If you're not sure what to play or are wondering what you missed, here are Kotaku's reviews of some of spring's biggest games, in no particular order.
Star Wars: Battlefront II frustrates me in ways I never knew I could be frustrated. It is both a lovingly crafted companion to the films and a tangled mess of corporate meddling. There is a strong heart at the center but finding it means peeling back layers of unnecessary and infuriating nonsense.
Call of Duty has recently gotten lost in a future of jetpack boosting, robots, and wacky laser guns, leaving the franchise feeling almost unrecognizable. Sledgehammer Games' latest entry in the long-running war shooter series, Call of Duty. WW2, sends the game back to basic training in more ways than just a simple rewinding of time.
Horizon Zero Dawn was a terrific game. Guess what? Its new expansion, The Frozen Wilds, is also good.
The warm sun beats down on a main street in Wolfenstein 2. The New Colossus, just in time for the Victory Day parade. Uniformed SS march down swastika-filled streets to thunderous applause. By the old diner, two members of the Ku Klux Klan practice their German. Everyone is white and happy. And it is so fucked up.
For Mario, 3D used to mean freedom. In 1996, Super Mario 64 broke Nintendo's mascot from the shackles of having to run in a straight line, letting the player choose their own path. But for quite some time now - no matter how 3D the graphics may have been - Mario's adventures have reverted back to running on a straight line. With Super Mario Odyssey, that changes once more, and it's a glorious thing.
When we meet Sebastian Castellanos at the beginning of The Evil Within 2, he's a broken man. The mind-bending events of the previous instalment fractured his psyche. He blames himself for not being able to save his daughter Lily from a house fire, and his wife left him. He's been booted from the police force and he spends his days in seedy bars, searching for solace at the bottom of a glass.
Early in South Park. The Fractured But Whole, you go up against an enemy kid who cheats. He complains that your last attack shouldn't count, which heals him to full strength. Then, whining that you didn't listen when he called 'time out' he steals your turn.
When Shadow of Mordor released in 2014, its 'nemesis system' was brilliant enough that many people hoped it would define a new generation of games. Years later, that vision of industry-wide character hierarchies that learn, evolve, and remember the player never came to pass.
Cuphead turns players into perfectionists. The long-awaited hand-drawn action game is full of cartoony boss battles that demand enough precision and focus that even a single hit of damage feels unacceptable. Playing Cuphead is like a stage performance; every mistake is embarrassing, but the curtain call of each defeated boss is like nothing else.
As I struggle to fall asleep after a night of Destiny 2, the game keeps running through my mind. It's like getting a song stuck in my head. I see the flash of combat and feel the rumbling controller in my hand. But I rarely hear the sounds of battle. Instead, I hear voices.
I've put 81 hours into Divinity: Original Sin 2 over the last 12 days. When I wasn't playing, I was thinking about it, or talking about it. It's brilliant and frustrating in turns, and occasionally both at the same time. I adore it, but for now I'm glad to be done with it.
When we last left LEGO Marvel Super Heroes, the Avengers, X-Men and Fantastic Four had banded together to gather the cosmic doohickeys needed to finish story mode and get to the exciting free-roaming bits. Four years later, the X-Men and Fantastic Four are gone, but everything else is pretty much the same.
There was a time, so many years ago now, when it felt like we had too much Metroid. The simultaneous launch of Prime and Fusion in 2002, followed up with another one-two volley of Metroids two years later. "Slow down!" we cried. "We can't keep up with all this Metroid!"
Playing Fire Emblem Warriors feels a bit like herding a pack of ravenous lions. Countless enemies clash against heroes in glorious combat that mixes strategy and absurdity. It's occasionally overwhelming but if you can tame the mayhem, the result is beautiful.
Danganronpa has had a hell of a journey over the past few years, telling stories in the form of visual novels, anime, and even a third-person shooter. The latest entry in the series, Danganronpa V3. Killing Harmony, feels like a fresh beginning of sorts.
Dishonored has always been about the journey more than the destination, discovering secrets in its levels and finding creative ways to fulfil its objectives. Death of the Outsider, the game's new standalone DLC, stays true to this strength. It doesn't reinvent the game, but it doesn't need to.