It only feels right to begin this review with a confession: I am not someone who saw good reason for there to be a follow-up to the original Life is Strange game. I felt that way when Beyond the Storm was announced, and I felt that way again when Deck Nine revealed they would be continuing Max Caulfield's story with Life is Strange: Double Exposure. Though I enjoyed the first game well enough, I felt as if the ensuing titles that both Don't Nod and Deck Nine worked on--such as Life is Strange 2, Life is Strange: True Colors, and Tell Me Why--explored more interesting topics and boasted more compelling protagonists. To me, Max always felt a bit overshadowed by those around her--characters with intense flaws and strong personalities that drove the game's plot and imbued emotion into the story. And after playing Life is Strange: Double Exposure, and despite having high hopes that it might persuade me, I unfortunately still feel the same.

In Life is Strange: Double Exposure, Max once again feels only as interesting as the characters surrounding her, making her a driving force that isn't particularly compelling and a fairly flat protagonist. Even as the game explores her grief following the loss of Chloe (either via a painful fall-out or her death, depending upon your selection) and a new loss that occurs during Double Exposure's opening chapter, Deck Nine stumbles in giving these processes depth and emotional resonance.

Despite this weak thread, Double Exposure is, admittedly, a visually impressive game with some well-executed narrative beats, an interesting twist on gameplay, and some endearing characters. However, it ultimately feels too similar to its predecessor in a few frustrating ways and suffers from inconsistent story quality and writing; this makes for an overall experience that lacks a lot of depth and falls short.

It's incredible that Stalker 2: Heart of Chornobyl even exists. In addition to weathering the COVID-19 pandemic, developer GSC Game World was faced with the Russian invasion of its native Ukraine, kicking off a war that sadly still rages on today. While many GSC staff were able to flee the country, others were unable to, and some even continue to fight for their country on the war's frontlines. Amidst the terrifying sound of air-raid sirens and frequent missile attacks, people somehow persevered, continuing to work on the game at home in between volunteer work, all while suffering the loss of beloved friends, colleagues, family members, and pets. Even those who left Ukraine and began working at a new office in Prague weren't free of turbulence. Countless Russian cyberattacks, leaked builds, and even a fire that destroyed the studio's server room have all occurred over the past couple of years.

Yet, despite all of this, Stalker 2 is here. Its release is nothing short of a miraculous achievement and a testament to the people who fought tooth and nail to reach this point in the face of unimaginable hardships. The game that emerged from such horrifying events is one that boldly sticks to the studio's vision of a seamless open-world survival shooter, which the series has always strived to be. It's rough around the edges and uncompromising in a way that is sometimes off-putting. Yet the series' emergent gameplay remains intact and is further complemented by a fascinating setting and the most accomplished combat in the series so far. It doesn't reinvent the wheel, and at times it feels like you're playing a game straight out of 2010, but that's part of its charm and feeds into what makes Stalker 2 the quintessential Stalker experience.

If you're unfamiliar with GSC's post-apocalyptic world, each game takes place in an alternate version of the Chornobyl Exclusion Zone. Following the historical reactor meltdown of 1986, several laboratories were established in the surrounding area and began conducting various experiments. This led to a fictional second disaster in 2006 that mutated local plant and animal life and created phenomena known as anomalies. These strange, almost-supernatural occurrences cause valuable artifacts to appear, each containing unique and unexplainable properties. Stalkers come to the Zone in search of personal enrichment by recovering these artifacts, but they're not the only people who inhabit this irradiated area. Various factions exist within the Zone, from paramilitary organizations to groups of scientists seeking to understand the Zone, along with myriad bandits, religious fanatics, and outlaws who prefer to shoot first and ask questions later.

You really can't understate how historically important Dragon Quest III is. This is not just any JRPG--to players in Japan, it's the defining JRPG, a game that set sales records and truly made Dragon Quest an inextricable part of Japanese pop culture. To this day, it's recognized and referenced in all manner of media, and its wild success is the subject of both nostalgic fascination and urban legends.

With such a pedigree behind it, it's no surprise that Square Enix has seen fit to re-release Dragon Quest III numerous times, with this HD-2D Remake edition being the latest--and also the most lavish--to date. Logic dictates that a game like this deserves a red-carpet treatment. But unlike Final Fantasy, which is no stranger to changing things up in its recent sequels and remakes, the old-fashioned elements of Dragon Quest's gameplay remain untouched no matter what.

Of course, the biggest deal about this remake--which its very title proudly proclaims--is the use of Square Enix's HD-2D visual style. Previous HD-2D games like Octopath Traveler, Triangle Strategy, and the Live A Live remake have established a strong visual identity, using 2D sprites, 3D backgrounds, and scrolling and perspective tricks to create an ornate and cinematic style that makes them stand out.

Heart. Lungs. Liver. Nerves. As The Nightmare neared, her face covered in chipped porcelain and her presence like shrill static, these four words became a chant. The Paranoid--one of the many personas inhabiting the hero's too-full head--was the one uttering it, a reminder to the other voices in this malformed vessel that it was now up to them to perform what were once autonomous functions. Heart. Lungs. Liver. Nerves. The words were a pulse; the singular thread tethering this body to this plane of existence. But as The Nightmare grew closer, the desperate thrumming faded to silence. And then, the thin thread snapped.

In Slay the Princess, however, death is only the beginning: the start of a time loop that nearly always resolves in mutually-assured destruction. But despite the horrors you endure and the promise of death--repeatedly and oftentimes brutally--the game begins with a small, strange note: This is a love story. And as a love story, a horrific visual novel, and a work of narrative-driven psychological fiction, Slay the Princess is remarkable. The Pristine Cut further polishes this gem of a game, adding more depth and replayability to an already-brilliant title that is abundant with introspection, poetic (and often humorous) writing, stellar voice acting, and memorable art and music. Though there are still a few rough spots--namely some of its audio mixing and its UX design on consoles--Slay the Princess is a beautiful experience, brimming with emotion and cleverness.

The premise is simple enough and explained by both its name and its exposition: "You're on a path in the woods, and at the end of that path, is a cabin. And in the basement of that cabin is a princess. You're here to slay her." Naturally, this raises a lot of questions: Why does she need to die? Why am I the one killing her? What is the motive of the person instructing you to do this? As the protagonist's primary, guiding voice, it is up to you to explore the dozen or so prompts that emerge as each new piece of information is brought to light. Your every response and action--or lack thereof--determines and alters the path laid before the hero, as well as the many other voices that join you in guiding him as successive loops unfold.

After 20 years of tie-in games made mainly in one specific shape, players have been conditioned to know what to expect when they see the word Lego at the front of a game's title. Lego Horizon Adventures, however, diverges from some of what that naming convention may conjure in one's mind. It's not a stark departure from the dozens of games that precede it, but Lego Horizon Adventures alters the formula in a few noticeable ways. In the process, it cleverly reinvents its universe for a new base of players, though it struggles to build on its own revised formula consistently.

Despite using a zoomed-out third-person perspective familiar to Lego game players, Lego Horizon Adventures is a far more cinematic Lego game. This might not come as much of a surprise, however, considering how PlayStation has defined its brand by chasing Hollywood for the past 15 years. Gone are several Lego-game tropes, such as unlocking dozens of characters, or replaying levels with those characters to solve previously unapproachable puzzles. In fact, you'll hardly solve puzzles at all, save for a few very light platforming puzzles. Though you'll collect Lego studs to spend on rewards in-game, you won't be chasing collectibles like mini-kits or hidden items. Lego Horizon Adventures is instead a linear action-adventure game.

That has both advantages and disadvantages. On the brighter side, the game looks incredible. Lego Horizon ditches the series' typical style of brickifying only the playable area and giving the rest of the landscape, like backgrounds and foregrounds, a more lifelike look. In this game, everything is Lego bricks. It's somewhat subtle, but once I noticed that change, it partly helped explain how pretty it all is. By presenting a singular style, it feels like a real Lego set come to life in a way other games of this sort have never offered.

My first inclination is to figure out who everyone is, from the inmates lined up outside to the prison guards inspecting the now-empty cells. Some first names are uttered in dialogue or scribbled on the side of the cell block in graffiti. Surnames can be found in formal letters and employee logs. Now it's a matter of putting names to faces, repeating conversations I've already had or looking through my notes to see who's talking to or about who, perusing an obscured note in the boss's office, and rummaging through all of the inmate's belongings. Once I know who everyone is and in which cell each prisoner resides, I just have to figure out how one of them masterminded a daring escape.

Much like its predecessor, The Rise of the Golden Idol presents you with what is essentially a diorama of a moment in time--typically taken at the precise second, or in the immediate aftermath, of a crime. It's up to you to deduce what exactly happened by pointing and clicking through all of the available evidence to figure out--among other things--who was involved, which items are incriminating, and what the exact sequence of events was. Whereas 2022's The Case of the Golden Idol revolved around a slew of murders related to the eponymous Idol, the kill count in this sequel is decidedly lower. There are still more than a few dead bodies amongst its 20 cases, but you're also tasked with unraveling the events behind prison escapes, experimental lab tests, and the backstage chaos of a talent show gone awry.

Rise of the Golden Idol picks up 200 years after the events of the first game, as the grisly history of the Golden Idol follows the artifact from the 18th century to the semi-modern setting of the 1970s. Once again, you're cast as an observer of these strange cases; an omnipresent force given license to freely explore each tableau at your own pace, burrowing into people's pockets, opening any door, and using logic to piece together the lurid events of its interconnected story.

There's always been something endearing about Metal Slug. While its contemporaries like Contra ratcheted up the aliens and body horror, Metal Slug instead leaned hard into comedy, mixing its signature run-and-gun action with comically overbuilt machines, cartoonish villains, and a silly cast of action-hero cliches.

While there have been a few spin-offs over the years, Metal Slug Tactics is the series' first foray into turn-based strategy, and it comes with a roguelike twist. It's a mostly successful mission thanks to clever gameplay and maintaining the silly charm the series is known for, though some outdated tropes and too much of your success being outside of your tactical control keep this operation from being a total victory.

Tactics moves the long-running sidescroller onto an isometric grid, and the pixel art-inspired models do a great job capturing the look and feel the series is known for. Everything from the iconic POWs to the titular Metal Slug tanks themselves feel exactly like the original series translated to 3D. The isometric battlegrounds are littered with varied terrain, buildings, foliage, and other scenic elements that feel right at home, and bosses are exactly the kind of over-engineered machinery you would expect.

The Mario & Luigi RPG series started on the Game Boy Advance, and even many years and a few iterations later, it has always reflected a connection to those roots. The two-button Game Boy Advance was the impetus for the series' central hook: Each brother is assigned to a face button and you control them both at once. Even as the series has progressed to platforms with more face buttons, the core concept has remained defined by its initial limitations. Now brought to the Switch, Mario & Luigi: Brothership feels like a conscious effort to escape those limitations, resulting in a lengthy RPG that can't quite sustain its own weight.

In Brothership, several denizens of the Mushroom Kingdom are magically swept into the new setting of Concordia--a vast sea dotted with islands that used to be part of one contiguous land mass. A world tree of sorts, the Uni-Tree served as the tether that held all of the islands together, but it suddenly wilted and the islands drifted apart. With the help of a young researcher, you pilot a ship that houses a new Uni-Tree sapling, connecting islands and the Great Lighthouses that amplify its power to bring them all back together. So your ship comes to resemble a tugboat, with several islands tethered and pulled behind it.

It's a concept that allows for lots of different kinds of environments and stories on self-contained little islands. One might be modeled like a desert, while another is a multi-story corporate headquarters. The Great Lighthouses serve as major dungeons, so each of the acts consists of the smaller stories on each island, the larger story arc of the region, and then the Great Lighthouse dungeon as its resolution.

Third-person action game Slitterhead often presents a pretty compelling front. At first, it sounds like an out-there horror game with an inventive approach to gameplay. You play as a formless spirit that can possess humans, hunting vicious monsters capable of imitating normal people. Those creatures explode from the heads of their human bodies to reveal their true forms when discovered.

As cool as all those words clearly are, Slitterhead never reaches the promise of its premise, apart from a few gorgeous cutscenes where a human twists and mutates into a disgusting, multi-armed abomination. Instead, it's usually frustrating and repetitive, with its interesting ideas turning to gimmicks that wear themselves thin after the first few hours.

Those gimmicks feel like they have potential, at least at first. Slitterhead opens with you taking on the role of the Hyoki: a floating spirit that can zip into the brains of random humans populating the dense city of Kowlong, briefly taking control of their bodies. The Hyoki can't remember anything about itself or what it's doing, until it encounters its first slitterhead--which, after eating the brains of an unsuspecting victim, bursts from the skull of its host and chases you down alleys as you zap from one hapless soul to another to stay just ahead of it. The concept is weird, changing the way you think about characterization and physical gameplay space, and slitterheads are scary--it's a great way to start the game.

SaGa stands as one of Square Enix's longest-running series, but it's also had a rough time outside of Japan. If you pick up a random SaGa game, you'll probably understand why: SaGa games are JRPGs that don't do things in the way most overseas players would expect. SaGa tends to focus more on complex, interweaving systems of combat, character growth, and questing. And that's supplemented by narratives that tend to act more as connective tissue that link locations and objectives together instead of the sprawling, character-driven stories the genre has become known for. Wandering around blindly and piecing out what to do and how things work in a SaGa game can be incredibly compelling, but some entries in the franchise lean toward immensely frustrating. Romancing SaGa 2 is more the former than the latter, but its earlier releases were still an acquired taste.

Romancing SaGa 2: Revenge of the Seven is a full-on remake of a game many fans consider the series' apex--if not among the greatest RPGs of all time. If there's any game in the series that could reach out and capture a new audience in a way no other SaGa game has before, this is the one that could do it.

Romancing SaGa 2's story begins ages prior to the modern day, when seven heroes fought to rid the land of evil forces. Their deeds have become the subject of myth and legend, and as times have grown ever more troubled, the people have yearned for their return. In the recent past, Emperor Leon and his two sons hear rumblings of the heroes' revival, but soon learn the horrible truth--the heroes have themselves become agents of evil, and they slay both Leon and his son Victor in a vicious attack. Despite this loss, there is still hope: Inheritance Magic, which allows an Emperor to pass memories, abilities, and strength down to an appointed successor, beginning with young prince Gerard.

The best part of any Call of Duty game's Zombies mode is how it facilitates panic. The longer you play the round-based horde mode, in which the undead stream toward you from all directions, the tougher it becomes, and before long, you're sprinting around the map, trying desperately to stay alive as crowds of corpses shamble after you. Your only chance is to stop and fire away to thin out the approaching wave of undeath, hoping you don't run into any huge mutated monstrosity while your back is turned. Black Ops 6 is great at these moments.

Zombies in Black Ops 6 is a return to the best-known and best-enjoyed form of the four-player cooperative mode, which developer Treyarch originated back in Call of Duty: World at War and has been iterating on ever since. Gone is the approach from last year's Modern Warfare 3, a messy take that bolted Zombies mechanics onto elements of CoD's battle royale game, Warzone. What Black Ops 6 offers feels like classic Zombies but enhanced, with a bunch of small elements old and new added together to build out the experience in fun, engaging, and challenging ways.

The most notable change, and the one that works best with Zombies, is Omni-movement, Black Ops 6's adjustment to how you get around in the game. Omni-movement lets you move at the same speed in any direction, including sprinting, diving, and sliding, so you're able to change direction on a dime without losing momentum. It's a great addition to Zombies, where you will inevitably find yourself kiting a horde around the map as you fight to stay alive, only to suddenly realize that the path you're backpedaling down isn't as clear as you thought.

There's an argument to be made that speed is what makes Call of Duty multiplayer feel so good. As a franchise, the CoD games are great about getting you into the action as quickly as possible. When you shoot opponents, they tend to go down fast; when you die, you can be back in the fight in about a second. With Call of Duty: Black Ops 6, Treyarch leans into the speed of the franchise in just about every respect, starting with some meaningful adjustments to movement systems and ending with map designs that make sure you're never far from your next hail of bullets. Most of the time, those fast and intense battles are a lot of fun--but the design changes also result in Black Ops 6 feeling limited in the kinds of fights you're likely to face.

The major adjustment Black Ops 6 brings to the series is the Omni-movement system, and at least in terms of how the game feels to play, it's an excellent one. Omni-movement does away with the pesky natural limitations of a pair of human legs. You can run, sprint, slide, and dive in any direction, regardless of where you're facing or where your momentum would take you. It's kind of akin to the freedom a tank turret has from the vehicle beneath it, able to turn in any direction to address threats, but much faster and much cooler.

Omni-movement creates a really high degree of fluidity. The ability to move at full speed in any direction at any time makes it easy to quickly navigate maps and turn to address threats. The game never holds you back when it comes to movement, and paired with how fast you might gun down an enemy if you react quickly enough, or the speed with which they can shut you down, Omni-movement is an excellent improvement to your overall reactivity. This is a game that's about twitch reactions and sharp aim, and Omni-movement amplifies that twitchiness by giving you more freedom of motion in all cases.

You wouldn't know just from looking at it--with its vivid, comic book-esque art style and irreverent punk-rock tone--but Redacted (officially styled as [REDACTED]) actually takes place in the same sci-fi universe as 2022's The Callisto Protocol. While that was a third-person survival-horror game trying to capture the same magic that Dead Space bottled up over a decade and a half ago, Striking Distance Studios has taken a wildly different approach with this spin-off, repurposing various elements from its debut game to create an isometric roguelike dungeon crawler.

It's a drastic shift for the young series, ditching the grisly melodrama and Rock 'Em Sock 'Em combat of The Callisto Protocol by pivoting to referential humor and twin-stick shooting. It still feels immediately familiar thanks to how loudly it wears its Hades inspiration on its sleeve--even the title is seemingly a nod to Supergiant Games' seminal roguelike. This isn't inherently negative, and Redacted has some impactful ideas of its own. Yet, looking past the game's derivative design can often be difficult when it struggles to reach the same heights as its primary influence.

Much like The Callisto Protocol, Redacted takes place within the icey, industrial walls of Black Iron Prison. With mutated biophages running amok--turning prisoners and staff into hostile, zombie-like creatures--you're cast as a modest prison guard attempting to reach the penitentiary's final escape pod and get the hell out of dodge. Unfortunately for you, other survivors--made up of coworkers and inmates called Rivals--are trying to do the same thing, forcing you into conflict with biophages and humans alike.

It's hard to believe it's been nearly a decade since the last mainline Batman Arkham game. Since then, we've seen several Arkham-adjacent projects come out, only to feel hamstrung or otherwise lacking. 2016's Batman Arkham VR was a neat tech demo, but it encompassed only the series' investigative elements. Both traditional Arkham studios, Rocksteady and WB Montreal, launched Batman-esque co-op games in recent years, but each struggled for several, sometimes similar reasons. Batman: Arkham Shadow stops the tailspin by authentically recapturing the essence of the Arkham series in ways other recent Batmanverse games disappointingly and intentionally avoided, making this the best Batman game since Arkham Knight, even if it doesn't soar to the same heights as the series' finest moments.

Batman: Arkham Shadow is a VR-only, direct sequel to Arkham Origins, taking place roughly a year later. That means this version of Batman--once again played by Roger Craig Smith doing a solid Kevin Conroy impression--is still relatively untested and ornery. He's learning how to become the unflappable Batman we typically know him to be, so his temper can still get the best of him, and his uncanny ability to stay 10 steps ahead of his enemies isn't guaranteed. Played in first-person, you'll explore some enclosed sections of Gotham before ultimately landing in Blackgate Prison for the bulk of the game, giving this game a structure very much like the metroidvania-style design of 2009's Arkham Asylum.

The Dark Knight's mission is to identify and stop The Rat King--a new enemy in the Batman mythology--who's thought to be hiding out in the prison just days before his catastrophic strike on Gotham unfolds. This sees Shadow's story unfold over the course of an in-game week rather than the usual overnight structure of Arkham plots, and sometimes, it shows.

Each new entry in the Dragon Age series is always transformative, so it's not uncommon for a fan to really love one of the entries but feel lukewarm about another. 2009's Origins played like a spiritual successor to 1998's Baldur's Gate, while its 2011 sequel took the series in a more third-person-action-game direction, and then 2014's Inquisition opted for gameplay that felt like a single-player MMO. If anything, the one constant to a Dragon Age game is that you can expect that each new game will be different from the last. During my first playthrough, Dragon Age: The Veilguard looked like it was not going to surpass my enjoyment of past games, existing as no more than a safe return to form for developer BioWare instead of a bold step forward for the franchise. But after dozens of hours with the game, I decided to try something different and now The Veilguard is inching its way into my good graces, something I didn't think was going to happen for my Inquisition-loving heart.

The Veilguard leans into real-time action-based combat to push the Dragon Age formula into feeling more akin to something like Mass Effect: Andromeda or Anthem, while utilizing a system of setups and detonations to pull off explosive combos. However, whereas Andromeda or Anthem have the benefit of being shooters--often leaving a comfortable distance between friend and foe to encourage strategic combinations of weapon attacks and powers--The Veilguard shortens that distance and leans into melee-focused combat by having its enemies swarm you and your party, pulling you and your allies into the thick of magical explosions and swinging swords.

Early on, this is easy enough to parse, but as the story goes on, the enemies get both more numerous and hardy. Your own attacks become grander and more explosive in response, leading to the screen filling with visual clutter. As a result, it can be frustratingly tricky to see the indicator for parries, and oftentimes dulls the combat to a repetitive slog of flinging magical explosions, a step down from the far more satisfyingly strategic combat of past BioWare games and other modern-day RPGs. I opted to play as a mage, my traditional go-to for Dragon Age, and was consistently bummed by how mindless and spammy the combat felt, forcing me to rely on the pause-and-play mechanic just to get by.

Call of Duty: Black Ops 2 remains my favorite of developer Treyarch's contributions to the long-running and sometimes formulaic shooter franchise, because it's the one that takes the most wild swings. It mixes traditional Call of Duty linear levels with a top-down, real-time-strategy-like experience that lets you move troops around the battlefield and then zoom down like a gunslinging ghost to possess any one of them and do the fighting yourself. It also logs your choices, your successes, and your failures, and adjusts its convoluted branching narrative to account for them.

The spirit of Black Ops 2 is alive in Call of Duty: Black Ops 6, and not just because it actually serves as a semi-prequel-sequel to that 12-year-old game. Black Ops 6 infuses the standard Call of Duty formula with level designs and mission ideas that challenge the usual Call of Duty framework in much the same way. It's not as brazen as Black Ops 2 was--that game was admirable for going all-out, but not all of its ideas were home runs in execution--and there's no branching narrative or major departure from Call of Duty gameplay in Black Ops 6. Instead, Treyarch works in creative but familiar design additions that break up and expand on its campaign, making for an experience that maintains the franchise's cinematic, high-yield explosiveness, while also providing numerous opportunities to feel like a super spy and super soldier.

There's a lot of story going on in Black Ops 6, but as is usually the case in the franchise, it's at once both pretty simple and weirdly complex. The gist is that, as part of a covert mission during Operation: Desert Storm, your CIA operative player character--a silent protagonist named Case--and his teammates Marshall and Harrow run into Russell Adler from Black Ops: Cold War. From Adler, you learn about The Pantheon, a paramilitary organization full of American ex-soldiers and others, operating secretly inside the CIA but with their own evil agenda. The rest of the game is about teaming up with Marshall, Adler, and Black Ops mainstay Frank Woods, recruiting a couple spies, and trying to figure out who The Pantheon is and how to stop them. It's all standard fare for a game like this.

A Quiet Place has quickly grown into one of the better horror franchises of the past decade. Three movies deep, the creature features have explored a fascinating world in which blind aliens use a highly keen sense of hearing to hunt humans desperate not to make a single peep. Translating that incredibly slow and silent story universe to a video game makes for a novel project, and I can see why A Quiet Place: The Road Ahead has launched so quietly itself. It's a strange mission to assign players, but it's one I'm glad to have experienced--despite a host of issues.

A Quiet Place: The Road Ahead is a first-person stealth-horror game starring a cast of characters new to the series but similarly seeking to find safety from the swarm of aliens who have commandeered Earth by force. As Alex--an asthmatic college-aged woman with a boyfriend, a dad, and a range of other perpetually silent allies--players embark on a road trip that will test her ability to crouch-walk pretty much forever.

That design direction could easily make for a frustrating video game. In games that allow me to upgrade my crouched movement speed, I've always unlocked it as soon as I can--I like stealth games a lot and so I tend to want to improve that facet of such a game. So it's notable to me that The Road Ahead doesn't just demand you crouch-walk through almost every moment of its 7-to-10-hour story, but forces you to do it very slowly, usually barely pushing on the left stick, because the aliens in the game behave unpredictably like Alien: Isolation's Xenomorph and tend to hear even a crouched footstep performed at full speed.

Blumhouse Productions is arguably the biggest name in Hollywood horror today. The studio's ubiquitous logo appears before what feels like every other theatrically-released horror movie. It's clear the company has made the genre its focus, and I love that. It means there's always more to look forward to, even as results surely vary. With Fear The Spotlight, Blumhouse marks its debut in video games, which similarly excites me. Its games will also surely vary in quality, but this indie ghost story is a memorable debut, both for the burgeoning publisher and the pair of developers who built it together.

Fear The Spotlight stars Amy and Vivian, two high-school friends sneaking around school after-hours as soon as the game begins. Amy is dressed like a Hot Topic kid, while Vivian looks bookish. It gives the pair the air of an odd couple, but exploring their friendship while things go bump in the hallways helps introduce the story as they uncover a shady school history over the course of the game's initial three-to-four-hour campaign.

Fear The Spotlight uses a PS1-style aesthetic mixed with modern touches like an over-the-shoulder perspective. In many moments, the game also switches to point-and-click mechanics, mostly whenever the game's puzzles are being toyed with. It's both those puzzles and the game's scares that give Fear The Spotlight its gateway-horror vibe, and I enjoy it for that even if I'm no longer in the target audience. Though I love when games are especially terrifying, I also feel like younger or less-experienced horror fans deserve entertaining scares they can stomach. Not every game should be Outlast or Amnesia on the spooky scale.

Sonic X Shadow Generations is two games: a remaster of a game from 2011 and a brand-new game for 2024. And yet, both games feel oddly similar, building most of their levels on the backbone of Sonic games from the 2000s. In that respect, they carry forward some of the shortcomings of those Sonic games, like unnecessary extra mechanics and a bland story, but at the same time, they do well what those games excelled at: delivering fun platforming gauntlets accompanied by memorable music and an exhilarating sense of speed.

If you've already played Sonic Generations, you know what you're getting with the first half of this package. Sonic's adventure remains largely unchanged--most notably, the visuals are better, since this is a remaster--seeing the blue hedgehog team up with his past self to speed through a collection of levels inspired by his many previous adventures. Each level has two acts--the first sees past Sonic race through 2D levels while the second features modern-day Sonic running through the same space but now in 3D. Past Sonic handles much like he did in the original games back in the '90s, while modern Sonic utilizes the mechanics added to the series during the 2000s, like the homing attack and dash. The whole collection is a celebration of Sonic's career up to 2011.

In 2024, Sonic Generations feels outdated. While the old-school Sonic levels remain a timeless look back at the hedgehog's origins, the second half no longer feels like an accurate presentation of modern-day Sonic, as the gameplay of the franchise has continued to transform over the past decade. This doesn't outright ruin the original experience, though it does leave the conclusion of Sonic Generations feeling lacking, as if the trip through Sonic's greatest hits abruptly stops partway through. It leaves the three-hour experience feeling rushed in a way it didn't back in 2011.

Horror games based on beloved movies are more popular than ever, even when you compare this era to the early Nintendo years when movie tie-ins were a lot more common. But most of these modern takes on famous horror monsters have gone in the same direction, for better or worse. While everyone else is offering asymmetrical horror multiplayer games, RetroRealms turns back the clock to offer a package more in line with those horror tie-ins of decades ago, and thanks to some charming nods to horror history and pixel-perfect platforming, it's an uncommon and intriguing ode to the horror genre.

As a product, RetroRealms is sold in a peculiar manner. RetroRealms Arcade is itself a free 3D hub space that you can explore in first-person, combining touches of a classic arcade with a horror museum. Within that space, you can purchase one or both 2D 16-bit platformers available at launch, Halloween and Ash vs. Evil Dead (AVED). For this review, I've played both games and used all current characters available.

Like Dead By Daylight, RetroRealms uses the idea of a demonic Big Bad, The Overlord, to bring its otherwise disparate worlds into one multiverse. The villain's goal is a bit unclear and the story in general isn't trying to be more than set dressing, with each playable character getting their own McGuffin to chase through any of the game's multiple campaigns. The simple conceit paves the way to let you run through elaborate levels as Michael Myers, Ash Williams, and--if you buy additional character DLC--Laurie Strode from Halloween and Kelly Maxwell from AVED.