Call of Duty: Modern Warfare 3's campaign picks up where last year's Modern Warfare 2 left off. Captain Price's iconic Task Force 141 is back in action and, as teased in the final cutscenes of Modern Warfare 2, the new threat is Vladimir Makarov, a major antagonist of the original Modern Warfare franchise. Modern Warfare 3 sparks a hot opening with an early reveal of Makarov, but the introduction of the new Open Combat missions disrupts the story's pace for a fizzled-out ending.

Modern Warfare 3 reunites Price's team with several familiar faces from the rebooted series, including Kate Laswell, Farah Karim, and Alex Keller. General Shepherd and Commander Phillip Graves of Shadow Company also return, despite their treacherous actions against Soap, Ghost, and Los Vaqueros in Modern Warfare 2. It's an all-hands-on-deck situation with Makarov in the picture.

The campaign opens with Operation 627, a mission in which you stealthily break into a gulag. This linear level sees you rappelling down into the Gulag with night vision goggles on, clearing guards level by level as you descend. Visually, this level looks cool and the gameplay is one of the more enjoyable and traditional missions you'll play in Modern Warfare 3. The gameplay and cinematics are of the bombastic quality you'd expect from Call of Duty, and right away the threat of Makarov is apparent. He gets an exciting jailbreak moment and emerges from confinement ready to cause some chaos. However, after this hyped opening mission, Modern Warfare 3 immediately stumbles as you're forced to play two of the game's new Open Combat missions back-to-back.

When it launched in 2020, Ghostrunner was quickly recognized for its slick blend of satisfying first-person parkour platforming and tough-as-nails, one-hit-kill combat. Perhaps most impressive was just how well it practiced restraint, never overstaying its welcome while also keeping the focus keenly on its engaging traversal and action. Ghostrunner II is a sequel that hasn't entirely lost the captivating nature of its core gameplay loop, but in expanding the world that you're playing in and trying to find new elements to introduce into the mix, it loses itself along the way at times before finding its feet once again.

Ghostrunner II takes place a year after the events of the first game, with cyborg assassin Jack now comfortable in his role as enforcer for the Climbers, one of many gangs trapped in the cyberpunk tower of Dharma. While the original Ghostrunner had a story, it wasn't a core focus, instead simply providing some context to keep you moving forward. In the sequel, the narrative is far more prevalent, which can make many of its opening moments confusing if you haven't brushed up on the events of the first game or the encapsulating lore of the world the game takes place in.

You'll have numerous radio conversations with a variety of characters, many of which are exposition-heavy explanations to get you up to speed as quickly as possible. It makes the opening hours feel overwhelming and disjointed, before the story eventually settles into a predictable revenge plot that leaves little room for nuanced characterization. There are some entertaining exchanges between Jack--whose blunt but self-aware responses are surprisingly hilarious for a single-purpose killing machine--and some of his handlers, but Ghostrunner 2 doesn't feature a fleshed-out cast of characters or captivating story beats that you'll likely remember by the time credits roll, and certainly not long afterwards.

Video games often deal with the end of the world and thinking about how cool it might be. Like, sure, it sucks that most everyone has to die horribly for the end of the world to take place, but those of us who survive might get to shoot evil marauders or rotting mutants or giant bugs. Or maybe there are evil marauders, rotting mutants, and giant bugs who are trying to bring about the end of the world, and you can shoot them to prevent it. In any event, the idea of finding fun settings that let you dispense death without really worrying about the consequences tends to bring something of a positive spin to the apocalypse.

The Talos Principle 2 isn't just about the possibility of the end of the world, but the real, legitimate, logical fear of it--one based not on religious abstraction or a distant extrapolation, but an understanding of past mistakes. It doesn't use that possibility for a fun setting with monsters to blast or a villain to chase and instead leans into a more peaceful and serene conception of impending doom. How best to prevent bringing an end of our own making to the world, it asks, even if it's currently theoretical or decades in the future? When is it worth the risk? What values, what comforts, what aspects of ourselves are important to us, and which of them do we consider so intrinsic that to exist without them would be no existence at all?

It's also a game about puzzles. The puzzles are really good.

RoboCop: Rogue City is a love letter to the 36-year-old sci-fi franchise. Teyon, the studio behind Terminator: Resistance and Rambo: The Video Game, clearly has a soft spot for '80s action movies, and this reverence is woven into the very fabric of Rogue City's design. From the environments to the soundtrack to the satirical style, it captures the look, sound, and vibe of the first two RoboCop movies with exceptional aplomb, while also making you feel like you're fully embodying the titular supercop. Pistons whir with each heavy footstep of your titanium frame as you shrug off damage and methodically dispatch criminal scum with the lethal precision of a machine. There's something admirable about this adherence to authenticity, yet being a near-unstoppable force doesn't always make for the most compelling video game. Rogue City often appears as though it's stuck at a crossroads between being faithful to the source material and presenting an enjoyable first-person shooter, and it only sometimes strikes a satisfying balance.

Rogue City's story feels genuine by etching a brand-new tale into the series' familiar narrative framework, but this is another area where Teyon sometimes sticks too closely to the original two movies' vision. Set between the events of RoboCop 2 and RoboCop 3, Rogue City sees you play as Old Detroit cop Alex Murphy--with Peter Weller reprising the famous role--who's been rebuilt as the cyborg RoboCop after being fatally wounded in the line of duty. The game opens with a satirical news segment that would feel right at home in Paul Verhoeven's 1987 film, establishing the crime-riddled state of Old Detroit. Nuke, the highly addictive designer drug introduced in RoboCop 2, is still proliferating on the streets, and now there's a new crime boss in town who has the rest of the city's gangs lining up to work for him. Putting a stop to this new wave of crime is your prime directive, but the story also explores a number of sub-plots with mixed results.

At the conclusion of the game's first mission, for instance, RoboCop malfunctions in a dangerous hostage situation and begins having flashbacks to the life he used to have as a loving husband and father. Mega-corporation Omni Consumer Products (OCP) is eager to fix its faulty hardware, even going as far as to hire a therapist for RoboCop to talk to. The original movies explored themes of control and free will and touched on the dichotomy of RoboCop's very existence, but these moments were often clumsily handled and never reached a particularly satisfying conclusion. Rogue City allows you to delve deeper into Murphy's psyche by choosing various dialogue options during your mandated therapy sessions. You can toe the line and say you're just a machine or that it doesn't matter either way, or you can opt to dig further and explore Murphy's relationship with his humanity and personal identity. There are some interesting moments that arise from these conversations and the way your answers influence how others perceive you, but it also doesn't say anything we haven't heard before, either within RoboCop's own fiction or in other media. As a result, Rogue City feels like it's simply retreading old ground and falling into the same pitfalls the movies once did.

WarioWare is a series built on gimmicks. The very idea of "microgames" on the Game Boy Advance was a silly, novel idea, and every iteration since then has tried to match that gonzo style. At this point, the real measure of a WarioWare game is how well the new schtick works to deliver its frenetic rapid-fire games. For WarioWare: Move It, Nintendo has repeated the pose-based games from the Wii's WarioWare: Smooth Moves. But while the games are as wacky as ever and frequently hilarious, many of the poses (or "Forms") themselves are too complex--which creates friction for the players and sometimes even for the Joy-Con controllers.

The unusual nature of the pose mechanic is apparent right away when the game asks you to acclimate yourself to holding the Joy-Con controller in a wonky sideways position: face buttons inside your palm or facing outward, controller turned to the side so that your thumb is positioned to hit the ZL or ZR button. If you imagine you're on a gameshow like Jeopardy where the contestants have buzzers, that's basically how this feels. You can't really reach the face buttons, but you don't need them. Instead, everything is controlled by motion, sometimes also involving the ZL and ZR button, and very rarely, the SL and SR buttons located on the rail.

The odd hand positioning appears to be in service of better motion sensing, allowing for a wider range of poses than we saw in Smooth Moves on the Wii. And to its credit, the gameplay does get a lot of mileage out of finding new ways to integrate these poses into different types of competitions. You might be asked to switch from holding your forearms perpendicular to your body (Choo-Choo) to putting your hands up at your cheeks (Lovestruck) to posing with one hand at your head and another at your side (Fashionista). What's most impressive about the array of poses is how often Move It makes them feel natural in the context of the microgames. The game won't know if you aren't playing along fully, but you'll naturally perform the motions better if you commit to the bit.