Star Wars Jedi: Fallen Order has a string of wisely chosen influences, and it delivers on the long-overdue promise of a fun Jedi action-adventure. Bugs and design wrinkles irritate.
Death Stranding is filled with things that must be seen, a sprawling, genre-spanning sci-fi adventure from a developer like no other. It's tackier clumps of writing and stunt casting seem overwrought, but its direction and its stars shine brightest
Luigi's Mansion 3 is a beautifully animated adventure with satisfying puzzles and gadgets; it suffers slightly for its length, but a deep well of charm and humour win the day.
Link's Awakening is happy to be history, and it defies you not to be, as well.
It's easy to be skeptical of Ubisoft, but I happen to find much to revere in reliability. It's a solid shooter, with a happy churn of loot, elevated by Jon Bernthal. Fun for the few days it holds your attention.
I can't speak for anime fans, but die-hard FromSoftware devotees, as well as those who thirst for a really good vampire game – currently a malnourished bunch – are both parishes to which I belong. And I suspect both will wish for more bite.
The Sojourn is a well-made puzzle game with a firm challenge and fresh mechanics layered in throughout, but the symbolism draped over it all is vague and boring.
The fourth episode brings a welcome jolt of movement and energy, with an urgent pace and the introduction of a new, intriguing character. Some of the branching choices still feel shallow.
Control is Remedy at its best: pulpy, weird, and immensely satisfying to play. Its setting is a potent concoction of '60s brutalist style and wacky sci-fi. Performance issues hamper the shootouts, and the characters are a little cold, but it's the setting and atmosphere that win the day.
The Sinking City is well worth playing for the initial rhythm of its casework and the freshness of its setting, but its mechanics, like its mystery, end up flooded.
A Plague Tale: Innocence has some clunky writing in places, and its play gets stale after a time, but it prevails with a compelling mystery and a beautiful world.
Days Gone is a grim, beautiful B-movie; its action and writing are full of pulpy thrills, and by the end of it, I found myself liking a character called Deacon St. John – an achievement in itself.
RICO has a cracking central idea, but it's strained by awkward mission design, shaky performance, and a whippy aim that often misses the mark.
Devil May Cry 5 revels in its own gleeful stupidity, presenting a world in which the most valuable commodity is style.
Metro Exodus injects life and light into the series, but its mechanics are still starting to creak; it's a good end to Artyom's journey, even if the story seems muffled.
Kingdom Hearts III is a beautiful hunk of sugary writing, convoluted plotting, and repetitive combat that's reliance on beloved IP exposes it's shallow core.
Below's moody gloom and atmosphere is spoiled by mechanics that really cramp its central quest.
Just Cause 4's thrills give way to repetition and a dull mission structure, but it's a ridiculous roller coaster while in full swing.
Fallout 76 is an ambitious game that's burned by it. The online features hamper what could have been a great Fallout game.
Despite the lack of a campaign and any tonal consistency, Black Ops 4 boasts a thrilling entry into the battle royale space.