I loved Dead Cells, but it never struck me as particularly Castlevania-like. The acclaimed action roguelike from Motion Twin certainly had some passing resemblance in some of its combat mechanics, but not so much that I ever made any association to Konami's vampire-hunting franchise. So when the studio announced it was making an expansion modeled after Castlevania, I was certainly intrigued, but also surprised. How would that work, exactly? Pretty well, it turns out, as Dead Cells: Return to Castlevania is a clever fusion of Castlevania homages and Dead Cells' structure, and helps to illustrate how Castlevania DNA has been a part of Dead Cells all along.

The similarities between the two are cut into stark relief by their differences. Castlevania, and especially the Symphony of the Night sub-genre that serves as the basis for most of this expansion, is an exploration-based action game, with a castle full of tightly-knit secrets and clockwork-like precision to its progression gating. Dead Cells very much isn't that, as its roguelike biomes mix and match different pieces like Lego bricks. You'll recognize certain pieces after you've played it enough, but it will always be impossible to draw a consistent map or to tell a friend exactly where to find a secret key. In this regard, they couldn't be more different.

So the blending in Return to Castlevania can best be described as Dead Cells doing its best Castlevania impression. The Castlevania biomes are still randomized in the roguelike style, but the pieces do feel more oriented around puzzle-solving and secrets than in the main Dead Cells game. In fact, that's one of Return to Castlevania's most impressive tricks--it's still built around interlocking pieces, but the more secret-solving components don't feel contained to small, individual parts. It's almost as if the game is building a fresh, albeit relatively small, Castlevania map every time you respawn.

The first boss fight in Wo Long: Fallen Dynasty is right up there with the toughest first bosses in video game history. This opening battle pits you against Zhang Liang of the Yellow Turbans, as you clash in a kinetic two-phase fight to the death. It's an intense skill check that challenges your prowess of Wo Long's mechanics almost immediately. In many ways, it feels like a rite of passage for the rest of the game and a bold statement of intent from developer Team Ninja. I initially loved how it forced me to adapt to the demands of the game's particular brand of Souls-like combat, yet the further I progressed, the more this feeling dissipated as I realized that this introductory struggle was little more than an unbalanced outlier, providing a much sterner test than the bosses following it.

For many, this sudden difficulty spike will be a barrier to entry, halting progress a mere 10 minutes into the game. It's a shame Wo Long begins with such a sturdy roadblock, not least because this initial undertaking isn't indicative of the rest of the game moving forward. In fact, outside of this first boss, Team Ninja has crafted one of the more approachable Souls-likes in what is a traditionally challenging genre.

I didn't encounter another boss fight on par with Zhang Liang's difficulty until roughly 15 hours into Wo Long's campaign. Most of the bosses in between were a relative cakewalk, to the point where I was able to cut down each one on my first attempt--usually in under a minute. I still had fun dispatching every single one, but the ease with which I was able to do so makes them lose some of their luster and reinforces the notion that the first boss is at odds with the rest of the game. The battle with Zhang Liang sets up expectations that never come to fruition, particularly when other fights allow you to summon help from either AI or human teammates.

Tales of Symphonia was a formative experience for me. For my young 11-year-old brain, it redefined my understanding of the JRPG genre. The vibrant presentation, action-focused combat, and mature story took me by surprise. Weekend after weekend, a friend and I would explore the world of Sylvarant together, making incremental progress in each play session. While I had played a few JRPGs before, none had hooked me the way Tales of Symphonia had.

Despite my deep reverence for Tales of Symphonia, I haven't touched it since 2004. I don't really know why. I bought it on PC a few years back, but it just felt wrong to play that game sitting at my desk one random evening after work--almost as if it would tarnish the magic of that experience and the memories tied to it. However, with the release of Tales of Symphonia Remastered, I decided it was finally time to return to this world to see if it was as good as I remember. The result was a bit mixed.

Tales of Symphonia follows a kid named Lloyd Irving as he accompanies the Chosen One on a globetrotting adventure. The Chosen One, Colette, instructed by divine prophecy, must "regenerate" the world in order to end war, famine, and hatred. It seems like standard JRPG fare, but the story is darker and far more complex than it initially lets on. Despite trying to do the right thing, Lloyd and his companions are confronted with moral quandaries that often leave a trail of destruction behind them. What makes the story so effective is how it rarely shies away from the consequences of our heroes' actions. Conflicts are rarely resolved neatly, and the story is better for it.

Octopath Traveler was a pleasant surprise when it debuted a few years back. Its then-new HD-2D engine was a delight to behold, and the gameplay drew inspiration from some of Square Enix's most storied franchises: a deep Final Fantasy-style class and customization system mixed with the non-linear exploration and story of the SaGa series with a dash of combat that took cues from Bravely Default. These are great inspirations to draw from, but it resulted in a game that, while excellent, seemed to be struggling for a distinct identity. Perhaps the developers recognized this as well--with Octopath Traveler II, Square Enix seems to be trying to add new gameplay elements that give the franchise a personality of its own. And, for the most part, it has succeeded admirably.

The core of Octopath Traveler II is a traditional, turn-based JRPG with many of the usual gameplay elements: towns and dungeons to explore, objectives to complete, etc. Where most JRPGs present a linear method of progression, however, Octopath Traveler takes a very different approach: You begin the game by selecting a "main" character from eight candidates. This character has their own unique background, story arc, and goals, and will serve as a constant presence throughout your playtime. After an introductory story chapter, you are then free to explore the world to your liking. Eventually, you'll meet the other seven characters, allowing you to bring them into your party and follow their storylines as well, all culminating in a finale that ties the individual story threads together.

The focus on individual character arcs rather than a huge, high-stakes threat for most of the game's runtime is refreshing, allowing Octopath Traveler II to tell a variety of intriguing stories that vary wildly in both tone and focus. Some of them are comparatively weaker, but others command and hold your attention and keep you eager for more. Agnea's star-struck search for fame is notably bland, for instance, while Temenos' investigation into a murder plot by a religious cult and Throne's quest to kill the adoptive parents who raised her are excellent stand-outs. My personal favorite questline is the story of Osvald, who I chose as my starting character--a tale of a scholar who plans a Count-of-Monte-Christo-style prison escape and revenge after being framed for the murder of his own family by a scheming colleague.

Mario is the most versatile character in the Nintendo oeuvre, but Kirby has to be a close second. Though the pink puffball may not spend his free time go-karting or playing tennis, his catalog includes a ton of experimental games and art styles that stretch the limits of what a Kirby game can be. Kirby's Return to Dream Land Deluxe, a remastered version of the 2011 Wii game for Nintendo Switch, is in most ways a very traditional Kirby platformer. But its playful spirit, approachability, and a sizable new epilogue campaign make it much more than a retread.

The main story component of Return to Dream Land is a colorful romp as you restore the parts of an alien ship, set to a joyful and buoyant soundtrack. The adorably bulbous alien Magolor crash-lands on Planet Popstar and seeks help from Kirby and his friends. Those allies are a major component this time, because Dream Land features drop-in co-op for up to four players. You can include any number of multicolored Kirbys in your ranks, but you can also bring along other familiar faces: Meta Knight, Bandana Waddle Dee, and King Dedede. Each has their own move set--Meta Knight is more agile than the weighty Dedede, for example--but only Kirby has the signature Copy ability to swallow enemies.

Kirby's combat isn't simplistic, but it is forgiving. There's a ton of contextual moves you can do with each Copy ability, which means you can pull off impressive juggles. But the enemies aren't much of a threat, so you don't really need to master the combat. It's a different approach from some other Nintendo franchises, which use simple move sets to pull off an increasingly difficult array of challenges. This one seems more aimed at letting players meet it wherever they are.