Carrion doesn't just flip the horror script—it's the ultimate power fantasy, packed into a tight, uncompromising space. It might utilize some video game tropes, but it doesn't seem too concerned with accepted video game values. It's a 2D side-scroller without platforming, an action game where you dictate the action. The Doom Slayer might talk a big game about ripping and tearing, but Carrion's meatball monster puts its money where its many mouths are.
Paper Mario: The Origami King once again takes the series in a completely different direction. Mushroom Kingdom is bigger and more alive than it's ever been, but it comes packaged with a combat system that quickly becomes stagnant.
Maneater constantly blurs the line between sadistic mass murder simulator and clever satire, while also managing to be as fun as any human-based open-world game. Chris Parnell's narration can get a little repetitive, as can the missions, and the camera could use a little work, but it's all a matter of context. It's a wild reversal of ego, an experience that is both completely freeing and oppressive at the same time. Stare into the dead eyes of the shark, and the shark stares into you.
Nitrome's signature is designing increasingly complex levels out of the most basic gameplay mechanics, and Gunbrick: Reloaded shows how well that formula can work—even when that mechanic is as simple as counting.
As long as Doom Eternal didn't stray too far from its predecessor, it was going to be a good game. But id Software comes surprisingly close to muddying everything with new mechanics. The flamethrower and rechargeable chainsaw give you more options during battle, but they can also feel like unnecessary additions. Still, a deeper lore, a banging soundtrack, and plenty of demons to gib leave Doom Eternal in a happy place—relatively speaking.
Ori and the Will of the Wisps does everything that a good sequel is supposed to do. It refines The Blind Forest's mechanics, expands on the world, and throws in a whole bunch of new moves and concepts. But in an era that's rich with "emotional platformers," Will of the Wisps doesn't do anything to make itself stand out. It's a fine, if not forgettable, experience.
If not for its uninspired design and lack of effort in the storytelling, One Punch Man: A Hero Nobody Knows might have actually been a good game. Oddly for a fighting game, it focuses almost entirely on its single-player, often to its detriment. But if you can look past the repetitive structure and the uneven pacing, there's actually some fun combat to be found, and its multiplayer meta is surprisingly addictive.
Journey to the Savage Planet's greatest quality is that it respects its players. Perfectly paced, genuinely charming, and rewardingly explorable, developer Typhoon Studios' debut is a love letter to thoughtful game design and the ancient art of fun over function. If you grew up loving 3D platformers and games with worlds that felt bigger than they actually were, Journey to the Savage Planet will make you feel like you're coming home.
Star Wars Jedi: Fallen Order has its heart in the right place, delivering that Star Wars fantasy that is sure to please fans of the franchise. But putting aside the lightsabers and Wookiees, Fallen Order is too often unsuccessful in implementing ideas from better games, and ends up seeming like a pale imitation in comparison.
Luigi's Mansion 3 is the biggest and best entry in a befuddling franchise, and a game that really makes a case for everyone's favorite second fiddle to get more spin-off adventures. Developer Next Level Games has expanded on the Poltergust's abilities in meaningful ways, adding more variety to the action and puzzles alike. Gooigi might seem a little shoehorned, but it's a great excuse for cooperative multiplayer on a system built for it. A few minor annoyances aside, Luigi's Mansion 3 is a strange, charming, and generous sequel.