Dopamine tickler, the video game. Luca Galante puts his past experience as a gambling software programmer to good use here - Vampire Survivors is mesmerizing in its ability to give the player continuous positive feedback and string them along with constant rewards. Vampire Survivors, unlike a casino, does not ask much of your wallet. This game is surely a product of joy and passion. It delivers an insistently fun experience that is an easy recommendation to near anyone. The majority of runs are timed in a way that makes Vampire Survivors a near perfect "pick up and play" title on any platform one might choose to experience it on.

Alan Wake II is an absolute masterpiece, defying expectations and transcending the normal bounds of the medium to explore storytelling in a completely unprecedented format. It is brought to life through masterfully crafted art direction, graphical prowess, chilling sound design, enchanting performances and powerful music. It is an emboldened, metatheatrical, multi-media driven, survival horror game setting place in a lovingly crafted connected universe. Sam Lake has proven once again that he is a virtuoso of modern storytelling. His team shares a vision of salient ambition.

Back in September of this year the website "The Gamer" published an opinion piece titled, "2023 Has been a Horrible Year for Gaming." It was, of course, meant to be provocative and invite readers into an ongoing conversation around problematic trends in the industry: incessant lay-offs as companies haphazardly excise perceived sources of "bloat" without accounting for their heads' taking ownership over their gluttonous habits and actions during the pandemic. Indeed, this commentary should of course be considered alongside problematic cultures manifesting within the AAA development space and the completely unsustainable means by which many of these blockbuster games are being made. 2023 has also been a monumental year for video games. It is without a doubt one of the greatest, ever. The machinery of the game industry has caused much suffering to its artists, but we should also acknowledge the onslaught of phenomenal video games that have managed to release in this post-pandemic development era.

Enter, Remedy Entertainment, who have chosen to return as a true champion of light. They have, outstandingly, delivered on sustainable budgets and time structures. They developed the 2019 hit "Control" with uncompromised graphical and technical prowess at a mere fraction of what we might see with other AAA hits. This rings true with Alan Wake II as well, which has already at the time of my writing recouped its development costs. They continue to keep their staff from project to project, and once again with Alan Wake II (shortened to AW2 throughout this review) they bring forward many of the lovely faces they've been working with for years… in reprised, reimagined, and new roles.

For 13 years, as he has outlined for us, creative director Same Lake has wanted to make a proper sequel to 2010's "Alan Wake." He has stood on this promise and dream with stoic determination, or perhaps more appropriately, "sisu." Finally, we have it, his initiative brought forward in Alan's highly anticipated return. I believe Sam Lake when he says he is grateful it took so many years to logistically make this project viable, because there is now a cauldron full of bubbling ideas seasoned and adjusted to perfection after the learnings of many other projects since 2010. Frankly, Alan's overwhelming journey is reflective of Remedy's own learnings and attempts to manifest this game from writing to reality.

Making a sequel to a cult classic is truly no easy task, especially when you have chosen to completely reinvent the genre it will abide by. "Alan Wake" (2010) certainly had unnerving elements, but ultimately it was a campy jaunt through what the protagonist told us was a horror story. You often fought hordes of Taken, plowed them down with cars, and had plentiful access to ammunition and batteries for your trusty flashlight. AW2 grounds the experience. The resource economy is well tuned, where every bullet, bandage and battery pack counts. A push-and-pull of exploration exists, which promises more invaluable resources but at the possible cost of spending more to survive. There are periods of suspenseful silence and uneasy tranquility, inviting players to let their guards down before suddenly being attacked by 1-3 Taken. Frankly, there is one thing hasn't changed since 2010: there are few gameplay moments more satisfying than shattering a Taken's shadow shield with a burst from your flashlight, followed immediately by a blast from your trusty revolver or shotgun. In AW2 the guns feel punchy and impactful, but anything that might feel overpowered naturally suffers from resource scarcity. Combat isn't necessarily a focal point of this experience, but what is here feels good and responsive. The crowds of enemies are, as previously alluded to, notably toned down compared to the original game. However, the campiness is still present. AW2, for as much as it revels in jump scares, pitch-black environments, or horrifying scenes… loves throwing in a little bit of zaniness at every other corner. "Wonderfully weird" is my recurring phrase for Remedy video games… it continues to be apt here.

Alan Wake II explores new-form storytelling. What is accomplished here is not paralleled by any other game, and Remedy will make you believe that this is the only medium by which they could accomplish this. It is uncompromising and tenacious in its efforts to lead a completely unique experience. Interwoven into the plot are jaw-dropping set pieces, seamless integration of expertly acted live action footage, and a captivating soundtrack. In this nightmare, everything around you is riddled with as much art as there is darkness. Thematically, as you will find with many facets of Alan Wake II, this works perfectly. The Dark Place and Cauldron Lake feed off creativity. The very lore that tells us fiction might manifest reality in this place invites the submission of art to wield this power. Whether it be to bend it to one's will in a play for power, the ramblings of a mad creative, or a desperate act to survive, you will find art everywhere in Alan Wake 2. The absurdly proficient art direction, graphical fidelity, and sound design all serve this well. This is certainly a game meant to be played with headphones, complete with haunting ambient tones and often terrifying directional audio. Even the technical prowess on display is a means by which to capitalize on AW2's multi-faceted approach to storytelling, allowing for instantaneous transitions in and out of live action pieces from controlled gameplay. Alan Wake II plays plenty homage to its inspirations, from "Twin Peaks" to Remedy's own work in "Max Payne," you will find nods and references to real-life art everywhere. AW2 is certainly not afraid to broach metatheatre throughout its own narrative, embodying the campy nature of its predecessor by doing so. The Poets of the Fall (and their alter ego, The Old Gods of Asgard) make a dazzling return as well. The music choices throughout are excellent. I made sure to jam out with end of chapter song every single time, each of which remarkably coincided with the themes of the concluding chapter. Much can be said about how Remedy chose to characterize this world, but that does not even scratch the surface of other narrative techniques employed here: inspired use of dual protagonists and the ongoing construction of the Remedy Connected Universe should also be discussed.

Agent Saga Anderson and Alan Wake are notably different protagonists, with equitable contributions to the story, in spite of the game's title. Saga represents a newcomer to Bright Falls and is fairly naïve to the altered world event occurring there in 2010. In her segments Remedy heralds in a "True Detective" style to building the narrative, demonstrating Saga slowly put together the sensible through-lines within a maddening ocean of information. Her segments often are slower paced, plotting, and inspire horror through tension or unnerving encounters in the "real world." Saga witnesses firsthand the human consequences of the horror story in a way Alan is not privy to while trapped in The Dark Place. Alan's segments, on the other hand, are notably more weird. The Dark Place's rules are loose and poorly understood, by him and us. The vastness of the Dark Place is on full display here. Alan, stuck here 13 years, remarked for us long ago that its influence was not nearly as confided as observers expected. "It's not a lake, it's an ocean." Its depths also represent the unconscious mind, although burdened with darkness and a seemingly endless loop of directionality, thus allowing its vastness to directly contribute in driving Alan past the brink of insanity. AW2 continues the franchise's ongoing themes of reality, creativity, and the power of storytelling. It pulls these threads in new directions, challenging the rules it establishes and inviting a greater depth of exploration. Deeper and deeper it seems to go, truthfully making it hard to stop thinking about AW2 even after credits roll. Alan's wrestle with identity throughout it all is brought to life with a captivating, page-turning performance. He reckons himself everything from husband to writer to monster. As Alan, more questions will arise than answers, but not in a cheap or dissatisfying way. He too plays the role of "detective" and utilizes various light puzzles to explore the nature of murders occurring in the real world that might just be directly inspired by his writings. He must navigate what feels like "loops," first introduced in Alan Wake: American Nightmare, where he must suffer through repeated events with slight variations. He is constantly left to question if he is in the last one? If they will end at all? If the content of these loops can be in any way influenced or changed through his actions, or are instead up to predetermined fate? The enemies in these segments also are questionable in their sheer threat. Distorted shadows approach you in masses… many of which will dissipate yet still others will take more solid form and attack with little warning. This adds a level of tension to every encounter unique from the quietness we experience with Saga, where your ammo conservation demands reservation in the face of constant stimulation. Alan and Saga's tales connect in a natural, understandable manner and in many ways help make two stories form one cohesive narrative. That goal takes both metaphoric and literal form, because of course it does.

Lastly, I want to speak a bit to what is building here with the "Remedy Connected Universe." With just 4 games now, including American Nightmare, it already feels like it has the makings of something special. Familiar faces from Control are seen in AW2 in ways I will not divulge here, but in charming capacity that respects recurring players and invites intrigue from new ones. Callbacks are tactful, ranging from cute and small acknowledgements to huge payouts. Old faces return from prior games, with no stories to be told. Others are yet alluded to. Small things like the "Drink 'Em Both Up" achievement or stacked solo cups of the original Alan Wake are explicitly referenced here. More critically, the Federal Bureau of Control (FBC) plays such a meaningful role in this story. There are small payouts here too, including an explanation of the "raccoon situation" you could read about in a lore piece from Control's AWE DLC. Grander implications for the FBC's monitoring of Cauldron Lake, Alan Wake, and so on are of course revealed as the player presses on. All throughout, and most importantly, I felt thoroughly rewarded for my knowledge of these prior games.

There is so much love put into this title. You can tell Sam Lake has inspired a tremendous crew to adopt an outlandish shared vision that only they are truly equipped to deliver on. I welcome the upcoming DLCs "Night Springs" and "The Lake House," desperate to spend more time exploring Alan Wake II's narrative riches. I also look forward to Control 2, and whatever else might follow. This really is a special team, doing special work. There is not one game out there that is "like" Alan Wake II. It is truly, emphatically, "one of a kind."

May the Remedy Connected Universe continue to spiral, bringing us ever closer to new answers and infinitely more questions.

Bravo.

A Plague Tale: Requiem is a proud, bold and powerful sequel to 2019's beloved title, "A Plague Tale: Innocence." In just three short years, Asobo managed with Requiem to improve upon nearly every facet of its predecessor. Requiem picks up nearly immediately after the events of Innocence, and once again places the player in the shoes of Amicia de Rune.

As Amicia, you traverse the countryside of France and the Mediterranean Sea in a frankly epic journey alongside her brother Hugo. Throughout, Charlotte McBurney delivers a truly phenomenal performance as the voice actor for Amicia (English/French). It is readily apparent that the events of Innocence have hardened Amicia, but also have left her with deep internal turmoil. McBurney does an exemplary job manifesting Amicia's conflict through convincing and emotional voice acting. I would be shocked to not see her nominated for the "Best Performance" accolade at The Game Awards in December 2022. As Amicia contends with her own deeds, Hugo too has developed as a character. He still holds the intrigues of a child throughout Requiem, however at times his maturity and personal understanding of his disease exceeds that of his older companions. Other supporting cast members, both novel and returning, are also well realized and interesting in their own rights. Voice acting throughout Requiem is generally charming, but it should be noted facial capture was done with actors speaking French (thus, it will look 'off' when playing with English-dub).

Sound and presentation are absolute hallmarks of Requiem. On a Xbox Series X with a LG C1 OLED display I was consistently shocked with the visual fidelity and environments of Requiem. The visual spectacle is not just superficial either. Not only are there stunning vistas and environmental marvels, the lived spaces in Requiem are dense. For a game so much about death, it is utterly impressive how much life was infused into the gameworld through the meticulous detail appreciated in campgrounds, city markets, abandoned homes and so on. If Asobo sought out to make Requiem a visual showpiece for current-generation hardware in 2022, I definitely think they have succeeded. Light rendering and shadows were equally excellent. Throughout, Requiem is as gorgeous as it is gruesome. The OST is haunting, iconic and fantastic throughout. The music in Requiem has extensive range, delivering uplifting instrumentals and at-times brooding in a foreboding manner. Audio queues, such as footsteps or the cracking of a pot, are appropriate and useful to the player.

The game feels wonderful to play, with Amicia being granted a good deal of tools to dispose her foes or quietly traverse environments. Unlike many modern big budget games, you can utilize stealth effectively throughout much of Requiem. It remains a legitimate option for most, albeit not all, of the main encounters in the game. Combat feels much improved over Innocence, with appreciable new additions such as the crossbow and some alchemical concoctions. The game remains curated, well-paced, and largely linear like its predecessor. Unlike Innocence, players will be given some more expansive sections littered with alternative paths and secrets. These sections reward players who chooses to meticulously explore their options, but these encounters are brief and intuitive enough to not bog down the game from a pacing perspective.

Requiem is a technically demanding game, but for me the game ran fairly smoothly on XSX with VRR support. The promised 40fps definitely did dip in a few robust action sequences, but generally cooperated throughout my 1.5 playthroughs. Significant performance woes have been noted by others on PS5 and varying PC gaming rigs. While the game is stable and had little in the way of frustrating glitches, I would wager its lack of a performance mode with stable 60fps on console will signal its greatest tarnish. Visual fidelity, as I previously commented on, remained striking throughout.

In the spirit of avoiding spoilers, I will refrain from commenting too much more on the core plot or the overall driving point for Amicia and Hugo's journey. What I will say is that the storytelling here is generally excellent. The themes and overall narrative threads are much darker in Requiem, as compared to Innocence. The raging plague places a heavy toll on the protagonists and the world they reside in. Death in Requiem's world is inveterate. It is recurrently augmented by acts of militaristic, economic, and religious exploitation. Still, the journey is a compelling one, and I found Requiem to be a very difficult video game to put down once I started playing. I wholeheartedly recommend this game to anyone, but do implore folks first play its brief predecessor. Requiem does not do too much to recap the events of Innocence, but I would argue knowledge of that journey makes Requiem infinitely more rewarding.

Brilliantly designed metroidvania with a high degree of polish. It excels in its interesting combat, brilliant traversal mechanics, worthwhile exploration, and strong art direction. The narrative certainly takes a back seat here, although a slew of interesting lore can be obtained by way of lengthily written collectibles. The actual delivery of the story teeters on being a bit cheesy at times, but it is overall serviceable. Puzzles found in Mount Qaf are well-integrated with the stellar platforming mechanics, so they added extra flare onto side quests that weren't particularly interesting from a story perspective.

Prince of Persia: The Lost Crown is an excellent metroidvania that should be enjoyed by any fans of the genre. It should also be commended for its own unique combat, traversal, progression and vibrant art styling.

110 hours and 152 shrines later... I finally rolled credits on The Legend of Zelda: Tears of the Kingdom... and it was truly wonderful. The exploration and physics-driven gameplay driving this experience astounded me throughout. There is a certain magic to this game, and the pure joy it invokes, that I am not sure I can conjure into words. Tears of the Kingdom's open world sandbox will be spoken of in reverential tone for many years to come, I suspect. While its predecessor did not quite capture me, a more curated narrative allowed this game to sink its hooks into me much quicker. Within the first few hours you are introduced to the majority of the creative tools the game will give you, and over the next 50-100 hours you're invited to run absolutely wild with your imaginative incorporation of these tools into the gameplay loop. The high level of interactivity that exists between these tools and items or environments in the game world are unrivaled in this game genre. It is exceedingly rare to find a game so capable and competent in its endeavors to surprise and reward creativity. For this reason, in the context of a beautifully crafted open world beaming with personality, I feel the Zelda team has delivered yet another masterpiece.

Insomniac just gets it. They get Spider-Man. They get who he fundamentally is as a character, how he might interact with others, and how his values persevere in the face of overwhelming challenge. Marvel's Spider-Man 2 is an 'amazing' entry in what continues to be the 'ultimate' Spider-Man video game series. Awkward, perhaps forced parrying gimmick aside, the combat shines and improves upon what we saw with the 2018 entry or the Miles Morales spin-off game. NYC is beautiful, with Manhattan being thoughtfully joined by Queens and Brooklyn. The traversal has also never felt better, with the wingsuit serving Miles and Peter favorably as they traverse the expanded map. Speaking of the two spider-men, their relationship is certainly a highlight of the storytelling on display here. Yuri Lowenthal and Nadji Jeter deliver terrific performances throughout. The supporting cast also make meaningful contributions, and this game also provides the greatest Venom story outside of the comics, comfortably. Insomniac unfortunately found themselves falling into certain tropes with the means by which they deliver some of their storytelling, slowing down the action in ways that were at times ungraceful and non-contributory, but largely the overall journey is a fantastic one. I think it is fair to critique repetitive open world activities and what are functionally Interactable cutscenes (I.e. picking up trash around the house). Playing as Peter or Miles is necessary to do these characters justice, but we need to learn more about them when we assume their non-costumed roles... despite being a refreshingly brief AAA game, some of these sequences fluff the narrative without aspiring to be greater in their character building. However, I do not want to undermine just how incredible the minute-to-minute gameplay is for the vast majority of this title's runtime. Playing as Spider-Man has never felt better, and this game comfortably sits amongst the best super-hero games out there.

The spectacles, boss fights, twists, and set-pieces of the main narrative are amongst the best gaming experiences you can experience this year. Side quests are a bit disappointing in comparison, with a few prominent exceptions. They are surprisingly few in number, and a couple of the ones provided take you out of the shoes of the two Spider-Men without compelling reason. There still seems to be some reservation about pulling further from Spider-Man's rogue gallery for side quests, as well as a hesitation to provoke more elaborate storytelling within them. The point on abandoning Peter and Miles for side quests is the most frustrating of these nitpicks, given just how superb the core gameplay is here.

Yet still, Marvel's Spider-Man 2 is one of the easiest games to recommend from this year. The action is kinetic, the experience is highly polished, and game demonstrates an enduring, loving respect for everything in the world of "Spider-Man."

Where there is Coral, there is Blood

Impeccable Mech Combat with an intriguing setting and fluid controls. Boss fights are appropriately imposing and gratifying, as I have come to expect out of every FromSoftware game. There are some standout, spectacular moments throughout this campaign that are like nothing I've seen elsewhere. There are also missions that are more mundane and have tasks or environmental obstacles that prove to be more obnoxious than they are fun to navigate. The narrative leading up to my ending was predictable but interesting, and I hope to delve into it further with more campaign runs. However, this game absolutely sings when it lets you experience what it does best: the combat. It is elevated by impressive verticality, the before-mentioned fluid controls, epic levels of customization and build-craft... all while running silky smooth. The performance on Xbox Series X through my first play-through was impeccable. 60fps was maintained throughout, and I experienced 0 crashes or bugs (aside from pre-order content unlocking late). The combat and general polish of the game are accompanied by a few caveats. AC VI is somewhat held back by an unsteady consistence in mission quality, lacking enemy variety, environmental interference with camera angles (only in particular fights), and repetitive environments or architecture. Qualms aside, Armored Core VI is a great video game that absolutely deserves to be played even in a year supersaturated with outstanding game releases. There is no other game on modern systems that realizes the Mecha fantasy like this one.

I have already started NG+ and aim to spend more time on Rubicon seeking out other endings and blowing up as many mechs as dare cross my path.

Since the great "Winter Update" Halo Infinite has been firing on all cylinders. Forge continues to provide a plethora of diverse, creative and competitive experiences to enjoy. However, where Halo Infinite continues to shine and separate itself from prior Halo games is the robust incorporation of these experiences into matchmaking. As it stands, there are probably well over 80 unique maps in Halo Infinite. The sandbox continues to expand with the likes of the "Bandit EVO" and new Repair Field equipment. Firefight has made a triumphant return and is accompanied by the unprecedented creative power of 343i's Enemy AI Forge Toolkit. The "live service" aspect of Halo Infinite is thriving at the moment. There has been meaningful, calculated roll-outs of content to keep the season fresh since its launch. Halo 3 Refueled, Combined Arms, Firefight's Mid-Season Update, and the upcoming Holiday event all flesh out this season. Season 5 marks a maturation point for Infinite as a live service game, one that I hope continues to shine.

343i has a roadmap of interesting items to continue to explore, including a Match Composer, cross-core shoulder pieces, new net code built from the ground up, and other items. I personally would love to see the return of Griffball, now that the Hammer feels particularly great. Additionally, Bomb Assault medals have been spotted in the game's code, which is also encouraging to see. More Forge map implementation into BTB and Squad Battle would also be welcomed additions in the seasons ahead.

Humanity was an incredibly unique and interesting puzzle game. The narrative is captivating enough, with some philosophical propositions accompanying this dog's strange journey. Puzzle design is incredible and rewarding in the early goings. Over time, the puzzle appeal waned for me, personally. While the constant introduction of new, clever mechanics are a net positive, I found some of the endgame gimmicks to be a bit tedious or questionably responsive. The sui generis nature of both the music and art direction that I found quite endearing. All and all, an easy recommendation to anyone seeking a fun puzzler or rewarding brain workout

Halo Infinite continues to make great strides in its multiplayer offerings. Further implementation of Forge has added much needed variety to matchmaking, and the new maps and mode variations are of good quality. The addition of new sandbox items (the bandit rifle and the shroud screen) are welcomed, if not particularly impactful. Season 3 of Infinite finally delivers on the promise of what the game should have always been achieving as a live service product: featuring appropriately timed playlist updates, a good cycling of content, weekly store refreshes, and a steady cadence of free events. Custom game browsing and sharing of custom games have also injected newfound life into Halo Infinite.

However, Season 3 misses the mark in terms of its technical impacts on the game. I have experienced more bugs and technical difficulties in Season 3 than I have at any point since the game's initial launch. Old obnoxious bugs persist, such as the player's AI being reset to BUTLR. However, other more problematic bugs have become more prominent. The most egregious offense, for me, is the frequent, random resetting of controller settings. Multiplayer cinematics play nearly every time one launches the game, and Series X consoles have had a harder time hitting 120 fps consistently since the new season launched.

Overall, Season 3 provides good content and represents a positive direction for the game's Live Service. However, 343i still needs to keep it clean going forward - bugs that greatly diminish QoL must be quashed early, and old promises still need to be delivered on… there has been no mention from 343i on the promised Cross-Core customization, players still await a career progression system, and notable game modes like "Griffball," "Assault," and "Infection" remain absent.

Ghostwire Tokyo is a good open world jaunt that has memorable atmosphere, stylish combat, and pays great homage to Japanese folklore. Perhaps the biggest flaw of Ghostwire Tokyo is that there is simply "too much" of it. Tokyo's emptiness is haunting and serves the tone of the game, but the copy-pasted open world activities within it reach a point of being laborious, non-contributory bloat. The combat, which is overall very enjoyable, also suffers from "too much" - encounters are dragged out by bullet sponging enemies (especially DLC ones) and long animations. Still, many of the side quests are actually quite interesting. The story too is enjoyable enough, and the overall package is easy to recommend. The Spiders-Thread Update adds an excellent side quest chain in the game (starting with "Fear the Children"). This quest chain was amongst my favorites that Ghostwire offered me, and served as a reminder that although Ghostwire is not a horror game... Tango still can do horror well. The second side quest added is a forgettable collectathon type mission.

Ghostwire Tokyo does not evolve the Ubisoft-style open world formula, however it is a worthy adventure for fans of the genre. The experience is elevated by an intriguing realization of Japanese folklore, a unique premise, and flashy hand-weaving combat.