NBA 2K has long been the standard-bearer for high-quality sports games. It's the pinnacle that other series like Madden, FC, and even the oft-beloved MLB The Show aspire to emulate in whatever ways their respective sports allow. That's not to say it gets everything right, but it often feels like the team at Visual Concepts is competing against itself. It creates trends; it doesn't chase them.

That's always been most obvious in The City, the series' social PvPvE hub and the lifeblood of the game's community. Though some other parts of the game are more uneven with this year's entry, The City proves that if you only plan to play one sports game this year, NBA 2K27 is the way to go.

The City is where players can meet up for basketball games of varying sweat levels, buy cosmetics, and complete live-service challenges--it is the center of NBA 2K27's solar system. This hub is thoughtfully attached to the single-player MyCareer mode at the proverbial hip, and this pairing offers more enjoyable and immersive things to do as a tandem than most other sports games taken in their totality. 

This year, The City makes several smart changes. At the core of it all is the long-awaited ability to import custom women characters into the mode. Aesthetically, this is a nice change that lets the hub world better reflect real-life streetball communities--it's always been true that women have existed in these spaces in real life, so they should be included in NBA 2K, too. 

However, this positive change does come with a frustrating caveat: The MyCareer mode doesn't account for them, thereby siloing these women avatars into The City exclusively. Plus, this requires anyone who wants to run around in The City as a woman to create a second avatar as a man if they want to go into MyCareer's story mode. So as awesome as this all is to see, it also feels like a frustrating half-step forward.

New landmarks in The City, Casual Corner and Crew HQ, build out the virtual world to be much more inviting and social. In Casual Corner, beginner-friendly pick-up games, including some that are co-op PvE against rather lowly bots, are happening whenever you want to queue for them. Meanwhile, NBA 2K's clan-like "Crews" system gets a big upgrade in Crew HQ, a space for you and your crew to meet up, practice, play crew-only games, and socialize. 

These two additions will better onboard new players and, by being tied to the Learn 2K suite added in recent years, speak to the team's commitment to not feel so dizzying to new players. They also become two more diverse ways to play in a hub world already full of so many different offerings, from ultra-sweaty Proving Grounds games that ditch the shot meter to The Rec's full-length 5v5 games. 

There's always The Park too, where some players spend the entire year building out their in-game legend and dominating on a particular court as though they actually live in the neighborhood. In more than one corner of the game's social world, these various mo

Among horror royalty, there is perhaps no greater icon than Michael Myers. First appearing in 1978, the slasher helped ignite a trend of similar movie monsters that defined the next decade and beyond of the horror landscape.

Halloween: The Game displays a keen understanding of his special place in that lineage, and IllFonic has brought his unique sense of unrelenting menace to video games in a way I can't get enough of.

Halloween: The Game is a 4v1 asymmetrical horror game from a team that has established its brand on similar projects. From Friday the 13th and Predator: Hunting Grounds to Ghostbusters: Spirits Unleashed and Killer Klowns From Outer Space, IllFonic has spent the last decade becoming synonymous with this genre, and yet it's never made the same game twice. That's true again here, as one of Halloween's best attributes is that it plays quite unlike any other, be it from this team or the others also making games in this realm. The studio didn't reskin something we've seen before in a blue jumpsuit. This is the real deal.

Though games of this sort have used a 4v1 setup before, most famously in the genre's king of the hill, Dead by Daylight, Halloween adds a unique wrinkle in the form of NPCs. Across the various maps of Haddonfield, Illinois, residents go about their day-to-day lives, and it's up to the team of four player-controlled survivors to warn them of the threat Myers poses, protect them, and eventually escort them off the map or hide them until the round's timer expires.

I love this new approach to the genre for two big reasons. For one, it dims the spotlight on the human survivors. In a game of Dead by Daylight, for example, one or two people dying early will likely doom the entire round. But in Halloween, your group of four is joined by a handful of other potential survivors, and the game's scoring system, like Killer Klowns' before it, is not built on a binary pass/fail. You could die in a round, but if your team helps a handful of residents flee to safety, you may have won the round anyway. It feels like less pressure is on your shoulders.

Fundamentally, this gives the entire game a feel unlike anything that's come before it. You're not just trying to escape or wait out the timer to win, as you did in Friday the 13th. You actively need to outrun and outsmart Michael Myers, creatively using the limited time you have before he appears in stabbing range. Staying stealthy, locking doors behind you, and pre-planning an exit strategy--like jumping out a window when he's swarmed the house you're in--are vital.

But there's another big reason this novel setup works so well: It authentically captures the spirit of the movies, particularly that timeless first one from 1978. This is especially true when you're playing as Michael himself. His key ability, the Shape Jump, allows him to quickly and invisibly float around the map, reappearing anywhere so long as it's dark and no survivor is too near, mimicking his way of almost supernaturally being where you least expect him. 

But simply spawning on survivors to quickly gut them only awards the killer a measly score for his gory efforts. Instead, you're encouraged by the scoring system to stalk your prey, watching from a distance, building up your stalking meter, before ultima

"Fighting is everything" is a phrase protagonist Miyamoto Musashi uses to explain his ethos, but it's an ideology that doubles as an accurate description of Onimusha: Way of the Sword, too. After a disappointing 20-year hiatus, Capcom's samurai series returns in fine form, ditching the fixed camera angles and pre-rendered backgrounds of its forebears for a modern reinvention where combat is king. 

The fifth mainline entry in the series still maintains key aspects of Onimusha's distinct identity, mixing Japanese history and mythology with the studio's penchant for inventive creature design, but infuses these aspects with layered melee skirmishes shaped by the past 20 years of action games. The shift to a semi-open-world structure is a stumbling block, but Way of the Sword still marks an excellent return for the long-dormant series by evolving its swordplay with captivating aplomb.  

Musashi himself is, of course, known for his combat prowess: a legendary samurai from Japanese history who's widely regarded as the greatest swordsman who ever lived. Much like previous protagonist Samanosuke Akechi–who's loosely based on the Sengoku period's Akechi Hidemitsu–Capcom was influenced by the fables, legends, and real stories of Musashi when creating the character. 

While he's only in his early 20s in Way of the Sword, the cockiness, confidence, and swagger of someone who would eventually go undefeated in 62 sword duels is immediately apparent. There's a Harrison Ford-esque roguishness about him that's easy to fall in love with, and this is aided immensely by not just Yoshimasa Hosoya's voice performance–I played the Japanese-language version–but also the game's excellent facial-capture animation. Every subtle raise of an eyebrow, smirk of the mouth, and clench of the jaw is evident and lends Masashi a ton of character even when he's not speaking. 

It also helps that he's modeled after the late, great Japanese actor Toshiro Mifune, best known for his collaborations with Akira Kurosawa on films such as Seven Samurai and Yojimbo, and who also played Musashi in Hiroshi Inagaki's Samurai trilogy.

Onimusha has a long history of using the likenesses of real actors, including Yusaku Matsuda and Jean Reno, but the leap in quality over the past 20 years is undeniable in Way of the Sword. I'm not overly familiar with Mifune's earlier work, yet his mannerisms shine through both in cutscenes and gameplay, from his wide-eyed intensity to the way he shrugs his shoulders and scratches the back of his neck. 

At the beginning of the game, Musashi arrives in Edo-era Kyoto, looking to prove himself as a warrior without equal. After defeating a clan leader in a fierce duel, he's set upon by an invading force of demonic Genma and is only able to fight back after being granted an Oni gauntlet by a mysterious figure. 

Unlike previous protagonists such as Samanosuke and Jubei Yagyu, who wanted to use their Oni powers to save the world, Musashi wants to rid himself of the gauntlet. The way of the sword is traversed on one's own strength, so Musashi feels having these powers at his disposal is essentially cheating and doesn't represent his true skill as a swordsman. 

Watching Musashi navigate this stance while newfound allies are relying on him to save Kyoto is one of the more compelling aspects of the game's narrative. Musashi has his own ethos, but he's also not the kind of s

Very few of the many stories you'll encounter in The Blood of Dawnwalker end happily. It seems foolish to expect anything else from a dark, medieval action-RPG about a secluded valley ruled over by vampires who demand blood and subservience from its human populace. While hoping for anyone to get out unscathed is perhaps naive, it's impressive that developer Rebel Wolves manages to give just about every story enough depth and nuance to keep all that death and tragedy compelling all the way through.

Dawnwalker is composed of what feels like a ridiculous number of quests. Due to its structure, they seem haphazardly constructed at first, with no dedicated throughline; only a story you construct by taking on whatever tasks you think are worth your limited time. What's shocking is that these quests, from the intricate stories of rebels fighting to free the valley and vampires following shadowy agendas, to the momentary tidbits of setup from a group of soldiers by the side of the road before you start hacking them apart with your sword, are so well-written. To the game's credit, there's a good chance you'll want to do everything in Dawnwalker. The fact that you can't is part of what makes it so compelling.

Dawnwalker's story is built on a ticking clock, and that feature is among the game's best ideas. You play as Coen, a human who loses his family to Brencis, the valley's vampire sovereign. Coen quickly comes to realize that Brencis is set to host a feast in 30 in-game days, so you have that long to make preparations and storm the castle to free the captured humans, doing whatever you can to strengthen yourself, gather allies, and figure out a plan before time runs out.

Time advances when you take on or complete quests and activities. Each of these takes an allotted amount of time, so you're always weighing whether you want to dedicate time to one quest over another. Dilly dallying with other activities while a quest is active can change the situation or even cause it to end in failure, so stacking up 50 things to do is a bad idea. While you have enough time on your hands that you're not forced to consider every single hour you spend along the way, the sense that the clock is against you gives everything you do in Dawnwalker the feeling of weight and importance. It also might make you think twice about stopping to lend a hand to a minor character you meet, or choosing a merciful but time-consuming option over a more expedient but harmful one.

Time also dictates the way that you address quests. At the end of the tutorial section, Coen is forcibly turned into a vampire, but thanks to this world's supernatural rules, he unexpectedly becomes a Dawnwalker--he transforms into a vampire when night falls but reverts to a human under the sun. During the day, the human Coen can do things like interact with shopkeepers or make his way into occupied settlements, looking like any other person; if he gets into a fight with Brencis's soldiers, he does it with a sword. At night, Coen is more deadly in a fight, but often more noticeable, and enemies tend to attack on sight. An area might be public during the day and off limits at night, so when you decide to solve a problem can change how you do so. And of course, some events only take place during the day, while others only happen at night.

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Resonance: A Plague Tale Legacy faces a difficult balancing act. Can it move away from its predecessors' terrifying waves of rats and still deliver a supernatural terror that ties into rewarding environmental puzzles? Can it ditch the series' sibling protagonists and still tell a moving story focused on two people learning to lean on one another? And can it add fierce, frenetic combat to the franchise's formula as a new gameplay pillar without abandoning its core identity as a puzzle game? At times, Resonance succeeds--especially during its stronger first half--but it too often loses its footing. And as the game increasingly misses the mark, it further distances itself from what worked so well in the first two A Plague Tale games without adding anything to make up for the loss.

Set in 1334, about 15 years prior to the first two A Plague Tale games, Resonance follows Sophia instead of series protagonist Amicia de Rune. As a young girl, Sophia was forcibly injected with blood that causes her to have visions of a long-lost civilization. Wanting to cure her of these visions, her father eventually finds and travels to the island that she has seen in her visions, but in his attempts to uncover the island's history, he is killed by a mysterious and terrifying beast. Wanting to discover what her visions mean and learn about what truly happened to her dad, Sophia travels to the island with her best friend, Leni, in tow. 

The story, especially in the first half, is very good. This series has consistently done a fantastic job of quickly building up characters or situations in its introductions to be narrative buy-ins that are solely there to be destroyed or yanked away early on and create emotional stakes: Amicia's happy family life in the first game, the hope that Amicia's life had returned to some degree of normalcy in the second game. Resonance does the same. You actually spend quite a bit of time getting to know Sophia in Europe and the fairly happy life she has with the adopted family of smugglers she grew up with before a tragic event forces Sophia to go to the island. There's a real sense of desperation in her tale, and the stakes of what may happen to her or Leni if she were to return to her allies empty-handed and without answers are abundantly apparent.

Leni and Sophia have an odd dynamic. Narratively, it's pretty good. There's some angst beneath the playful banter of the two friends that implies there could be romantic feelings pushing the two together, and the two play off one another in cutscenes incredibly well with their very different skill sets--Sophia is a fighter who can muscle through problems that require strength, and Leni is a pickpocket who is adept at getting in and out of places she doesn't belong.

But that's never reflected in the ga