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Clifton Lodge Hotel

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Huddled together in a crater, they gather around their last hope against the cold--an aging steam generator. Fueled by coal, it can kick out just enough heat to give the last bastion of humanity a faint glimmer of hope. A moment like this illustrates the essence of Frostpunk, a survival-style city-builder where you must lead a lonely band of survivors not against encroaching armies, but against a frigid storm that's wiped out most of the human race.

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Sharing much of the style of Punchdrunk's 2011 play Sleep No More, The Invisible Hours is more immersive theater than it is interactive fiction. You exist as a ghost in each scene, and you can follow any of the characters at any time, rewinding, fast-forwarding, and pausing as you please. But you don't act on anything; you just observe, gathering pieces of a larger story along the way. That story draws heavily from classic mystery novels, and even though its twist isn't as original as it initially might seem, it's intriguing to watch things unfold from every perspective and learn more about its shady characters.

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As games continue to grow in scope and complexity, there is something to be said about the light-hearted, compact RPG stylings of The Swords of Ditto. It mixes childlike cartoon visuals and a delightful soundtrack with light puzzles and simple-yet-challenging combat. And while it doesn’t offer anything particularly groundbreaking to seasoned RPG or roguelite fans and backs you into a wall in some confusing ways, the intuitive nature of its systems, along with the inclusion of local two player co-op, makes The Swords of Ditto a fun leap down the rabbit hole into saving a strange and ever-changing cursed town.

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The Alliance Alive wastes no time throwing you into a dark and oppressive world. As soon as you begin, you meet young Azura and her friend Galil. In their world, Daemons have sealed off continents from each other, forced humans to toil under Beastfolk masters, and covered up the sun for over a thousand years. Azura dreams of seeing a painting of a blue sky. It seems like a silly thing to obsess over, but anything that can bring even a twinge of happiness is something worth risking life and limb for.

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It's rare that a prequel truly works, where a story can captivate despite the audience knowing what's coming and where the path will lead. Life Is Strange: Before The Storm is one of those exceptional stories because it draws you in on its own terms. The only problem: You know it's building you up just to break your heart.

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Penny-Punching Princess opens by declaring that, in the age of capitalism, money is where real power comes from. This is a game about a princess who needs to accumulate wealth to get revenge on the Dragaloan Family, who sent her father into poverty and death with their harsh interest rates. It's an intriguing, startling note for a cutesy beat-em-up game to open on. This isn't a 'message' game--don't go in expecting a searing critique of capitalism, as it's largely played for laughs--but this framing device immediately makes it clear that this brawler is going to be different. It might not be in the top-tier of its genre, but at the very least Penny-Punching Princess is unique.

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The God of War series has, until now, stuck very close to the standards set in the original 2005 game. More than a decade (and many games) later, it makes sense that Sony would want to mix things up for the aged hack-and-slash series. Like so many popular franchises that have reinvented themselves in recent years, the new God of War dips into the well of open-world RPG tropes. It also shifts its focus to Norse mythology, casting off the iconic Greek gods and legends that provided the basis for every previous game.

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