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Elsewhere, you’ll need to muster them in tight battalions to fend off the flesh-eating amphibians who want you dead. Think of it as a light, colorful real-time strategy game sometimes you’ll need to wield a certain type of elemental Pikmin (like the turquoise ones who can freeze water) to clear a blocked path. You are an inch-tall alien explorer on an abandoned, post-collapse planet Earth, who is able to communicate and organize a race of tiny, delightfully cute creatures who can be ordered to retrieve the world’s “treasure” (read: detritus left behind by the conspicuously absent humans). The fundamentals here are the same from what you remember on the GameCube. The microbial world of Pikmin has always taken a back seat to Nintendo’s illustrious pantheon of Mario, Zelda, and Metroid, which is to say, nobody should be surprised that it’s taken the company a decade to make the fourth entry in this series. Baldur’s Gate 3 greatest triumph is the way it blurs those lines. The one advantage tabletop RPGs have always had over their computerized compatriots was the sense of freedom that this was our story, something to be twisted and reoriented on the fly. A chatty narrator, somewhere behind the veil, essentially serves as a dungeon master, filling in the vivid color of our trials and tribulations. It is a total conversion of Dungeons & Dragons precepts into the digital realm to the point that your player character’s actions will literally be decided by the rolling of a twenty-sided die as they navigate the misadventures of Faerûn. Baldur’s Gate 3, the long-awaited follow-up to another classic RPG franchise, Bioware’s Baldur’s Gate, doubles down on the Larian formula with wondrous aplomb. Its reinvention of the long-running Divinity RPG series, in 2014’s Original Sin, let players embrace the liberating freedom of a pen-and-paper tabletop game setting everything in the world was shockingly interactive, so long as you passed the skill test. Larian Studios has a strong case of being the best team of game-makers in the business for more than a decade now. Magic just looks better on screen than those boring old payloads of shrapnel and lead.

(Personally, I’m a fan of the crackling, lightning-blue whip we can use to pull enemies in close for a shotgun blast of pure energy.) But by shifting the basics ever so slightly, Aveum has discovered a compelling new way to be a shooter. Like its contemporaries in Doom and Wolfenstein, solving Aveum requires players to identify the exact cocktail of magical munitions that will sunder the armor of the demons and goblins in our midst. This is an FPS where we’re sat behind the eyes of a young, devil-may-care warlock, who expels destructive magical beams from his fingertips at a machine-gun clip. Immortals of Aveum, then, offers us a much more imaginative suite of options. I’ve never fired a gun in my life, but through pure osmosis, I do know the difference between an M16 and an AK-47. I often find myself thinking about how familiar I’ve become with firearm nomenclature after too many hours playing first-person shooters like Call of Duty and Counter-Strike. The magic still works, and that’s why Bethesda keeps going back to the well. And yet, just like before, I slowly found myself sucked into the limitless reaches of its galaxy touching down on moons and planets, forever curious to see what I might find. It’s a conservative design initially, I was a little miffed that Bethesda didn’t spend those eight years focused on some of the more basic infrastructural issues in its philosophy. But this time, instead of the post-apocalyptic wastelands of Fallout or the high-fantasy realm of the Elder Scrolls, Starfield takes place in the outer reaches of the Milky Way. You will be completing a myriad of side quests, exploring a ton of dungeons, interfacing with a vaguely uncanny cast of characters, and facing the occasional game-breaking bug. This is a Bethesda–style open-world RPG through and through - the studio has not enacted any major reforms in its game design principles. Despite being in development for eight years, Starfield is a bit of a throwback.

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