It's difficult to find someone oblivious to the world of Harry Potter. For many it was a property that grew up with them, with both the book and film series persisting in the zeitgeist for decades. It's confusing then that it's taken this long to get a game that promises to deliver on the fantasy of becoming a wizard or witch within that universe; attending classes, learning spells, engaging in mischief, and exploring the grandeur of Hogwarts Castle. Hogwarts Legacy delivers on that promise, to a degree. Its adaptation of this universe is undeniably the most extensive yet, allowing you to truly explore Hogwarts and its surrounding areas like never before. But it's also stuck too keenly in the present (and sometimes, past) of open-world game design, reducing much of what you do to repetitive checklist activities in a world that is disappointingly barren.

Hogwarts Legacy takes place in the late 1800s, although you might be hard-pressed to notice that from the way characters speak or by the clothes they wear, which look ripped straight out of the films set in the late 1900s. You play as a prodigal witch or wizard of your own creation, this time fighting against a goblin uprising led by one particularly nasty one named Ranrok. This props up a predictable and surprisingly sporadic narrative, with main beats and progression only taking place every few hours as you complete the requisite quests around them, which are often barely related. There's so little screen time for many of the main characters that you struggle to get a sense of their motives, especially so in the case of Ranrok, who only appears to deliver a line or two to some subordinates before he disappears for a couple of hours. It robs him, and the story, of any sense of emotional tension, reducing it to nothing more than "talented good student takes out bad powerful goblin" by the end.

While trying to stop a potentially cataclysmic uprising, you'll also be required to juggle the duties that come with being a newly inducted fifth-year at Hogwarts. Being both a new and older student means you get to enjoy the thrills of learning some familiar spells from earlier years, but also have access to a wide range of more advanced ones as the year progresses. The initial introduction to each class is captivating, from partaking in duels in Defence Against the Dark Arts or being subjected to a screaming Mandrake in Herbology. These are some of the moments where Hogwarts Legacy is at its strongest, recapturing the sense of wonder that has made this world so enticing to so many. The mechanical components of each class, however, fall woefully short. The small minigame used to convey wand movements for each spell feels ripped out of the series' very first video game entry nearly two decades ago, while many of the activities introduced shortly after are brief, uninteresting, and usually used as a means to fill your map with many more instances of the same thing. They quickly extinguish any glimmers of hope that the school aspect to your time at Hogwarts will be as engaging as many of these classes might seem from the outside.

Take the faces, voices, and over-the-top theatrics that have made the Yakuza franchise renowned, and transport all that back to 19th century Japan. The result is Like A Dragon: Ishin, an enticing period piece that also includes the series' action-brawler gameplay and ridiculous hijinx. Even though the context has changed, swapping the gangs of the modern criminal underworld for political factions in a tumultuous time in history, Ishin is yet another example of what developer RGG Studio does best: melodramatic storytelling.

It's been a long time coming as Yakuza: Ishin, originally a PS3/PS4 game from 2014, was not previously localized and brought to the West like other entries in the franchise. This new version lands somewhere between a remaster and remake, but it is based on older iterations of Yakuza games which makes Like A Dragon: Ishin feel dated in several respects, particularly in moment-to-moment gameplay. Still, its fundamentals are solid and the main draws of the franchise remain intact, hooking me with its characters and twists that had me eager to see its historical fiction unfold from chapter to chapter.

Instead of the glitz and glam of Kamurocho, Ishin takes us to late-Edo period Japan, around the time of the end of the samurai class and just before the country's modernization. In the same way previous Yakuza games offer a sort of virtual tourism, Ishin's vivid reconstruction of Japan's past (albeit with more creative liberties) delivers the same thrills. The streets are filled with menacing men wanting to cut you down as you mind your business strolling through the markets, restaurants and bars represent the era's cuisine, and tons of side content reflect the culture and traditions of the time. While it may not be as dazzling as the neon-lit streets of the modern day, the more low-key setting of Kyo (which is now modern-day Kyoto) is refreshing and a welcome change of pace that lets the Yakuza formula thrive once again within a framework it is comfortable with.

You only need to glance at Wild Hearts for a moment to see the similarities it shares with Capcom's Monster Hunter series. Both games are about exploring large, open areas--either alone or with other players--to find and defeat giant monsters, then harvesting and using their parts to craft better weapons and armor. Developer Omega Force has explored the genre before with the Toukiden series, and those two games represent perhaps the best examples of the monster-hunting genre outside of Capcom's own influential best-sellers. With Wild Hearts, Omega Force hasn't just set out to create a simple imitation, though. Sure, it has plenty of familiar elements, but the novel Karakuri system gives the game a unique identity that sets it apart from its contemporaries.

In the fiction of Wild Hearts, Karakuri is an ancient technology used by hunters to conjure impressive pieces of technology out of thin air. In action, it's a fast-paced crafting system that serves multiple functions, opening up your available options both in and out of combat. You start with what are known as Basic Karakuri, the first of which lets you produce a wooden crate that launches you into the air when you climb on top of it. You can stack up to three of these crates at once to generate extra height, which proves useful when exploring the environment but really comes into its own when fighting Wild Hearts' various monsters, known as Kemono. You can launch from these crates and transition into a devastating downward strike, or utilize the added elevation to quickly avoid an area-of-effect attack that spews out a pool of lava or poisonous clouds. Most Karakuri serve a dual purpose such as this, whether it's a springboard that proves useful in dodging attacks and propelling you toward Kemono, or a glider that allows you to traverse large gaps and position yourself above monsters for an aerial barrage.

Erecting these Karakuri is quick and simple, so it doesn't take long before you're integrating the various devices into each combat encounter. Constructing a crate, springboard, or torch in the heat of battle eventually becomes second nature, and being able to do so is just as essential to each battle as knowing how to use your specific weapon of choice. Later on, you also unlock various Fusion Karakuri, which use different combinations of Basic Karakuri to create larger, more elaborate contraptions. Stacking nine crates together in three rows, for instance, produces a rock-solid wall that can block incoming projectiles or halt a charging Kemono in its tracks, launching the beast into the air before leaving it in a vulnerable heap on the ground. You can also summon gigantic bouncing hammers, powerful bombs, and blinding firework cannons that can knock flying enemies out of the sky.

Horizon Call of the Mountain and PlayStation VR 2 are inextricably linked. The Guerrilla- and Firesprite-developed title is a successful virtual reality game thanks to the tech housed in the PSVR 2, and the PSVR 2's capabilities are best showcased by the game. Admittedly, the barrier to entry for experiencing it all is very high: You'll need to own a PS5, purchase the $550 headset, and then get the $60 game on top. But those who do will be treated to a game that's an impressive technical showpiece and an enjoyable Horizon game in its own right.

Call of the Mountain takes place in the same vibrant setting that you're used to exploring as Aloy. However, for this game, the protagonist is Ryas, a member of the Shadow Carja who has been imprisoned for questionable actions. Ryas is busted out of prison and sent on a perilous journey to figure out why the machine animals of Horizon's worlds are acting out.

This is a familiar narrative beat for a Horizon game, and a lot of the story is carried by Ryas. Ryas' brother went missing while also trying to solve this particular mystery, so he has a personal stake in going out of his way to help those around him in order to figure out what's going on, even if the people he's working withtreat him like an outsider. My interest in Call of the Mountain was primarily in seeing how it utilized the new hardware, so it caught me by surprise when I found myself invested in Ryas as a character. The game does a great job of slowly unpacking his story and showing that there may have been more to his history than it initially seems.

Since the franchise's introduction in 2012, the Theatrhythm games have masterfully capitalized on the Final Fantasy series' incredible soundtracks. Using a gameplay system that's approachable yet deceptively challenging, while also mixing iconic scenes from past games in the background, the games act as a playable portfolio of FF's most memorable moments. Final Bar Line is speculated to be the final game in the Theatrhythm series, at least for a while, and if that's true, it's an incredible final act.

Theatrhythm Final Bar Line presents 385 music tracks from across the Final Fantasy spectrum, with a healthy mixture of fan favorites and deep cuts spread out across 29 different categories. After selecting a song, players will press buttons along to its rhythm via three types of notes: red, which requires a single button press; yellow, where a button press is paired with flicking the joystick in a designated direction; and green, which must be held for as long as the green bar is present.

This traffic light-esque system sounds simple, but it can be downright devilish in practice, especially on higher difficulty levels. Keying in on which parts of the song the notes are corresponding to can be tough, especially with compositions as complex as what longtime composer Nobuo Uematsu and his peers have devised over the years. That said, it's still immensely fun being able to interact with these iconic songs in this way, as I found my whole body moving to the beat while I tapped along on the controller.