The WWE 2K series has had a multi-year arc not unlike something you'd see watching WWE's shows on TV. Its 2020 installment was so broken, poorly received, and ultimately meme-ified that the team actually took a year off to fix its jobber-esque series--a rare sight in the world of annualized video games. But since then, it's been on the rise, getting pushed like a WWE superstar to the top of the card, and though WWE 2K24 doesn't yet finish the story, it seems like it's well on the path of cementing a new legacy for itself.

WWE 2K24 adds appreciable, albeit not revolutionary, improvements to last year's solid foundation across the board. The in-ring action is paramount, and WWE 2K24 thankfully builds on the already-excellent mechanics in that regard. There's more fluidity to chaining moves together, and it feels like, at any point in which your character has the upper hand, you can reliably emulate the escalation of a real-life match, with a deep assortment of move sets depending on where you are in the ring. An intuitive control scheme lets you set up a rival sitting atop the turnbuckle, staggered on the ropes, or lying on their back in the middle of the ring for an ankle lock with similar ease. The game simply always feels great to control.

Pairing those contextual attacks with a deep move set for every wrestler in which the left stick and face buttons combine to create excellent variety, 2K24 feels like it rolls out much of what made 2K23 already fun in my hands, but with a few new touches that I enjoy. This includes top-rope maneuvers onto a group of opponents rather than just one; Super Finishers, like Rhea Ripley's belt-winning Riptide from the second rope at last year's WrestleMania; and the ability to throw weapons. These are subtler changes than the complete overhaul the series received when it emerged from its darkest days a few years ago, but they're each welcome to the game and help further emulate the real-life product.

One of the hardest reviews I've ever had to write was for Outlast 2. The game was so unnerving that it was hard to psych myself up enough to play it sometimes. The Outlast Trials, Red Barrels' first game since then, doesn't consistently reach those same heights, but it is memorably scary at times, and when it's not frightening, it's plenty rewarding in other ways. Taking a single-player horror series like Outlast and repurposing it as a four-player PvE game sounds like the kind of publisher-mandated live-service experiment too many teams have been tasked with lately. But as an indie team, Red Barrels seems to have steered its own course, and that may be why The Outlast Trials still feels like Outlast rather than a cynical project bearing the name.

The Outlast Trials is set in the Cold War, where you'll customize your figurative guinea pig for a lengthy series of vicious experiments within the Murkoff Facility. The game's opening moments, along with the lore, paint a scene so gruesome and wicked that'll be familiar to series veterans, but disquieting to those new to the Outlast universe.. After training to become sleeper agents who are psychologically deconstructed, tormented, and then brainwashed, you're eventually let back out into the free world awaiting your activation as a secret weapon. The context of your overarching mission is at least as dark as anything this team has done before--and it's set its bar quite high previously.

In practice, these experiments play out on various large maps like a police station, a courthouse, a carnival, and more. Each one is propped up as a facsimile of the real thing as you run through the Murkoff-made mazes like a lab rat. This involves many signature Outlast elements, none more emblematic than carefully crawling through the dark in first-person while desperately seeking salvation--or at least batteries--before your night vision runs out of juice.

Penny's Big Breakaway is a loving homage to a somewhat awkward period in gaming history. The early days of 3D mascot platformers were defined by garish saturated colors, exaggerated character designs, and a variety of gimmicks as the genre found its footing in this new environment. Penny's Big Breakaway fits right into that legacy, like a lost gem that just got a shiny new remaster. But while its stylized look will probably be an acquired taste, it makes good use of its gimmick to avoid some pitfalls of the era it emulates.

The story revolves around Penny, an aspiring yo-yo performer who goes to a talent show audition put on by a stodgy Emperor. Along the way, her toy prop fuses with a creature, becoming a sort of sentient and voracious pet. The creature grants her all sorts of special abilities but also causes trouble at the talent show, angering the Emperor and putting her on the run from his army of penguin goons. Her "big break" turned into a breakaway, get it?

That sets the stage, so to speak, for a few different elements. For one, it sets the expectation that stages will be propulsive with constant movement. You're a wanted fugitive! As a result, stages aren't wide open worlds to explore so much as they are courses to navigate, often with great speed, as you stunt and trick your way past traps and obstacles. You can occasionally pause to catch your breath or find a collectible, but for the most part, each stage has you running from Point A to Point B as fast as you can.

In the final moments of Final Fantasy 7 Remake, Cloud finds himself at Destiny's Crossroads. Sephiroth has torn a hole in the fabric of reality, and a thrashing gateway into an unknown future beckons. It's a daunting prospect that is made even more so when Aerith says the next step in their journey will involve "changing more than fate itself." This was a statement of intent from developer Square Enix that suggested its retelling of one of the most beloved stories in video game history may not play out how fans expect, or perhaps want. It's a moment in which characters and players alike share in the unsettling nature of uncertainty. Before they step through the gateway, Tifa asks Aerith, "What will we find on the other side?" to which she replies, "Freedom. Boundless, terrifying freedom." And she was right.

Final Fantasy 7 Rebirth is a game about a struggle between fate and freedom, but also the delicate balance between authorship and agency. Through gameplay systems that encourage exploration, Rebirth empowers players to discover the world around them and chart their path through it. And through its story, it presents a compelling narrative about the destructive impact of exploiting natural resources, as well as the human causes and consequences of radical environmentalism. But it's a story that, ultimately, is defined and destined to end in very specific ways, for better or for worse. The equilibrium between contrasting ideologies is rarely perfect, and that's evident in Final Fantasy 7 Rebirth, a game that is rewarding for the dozens of hours it enables agency, but is frustrating in the few hours that author the series' future.

While the events of Remake were confined to Midgar and largely linear, Rebirth pushes back the borders to let players explore new horizons on their terms. Across 60-plus hours, Cloud, Aerith, Tifa, Barrett, and a few other party members follow in the footsteps of the mysterious pale-skinned and dark-robed individuals briefly encountered in Remake. Although they are largely incapable of communicating beyond pained groans, they are nonetheless key to tracking down Sephiroth and stopping him from destroying the world. Their slow onward march is what plots the group's course through the game's various locales.

Skull and Bones doesn't make a good first impression. Given its troubled development, this isn't the least bit surprising; it's tough to approach Ubisoft's latest without a heavy dose of trepidation. Nonetheless, after six separate delays, several scrapped concepts, and 11 years in development hell, the game's opening hours fail to put Skull and Bones' best foot forward, instead indulging in its very worst aspects. The gradual prevalence of combat does marginally improve things, particularly once your options open up and you're able to tinker with your ship and its various weaponry, but this isn't enough to save it from the dregs of mediocrity. Forget about scurvy; this swashbuckling adventure is beset with a severe case of live-service insipidity.

Skull and Bones' tutorial preamble kicks things off by making sure you know how to talk to NPCs and cut down trees. If your idea of pirating on the high seas revolves around the kind of resource-gathering found in most survival games, then you're in luck. In truth, this aspect isn't quite as egregious as it sounds, even if mining rocks and chopping down trees makes little sense when you're confined to the deck of a pirate ship. The main issue is that this is the first example of the game's insistence on making you perform menial busywork. There is some on-foot stuff, but landlubbers be damned, this simply amounts to chatting to vendors and quest-givers, with the occasional buried treasure thrown in for good measure. Skull and Bones might exist because of Assassin's Creed IV: Black Flag, but the only similarities between the two pirating games occur in their naval combat.

It's difficult to discuss this aspect of the game without delving into comparisons with Black Flag, despite the 11-year gap between the two titles. Unleashing a volley of cannonballs into the starboard of an enemy ship is the strongest part of Skull and Bones' seafaring ventures, but it still strips away much of what made Black Flag such a fantastic experience. That game was a power fantasy with a kinetic rhythm to its combat. There was never a moment of downtime as you utilized your ship's broadside cannons, mortar, flaming barrels, and swivel cannons to pepper the enemy with a constant barrage of naval fireworks, outmaneuvering towering Man O' Wars by dropping and raising the sails on a dime to produce some exhilarating moments. Skull and Bones contains more depth than Black Flag, with multiple ships to sail and a bevy of customization options letting you outfit your vessel with rockets, ballistas, fire-spewing contraptions, and more, but it's nowhere near as fun.