Pathologic 3’s great achievement is its reexamination of the series from a new perspective.
The road to Silent Hill f’s unnerving vision of hell is paved with tedious mechanics.
This seven-years-in-the-making sequel is a work of vast, idiosyncratic personality.
This middling survival horror game is just barely salvaged by a disconcerting narrative.
Hell Is Us searingly attests to the atrocity of wartime.
Art of Vengeance’s magic is in what it offers players willing to get ambitious.
Somewhat unintuitively, Sword of the Sea doesn’t really play like a skateboarding game.
The Mafia series goes back to its roots in more ways than one.
Across Ragebound, the action becomes breezy, even meditative, as muscle memory kicks in.
Donkey Kong’s return to full-3D platforming is an expansive, destructive triumph.
The game’s politics, like its labyrinthine world, gesture at meaning but find nothing to grasp.
What stumbles there are do little to loosen the game’s sturdy grasp of genre.
The real masterstroke of Kaizen is how seamlessly it eases you into its complexities.
Kojima’s magnum opus gets a bigger, weirder, and far more cohesive sequel.
Our favorite games of the year released thus far present a fairly strong argument for not rushing.
Expect more than one of these games to become breakout hits in the upcoming year.
Perhaps the best showcase of the Switch 2’s tech can be felt in the game’s nuanced physics.
The style of the game is far from the one that Remedy is known for.
The Alters is missing the skin-of-your-teeth hardship that defines a great survival game.
Nightreign is a thrilling roguelite riff on FromSoftware’s open-world masterpiece.
Pippit’s yoyo is the core of the gameplay, and it delivers trick after tightly strung trick.