If Illfonic Entertainment set out to make an authentic Ghostbusters experience, it's done so in Ghostbusters: Spirits Unleashed. The game's look, sound, and feel is true-to-form, right down to the voices of Dan Aykroyd and Ernie Hudson as Ray Stantz and Winston Zeddemore, respectively. Manning a proton pack and PKE meter for the first time in order to track and trap ghosts is a shot of ectoplasmic adrenaline. As a video game, however, it falls into a devious trap of its own, one where excitement hastily shifts to monotonous repetition. Spirits Unleashed captures the Ghostbusters feeling well, but that authenticity belies a shallow, repetitive game that quickly wears out its welcome.

Spirits Unleashed puts you in the shoes of a new Ghostbusters recruit, a nameless grunt sent in to deal with the paranormal hauntings in New York City. The repurposed firehouse from the Ghostbusters franchise serves as your base of operations, and it features a workbench for upgrading gear, lockers to customize your Ghostbuster, and a training area to work out the kinks. Across the alley from the firehouse is an oddities shop run by Ray Stantz himself, where you can talk to the Dan Aykroyd-voiced character about the current goings-on.

The core gameplay loop is an asymmetrical multiplayer experience, where four Ghostbusters take on a single ghost; the Busters must trap the ghost with no chance of escape, while the Ghost must evade capture and scare NPCs through noise and possession in order to fill a "haunt meter." The ghost has three rifts that act as respawn points at its disposal, and when all three are destroyed, the ghost's next trip into a trap will mark victory for the Busters.

They say everything old is new again, and that's definitely been the case for survival-horror games lately. Full remakes, remasters, and reboots have made the headlines in one of gaming's more underserved genres, with no end in sight. So it's been an exciting change of pace to play Signalis, which is blatantly inspired by landmark franchises like Silent Hill and Resident Evil, but offers its own original horror universe to explore.

Signalis doesn't look exactly like the games that inspired it, but it only takes a short while before a veteran of the genre knows what they're in for. The top-down 2D pixel art isn't a precise callback to its spiritual predecessors, nor is its lack of voice acting, but as soon as you start finding door unlock codes on the back of photos you investigate in your inventory screen, memories of the Raccoon City Police Department or Brookhaven Hospital will inevitably come flooding back.

As its protagonist, the robotic LSTR (pronounced Elster), moves through darkened hallways and abandoned dorm rooms set aboard a futuristic space vessel seeking habitable planets for its dystopian "Nation" to conquer; she walks, runs, aims, and carries a gun just like Jill Valentine or another horror alum of the PS1 era. Searching behind every door that isn't "jammed on the other side" for her missing human companion, the story unfolds in a way you've likely seen before--as though you're perpetually falling into a world you might not be prepared for, but you can't turn back.

There's nothing more attractive than confidence, and Bayonetta 3 developer PlatinumGames is well aware of it. From the way Bayonetta sashays about the screen--left hand cocked on her hip while the other clutches her gun--to the sheer bombastic nature of the game itself, every part of Bayonetta 3 is unapologetically self-assured. Like the titular witch, Bayonetta 3 feels as if it doesn't much care how it is perceived because it knows its own worth as a game that offers fast and fluid gameplay, jaw-dropping spectacles, comedy, and camp in a way very few others do. And it's hard to argue with that when it's true.

Like its predecessors, Bayonetta 3 is spectacular in the truest sense of the word. Though the game's core gameplay is familiar, it ups the stakes, sending players on a multi-dimensional journey across time to save the world. If that's not enough, this venture also comes with full-scale kaiju battles, exhilarating chase sequences, a new, sword-wielding character who is wildly fun to play as, and a series of 2D stealth-based chapters that follow Jeanne as she infiltrates enemy headquarters. All this, paired with the qualities that made Bayonetta 2 so beloved, make for a can't-miss entry in the action games genre.

Bayonetta 3 begins with a bit more breathing room than its predecessors, but just barely. After introducing the concept of a multiverse filled with other Bayonettas, other Jeannes, and the gut-sinking feeling that everything we do has been done once before, it dives headfirst into its action-packed gameplay. As a supernatural storm overtakes New York City, Bayonetta is forced to take on the homunculi, a new enemy that are neither angel nor demon, and are hellbent on eradicating not only our Bayonetta's universe, but every universe (and every version of Bayonetta) imaginable.

The Winters' Expansion includes Shadows of Rose, the first piece of story DLC for Resident Evil Village, which picks up 16 years after that game concluded and introduces Ethan Winters' teenage daughter, Rose, as a playable character. Rose has unique powers at her disposal that make her feel distinct from the many other protagonists in Resident Evil's long history, but it's the shift to a third-person perspective--along with changes in pacing, style, and tone--that set Shadows of Rose apart from Village's main campaign. It's more comparable to the recent Resident Evil remakes than either of Ethan Winters' misadventures, but for as much as I adore those games, I'm hopeful this switch isn't indicative of the series' future.

Shadows of Rose begins with the discovery that Rose's powers have blighted her formative years. The narrative is light on details regarding how her powers manifest, but sweating a white substance is enough reason for spiteful classmates to mercilessly bully her for being "different." Rose just wants to be a normal kid and rid herself of these debilitating abilities, so when she's offered the chance to find a cure she jumps at it with little hesitation. However, attaining said cure requires her to enter the consciousness of the Megamycete. This fungal root is not only responsible for the Mold and Rose's powers, but any humans who made physical contact with it have had their memories absorbed and stored within. This conceit allows for some fun surprises and also lets Capcom revisit iconic locations from Village's story, albeit with a few key differences.

The first locale you're dropped back into is Castle Dimitrescu. The resident Lady of the house is absent this time around, but the castle walls are now inhabited by a villainous version of Ethan's merchant ally, The Duke, who gleefully dispatches his own creatures to snuff Rose out. These grotesque monstrosities are similar in design to the Molded from Resident Evil 7, except they have a nasty habit of sucking Rose's face off whenever they get ahold of her. To combat these Face Eaters, Rose is aided by an unseen entity called Michael who can only communicate by conjuring written words that appear floating in mid-air and on various surfaces. Michael manifests a pistol early on, and he'll provide you with ammunition and healing items from time to time, as well as providing hints on where to go next. His presence is more crucial to the story than the moment-to-moment gameplay, but the floating words add a fun wrinkle to chase scenes as it feels like you're being guided by an omniscient being.