benefits from its accidental time travel by doing things a PlayStation 2-era console simply can’t. And in turn, it benefits from not being beholden to several more decades of convention that burden so many games coming out today, in a much more risk-averse and audience-starved environment. In that respect, Blades of Fire is pretty cool and interesting. It also annoys the bejeezus out of me at every possible opportunity. But I’m glad I played it, which is way more than I can say about Samus Returns.

Calling Tempest Rising "familiar but fun" sounds damning, but it's the most accurate way to describe it. Most of what Tempest Rising does, it does very well. There's nothing particularly exciting about it, and it's all been done before.

Skin Deep is a neat, little game that takes recognizable gameplay conventions from immersive sims and repackages them into something smaller and sillier. Rather than gathering garbage, crafting endlessly, listening to pretentious audio logs and grappling with awkward combat physics in dark corridors, you’re doing similar things but in a framework more like The Three Stooges in colorful boxes with weird, blocky cats everywhere. It’s familiar yet distinct, and legitimately funny despite repeating the same three or so jokes over and over again. Combat’s still fumbly, though, and the parts asking you to do more of that are a buzzkill.

To its credit, Steel Seed doesn’t overstay its welcome. You can clear the whole thing in about twelve hours, and nothing here (well, aside from the combat) is bad. It’s just dull. Storm in a Teacup clearly knows how to make games and knows what they’re doing here, but it’s such a mismatch of parts from so many other games that none of them really manage to come together in a coherent way. Steel Seed never finds its identity, which is a shame because Storm in a Teacup is clearly a talented developer who understands how to make games. But Moran was onto something when he said that technique wasn’t as important as conviction. Zoe may be the chosen one destined to save the world, but the game around her never really feels like it's convinced of it — or itself. And if you can’t persuade yourself of the story you’re telling, it’s damn hard to convince anyone else.

This sounds like a bunch of different parts stacked onto each other like Lego bricks, and that’s kind of true. In some ways that’s vibe with games like Danganronpa or Master Detective Archives. But there’s a sense of each piece working together in those games to form a fully realized whole. In The Hundred Line -Last Defense Academy-, the visual novel and combat parts hit that target, but the social and resource-gathering elements don’t. And those parts happen to eat up a ton of extra time that grows increasingly obnoxious as you explore the narrative. That stuff is padding that loses more and more substance the longer you play and the more you do a thing I can't really talk about here. That’s a weird sentence, but you’ll have to trust me on that one, just like the kid being told by a cartoon ghost to stab himself in the chest with a magic knife to save the world.

When a game like Lost Records: Bloom & Rage shows such potential, I feel a grander sense of disappointment when it doesn't stick the landing. The game's characters aren't going to be everybody's cup of tea, because they can be over-the-top at times, but their love and friendship made me fall for them despite their imperfections. The refinements in the formula that began with Life is Strange ten years ago make this story resonate more, because you gain a more intimate insight into everybody's mindset.

For what it is, Disney Villains: Cursed Cafe is fine. It's a simple visual novel that gives some extra flair to some tried-and-true Disney baddies. I certainly had a good chat with more than a few of them, but it wasn't something that could hold my attention for very long and was made worse if I felt like I made a mistake and had to blow another 5-10 minutes to redo the day. Some people are made for the daily grind of potionista work, but maybe I'm just not one of them.

Putting aside the weird, tone-deaf childishness of the plot setup, Grit and Valor – 1949 is occasionally an exciting little strategy game. Some of its map designs and optional objectives force you to make the most of scant resources, and for all the challenge, it's refreshingly quick and easy to make up losses when you fail. It's just frustratingly shallow in its take on roguelike structures for longer than it should be.

Bleach Rebirth of Souls makes an excellent first impression, with cool, loud menu UI, amped-up music, and in-game action that looks fast and furious from a distance. But when you actually dive in to learn the game and experience all of its parts, the cracks show rather quickly. The mechanics feel unrefined and poorly balanced, and the story mode has a low budget vibe that betrays the new anime’s energy. Aside from impressive animations and a few distinct ideas, this isn’t the comeback Bleach fans have been hoping for over the last decade.

It's easy to write Khazan off as just another Soulslike at a glance, and it would be refreshing to see Neople create its own style and structure instead of just imitating a popular convention. However, Neople went further than most Soulslikes and actually innovated with its take on the genre's combat. That's a big positive, seeing as there's not much else to Khazan outside of battle, but at least all the time spent in combat is enjoyable.

As a Metroidvania-enjoyer, I largely had a good time with Inayah - Life After Gods. There’s a creative world to explore, some truly impressive art and animation, and the weapons doubling as your door keys and fake sequence-breaking gadgets was awesome. Combat was a real downer, though, and the awkward map and enormous rooms made for some unpleasant backtracking. Even if you don’t end up in a goofy situation like I did, you’ll feel the pace dragging down. It’s probably a good idea to start with the sword.

I see and respect what Bubble Ghost Remake attempted here. Take an obscure game, reimagine it, make it big and beautiful, and offer something fresh to puzzle fans. But as it turns out, “bigger” was a crucial mistake. Not everyone will see this and seek out the original, but if they do, they’ll plainly observe how a smaller, stage-based challenge structure turns something kind of wonky and frustrating into a true hidden gem. And considering how my biggest takeaway is how grateful I am to have Game Boy Bubble Ghost in my rotation now, I suggest anyone and everyone do just that.

FragPunk is launching in a strange, unbalanced state where it actively undermines its best features and doesn't quite know how to build on its own strong foundation. It's still fun, a more casual alternative to something like Valorant, but there's a definite sense that FragPunk isn't living up to its full potential. Hopefully, NetEase can work out a way to sharpen its focus in future updates and clean up the awful menus.

Just like its impressively long and unwieldy title, Atelier Yumia: The Alchemist of Memories & the Envisioned Land is a messy game. But it’s a messy game with lofty ambitions and a lot to like, even if which pieces you end up liking are not the pieces you expected or wanted to like, especially if you’re a returning Atelier fan. It’s also hard to recommend Yumia as a starting point despite its apparent interest in being one, when I can point to Ryza as a strong foundation that manages to justify itself as a three-part arc that never overstays its welcome. What we have here is an RPG that casts too wide a net for its own good, but has a lot of cool ideas and hits enough different notes in different ways that still make it worth playing. For folks willing to engage with a flawed experience in good faith and put up with some janky bloat, Atelier Yumia has a lot going for it. But those looking for a more realized vision that cleanly hits its targets will likely lose patience.

I want to be clear: despite all of the technical issues Slime Heroes has, I think it’s a good game if you’re playing alone. I have high hopes for the co-op once it’s fixed. It’s charming and cute and playing with the spell system is a good time, and it has the ebb and flow of combat that makes Souls-likes fun. If you’re looking for a kinder, gentler Souls-like, Slime Heroes is the game for you. It just feels unfinished. I hope Pancake Games gets to fix it, because this is a hero’s journey you should be able to take together because… y’know, that’s kind of the point. Nobody saves the world alone.

If it wasn’t for the tortuous combat I probably would’ve loved Omega 6: The Triangle Stars. It’s weird, it’s funny as heck, and it has ample Nintendo charm despite not being a Nintendo game. It almost feels like the team at WarioWare, Inc. made a whole game instead of a sketchy microgame. But for as much as I enjoyed exploring the world, meeting the goofy characters, and solving puzzles while uncovering the story, the overbearing presence of the worst rock, paper, scissors gauntlet ever made clouded the whole thing. I figured combat would be a silly minigame I’d run into on occasion, but instead it was a massive, unavoidable part of the equation. If Omega 6 was a pure visual novel I would’ve loved it. It’s still neat, but now I just want to read the manga when it comes out in English later this year and never look back.

Stories from Sol: The Gun-Dog is a remarkable tribute to PC-98 visual novels and hard sci-fi anime of a specific vintage. The visuals are pitch-perfect with multiple settings that offer different vibes, and the soundtrack is a complex beast of speaker-straining chiptunes that enhances the mood even further. But this is a severe case of style over substance, and the storytelling does not deliver on the promises being made by Gun-Dog’s immaculate presentation. I had a decent time but walked away massively disappointed, feeling like I had been tricked into watching a Disney Star Wars spinoff by someone promising the next Armored Trooper VOTOMS. I’d be totally willing to check out what’s next from this team, but with massively tempered expectations.

Ultimately I enjoyed my time with Spirit Swap: Lofi Beats to Match-3 To, due to its colorful visuals, relaxing soundtrack from Meltycanon, and familiar puzzle gameplay. But the overall experience feels just a little too breezy to make a lasting impact. The writing is cute but shallow, and the puzzle action feels like it’s barely interested in being there. The vibes are pleasant, but I feel like I’m left wanting for more substance. A little more pizazz to the gameplay or depth to the storytelling, and we’d have something special here.

I hope this doesn’t read too negatively, but the build I played had all the makings of a great game but was held back by small technical issues here and there that just kept piling up. If you’re intro Metroidvanias with tight combat, there is a lot to love here but unless you can forgive some jank, I recommend at least waiting for a couple more patches before you dive into this one.

I can’t make heads or tails of Eternal Strands. If we talk about polish, art direction, music, and combat I think it is a great title that will entertain for quite some time. But once all was said and done, I struggled to remember anything aside from a few cool combat encounters. The progression system aside from spells is a little uninspired, and the story outside of its charming cast isn’t much to write home about either. If you want to know if this game is for you or not, I highly suggest you give the demo a go. If you like what the game is putting down after completing that, I think you’ll enjoy it. If you don’t, I doubt the rest of the game will make you fall in love with it either. While I’m walking away from Eternal Strands with my hunger sated, I would’ve liked more adventurous appetizers and a dessert alongside the filling main course.

As someone who plays a lot of games, it is very rare to question “Why am I doing this?” “Why am I getting platinum trophies?” “Why am I levelling up every sub-class?” “Why am I prestiging?” We do it because it's fun, or satisfying, or because it will reward us in some way. Orcs Must Die! Deathtrap had me questioning those rewards and that satisfaction in a very fundamental way. I have leveled up characters, beat hidden bosses, and gotten golden gun skins… But to what end though? So I can do it again? So I can move the boulder ever slightly further up the mountain before it slides back down again? For most games, we do it because the answer is, “It's fun.”...Simply put, the act of playing Orcs Must Die! Deathtrap is not fun enough to abate that existential question from rattling around your head while you play.

Lonely Mountains: Snow Riders is about chilling out, chasing personal bests, and enjoying the bone-crunching hits that ensue. Ironically, that means this game is at its best when it isn't so lonely. Grab some friends and hit the slopes, but maybe wait for a few patches first.

It's not a game for everyone, and unless you’re into the franchise or are looking for a more casual extraction shooter experience with science fiction flavor, it won’t turn you into a believer in either.

Phantom Brave: The Lost Hero is a clumsy-feeling game, but its scatterbrained energy comes from an admirable place of bucking standardized gameplay conventions in a genre that doesn’t budge often. The first game had some interesting ideas back 20 years ago, and those ideas are streamlined and expanded upon, without losing that experimental feeling. Its systems are as grindy as they are weird though, and the writing mostly being on the happy-go-lucky side isn’t going out of its way to yank you along. Instead it wants you to relax and tackle things at a slower pace, which feels good until it starts exposing problems. Anyone who loved the original (greetings, fellow 30 or 40-something RPG dork) will probably have fun here, although the rounded edges may be disappointing. For anyone else, I’d say go for it if you’re specifically looking for something new and novel. Come in prepared to be overwhelmed at first; if you make it over the hump there’s a solid adventure on the other side. It's a perfect use case for a demo, and sure enough there is one.

I’ve played another game from this developer, Summer in Mara, and I can see the rich world-building the team is developing across all of its titles as characters from Chibig’s other games made guest appearances in this one. I’m not sure everyone will have the appetite for the fetch quest, back and forth nature of Mika and the Witch’s Mountain, but I found the map size to be appropriate to balance that out. While it may need a little more time brewing in the cauldron, Mika and the Witch’s Mountain was a fun ride and just goes to show that Chibig is one developer worth keeping an eye on.

At every point, Dynasty Warriors: Origins tells me how important I am, how crucial my role is, how the battles would have been lost without me. It is hollow, all of it. I am the most important man there is in a story that I cannot change because this is the way the story goes. I am a peacemaker who brings peace through slaughter. A weapon to be wielded to tame a violent nation. I am a gun. And God help me, in the moment, as I land the attack that I know may be killing the kid I made my name saving, fighting for men who go against everything I believe, it feels good. And that is Origins’ greatest failing.

Those who haven't experienced Donkey Kong Country Returns in the past owe it to themselves to try it out. It's a masterpiece with inspired level design, a beautiful art style, and fun that can be experienced alone or with a friend. However, those who have already taken this journey on Wii or 3DS won't really find anything new in this barrel of monkeys. It's safe to go back in your treehouse and wait for Donkey Kong to return again.

It really is the quintessential Vita game. It tries a lot of things, hits really hard on a few, and everything else doesn’t quite come together. It’s from before even Capcom struck gold with Monster Hunter World, still figuring things out and building momentum itself. The gameplay along can sustain hours of squadded up, monster wrangling, gear upgrading fun. But the storytelling really whiffs despite a strong start, disappointing more as a result. And in terms of interesting stuff going on besides the main loop, Freedom Wars fails to find the sauce as well. This one is here for a good time, but not a long time. I should probably go to jail myself for that one, yikes.

Animal Crossing: Pocket Camp Complete does a great job at taking the freemium version of the 2017 game and offering a more complete package, albeit at a premium price. For those that never had the joy of setting up camp when it first came out, this could very well be your next mobile game addiction. But for me, there just isn’t enough here to warrant diving back in with the same fervor I did seven years ago. While this collector goblin is glad she’s got all her digital knicknacks stored in-game, it’s time for this tired camper to find a new place to rest.

I liked most of the systems Tokyo Clanpool offers, especially how they all revolve around each other. Synergy in RPGs is great! The only problem here is that combat proceeds at a ludicrously slow pace, and doesn’t have much in the way of flourish. It’s mostly slowly-scrolling text in front of wobbling enemy art, with chibi character portraits occasionally appearing when something cool happens. But they just kind of appear and vanish without doing anything, once again giving off a low budget vibe regardless of what the budget may have actually been. I ended up holding down the fast-forward button for most combat encounters, which is a bad sign for a game that’s mostly combat encounters.

If there is a piece of good news here, I feel confident that Asobo will continue to resolve these issues and, given enough time, we'll end up with a Microsoft Flight Simulator that is as stable as 2020 and benefits from all the additional technical improvements. We're not there now though, and now is when folks have spent their money on this product. The '2024' title feels premature; this game needed another 6-12 months of development and testing. It's apparent that it's simply not ready and much more work is required before it is. Flight simmers now have to decide if they want to go back to 2020, like many have, or be the beta testers for 2024 and accept that it'll take time before things are better.

It’s tough to recommend Flint, though. While I did enjoy combat well enough, there was no real payoff for it. I didn’t care for why I’d win in battle or what that meant for the characters and the overall story. If you’re looking for a deep narrative adventure, this is probably not the game for you right now, but if you’re really itching for more strategic turn-based combat, or just really love the pirate setting, maybe consider giving Flint a try.

It’s a bummer combat feels like such a swing and a miss, because everything else about Fairy Tail 2 feels like an improvement from the first game. It’s a more full and lively-feeling experience, which is crucial for adapting something like a beloved anime series. The playable roster is larger, and a multi-pronged skill tree system allows for lots of customization for each character’s skills and passive abilities. As it stands, fans of Mashima’s fantasy epic will still probably have a good time seeing this version of the story through (and checking out the new epilogue!), but Fairy Tail 2 doesn’t get any closer to must-play status than the previous game, and oddly enough for different reasons.

While the best fitness games are designed for people who play video games, Fitness Boxing 3 feels like it was made for non-gamers who may happen to have a Switch in their home. Sure, it gets you moving, but there’s not much there to make the idea of exercising first thing in the morning remotely appealing.

Taking the time to farm elemental resistant accessories, equipment upgrades, and stronger skills, setting up your party loadout just so at a save point, then watching your team get ragdolled anyway all while you’re several levels above what the game says you need completely overshadows the effort put into the careful, puzzle-like design of each boss. Which is a shame, because if those fights weren’t so egregiously overtuned in such an unproductive way, the stuff actually holding up Fantasian’s systems would’ve really shined. The criticism from before clearly had an impact, but even with the adjustments there’s still moments where this game isn’t fun at all to engage with on its given terms. Even everything else, from Uematsu’s thematically apt soundtrack to the super neat diorama visuals, is hard to enjoy when your brain is bogged down by constant dread. Fantasian Neo Dimension has a distinct vibe and a lot of cool ideas, but over-commits to its idea of challenge such that it buries its own nuances under a pile of big numbers.