It’s safe, but very welcoming. I can even see it developing into sequels if Microsoft chooses to support it and the fans embrace it, which I have no doubt will happen – some games are just made to cosplay. For those that were disappointed with Fallout 76 going online multiplayer, this is the single-player RPG you’ve been looking for. If you’re hankering for somewhere you can while away the hours talking shit, chuckling and prodding at the locals, you won’t be disappointed.

It’s a shame, then, that some of the level design choices don’t really pair up with the engine Toys for Bob has built this love-letter to 90s platforming games in. Loose and floaty physics, an abundance of different mechanics that often feel part-baked, and some design choices that feel sadistic – rather than simply difficult – leave this approach to Crash Bandicoot feeling less like a true sequel, and more like a licensed spin-off.

Shin Megami Tensei 5’s combat is great, punishing and rewarding in equal measure without ever tipping the scales too far in one direction. Mixing and matching your deck of demons makes for great fun as well, and spurs you to look to all corners of the ruined world for allies of all shapes and sizes. It’s everything outside of the battling and grungy soundtrack where Shin Megami Tensei 5 badly misses the mark, with one-note characters that you’re never given the chance to better know, and a paper-thin plot that feels dragged out over dozens of hours. Shin Megami Tensei 5 is a good RPG battler, but it’s not good at much else.

It has its moments, but like Jin Sakai in the opening hours, the past holds it back. It’s Open World: The Video Game. It’s far too easy, too - the lack of consequence for failure makes it feel like you’re just going through the motions. If you’ll excuse the wind-based pun, it’s a breeze. While playing it, I often found my mind wandering. By the third and final act, I just wanted it to be over. Like the samurai, Ghost of Tsushima feels like a relic of a bygone era.

If you do manage to hold out, you will be rewarded with flashes of brilliance, it’s just that those flashes are buried as deep as the core story is buried in the endless dialogue.

Though Hellblade 2 has the power to force your jaw open and give you goosebumps, too often the whole project ends up feeling like a very expensive tech demo – an absolute tour de force of technical achievement bogged down in its own sense of gravitas and mystery. Keeping you off the stick for so many of its most impactful moments, and not giving you enough to play with when you do have control, hobbles the potential of this visual and aural masterpiece enough to make the whole experience feel like it was constantly trying to find a foothold on that dread Icelandic scree, and never really getting to its feet until you come staggering over the finish line.

Ultimately, though, it’s down to a breathlessly dynamic battle system to provide Gears Tactics with surprises. Something as safe as setting your soldiers to overwatch, so that they can shoot at moving targets in the enemy turn, becomes endlessly watchable when those enemies can pinball between killzones, knocked about by bullet spray.

Pokemon Sword & Shield is all too often a bit disappointing, and in some places actually feels a little unfinished, but it also fully provides that warm, fuzzy feeling that one expects from the series. Crucially, even through frustration, never once did I think about putting it down, which is to its credit.

Pokemon Sword & Shield is all too often a bit disappointing, and in some places actually feels a little unfinished, but it also fully provides that warm, fuzzy feeling that one expects from the series. Crucially, even through frustration, never once did I think about putting it down, which is to its credit.

Pokemon Sword & Shield is all too often a bit disappointing, and in some places actually feels a little unfinished, but it also fully provides that warm, fuzzy feeling that one expects from the series. Crucially, even through frustration, never once did I think about putting it down, which is to its credit.

The problem is that, as many of us know, gacha games are inherently exploitative, and even though I'm confident in resisting spending any money on them, I still feel a bit strange about the pull I'm experiencing towards such a game thanks to a seperate, supposedly stand-alone RPG. Should you play Relink for a taste of Granblue Fantasy's world? I think so! But go in knowing that it won't give you everything you might want, and take it as it is.

If you like the sound of a deep RPG with extensive combat mechanics, Scarlet Nexus shouldn’t disappoint. If you are expecting something more akin to Devil May Cry, you might find the extensive storytelling gets in the way of the gameplay a little too much. With that said, you can still enjoy it if you’re not an anime connoisseur. There’s plenty of fun to be had for all players because it’s great once it gets going – but I fear it might lose people in its opening few hours.

Warzone is, like its skull-masked, kevlar-tucking “operators”, entirely solid. It bloody well should be, given its pedigree. But there is remarkably little interesting here – aside from flourishes like the sinister gulag section – to command our attention. It’s not particularly beautiful, and makes up for that with enormity. Sure, this is a CoD game we’re talking about, so fantastical theme park aesthetics were never an option, but nevertheless there’s a lack of character here that is in no short supply in other games of this genre.

The original Oblivion’s a great game, and this remaster’s a good re-packaging of it. It’s an excuse to fire up an Elder Scrolls title that doesn’t feel a million miles from contemporary yet again, but I’m still not sure we needed one.

It’s still worth playing, but Resident Evil 3 Remake is a step backwards for Capcom, coming off the back of one of the best games of last year. It’s gorgeous to look at, the jump scares will get you, and it’s like stepping into a comfy pair of slippers. But even though your feet are cosy, it never feels like home.

It’s undoubtedly the most spectacular VR game I’ve ever played, it’s got plenty of cool gameplay moments that show off the controllers, and it’s a full-on game to play through, but it’s also a bit tedious at times, and boring at others.

Slicing through mobs to trade up my weapons is fun, and sometimes an amusing line of dialogue makes everything seem great again. Gearbox could’ve done a lot more with the next installment in the Borderlands' series than this. It all got old, too quickly, and it made me just want to boot up Borderlands 2 with my friends again, instead.

As it stands on release, the best parts of Crimson Desert are buried deep under layers of absurdity.

Solar Ash deserves props for its world design, the fluidity of movement when you're in the groove, and the sense of scale on display, so it's somewhat painful to be down on it to the degree I am. It's not far from being a bit special, the kind of indie gem that everyone has to play, but it's unfortunately just not quite there. There's still a great deal of fun to be had here, and your mileage with the mechanics might be better, but for me Solar Ash is so focused on delivering flow, it forgot that you don't want to go on the same walk every day.

The presentational and balance problems ultimately don’t take too much from Bravely Default 2. There’s a brilliant game here, with heart, smarts, and an admirable adoration for the classics of the genre. Its charm cannot be denied – and it provides a helpful cushion against those uneven and rough edges. With that said, to embrace a cliché – this is absolutely one for fans of the genre, who want a difficult, system-driven RPG – and aren’t as worried about the visual presentation.

FIFA 23 is still utterly engrossing, wildly frustrating, uncannily realistic and very silly. It’s endlessly playable but, just like real football, the search for the perfect blueprint goes on.

Dragon Age: The Veilguard is full of heart and soul. It’s also got some great ideas. Conversely, many of those ideas feel like they struggle to get out of first gear - and those that do find it harder still to make it to third. Sometimes the cleverest ideas are undermined by other systems or decisions. Simultaneously feeling polished to within an inch of its life in places and utterly half-baked in others, it’s as baffling as it is engaging; as frustrating as it is fascinating.

Much of what you can experience in Rise of the Ronin has been done better elsewhere. Team Ninja picked the wrong edges to smooth off. Rather than go down the Elden Ring road of allowing freedom of exploration and discovery to balance out the challenge of combat, Rise of the Ronin instead takes a step backwards to the era of rigid open-world games that put players on treadmills, and train them to expect rewards when the bell rings. It's a disappointing change of stance from Team Ninja, and one that could leave them open to an unfortunately mortal blow.

Wild Hearts often feels like a game that doesn’t want to be played. It’s fussy, it’s janky, and it constantly trips itself up. An erratic gameplay loop, an absolute bastard of a camera, and some ill-conceived weapon gimmicks prevent Koei Tecmo and EA’s experimental hunting joint from ever really succeeding where its genre rivals have. It’s ironic that building is such a core part of this game: if this is the start of a series, Omega Force has laid down some important groundwork, but it needs to do make some serious structural revisions from the foundations up if it ever wants to look eye-to-eye with Capcom’s imposing juggernaut.

Watch Dogs fans and more die-hard anarchists among you might enjoy it more, but between the short storylines, underwhelming tech and mission types and the general “everything is on fire” vibe, it just doesn’t rate highly for me.

Overall, there’s still plenty of fun to be had in NBA 2K25, and I’d still argue it does enough to maintain the series’ place as a market leader - especially now PC’s finally on the next-gen version. However, there are just enough hangups that I don’t think it’s a slam dunk in terms of being a positive step forward, even if you definitely can’t label it just a retread of last year’s game.

If you’re looking to delve into a supernatural story laden with satisfying, tactile puzzles, then Fear the Spotlight is a grand way to spend two to three hours of your time this autumn. Though, if you were hoping for something that would keep you on your toes and have you losing sleep, you might be better off waiting for the other titles that publisher, Blumhouse Games, has up its sleeve.

Your mileage with WarioWare: Move It will inevitably vary. What do you want from this game? If you want the classic microgames experience, it isn’t really here. If you want a killer multiplayer game to play with the family over the holiday season (assuming everyone is able-bodied), it’ll be ideal. I can’t wait to play this more with friends. But I don’t see any reason to boot it on my own again any time soon.

Layers of Fear (2023) starts out strong with the story of The Artist, and loses itself amidst its own ambition during the story of The Actor. Bloober Team’s once meaningful exploration of a character’s descent into madness quickly becomes redundant amidst a sea of film references and blurred storytelling. Layers of Fear is certainly a cohesive remake that brings the original games together, and there’s no denying that it looks great, but its second act feels incredibly lost when contrasted against such a strong start. Layers of Fear (2023) is one major case of whiplash, that’s for sure, but it does showcase Bloober Team's potential to do good if it can nail down the focal points of the stories it tells.

The Master Books are bursting with interesting tidbits that helped me to contextualise each game and the storyline as a whole better than ever before, but there’s relatively little within the games themselves to make this a real must-have if you still have access to previous collections and releases.

Phoenix Point is all a little too like XCOM to move the genre forward in any huge way.

For all its inconsistency, Outsiders still boasts some of the most intense and exciting PvE shooting around - just sometimes it’s you in a puddle on the floor instead of the waves of nameless goons. It’s silly and nerdy and dark and takes no prisoners as it violently demands your attention from start to finish.

In its core mission, Sonic Superstars is successful. It recreates the foundation of 2D Sonic – some of the finest platformers ever made – well. Unfortunately, the new elements layered atop that are rather hit-or-miss. I personally don’t think this is anywhere near as good as Mania. But it’s good. In fact, it’s good enough that I expect fan debate about which game is superior to be fairly heated – which is a sure-fire sign that Sega is on the right track.

But whether you’ve grown up with Goku and friends, or you’re a first timer who’s never fancied sitting through 300 episodes without getting to play a part in the action, this is still a great way to experience the classic story.

However you feel about Evil West, the $50/$60 asking price is too steep for what’s on offer: the nature of its level design, limited enemy variety, and forgettable story will get in the way of your enjoyment, even if you’re only there for the combat. As engaging as it is, that action just doesn’t make up for Evil West’s shortcomings elsewhere.

There's a lot to like in House of Ashes. It can look great (but also a bit ropey at points), the acting is largely excellent, and your actions (or lack of) can really impact the story. Yet, the game element is lacking, which in turn makes the gameplay sequences where you're in proper control end up lacking in scares. This is a fun time, especially if played in a group or online with a friend, but I was more afraid of button prompts than the monsters.

Zombie Army 4 is the reanimated corpse of gaming’s past, stitched together from the best bits of Sniper Elite. It’s a B-movie pastiche stuffed with classic movie references and thousands of heads (and bollocks) to pop. But most importantly, it’s a new game. A new, fairly-enjoyable video game in 2020 – what a concept.

It’s closer to puddle deep when it could be a lake or ocean given its cool premise. Or, to put it in a more Atomfall way, it’s a pasty that doesn’t quite deliver a filling that matches how tasty the pastry looks.

Stranger of Paradise: Final Fantasy Origin is a B-movie game. It’s loud, dumb, and full of fun. You have to ignore a lot – a lot – of issues if you want to extract the joy from its chaotic heart, but once you commit, toy around with the weapons, penetrate its poorly-explained mechanics and forgive Jack for his one-dimensional personality, you’re left with a game that’s part Devil May Cry, part Nioh, and part Face/Off. And let’s be honest, who doesn’t want to play that?

I enjoyed playing Hot Wheels Unleashed a lot. The racing is straight up fun thanks to a top notch handling model that really makes the most of some impressive powersliding mechanics. But I can't help but wonder what could have been had we not got a game brimming with DLC and tied, to its detriment, to uninspired track environments.

All in all, I came away pleasantly surprised by The Knight Witch. At a time where so many games are vying for your time and attention, a neatly packed present of an indie, clearly made by a team that knows what it's doing and a quirk not found elsewhere makes for a great refresher. While I don’t believe it quite makes the cut as a classic, nor will it make many game of the year lists, it is still well worth your time. Personally, I think Super Mega Team is a studio I'll be keeping track of from here one out.

Judged on its own terms, Call of Duty: Vanguard offers a solid, albeit predictable campaign, an engaging multiplayer with deep progression systems and satisfying gunplay, and a Zombies mode that will only serve as a minor distraction in its current state.

Like real world F1 at the moment, F1 24’s a bit of a mixed bag, but it feels like, if it can be built on going forwards, it could be the starting point for something you won’t feel quite as much like you can skip out on and not miss much.

Resurgence is the best Star Trek game since Elite Force. To expand on that, I’d say that Elite Force is the better video game based on Star Trek, because it’s a decent shooter (and there’s a handheld photon launcher, which is basically the most gleefully stupid thing ever conceived). But Resurgence is the best Star Trek Game. As an interactive adaptation of the popular television franchise, it succeeds. And though there are areas where it could do with more polish, where better decisions could have been made, and where I wish there was extra money to spend, all of that melts away when I consider that as someone who grew up watching The Next Generation, playing this game felt like returning home.

All that matters at the time of writing is the launch experience, though. Minecraft Legends is gorgeous-looking, and is thrilling in how it presents the Minecraft world from another angle. It also has a solid backbone for a captivating RTS. It just doesn’t go far enough, however - and the final result is a game that struggled to hold my attention the deeper in I got. It’ll be decent Game Pass fodder - but I can’t help but feel like this should’ve been so much more. It certainly won’t be for everyone, though I expect Minecraft-obsessed kids to have a blast regardless.

To a certain type of player, Legend of Mana is likely to be considered the perfect remaster. It touches up the visuals, but not too much. It makes quality-of-life changes, but preserves the original design and difficulty – warts and all. Some may find that preservation detrimental, with this twenty year-old game showing its age – but it does also make this the new definitive way to experience a classic.

Ultimately, the game's story is a fun one that does touch on some heavier themes, too. But it's the collective action at Spino that helps it feel special. Sand Land feels like a game that you can't believe wasn't originally released on the PS2. It's the fact that you can so strongly feel Toriyama within the game that that results in it feeling like a wonderful, imperfect send-off for one of the most influential artists ever. It won't knock your socks off, and I doubt it will be part of the game of the year conversations further down the road. But I don't care. I'm just happy to step into an old, but new, Toriyama world once last time.

If you’re after action and full-on horror, The Medium will likely leave you wanting, and considerably so. This is more of a slow burn, the twisted plot unravelling over six to eight hours. I found the pacing to be ideal, with the game throwing just enough moments of high intensity into the mix to keep things interesting. There is a big bad of sorts, but don’t expect traditional boss fights, with encounters being designed to be intimidating and scary rather than difficult. Bloober clearly wanted everyone to be able to see this story through to its conclusion.

Lords of the Fallen is a game of uneven quality. At its best, it offers level design, bosses, and combat that’s generally up there among the best Souls-likes. At its – more often – worst, it leans hard on quantity over quality, and a fundamental misunderstanding of what makes those games challenging. My issues with its balance and difficulty can improve with patches, and my misgivings about its design pitfalls are the sort of thing that sequels improve on all the time. It’s left me wanting to play Lords of the Fallen 2.

Flawed though it may be, sometimes a distinctly B-tier game is exactly what the doctor ordered – especially at this time of year, in a sea of mega-hyped triple-A. You have to know what you’re getting into, accepting the poor narrative and slightly botched execution of some of its cleverer ideas, but Code Vein still has a recent amount to like. Come for the combat and the intriguing blood code system – and stay for it. The rest? Well, hopefully it’ll be better next time.

It’s another year, another pretty mixed bag, even if it does feel like things might be trending in a slightly more positive direction. Here’s the thing though, like those Seahawks, things’ll only keep running in place unless Madden can offer some more meaningful change going forwards. Here’s hoping having the series’ cheeky sibling back on the block, with its marching bands and moral quandaries about exploitation, can help spur that shift.

There’s nothing wrong with a little nostalgia, but even by the time I’d faced down the Arch-illager in his tower – no more than a handful of hours after starting – I was already sick of Redstone Golem mini-bosses, and Dungeons seemed to have exhausted its borrowed ideas. Like Diablo, this is a game designed for multiple playthroughs on increasing difficulties, but few players will feel compelled to return to a seam that’s all dried up after a single day’s exploration.

It’s the sort of arcadey sports experience that doesn’t really happen any more. Most sports games now are simulations – so I’m so glad to get another game that carries the spirit of older, arcadey, more silly sports games. The adventure mode’s shortcomings don’t dent that significantly enough to stop me from recommending Mario Golf: Super Rush – but just don’t go in expecting an all-time-great sports story mode.

This isn’t to say there isn’t a good game oozing within the sticky flesh of this Frankenstein, though; it just feels like it’s not what Striking Distance wanted it to be. It’s not the next step in horror gaming, the evolution of Dead Space, or a proposition unlike anything you’ve seen before – it’s the opposite. An amalgam, less than the sum of its parts, whose main focus becomes overwrought and frustrating by the time you’re halfway through its short run-time. The scariest thing about The Callisto Protocol, sadly, is all the potential that’s been wasted on a small moon in Jupiter’s orbit.

If you buy Immortals of Aveum, know that there is a good time here waiting for you. However, I deem it likely that it'll be on sale rather soon. If you're starving for some magic in your FPS pick it up, but even with some mystical flair and an admirable attempt at bringing mystic arts to a very gun-heavy genre, Immortals of Aveum ultimately fails to reach the heights of your Bulletstorms or Wolfenstiens.

I still would recommend The Dark Pictures Anthology: The Devil in Me on release if you can handle the technical issues at present. If Supermassive Games manages to implement some updates and fix the performance issues, then I’d perhaps even recommend it – highly! – to seasoned horror fans. In spite of its flaws, The Devil in Me tells a riveting tale of a horrific killer in a thoughtful manner, opens up important discussions about human obsession with sanctifying spectacles, and it shows great potential for the future of the series. It’s just a shame about… everything else.

Personally, I’m genuinely excited for future Dark Pictures instalments. And I’m still playing Man of Medan, figuring out its hidden traps and machinations, despite my frustrations with it.

From a pure level design perspective, it’s a huge improvement over Wolfenstein 2. Unfortunately, it seems to have forgotten a lot of what made both New Order and The New Colossus such great games in the process.

So overall, with all things considered, is Rainbow Six: Extraction a good game? Yeah, it’s alright. For my tastes, it doesn’t quite go far enough in some places, and it has lost a bit of that identity that makes Rainbow Six games special, but if you’ve got a few friends who are curious about it then you’ll have a blast jumping into it. It retains that slow, methodical gameplay that is so addictive to a certain kind of player, so I have no doubts that this game will remain a weekly venture for a community out there, somewhere. Whether or not it can retain that playerbase is something we’ll have to keep an eye on.

But if you’re hoping to scare yourself senseless and expose yourself to plenty of shocking scenarios as a reagent for the Murkoff Corporation, with or without friends, The Outlast Trials is undoubtedly worth its retail cost of £24.99 / $29.99 (via Steam) at launch, but if you’re expecting a game that you’ll replay well into 2024 and beyond, I’d temper your expectations.

You can see the make-up of a good game at the heart of Thymesia, but it seems the team was only capable of delivering a prototype; the building blocks of something greater, before it tapped out. You can easily spend ten-ish hours with the game, and potentially longer if you decide to experiment with builds, but at $25 (or $22.49 with the launch week discount), it might be a hard sell.

It’s a suspense thriller that could’ve been written at any point in the last century, were it not for the gripping addition of player choice. In a month that’s seen Man of Medan push interactive fiction into multiplayer, and Telling Lies build on the investigative purpose of Her Story, there’s no comparable innovation here beyond those tactile controls that feel like you’re manipulating scenes in real-time. But there are shocking truths buried at Delphi House, and maybe that’s enough to soothe the soul on a long Sunday.

I am hopeful that 2042 will be a more interesting Battlefield game at some point next year, but having been through varying degrees of rough launches with this series - from BF 2142 through BF 5 - I can’t say I have the stamina to perform the dance of chastising DICE for technical problems and missing features, only to turn around and celebrate when the game is inevitably ‘good now, actually’ a year into it.

Exoprimal will be a rollercoaster of surprises for the majority of players. Making your way through the fifty-or-so matches it takes to hit credits, experiencing all the spectacle on display in this curveball of a game, is in my opinion worth the cost of admission for Game Pass users, and perhaps at a discount for all others. It'll remain a presence on my PS5 home screen, for now at least.

One thing I really appreciate about DioField is its length, however. Which is to say: it’s relatively short. By strategy RPG standards, anyway – Disgaea this ain’t. You can blast through the main narrative, with a smattering of side content, in around 20 hours. You probably won’t want to do much more side content, anyway, as it’s relatively uninspired. In this, to me DioField reads as a relatively short and experimental game. Which I’m fine with. To some, however, this might instead come over as bad value for money.

Look, if you want to jump around and punch people, there are hundreds of other games. If you’re really keen to play a DC action game, featuring a modern and admittedly brave step away from the big black bat, then Gotham Knights is fine enough. It’s just that in the shadow of former Batman titles, in the shadow of Batman himself, it doesn’t impress. It disappoints.

Despite these annoyances, despite the fact that it’s a game designed with decades-old sensibilities, I enjoyed my time with it. It doesn’t have the conclusion we’ve been waiting two decades for and it barely drives the story forward at all, but the climactic battle is as satisfying as that 70-man tussle in the first game’s harbour.

A-Train: All Aboard! Tourism won’t be for everyone. That’s not just because it’s part of a niche genre – it’s also because of the way it’s structured and the time commitment to truly get into it and dig deep into the ‘good stuff’. It never quite goes off the rails, but sometimes you’ll wish the journey could be a little quicker – and not everyone will be able to stick it out. If you manage that – and more fervent fans of transport sims should be able to do that – there’s a bit of a hidden gem here.

It’s clear that Respawn still has the chops to make a quality Medal of Honor game. There’s a lot of heart here, and an attention to detail that must be admired. With that said, it’s clear the studio had troubles accomplishing its goals in VR – and the result is a curious VR experience that’s worth experiencing, but equally is nothing like a VR system seller. It stands strides behind Alyx – but then again, so do most VR games.

In the cut-throat race for your attention, Forspoken feels like a new IP that’s trying to run full pelt alongside heavy-hitting franchises from other big publishers. But it ploughs, shin-first, through every hurdle along the way. Its stuttering start belies a combat system that’s worth investing the effort to learn, but takes so long to get up to full speed that it’s already on borrowed time.

It’s an extremely funny, well-made, and once-traditional co-op game stuck in a live service cage that makes it sadder and more tiring as time goes on. Will the most demanding content in the game convince players to stick around and actually engage with the ‘numbers go up’ systems? I don’t think so, but I’m not writing it off just yet.

Necromunda often oscillates between a brilliant indie gem and a frustrating mid-tier game. Some moments, it’s the best Warhammer 40,000 action game – as you mow down enemies and watch their skulls explode to its rocking tunes, and look stylish doing it as you chain grappling hook shots and double-jumps. Other times, you miss a major story beat because an important character’s audio mix was too low, or feel like you’re pixel-hunting for enemies like it’s Warzone.

Disintegration is a warts-and-all exercise in genre nostalgia. The squad shooter has been missing in action for so long, and it’s a pleasure to have it back, with an even greater emphasis on tactics. But the gruff storytelling and rough edges are a reminder of what we were happy to leave behind in the mid ‘00s – along with ugg boots and The Black Eyed Peas’ My Humps.

There’s a good game under all the rubble and perplexing business decisions (such as not giving it out in PS Plus Extra), but why should you put up with all these frustrations when the game doesn’t a have distinct identity and there are better alternatives available for free right now?

Shattered Space was a chance for Bethesda to do some stuff that’d make quibbling about where you can spend five hours building a little house surrounded by mineral extractors a lot less important than it was in the base game. It was a golden opportunity to take the great ideas Bethesda’d had when devising a faction that’d grabbed players’ attention, and bring them to life with a bunch of either the classic Bethesda magic, or a new mojo that the studio could carry on into the great games it may well add to an already storied legacy in the future. Instead, anyone returning to Starfield after all the time they’ve spent with what remains a very marmite base game will likely be left feeling much the same way they did about all those hours when they get done playing what could have been a home run return to star form.

There’s a lot to like and a lot to laugh at in Saints Row as you raise hell around Santo Ileso with your unique boss. Collecting clothes and cars as you scale up your network of businesses is compelling as you accumulate wealth and solidify your spot at the top. But outside of the super set-piece main missions, it’s easy to bounce off the more repetitive elements of the open-world.

Bloody Ties is a fun DLC, especially if you enjoyed the side activities in the main game, but it’s hard not to think Dying Light 2’s first expansion could have benefited from a bit more time - even after the delays - to help it live up to its full potential.

Those that have seen the secret ending for Kingdom Hearts 3 know that Kingdom Hearts 4 could very well be series director Tetsuya Nomura's attempt at making his vision of Versus 13 made real, but I'm so glad that we have Reynatis as another interpretation of that vision, and to be honest, I hope even more developers make their own interpretations of Versus 13. Reynatis is a reality based on fantasy, and though it's far from perfect, that's enough for me.