People of Note was clearly made with lots of love, but it is also a deeply silly game. Conflicts are resolved between musicians flinging music at each other, a simple country-wide road trip transforms into a battle to save all of reality, and somehow everyone is convinced that the power of friendship will somehow overcome an ancient eldritch-like power. If I didn't know any better, I'd think this game was an old-school role-playing game. And, to be fair, People of Note shares a lot of parallels with those games. While that means the strengths of those types of games are present in People of Note--notably the music and world design in its case--it also means that some of the shortcomings that can be found in the weaker installments of the genre are present in Iridium Studios' turn-based RPG too.

People of Note sees would-be pop star Cadence striving to fulfill her dream of winning a singing competition and getting propelled into fame. Worried that the pop song she's prepared isn't strong enough to sway the judges, she sets out through the land of Note in search of people who can add to her song. Her journey takes her to a desert where everyone is all about different kinds of rock music, a futuristic metropolis blanketed in perpetual night and inhabited by EDM-obsessed disc jockeys, a block-shaped party city that's all about rap and hip hop, and so much more. And all the while, repeated references to an event known as the Harmonic Convergence steel you for what will eventually be a sharp tonal shift away from road-trip comedy to dramatic high fantasy.

Your enjoyment of this story is really going to come down to how much you like puns and pop culture references--People of Note's humor is not unlike Borderlands 2 or Saints Row IV. The game rides the line between funny and corny well enough for me, save for one moment in the third act that made me cringe so hard, I contemplated simply not playing any more of the game that day. But I also enjoy games like Borderlands and Saints Row. If you're not a fan of the idea of a story that takes every single conceivable musical term and crafts a whole high-fantasy society and plotline with said terms, People of Note is probably going to grate.

Its humor aside, however, People of Note tells a solid story. Protagonist Cadence goes through an incredible arc, with the most prominent moments of transformation brought to life with animated musical performances that feel like they'd be right at home in a Broadway musical. The story's third and final act feels a tad too busy, with Cadence and her band contending with every villain in back-to-back conflicts--having a few of those storylines wrap up in Act 1 or 2 might have helped keep Act 3 from feeling so bloated and difficult to follow.

Darwin's Paradox takes the 2D puzzle-platforming sensibilities of a game like Limbo or Inside and makes it distinctly less creepy and unsettling. Whereas those games presented elements of light body horror and spooky high-contrast compositions, Darwin's Paradox evokes classic cartoons starring goofball protagonists in vibrant, colorful settings. The result is a pleasant little gem of a game with loads of variety that makes the most out of its relatively short playtime.

There's a core comedic premise to Darwin's Paradox that begins subtly and then slowly becomes more obvious as time goes on. Your eponymous little octopus, Darwin, just wants to get back home to the ocean. But on his journey he haplessly bumbles his way through what is clearly a full-scale alien invasion of Earth. In most games, the hero would steel their resolve to take on the alien menace, but Darwin is just an octopus. For all he knows, this is normal among land-dwellers, and he doesn't really seem to care either way. So he's less of a hero and more of a Mr. Magoo, with his own perception limited to the threats around him as he gets flung around a hostile world and just tries his best to survive. We as the (human) viewers understand what's happening in a different context than he does, and that makes the story work on two levels at once.

Though he's not a hero, Darwin certainly has an expansive move set, which makes the game's platforming feel natural and fluid. They all trace back to the behaviors and adaptations of real-life octopi, like suckers to stick to walls, shooting ink to escape predators, and camouflage to blend in with their environment. And like a real octopus, he's most mobile underwater, where you have full 360-degree freedom of movement. Though traversing your way through land environments feels good, going underwater is immediately more natural. It really accentuates the feeling that you're a fish out of water the rest of the time.

Darwin's Paradox takes the 2D puzzle-platforming sensibilities of a game like Limbo or Inside and makes it distinctly less creepy and unsettling. Whereas those games presented elements of light body horror and spooky high-contrast compositions, Darwin's Paradox evokes classic cartoons starring goofball protagonists in vibrant, colorful settings. The result is a pleasant little gem of a game with loads of variety that makes the most out of its relatively short playtime.

There's a core comedic premise to Darwin's Paradox that begins subtly and then slowly becomes more obvious as time goes on. Your eponymous little octopus, Darwin, just wants to get back home to the ocean. But on his journey he haplessly bumbles his way through what is clearly a full-scale alien invasion of Earth. In most games, the hero would steel their resolve to take on the alien menace, but Darwin is just an octopus. For all he knows, this is normal among land-dwellers, and he doesn't really seem to care either way. So he's less of a hero and more of a Mr. Magoo, with his own perception limited to the threats around him as he gets flung around a hostile world and just tries his best to survive. We as the (human) viewers understand what's happening in a different context than he does, and that makes the story work on two levels at once.

Though he's not a hero, Darwin certainly has an expansive move set, which makes the game's platforming feel natural and fluid. They all trace back to the behaviors and adaptations of real-life octopi, like suckers to stick to walls, shooting ink to escape predators, and camouflage to blend in with their environment. And like a real octopus, he's most mobile underwater, where you have full 360-degree freedom of movement. Though traversing your way through land environments feels good, going underwater is immediately more natural. It really accentuates the feeling that you're a fish out of water the rest of the time.

As Darwin makes his way through sewers, factories, science labs, and more, you often have to avoid danger or solve simple environmental puzzles. Darwin is just a little cephalopod, not a fighter, so all of your tools are built around avoiding danger rather than doing damage. One moment you might need to crawl your way past a squad of aliens and camouflage at the right time, or you might need to shoot a gob of ink to hit a button controlling a conveyor belt, or climb up a wall to make your way into a different room. When you're underwater, your ink creates a temporary cloud of black that lets you sneak past carnivorous eels. The variety means that you're never doing the same thing for very long, which keeps the combat-free adventure moving briskly through the roughly six-hour playtime.

It helps that the world feels so visually cohesive and looks very nice. Though the game takes place on a 2D plane, there's a lot of depth to backgrounds and often those will interplay with the action happening in the foreground. As the adventure progresses, you get a distinct sense of visual style in this world, a retro sci-fi aesthetic contrasted against the beauty of marine life.

Of course, the world is a dangerous place for a little octopus, especially with aliens about, so you'll frequently get eaten or squished underfoot. A generous checkpointing system means you're never put too far back, but there is a lot of learning-by-death. Some traps are meant to be difficult to see or understand until the first time they kill you, and after that it may take a couple of tries to figure out how to avoid them and then execute it properly. That makes for a fair bit of repetition, and sometimes I bristled at needing to repeat a section that I had already figured out and just neede

Nintendo has consistently leaned on Switch 2 upgrades to fill gaps in its release calendar, enticing fans to return to their favorite games from the Switch 1. Those upgrades usually enhance graphical fidelity or add some new bells and whistles, like the Zelda Notes feature added to Breath of the Wild and Tears of the Kingdom. The upgrade for Super Mario Bros. Wonder, Meetup at Bellabel Park, is pricier than some other Switch 2 upgrades, but its novelty comes from transforming Mario Wonder into an almost completely different game. And that new game is a well-made party experience, even if it may not be exactly what Mario Wonder fans are looking for.

Bellabel Park is almost entirely focused on its multiplayer component, which is admittedly a strange turn for a game and series so known for its single-player platforming prowess. That isn't to say that there's no regular single-player content whatsoever, though. The story of Bellabel Park, such as it is, involves a new area of the map: the eponymous park that houses special Bellabel flowers. The Koopalings show up to steal the flowers, so Captain Toad and the Poplins agree to scour the world map for them. You'll find a new brigade tent belonging to a Poplin scout in each world, which leads you to one of the Koopalings.

If you're making your way through Mario Wonder for the first time, this will be a neat little throughline that you encounter occasionally, but if you've already finished the game, you can easily just jump into the series of boss-fight stages. This time the Koopalings are enhanced by the Wonder Flower, so each one reimagines the Koopa kids with some fantastical effect. Wendy turns into a bulbous Cheep-Cheep-like fish, while Morton becomes a massive marionette puppet. You have to traverse a stage being terrorized by their special effects before confronting them as bosses, and it's fun how these classic baddies--who, let's be honest, haven't gotten much to do lately--are recontextualized with wild, stage-changing effects.

A game doesn't survive for decades without evolving, and World of Warcraft has evolved more than most in its 22 years, slowly transforming to cater to players' changing tastes and expectations. But despite being around for so long, many of the biggest, most foundational changes to Blizzard's MMO have happened more recently. It was only the game's previous expansion, The War Within, that added proper account-wide progression and the ability to earn endgame gear playing solo. It was only four years ago that Blizzard made it so Alliance and Horde players could finally team up.

WoW's new Midnight expansion continues that evolution. It's not as dramatic a transformation as The War Within, but nonetheless sees Blizzard continue to confidently push WoW forward in ways that just a few years ago would have been unthinkable. New systems like Prey bring actual challenge and endgame rewards for those who prefer to quest out in the game's outdoor world. Blizzard's new built-in user interface tools, like the Cooldown Manager and damage meter, give players the information they need to succeed without having to rely on third-party add-ons like in the past. Midnight also introduces the biggest new feature in the history of the game with player housing, finally allowing players to properly call Azeroth home after decades of waiting.

Even as Midnight advances WoW's various systems, the expansion leans more heavily on WoW's past than ever before. Modern WoW has rarely felt nostalgic, but it's hard not to think fondly of the game's early Burning Crusade days while running around a lovingly revamped Silvermoon City and Eversong Woods. That duality is Midnight in a nutshell. As a game, WoW has never felt more modern and approachable in its gameplay. At the same time, Midnight is more willing than ever before to pay homage to the past, mostly to its benefit.