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Immortals Fenyx Rising 's first major DLC, A New God, feels like it's calling a bluff. Ubisoft's open-world template has gotten flack over the years for turning its sprawling worlds into a sea of icons that push you to beeline it to the next objective. If that's gotten stale, why not cut out the "open world" part? That's more or less what A New God does: It abandons any pretense about these games being about discovery and traversal in favor of a set checklist of challenges. The idea works in concept; the self-contained puzzles were some of my favorite parts of Immortals , so this DLC is in some ways exactly what I wanted. It, unfortunately, doesn't work as well in practice. Although it introduces some clever ideas to tease your brain, the way these ideas are implemented are extremely hit-or-miss, as agonizingly inconsistent and frustrating as it is clever. A New God doesn't spend much time getting you up to speed with its story or gameplay, so you

Like all great short stories, Olija manages to do more with less. Its characters are roughly drawn and very pixelated, but they build strong bonds that resonate and create real stakes. The caves, ruins, and dark corners of the world exude an ominous, foreboding mood that permeates every turn. And the action, a mix of quick-moving combat and light puzzle-platforming, steadily and consistently finds new ways to keep you on your toes. Olija takes exactly as much time as it needs to tell its story and show you everything in its bag of tricks. Olija follows Faraday, a shipwrecked lord trapped on a hostile chain of islands called Terraphage. Facing all sorts of magic, dark oozing blobs, and people who want him dead, the lost lord seems doomed, but he quickly finds a weapon to turn his fortune: a legendary magic harpoon that he can throw and either teleport to its location or summon back to him. To get home and, optionally, save his crew, Faraday explores the islands of Terraphage, defeats

The world of The Medium begs to be closely examined, to be parsed for small details that begin to paint monsters as something not too dissimilar to humans. Recognizing these similarities, at times, can be even more terrifying than facing an actual grotesque creature. There's something disturbing about being forced to confront the evils that humans can inflict on one another, and recognize how horrific acts of sexual abuse, ethnoreligious discrimination, and physical violence rarely, if ever, result in a singular trauma. The aftereffects of such actions can fester in the heart and mind of victims for years, an unsettling truth that is often glossed over. It's here that The Medium finds the basis for its story, one that leaves a lasting impression In The Medium, you play as Marianne (voiced by Kelly Burke, who does a fabulous job), a powerful clairvoyant who travels to the Niwa Resort. She goes there in search of Thomas, a man who leaves her a strange message telling her to fi

Since it rebooted its Hitman franchise in 2016, IO Interactive has been putting on a level design masterclass. Each of the missions the developer rolled out in what it calls its World of Assassination series has contained a huge, intricate collection of scripted and free-form systems that create harrowing moments, presented elaborate puzzles to solve, and allowed the player to orchestrate ludicrous and often hilarious situations. Levels are designed to be played over and over so you can explore, understand, and eventually master all their moving parts, and it's impossible to see everything one has to offer in a single playthrough (or in most cases, even two or three). At first blush, Hitman 3 appears to be more of the same. It makes no drastic changes to the underlying formula, instead adding a few graphical upgrades and quality-of-life improvements to the existing Hitman framework. But Hitman 3 improves on the World of Assassination through consistently excellent level design--

When people think of Scott Pilgrim vs. The World , they'll likely gravitate to either the comics from Bryan Lee O'Malley or the live-action film from Edgar Wright. However, one of the lesser-known strands of the Scott Pilgrim brand was the film's licensed game tie-in. Like the film, it was not only a faithful adaptation of the comics' tribute to geek culture and retro games, but it also happened to be a fun co-op brawler in its own right. After a sudden delisting from digital video game stores in 2014, the once-lost licensed game has scored a second life with the Complete Edition, and it hasn't lost its exuberant style. The game's passion for a bygone era can often be a bit overwhelming, yet it still offers a satisfying time brawling through the streets with friends. Like its comic and film counterpart, Scott Pilgrim vs. The World: The Game sticks with the same video game-inspired conceit, but interprets it into an actual video game. After the titular character

Every aspect of Super Meat Boy Forever is frustrating in some way or another. It's a runner, so you have to time your jumps and don't have the liberty of setting yourself up perfectly before taking on a puzzle. And despite putting you on a treadmill, its levels demand incredible nuance and precision, which you'll hone through failure after failure after failure. Super Meat Boy Forever will kick you in the teeth and expect you to stand back up, flash a bloody grin, and go after it again. And that's exactly what happens. Though the jumps may be challenging, Forever's incredibly precise controls give you all the tools you need to stick the landing. The runner format is different, but it opens the door for new and interesting types of complex puzzles that spawn new, captivating varieties of spectacular yell-and-throw-your-controller platforming. Like in the real world, time has passed in the Meat Boy universe. Meat Boy and Bandage Girl, whom he saved in the original,