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.

Code Vein 2 is here, and it carries on much of the goodness from the original, while expanding into an open world design that becomes even more complex with the layering of time travel and eras set on the same map. It doesn’t hit on every level, but Code Vein 2 is still a solid sequel with a story that pulled me in and made me care, just like the first.

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.

Mario Kart World features the most detailed gameplay mechanics ever featured in series history. The game embraces Mario’s platforming roots with a new moveset for racers to reach new heights in tracks by jumping, grinding, barrel rolling, and wall riding to multiple pathways and shortcuts.

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.

Studio Folly and Toot Games have dealt players a good hand with Dogpile. Tetris dreaming is one thing, but it's another to see falling dogs in your sleep. It's a good problem to have, especially since they're all such good boys.

Ultimately, what do I score a game like Unbeatable that has such observable problems but some of the most heart-pumping emotional resonance I’ve experienced in games throughout this entire year? What cute, little video game review cliche can I lean on to help me out of this predicament? D-Cell itself offered a cheeky, little take at how review scores can be perceived, and I figure why not send that ball back over the net? I was thinking a seven at first, but Sonic Adventure 2’s problems are way more frustrating than Unbeatable’s. And I am a little shy as a person. So let’s go with that.

Skate Story is an insane love letter to the sport of skateboarding and the many cultures surrounding it. The game feels like an interactive street skating music video from the 1990s with a camera that creates epic and cinematic moments on every level, and a soundtrack from Blood Cultures that perfectly fits every moment from ambient chill spots to chaotic rhythms for boss battles. The visuals are accentuated by truly unique character models, wild art styles, a beautiful contrast of light and dark, and stunning set pieces.

When you find a village for the first time and it’s been completely destroyed, with no visible context on what happened or what you could have done to prevent it. When you go to grind a little to get stronger and the monsters are suddenly different and stretch you like a slinky. When you open the menu and the clock menacingly moves forward. Each hurdle is a part of a chaotic whole such that even figuring it out is part of the journey. Except for the cutscene subtitles. That part’s just a bummer.

It's honestly a shame that the story quality takes such a dip compared to previous games and can't complement the combat improvements. This is a game that trades in eight captivating character arcs for one mediocre one, and quality-of-life improvements like "The Story So Far" recaps at the start of each chapter can only help so much. There are very few exceptions in this game where you feel like a companion Traveler character has a satisfying storyline, but the rest of them feel faceless and interchangeable. Honestly, this series deserves better than that, especially given how much I enjoyed the game's town-building component. It's one step forward, one step back for Octopath Traveler 0. Or maybe that's eight steps forward and eight steps back? Really, who's counting?

My favorite thing about Sleep Awake is how it plays with its form as a video game to portray a conflict that isn’t a bad guy or a monster. You can’t just hit “falling asleep will kill you” with a pipe and move on to the next slobbering, gory metaphor for crimes you’ve committed, or zombie, or whatever. This is an internal fight for most of the story, and one that has no visible end. You and Katja start the game fully prepared to just kick the can down the road as long as possible, until the runway’s out and there’s nothing else you can do. That’s no way to live, but at the same time, what can you do in that scenario but live? The death cults are silly, but at the same time, ruminations on how humanity’s self-perceived resilience could work against it. That’s where Sleep Awake really hits. When the monsters do show up it stumbles, and feels more like a normal video game the longer it wades into the Whys and Hows. Not bad for a five-hour rollercoaster.

Despite the fact that Metroid Prime 4: Beyond is also launching on the original Switch, it truly feels like the proper showpiece for the Switch 2. The supreme gameplay design is beautifully complemented by the different input options, all of which are suitable ways to play through this adventure. The experience is bolstered by gorgeous visuals and spectacular performance regardless of how you choose to play.

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.

ARC Raiders might be a casual take on the extraction shooter genre, but it’s not a lesser experience because of it, quite the opposite. The defeats sting, but the pain of losing all your gear is softened by the approachable combat, player interaction, and the ARC enemies. And despite this approachability, the game has a gnarled edge. There’s texture to the world, a visceral tang and depth to the weaponry, and engrossing foundational systems that make the whole thing hurt so good. With ARC Raiders, Embark Studios has proved, once again, it knows how to deliver the goods.

If it isn’t broken, don’t fix it. I respect Tribute Games’ approach with Marvel Cosmic Invasion because it’s very much an extension of nearly everything Teenage Mutant Ninja Turtles: Shredder’s Revenge did right with just a bit of improvement and additions along the way. This big character pool makes the tag feature a delight, giving us more chances to experience some oddball and safe picks as we go. Meanwhile, with up-to-four player online and local gameplay on solidly working systems, it feels like another fun option for folks that want to get together and have an entertaining time with friends in a universe we love. Marvel Cosmic Invasion didn’t have much need to reinvent the wheel. It’s a well-tuned Tribute Games brawler that will fit nicely into game nights.

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.

Constance is a game about confronting your inner darkness. Its hand-drawn cartoony art style won me over initially. Its challenging platforming puzzles and boss fights that required me to fully utilize the plethora of techniques I’d learned throughout the journey kept me engaged and always felt satisfying to complete. This fluid and extremely rewarding gameplay loop alone solidifies Constance as a must-play platformer. The heartfelt story at the core of it all is a welcome added bonus.

Total Chaos is a game of extremes for me. I really like its combat and survival elements, but the action of melee and gunplay against the lesser enemies is less enjoyable than I would have hoped. There is also some noticeable jankiness that pulls away from its best elements. However, I was almost always enamored with Total Chaos’ set pieces, environment, and sound. The bigger scares in this game and the build-ups to them are great. It’s not often we see such a thematic change between games like the move from Turbo Overkill to Total Chaos, but I think Trigger Happy Interactive has built something quite fun with this game. It might not always be consistent, but when Total Chaos hits, it hits like a sledgehammer crushing a twisted figment of our warping sanity.

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.

Kirby Air Riders is a beefy Switch 2 racer that’s constantly shifting gears, and it’s a damn good time behind the wheel.

An old dub track sounding like an old dub track isn’t so bad, as far as what’s taking up the “biggest problem” slot for a release like this. Tales of Xillia Remastered is a totally competent, if not intriguing or surprising in some way, refresh of a niche PlayStation 3 RPG that was cool enough to get a direct sequel, even in the middle of its series niche era. Xillia’s base holds up, from its fighting game-like combat language to its colorful characters and focused story. Veteran fans don’t have a lot to show up for unless they’ve already been jonesing for a replay, but anyone who’s become a Tales fan in the years since have a new, easy way to play a game worth catching up on, and that’s worth celebrating.

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.

What I’ll remember about Demonschool are the little things: the jokes, the quiet character moments, when a fight clicks and what had seemed impossible becomes routine, the bliss of a plan well-executed. When I beat ol’ skeleton face from the opening paragraph, he and his minions barely touched me. Namako survived the whole thing with barely a scratch, and my whole team ended the fight feeling like they could lasso the moon. I came, I saw, I conquered. And you’d best believe I got that A rank. And then we did some karaoke. It was a good day.

Dispatch is my most pleasant surprise this year. In a pop culture landscape that’s littered with superhero parodies and deconstructions, Dispatch manages to carve its own unique path. The message that anyone is capable of doing good, regardless of where they came from or the mistakes they've made in the past, truly resonated with me. I’d be lying if I said I didn’t get a little emotional during the final credit roll...On top of that, it’s a hilarious superhero romp with satisfying storylines and characters that I am practically begging to see again. If this is the standard of quality that we can expect from AdHoc Studio, the interactive narrative genre is in good hands.

Ultimately, the Atelier Ryza Secret Trilogy Deluxe series is a treat for fans, and a brilliant new way for possible newcomers to jump into the best the Atelier series currently has to offer. It’s a perfect way to try Atelier for the first time, especially since you don’t even have to buy the whole trilogy upfront if you don’t want to. But it’s an excellent deal between the new content and upgrades, and even if the Switch 2 version isn’t the perfect edition I had in my head, it’s still a great chunk of RPG goodness for the new console. Regardless of the platform, Ryza’s three-part adventure was a big deal the first time around for real reasons, and the DX version only serves as a reinforcement.