There's something that almost feels sacrilegious about playing Halo on a PlayStation console. The sci-fi shooter franchise feels quintessentially Xbox, and while you've been able to play Halo: The Master Chief Collection on PC with a DualSense controller, there's something extra odd with playing a version of Halo covered in a PlayStation-oriented UI and seeing PlayStation Trophies pop with every completed in-game accomplishment. 

And yet, despite how weird it is to be playing Halo on a PlayStation 5, it's still Halo. And so it's really fun.

Not to be confused with Halo: Combat Evolved, Halo: Campaign Evolved (because why would they make the title acronyms different and make things easier for me?) is a remake of the very first Halo, and it's also the first Halo game to be playable on one of Sony's consoles. Unlike the 2011 remaster Halo: Combat Evolved Anniversary--which provided a graphical upgrade and added co-op gameplay and brand-new collectibles like lore-filled terminals and gameplay-modifying skulls--Campaign Evolved is a much more drastic transformation.

In the first Halo game, protagonist John-117, aka the Master Chief, awakens aboard a starship after it's been attacked by an alien alliance known as the Covenant. As a super-soldier called a Spartan, Master Chief is tasked with escaping the doomed ship with its artificial intelligence, Cortana, to a nearby moon-sized ring that humanity has never seen before. Cortana quickly learns that this ring, referred to as Halo, is important to the Covenant, and Master Chief sets out to learn what it is and why the Covenant want it, while also helping the various human survivors who made it to the ring's surface and are contending with Covenant forces.

Developed in Unreal Engine 5, Campaign Evolved's visuals are a huge jump from 2001's Combat Evolved. And as the name suggests, the actual story campaign has changed too. There are three brand-new missions that take place one year prior to the events of the main story, the levels in the main story have been redesigned in certain sections in terms of both layout and mission objective, and brand-new cutscenes further flesh out the characters and stories with references that longtime fans will recognize are now early teasers for Halo 2. 

The gameplay has been overhauled too, implementing changes to make the first Halo play more like Master Chief's later adventures. Some of these changes radically alter how it feels to play the first Halo--like the ability to sprint, or aim down sights

Splatoon is a Nintendo series that I've enjoyed well enough, but fleetingly. Even with solid shooting mechanics and a playful gimmick revolving around quickly traversing paint-soaked battlefields, the competitive multiplayer often failed to hold my interest beyond a few weeks. Splatoon Raiders isn't the first time the series has attempted single-player, as each previous game would have a brief story campaign. But it is the first time Nintendo has built a whole game around single-player, and the looter shooter approach works so well that I hope it marks a new beginning for Splatoon that can live alongside the multiplayer games.

In a lot of ways, it's easy to imagine how Splatoon Raiders came together. It uses a lot of the basic structure of a regular Splatoon game, like varied weapon types and Salmonid enemies. Even its main heroes, the members of the band Deep Cut, hail from Splatoon 3. Yet Splatoon Raiders rearranges all these familiar parts into a new shape that is best summarized by a quote found near the beginning of the game:  "All that matters now is the loot!" 

Instead of splatting your fellow squid kids and competing to get the most ink coverage, you're taking on a series of PvE challenges. Some of these involve quickly gathering Power Eggs on a timer while others have you roaming a map gathering crystals to power your drilling machine, but the core goal remains the same: defeat Salmonids and get loot. It's simple but it works. Instead of competing to cover the ground with ink, your own ink color (and custom character accents) changes from stage to stage, while your Salmonid enemies are consistently spewing a sickly yellow-green goo.

Returning Splatoon fans will find a lot of familiarity here. Your core weapons, like shooters, splatanas, and dualies, are all here, as well as some weapons that make less sense in this format. The roller was my mainstay in traditional competitive Splatoon games, when I would try to help my team with maximum ink coverage, but it's much less useful while fighting off hordes of superpowered fish. I mostly stuck with rapid-fire weapons like shooters and dualies, but occasionally changed it up with a shotgun-like slosher. The weapons you find have numbered levels that generally match your current experience level, so sometimes Raiders will gently push you to try something new. If you haven't found a new version of your preferred weapon type for a while, of course you'll try out a stronger but less familiar weapon. 

The real game-changer is the array of Gadgets. You have three Tank types--Speed, Power, and Tactical--which mostly define your Gadget selection. The Speed tank gives you access to the Booyarang, a spinning weapon that squirts some ink in a small radius, while the Power tank gives you Splatellites that circle around you, and the Tactical tank gives you the Shot Pot auto-turret. Each of the gadgets feel very different from each other, and you're able to develop new Gadgets as you progress through the game. I stuck mostly to the Power Tank and my favorite Gadget, the Splatellite, all throughout.

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I've been conflicted about Assassin's Creed Black Flag Resynced since it was announced. The original 2013 pirate action-adventure is one of my favorite games ever, so my immediate reaction to hearing it was getting a remake for current-era consoles was excitement. In that very first announcement video, Ubisoft said that Resynced would not reinvent protagonist Edward Kenway's tale, but that there would be large changes to combat, parkour, stealth, and the structure of the overall story. And while changes like that fall within the framework of what a remake is, I couldn't tell if these adjustments would mean Resynced still felt faithful to the original game. And regardless of whether or not it was, there was also the bigger question of if this remake would be better than Black Flag.

Having now played Resynced, I don't think it is better. That still means Resynced is pretty good. Black Flag is one of the best games in the Assassin's Creed series, and Resynced doesn't change so much that that's no longer the case. The issue is that for every positive change that Resynced makes to Black Flag, it stumbles into creating a new problem.

If you asked me what Black Flag is, I'd tell you it was a treasure hunt. You play as a normal employee of an entertainment company in the 21st century who is scrubbing through the memories of Edward Kenway, a Welsh privateer-turned-pirate trying to make his fortune in the 18th century, via a machine called an Animus. Your mission is initially just to capture footage of Edward's life to make a new media project. However, your research into Edward's memories draws the attention of your bosses. Turns out, Edward stumbled across someone who knew of a site called the Observatory during this period of his life, and your bosses want to know whether Edward ever found it himself. They task you with spending more and more time reliving Edward's life in hopes of finding where it's hidden in the past, so that they can rediscover it for themselves in the modern day. 

You don't know what the Observatory really is or why you're looking for it, and your efforts slowly pull you into a shadow war between freedom-protecting Assassins and order-oriented Templars--and at the same time, you see Edward similarly get pulled into that same conflict 300 years earlier. Mirroring your character's life to Edward's is straightforward but effective narrative framing, and it adds this incredible science-fiction flavoring to what's an already terrific historical fantasy adventure. To date, it's one of the best intertwined present-and-past stories in the series--only the first two Assassin's Creed games do it better.

Resynced gets rid of pretty much all of that. The intro does establish that you're experiencing a simulation of Edward's life via the Animus but doesn't provide any reason

Somewhere in the back of my mind, I must have known that Rhythm Heaven was a close cousin to WarioWare, but it never stood out to me as strongly as it did while playing Rhythm Heaven Groove. The sheer unapologetic weirdness of it intertwined with the strict timing-based minigames made this feel like WarioWare, but as a rhythm game. And I feel like a fool for just now discovering that these are two great tastes that go great together.

The influences from WarioWare will be obvious to anyone who has played that long-running gonzo microgame series, but unlike those, the individual games in Rhythm Heaven Groove last much longer than a few seconds. After a short practice round to learn the rhythm and button prompts, you go into the actual performance that mixes together commands to the rhythm of a song. Almost all of your commands are mapped to the A button, but more complicated arrangements add one of the D-pad buttons for a different command. In an early game where you're driving a stunt car for a commercial, for example, the A button accelerates while the D-pad Down hits the brakes, so you need to alternate between them on command to stay aligned with the other stunt cars.

The WarioWare spirit shines through in both the art style--an eclectic blend of crude simplicity, chunky cartoonism, and occasional hyper-realism--and also in the gonzo spirit of the games themselves. The stunt car example is one of the more normal ones, but many of the games are downright bizarre. Across the breadth of Rhythm Heaven, you'll have to jump and roll as a cat doll, bounce fruits off your muscles as a bodybuilder, sort delicious pudding from tainted living pudding cups as a factory robot, and jump over windshield wipers during a rainstorm. The game frequently surprises you with new creative applications that all feel different, even if they're mechanically very similar. That sense of surprise meant that even when I didn't like a game as much, I loved seeing the creativity.

In addition to adapting to each game's rhythm, you also often have to contend with distractions in the background. The kitty-hopping game--Hop, Stop, N Roll--transforms the background from a simple wood-paneled design to a kaleidoscopic beach scene, so part of the challenge is keeping your concentration and the beat going while the world changes around you. When you learn to "read" the games, you also start to notice little signs about your performance, like your fellow performer in the umbrella-folding game shooting you a dirty look if your timing was just slightly off. 

While the WarioWare influence is obvious, my time with Rhythm Heaven Groove also reminded me of another long-lost rhythm game: Elite Beat Agents. While no game has quite substituted for EBA's charm, mixing storytelling with pop songs and rhythmic touch screen taps, Rhythm Heaven Groove is similarly focused on nailing your percussive beats. The sound design has excellent feedback with a sharp, snappy snare that punctuates even harder when you nail a beat perfectly. Sometimes I wo

There's a reason Nintendo keeps remaking Star Fox 64. The N64 iteration of the rail shooter--at the time, the second Star Fox release--remains the apex of the franchise: a genuinely fantastic game that still holds up and stands the test of time. Subsequent sequels that have attempted to recapture the magic have floundered by comparison. This latest iteration, simply titled "Star Fox" for what I can only assume is meant to be a soft reboot, plays just as great as you remember and looks even better. But if you've already played Star Fox 64 in any iteration, it will be hard to shake the feeling of deja vu. 

For the uninitiated, or perhaps those who just learned about ultra-cool guy Fox McCloud from his spotlight-stealing cameo in the Mario Galaxy movie, Star Fox takes place in a galaxy called the Lylat system, composed of anthropomorphic animals with futuristic space-travel technology. Star Fox is a group of well-funded fighter-jock mercenaries who are regularly called upon by a military general, a dog named Pepper, to assist their space-combat operations. 

As established in an opening cutscene, some years ago Fox's father, James McCloud, was en route to investigate questionable activity on a planet named Venom, when his wingmate Pigma betrayed him to the mad scientist Andross. James was lost, his trusty wingman Peppy escaped, and Andross kept quietly assembling his army for an invasion of the rest of the Lylat system. 

That sequence establishes one of the major new features of this remake: fully animated cutscenes. And to their credit, these are very well-made sequences. The aerial stunts look cool while staying true to the original spirit where needed, and the voice acting has been updated to facilitate the expanded scope. The more realistic character designs were divisive when shown off earlier this year, but I felt fine with them from the beginning, and after spending some time seeing them animated in cutscenes, I've come to really appreciate the look. Their faces are nicely expressive and textures like fur give them a sense of realism, while still staying in the fantastical world of space animals. The vast majority of the cutscenes take place aboard their docking ship, the Great Fox, as they discuss strategy, but the characters are still given lots of characterization in their movements and gestures to express their perspectives and personalities. For example, Falco rolls his eyes a lot, because he is above all kind of a jerk.

A similarly heightened level of visual fidelity is present in the stages themselves, which look recognizable to their N64 counterparts without feeling too beholden to their jagged edges and geometry. While all of the stages look great, the upgraded style is most impressive when it shows off new flourishes that weren't available in the original, like the lighting effects of your lasers reflecting off of surfaces and illuminating dark caves. Star Fox 64 always excelled at stage variety, but this remake accentuates it by making each stage appear vastly different than the rest. I especially loved revisiting the stages that are major departures from the others, like the water world Aquas, the surface of the sun on Solar, or the wacky and kaleidoscopic Meteos wormhole.