High on Life continues Squanch Games’ propensity for skewering video game tropes, this time in the form of a first-person shooter. Unfortunately, a lot of the game plays like a first draft, and armor of detached irony doesn’t do enough to protect it from its many, many kinks. Roiland’s personal brand of gross-out parody and “oh, geez” improvisational humor is already starting to feel routine in video game form, but there are a few standout bits. Thankfully, there’s a pretty fun shooter underneath all the alien semen, though stiff animations and some buggy moments can make it look slightly underbaked. If you’re a fan of Rick and Morty (or, more appropriately, “Doc and Mharti”), then High on Life might just be the pickup you need—but it never fully develops any of its really good ideas into a satisfying final draft.

The Callisto Protocol feels like a throwback title, for better and worse. While the Dead Space comparisons are unavoidable, director Glen Schofield’s return to survival horror does bring with it several new concepts, but many, like the melee combat system, suffer from poor execution. Still, if you’re looking for a fun, B-movie disaster story with some famous Hollywood faces and a more straightforward, linear single-player experience, you could do worse—at least until the Dead Space remake launches next year.

Pentiment is a true achievement of marrying story, style, and theme into a magical and cohesive whole. In lieu of 3D graphics that try too hard and still fail to represent an authentic-feeling world, Obsidian’s artists opted for a more illustrative aesthetic to tell their gripping story of a murder in an abbey, a choice that resonates throughout the entire game. While it might not satisfy every player, especially those expecting a more traditional RPG or adventure experience, those who can immerse themselves in Pentiment’s vision of 16th century Bavaria will find one of the best games of the year.

God of War Ragnarök is a worthy continuation of (and conclusion to) 2018’s God of War, building on that already strong foundation to deliver an experience deserving of a spot in gaming’s pantheon. New tools and greater enemy variety elevate combat, and the expanded environments and cast give this sequel the epic scope its story demands. But the beating heart of the game remains its characters, and Ragnarök delivers an immensely satisfying next chapter for just about everyone—Kratos and Atreus, returning friends, and new faces alike.

Gotham City might never have looked better, but Gotham Knights’ gameplay repetition and lack of length to the main narrative might deter all but the most hardcore Batman fans. Co-op adds a fun layer to all the crime fighting, and every character feels truly different from one another, even if the combat system takes some getting used to. Overall, there is a solid core here that hopefully can be built on in the future.

Even if you haven’t played the first game in the series, Mario + Rabbids Sparks of Hope is a great introduction to a certain type of strategy game, iterating on a now-familiar formula with a readable, predictable approach to combat and some fun innovations in character movement. It knows where to streamline without sacrificing depth, all while starring mascots that fans know and love. Its exploration elements might slow the pace a bit too much, but you won’t mind too much thanks to the gorgeous art direction.

Siblings Amicia and Hugo went to hell and back in A Plague Tale: Innocence in their quest to survive an inquisition, endless hordes of rats, and the humans that looked to take advantage of the young boy’s curse. And now, in A Plague Tale: Requiem, they must pay the devil his due. This is the tale of the duo wanting to control their own fate as the fragile peace they had found falls apart, and the harsh lesson that their choices have consequences. As a game, Requiem is a bigger, better, and more ambitious adventure over its predecessor, but as a story, and a look into the lives of the characters that inhabit it, it’s so much more.

Scorn is a daring aesthetic experiment in virtual, interactive science fiction. Taking inspiration from the art of H.R. Giger and Zdzislaw Beksiński, developer Ebb Software seems hellbent on giving its players a surreal, nightmarish experience, and it mostly succeeds. While combat can feel like a secondary concern, Scorn’s puzzles provide just enough challenge to keep the game from feeling like a “walking simulator.” Really, though, the main attraction is Scorn’s compelling world, a fully realized artistic vision that will haunt you for days after experiencing it.

Taiko no Tatsujin: Rhythm Festival is a solid new entry in Bandai Namco’s rhythm game franchise, offering a roster of fresh music to enjoy, some creative new game modes, and more unlockables to have fun collecting. The game doesn’t offer as many multiplayer options as its predecessor did, but does feature more to keep solo players occupied. Rhythm Festival also offers what is arguably the biggest addition the franchise has ever seen, the Taiko Music Pass—a new music subscription service that can greatly expand the life of the game while also bringing with it some additional concerns over our subscription-laiden future.

Desta: The Memories Between can’t quite figure out how to make the most of its odd genre mashup. Though the individual elements are solid, a lack of commitment to roguelike randomization in the single mode available at launch means the systems don’t really mesh together how you’d expect, and the replay value suffers as a result.

Shovel Knight Dig isn’t just a cash-in on the series’ popularity. It’s a game that stands on its own merits as a worthy prequel to the original. The titular hero’s moveset translates perfectly to a more vertical orientation, and Nitrome’s bite-sized level design makes full use of Yacht Club’s well-established gameplay style. The 16-bit-style visuals and music are an absolute treat, especially for fans of the series, and the roguelike elements present a nice sense of progression and replayability. Shovel Knight Dig might not be the exact sequel that fans have been clamoring for, but it’s the next best thing.

So far, I’ve had a blast with the game’s single-player. The tracks are fun and creative, the concept is simple but effective, and I still feel like I’m mastering the game’s mechanics. It’s definitely not perfect, and feels especially unimaginative in the visual design department, but if You Suck at Parking is as fun in multiplayer as it is in single-player, then it’s going to be one that fans of weird racing games should definitely look out for.

Steelrising is a new Souls-like twist on the French Revolution that unfortunately doesn’t see all of its lofty ambitions grow into accomplishments. While its gameplay is enjoyable once you get far enough to earn some unlocks and get main character Aegis more decked out, it tries to mimic elements of FromSoftware’s action RPG classics without always understanding what made said elements work. When Spiders leans less on taking inspiration from other games and more on presenting its own ideas, we get an intriguing—and surprisingly deep—alternate take on an important moment in France’s history.

Sure, this might be the third time that Naughty Dog has released The Last of Us, but it’s also the most fully realized version. The enhanced visuals and animation bring Joel and Ellie’s story to life in a way that was previously unimaginable, and the gameplay still holds up, despite not totally catching up to Part II. Whether or not you want to pay to play the same story for a third time is up to you, but that won’t change the fact that it’s better than it’s ever been.

Immortality finds creator Sam Barlow building on the found-footage FMV framework of Her Story and Telling Lies in ambitious and surprising new ways. That boldness pays off in the frame-shifting narrative, which encompasses three meticulously crafted feature films, their creation, and the sinister truth of what happened to the woman who starred in them. But the “match cut” system you use to navigate between clips and discover new ones means the actual process of piecing together the story is messier and less satisfying than in his previous work.

Saints Row pairs a great open-world city and respectable gameplay fundamentals with repetitive, dated mission design, a story that never finds its footing, and too many bugs to count. Depending on what you prioritize in a game, you may get some enjoyment out of it, but at best you’re looking at a diamond in a whole lot of rough.

Cult of the Lamb is two games in one. Part roguelike, part management sim, neither of the halves feel totally fleshed out on their own, and provide little challenge. Still, the synergy between the two halves is undeniably compelling, and the art style is infectiously adorable, giving you enough reason to play through one more in-game day, and then one more, until you’ve been awake for an entire out-of-game day, feeling totally brainwashed.

Stray does a great job at letting you act like a cat, turning a wide range of true-to-life feline behaviors into clever gameplay mechanics. But it’s much less successful at making you truly feel like a cat, as the game’s more conventional approach to its gameplay and story routinely shatters your immersion in odd ways. If you can suspend your disbelief and look past the missed opportunity of a more cohesive experience, however, there’s a lot to like in its moody cyberpunk world and varied challenges.

As Dusk Falls is exciting, beautiful, and heavy-handed. Its more streamlined approach to narrative gameplay and its less traditional art style create an immersive experience that engages with the player’s imagination. That it can work both as a morally challenging single-player story and a party game for multiple players speaks to the confidence that its developers have. But its second half of the story undercuts some of the tension that its excellent first half builds, and a terrible cliffhanger might leave you feeling betrayed.

Escape Academy is an exceptionally well designed puzzle game, if not a flawlessly executed one. Developer Coin Crew Games has replicated the creativity and fine-tuned challenge of the best real-world escape rooms while amping up the fantasy and stakes in a way only video games can. But the studio’s inexperience rears its head when it comes to polish, with stiff console controls being the most obvious knock on an otherwise great experience.

With this third of Tengo Project’s revivals of classic 16-bit Natsume releases, the team has certainly saved the best for last. Pocky & Rocky Reshrined takes what was already a fantastic run ’n gun experience, and expands, enhances, and improves pretty much all of the original Pocky & Rocky’s components to masterful degrees. From its stunning graphics, to its rich gameplay, to its fleshed out cast of interesting characters, Reshrined makes its predecessor proud while also introducing an all new generation of players to a core game that’s still just as worth playing today as it was 30 years ago.

Teenage Mutant Ninja Turtles: Shredder’s Revenge looks to bring back the glory days of Konami’s side-scrolling arcade beat ’em ups and home hits based on everyone’s favorite young green ninjas. In its visuals and gameplay, Dotemu and Tribute Games have not only matched those retro classics that they’re paying homage to here, but perhaps even surpassed them. Sadly, this trip through time is somewhat marred by inconsistent audio and an Arcade mode that feels more like a slog than a thrill.

Sniper Elite 5 is the best game in the series so far. Its intricately designed levels, deep weapon customization system, and satisfying gameplay offer hours upon hours of entertaining ways to kill Nazis. After five games, the game’s story and character development still feel too underdeveloped, making every mission blend together in an unending series of contextless kill cams and gravelly voiced one-liners, but if you don’t care about any of that then you will still find a lot to enjoy.

Vampire: The Masquerade — Swansong can be a compelling experience, especially for those who are already familiar with the World of Darkness. Its RPG mechanics lend depth to an otherwise standard narrative adventure, as long as you can grasp their meaning. But wonky gameplay balance and even wonkier facial animations, not to mention some of the more overwritten and under-earned emotional beats, can make falling in love with its vampires harder to swallow than a mouthful of blood.

Trek to Yomi is one of the most visually striking games to launch in a while, delivering on the promise that a samurai game can truly capture the look and feel of classic Japanese cinema. Unfortunately, good looks can only get you so far, as the gameplay and story don’t quite live up to the standards set by its art direction. But if you are in the mood for a samurai game, you could do worse than Trek to Yomi.

Lego Star Wars: The Skywalker Saga is an ambitious game that brings all nine numbered Star Wars movies together for the first time. Filled with story and side missions, large open hubs, minigames, and literally hundreds of characters to unlock, Skywalker Saga hits nearly every beat while maintaining the brick-smashing, object-building, puzzle-solving action the Lego games are known for. Filled with irreverent humor and little Easter eggs around every corner, this game is the perfect way to revisit everyone’s favorite sci-fi family saga.

Kirby and the Forgotten Land does pretty much everything it needs to as the pink puffball’s first 3D adventure. Clever level design and the appropriately named Mouthful Mode show that Kirby’s floating, sucking ways can work in a 3D space. Forgotten Land might not reach the highest heights of Nintendo’s other first-party adventures, but it definitely shows that Kirby can hold his own in a three-dimensional arena.

The best and worst thing about Tiny Tina’s Wonderlands is that it feels like another Borderlands game. The shooter gameplay is as tight and responsive as ever, the weapons are fun to use, and the writing is a marked improvement over Borderlands 3. The characters are once again at the center of the game’s comedy, and the performances are great (when the actors are actually committing to their roles). But, because this is more Borderlands, a lot of the same annoyances with the series persist, especially when it comes to inventory management and the sheer amount of meaningless loot. Really, Wonderlands’ worst offense is that it can’t get over the series’ legacy of looting and shooting, and misses the opportunity to take real inspiration from the tabletop worlds that it parodies.