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Tekken 8's greatest challenge is building on a fighting game experience that has been refined to close to perfection over the course of eight-plus years, without feeling like it retreading old ground or needlessly upending the foundation laid by its predecessor. Thankfully, it's a challenge that developer Bandai Namco meets by introducing an improved fighting system focused on aggression, an impressive roster of 32 fighters, and one of the most rock-solid online experiences I've ever seen in a fighting game. The main draw of Tekken 8 is the Heat system, which represents a new wrinkle to an already-satisfying set of brawling mechanics. Certain moves in each fighter's repertoire emit a burst of white energy on contact which, in turn, activates an aura of that same energy around the character's limbs. While in this state, characters can inflict more damage when blocked, gain access to a quick Heat Dash or powerful Heat Smash, and receive a few unique perks depending o

I'll admit upfront: I missed Another Code (known in North America as Trace Memory) when it first came out on Nintendo DS. Despite voraciously consuming other DS adventure games like Phoenix Wright, Ghost Trick, 999, and original Another Code developer Cing's other title, Hotel Dusk, Another Code just slipped by me. And with the sequel, Another Code R, being a European Wii exclusive, catching up there wasn't easy to do. So when Nintendo announced remakes of the two Another Code games for Switch, I was eager to correct those wrongs and see what the now-sadly-defunct Cing had put together. To my surprise, Recollection is fundamentally different from the originals in a number of ways--all-new visuals and updated puzzles, for example--and these quality of life improvements helped me appreciate the original game's supernatural mysteries. Another Code Recollection puts you in the role of Ashley, a young girl who tragically lost her mother at a very young age. Haunted by distu

Within its long history, Prince of Persia has always been better at leading than following. Its original trailblazing release in 1989 set a new standard for fluid animation and death-defying platforming, and the acclaimed Sands of Time was deservedly praised for its innovative parkour-inspired 3D traversal. Series entries that attempt to chase trends like the gritty Warrior Within, on the other hand, have been less than successful. Prince of Persia: The Lost Crown is the series' first attempt at a modernized metroidvania, which could have easily fallen into the category of competent imitators. But with impactful combat, silky platforming, and innovative exploration mechanics, this latest Prince of Persia makes the series a leader in its class once again. Breaking with tradition, the eponymous prince in this case is not actually the player-character himself. Instead you play as Sargon, the youngest member of the Immortals--a sort of Persian royal guard by way of Avengers-like super

I wasn't sold on The Finals after playing my first match. A single game obviously isn't enough time to come to any worthwhile conclusions, but still, after playing through its brief tutorial--which does a poor job of explaining the game's concepts--I initially felt lost and underwhelmed. Fortunately, this feeling didn't last, and after a few more games, The Finals had its hooks dug in deep. As a fan of the Battlefield series, this wasn't much of a surprise; The Finals is a team-based first-person-shooter with an emphasis on destruction and mayhem, developed by Embark Studios, which counts a number of Battlefield alumni among its ranks. The two games aren't at all similar in a broader sense, but Battlefield's DNA is present throughout, from its snappy shooting to its chaotic destruction. One key difference between The Finals and most other competitive shooters is that it pits multiple teams of three players against each other, either in 3v3v3 or 3v3v3v3 matc

The first time I played Arizona Sunshine 2 , I left feeling a bit nauseated, but I soon realized this was due to my time spent away from playing VR games. The second time I played Arizona Sunshine 2, I was quickly overwhelmed by its hordes of undead and left feeling like the game was perhaps unbalanced. By the third time I put on my Quest 3 headset, I'd rediscovered my proverbial sea legs, I'd mastered the art of zombie crowd control, and I enjoyed the game for what it is: an arcadey trek through the apocalypse. In the VR-exclusive first-person zombie shooter Arizona Sunshine 2, you'll take on the role of the original game's hero for another excursion through an undead hellscape of airports, sewage tunnels, and rooftop parking lots, each of them loaded with ammo and "Freds"--the too-jokey protagonist's word for zombies--in similar quantities. The game's intentions are clear right away: This isn't the sort of game where you'll need to worry abo

Before starting Avatar: Frontiers of Pandora , I was reminded of what I think of when considering any open-world game: Killscreen's review of Fallout 4 by Chris Breault , and the opening line, "Here comes the trashman!" Breault discusses an experience of constantly picking up and covering yourself in the garbage scattered around that game's massive world. It's a description that feels highly applicable to most open-world games--huge, but full of refuse that you spend endless hours picking through and carting around, only to replace it with newer, better garbage. Most open-world games are too concerned with filling their worlds, both literally and metaphorically, with a deluge of needless stuff , and it’s why I find the genre can be off-putting. It's the fear of that torrent of trash that made Avatar: Frontiers of Pandora surprisingly refreshing and also endearing. Frontiers pushes aside some of the concerns about sifting through heaps of junk and clearing inc