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More than anything, Diablo 3: Eternal Collection proves just how well Blizzard’s action-RPG has aged. Six years after its original release, the dungeon crawler remains as rewarding as ever, and despite a few technical concessions, it has found yet another welcoming home on Nintendo’s portable console.

For those unfamiliar with Blizzard’s 2012 loot fest, Diablo 3 places you in the shoes of a superpowered demon-slayer in a hellish, gothic world. You explore five disparate regions from a top-down view, upgrading your character and earning new loot as you battle the lords of the underworld and their monstrous swarms.

With the Eternal Collection, Diablo 3 includes every expansion, every character, every quality-of-life improvement the RPG has ever added. One of the more notable options is the ability to play Adventure Mode right from the start, eliminating the need to slog through the slower-paced story out of necessity.

Of course, in coming to Nintendo Switch, Diablo 3 has also become a portable game. And it works. It works incredibly well.

In fact, I can think of few games better suited for a handheld port. So much of Diablo 3 plays best in short bursts, from the 10-minute chase for that next legendary item, to the satisfying flow of a challenge rift. I completed bounties on my way to work and organized my inventory on the way back. Of the 50 hours I spent with Diablo 3 on Switch, about half of them played out in handheld mode. It’s another testament to the novelty of Nintendo’s console, yes, but also the elegance of Diablo 3’s design.

Movement still feels natural on the analog sticks–whether you’re playing with the Joy-Cons or Pro controller–and custom controls make it easy to maximize your character build at any time. As was the case with Diablo 3’s previous jump to PS4 and Xbox One, the mechanical leap to Switch is painless and fluid. It’s just as easy to rely on muscle memory while you focus on the kaleidoscopic display of magic and fire. To paraphrase the designer Don Norman: good design is invisible.

When it comes to visual fidelity, Blizzard ensured that Diablo 3 on Switch runs at 60 frames across the board–aside from rare occasions when elemental effects didn’t animate, the Eternal Collection is remarkably clean. Even during high-level challenge rifts, with hundreds of demons covering the screen, the dungeon crawler maintained a smooth and steady pace. The framerate is equally stable in handheld mode, and crunching those mobs is just as satisfying as it’s ever been.

The Eternal Collection’s resolution, on the other hand, is a bit more muddled. In the Switch’s docked mode, Diablo 3 looks aggressively fine, or at least, as good as any other isometric game released in 2012. In handheld mode’s 720p resolution, however, things get cloudier. I mean that both literally and metaphorically. In Diablo 3’s darker areas–of which there are many–I have to crank my console’s brightness all the way in order to really see what is going on. Even then, there’s a slight haze over everything, making character models look more like mirages than actual figures. Handheld mode’s jagged edges and foggy panoramas aren’t massive flaws by any means, but after playing for long periods in docked mode, they tend to stand out.

What they don’t do, however, is detract from Diablo’s thrilling combat. And of course, in true series tradition, that combat is often more thrilling with a friend or two.

Few cooperative experiences compare to a Monk, Demon Hunter, Barbarian, and Wizard working in concert to whittle down mobs down little by little, one demon at a time. It’s a special thrill to see my character build factor into a larger group, and an even better one to see how that group dynamic changes how I play. I’m still mainly focused on killing every enemy possible, but I’m also thinking about tanking with my Crusader, or healing with my Monk, or littering the screen with corpses to give my Necromancer ally more ammunition.

As with previous console iterations of Diablo 3, The Eternal Collection allows for up to four players on one console at a time. Item management is less satisfying in this scenario, as you’re either quick-equipping new loot without appreciating its subtleties, or pausing the game for the entire party just so you can boost your damage by 100 points. The radial menus are also still as imprecise as ever, but I’m hard-pressed to think of a better solution without a mouse and keyboard.

I came into the Eternal Edition expecting a eulogy for one of my favorite games. Instead, I stumbled upon a celebration.

And although Diablo 3 on Switch gives you the option to use Joy-Cons as individual controllers, be warned: It’s counterintuitive and cumbersome, with poor button-mapping and an overreliance on motion controls. Blizzard did the best it could with what the Joy-Con offers, but when in doubt, stick to the Pro controller or the dual Joy-Con rig.

The Eternal Collection brings the additional ease of playing via LAN connection on each player’s respective Switch. It’s helpful to have the camera focused solely on your character, especially in Diablo 3’s more hectic moments. But I still couldn’t help preferring local co-op. There’s something novel–even nostalgic–about playing on the same screen, watching the same chaos unfold as the person next to you. Diablo 3 on Switch allows for several methods of playing with friends, and whatever your preference, the experience still holds up.

Like the best games, Diablo 3 has gotten better with time. And despite a few setbacks, the Switch is now my preferred home for the extraordinary RPG. It includes every major improvement Blizzard made to the formula, with the added handheld versatility every Switch port offers.

Diablo 3 is a game about long term goals accomplished in short, thrilling bursts. It’s rewarding and subtle. It’s flashy and boisterous. I have spent six years enjoying it, and will likely spend six years more. As far as video games go, that’s a long time–I came into the Eternal Collection expecting a eulogy for one of my favorite games. Instead, I stumbled upon a celebration.

Editor’s note: Transistor remains an absolute joy to play on Nintendo Switch. The system’s screen has no issues with readability, though the game is best enjoyed in docked mode, where its visuals–which remain striking nearly five years after its original release–have room to flourish on a big screen. Its turn-based combat and relatively brief encounters are well-suited to short bursts of gameplay in handheld mode, though the strong writing and pacing are likely to pull you through extended sessions. The loss of the PS4 version’s DualShock gimmicks, such as your sword’s voice coming through the controller’s speaker, are missed, but this port nonetheless represents a fine way to play what is still a gorgeous, terrific game. — Chris Pereira, October 30, 2018

A dead man. A weapon. A dress, torn and discarded on the ground. A voice says, “What a night. You’re still in one piece; that’s all that matters.”

Transistor begins with remarkable confidence, throwing you right into the life of nightclub singer Red at what might be her lowest point. There’s no immediate explanation for who she is, or what this world is, or what happened the night before, and all this mystery only makes your journey more captivating. Transistor asks you to trust in it, to come along on the journey even though you have no idea where you’re going. And it rewards your trust, weaving a beautiful and unconventional sci-fi tale with a human heart, and empowering you with a wonderfully flexible combat system that fuses real-time and turn-based action to create something that feels unique.

As you move through Cloudbank, the world of Transistor, you encounter manifestations of the process, a force that’s seemingly running rampant, annihilating Cloudbank as it goes. With the help of the transistor–the strange weapon you pull from a dead man’s body when the game begins, a weapon Red drags along behind her as if it’s a sword that’s too heavy for her to wield properly–you fight the process. You can run around fighting your enemies in real time, but you’re outnumbered, and you’re just not quick enough or strong enough to overcome them this way. Thankfully, you have a trick up your sleeve called turn, which enables you to freeze time, plot out your upcoming movements and attacks, and then carry them out in rapid succession.

As you progress, you collect more and more techniques, called functions, each one the essence of a fallen resident of Cloudbank. There are 16 functions in all, including straightforward attacks, movement abilities, a function that spawns a doglike helper, a function that temporarily turns enemies into allies, and others. Each one can be slotted as an active ability, or to upgrade another function, or to give you a passive benefit. There are a remarkable variety of ways in which these techniques can be combined, and hitting on particularly effective combinations and putting them to use in battle is immensely satisfying.

You can upgrade any function with any other function, making your skill set extremely customizable.

Transistor’s combat makes you feel powerful by giving you an edge on the process, but it also encourages you to think carefully about what you’re doing, because the process is no pushover. It has tricks of its own, sometimes obscuring your vision, sometimes pulling you out of your turning phase without warning. It’s a clever foe, which makes matching wits with it all the more enjoyable. And, much like the idols of Supergiant Games’ earlier game Bastion, Transistor has limiters, optional modifiers that make your life more difficult but reward you with more experience, so if you want a more challenging experience, you can have it.

But what is the process, really? And what has happened to all the residents of Cloudbank? Red is driven to get to the bottom of it, and she’s not alone. From inside the transistor speaks a man’s voice, bringing life to your quest as it responds to your actions and slowly helps you piece together the story of Cloudbank. The always-present voice also puts a relationship at the heart of Transistor. Red can’t speak–the events of the night before have stripped her of her voice–but her wordless actions reveal her fierce determination, and as the voice speaks from the transistor, and Red finds ways of responding to it, a connection between the two becomes clear.

There’s a touch of magic, even of spirituality, to Transistor’s story, a sense that there are things within the world of Cloudbank that transcend our understanding of what’s possible.

Also shedding light on the world and its people are the files accompanying each function. To reveal more about these people whose essence has been trapped in the transistor, you have to use their functions in different ways, putting them in active slots, upgrade slots, and passive slots, which gives you an incentive to tweak your build and try different techniques. The files are so well written and paint such vivid pictures of Cloudbank’s fallen residents that you naturally want to uncover all the details they contain.

Red has a good set of pipes. Or she did, before last night.

What slowly emerges in Transistor is the story of a clandestine organization called the Camerata, working behind the scenes in Cloudbank for its own purposes. And while the answers to the plot’s questions about who the Camerata are and what the transistor does are interesting, they’re not what makes Transistor’s story special. Cloudbank is a technological world, but not a cold one. It’s not a place of pure ones and zeroes. There’s a touch of magic, even of spirituality, to Transistor’s story, a sense that there are things within the world of Cloudbank that transcend our understanding of what’s possible.

And Transistor’s artful presentation has some magic of its own. There are a few astounding moments in Transistor, like the moment when you step up to a microphone and press a button to sing, and Red’s haunting voice comes in and carries you back to what had happened the night before, the visuals communicating in shorthand what words would take too much time to say. Or the moment when Red, silhouetted against the city, speeds across Cloudbank on a motorcycle, hunting the people who are responsible for everything that has happened.

Transistor is always a good-looking game, but in these instances, it demonstrates a rare knack for combining its visuals and music to powerfully convey both narrative information and tone, driving the story forward with Red’s own unwavering resolve. So in the end, yes, Transistor is a fun action role-playing game with a neat combat system, but beautiful moments like these make it more than that. They make it a game with a soul.

It seemed likely that Red Dead Redemption 2 would be a hit, but Rockstar claims it has surpassed even lofty expectations. The company announced that it achieved $725 million during its opening weekend, making it one of the biggest launches of all time–not just in video games, but in terms of all entertainment.

In the announcement, Rockstar boasted that this is the “single biggest opening weekend in the history of entertainment,” outpacing movies like Avengers: Infinity War which made $257 million in its opening weekend. (Of course, movie tickets cost significantly less than a new game at $60-100.)

This puts it in second-place for sales in its first three days to another Rockstar game, Grand Theft Auto V, which achieved $1 billion. But since those first three days started on a Tuesday, it isn’t an opening weekend, which is the spin Rockstar is using to boast about Red Dead. Take-Two previously said it expected Red Dead to fall short of GTA5 sales. Other achievements from the big launch include several records for digital sales on PlayStation Network: the most pre-orders, biggest day-one full game sales, and most sales in the first three days.

If you’re one of those millions who picked up Red Dead 2 already, check out our tips for beginners and read all about what to do with your legendary bear pelt. If you’re still on the fence or deciding on a platform, read up on which console performs better, and check out GameSpot’s Red Dead Redemption 2 review. “Red Dead Redemption 2 is an excellent prequel, but it’s also an emotional, thought-provoking story in its own right, and it’s a world that is hard to leave when it’s done,” wrote critic Kallie Plagge.

As October draws to a close, Microsoft has announced the free Games with Gold for November 2018. These games will be available to download at no cost for Xbox One and Xbox 360 owners with a subscription to Xbox Live Gold. The titles in question are the Xbox One games Battlefield 1 and Race the Sun, as well as the backwards-compatible Xbox 360 games Assassin’s Creed and Dante’s Inferno. That’s $85 worth of games–not bad.

November’s headliner is Battlefield 1, a 2016 game that brings players back to the first World War. Its campaign is a series of single-player missions that tell stories across numerous real-world battles and locations. As is traditional for the franchise, the multiplayer mode is mostly composed of sprawling maps, with players battling using era-appropriate weapons and vehicles. Battlefield 1 will be free the whole month of November. And today’s the last day, but you can get all of the multiplayer DLC by grabbing the Premium Pass for free.

Race the Sun–free November 15-December 16–is a much simpler game, but it’s likely to get you in the “just one more try” mindset. In it, you pilot a futuristic plane that hurtles ever forward as the sun sets in the distance. Your job is to avoid the many obstacles in your way and get as many speed boosts as possible. Each run ends either when you crash or the sun sets.

You’ll be able to see how far Assassin’s Creed has come over its 11-year history if you download the first installment between November 1-15. Finally, Dante’s Inferno plays a lot like the older God of War games, and it has you descend into hell to rescue your beloved Beatrice from the devil. It’s available for free November 16-30.

If you hurry, you still have time to download October’s Games with Gold if you haven’t done so already. Xbox One owners can grab Overcooked and the Xbox 360 game Hitman: Blood Money. The action-RPG Victor Vran is also available until November 15.

November 2018 Games with Gold

Xbox One

• Battlefield 1 (November 1-30)
• Race the Sun (November 16-December 15)

Xbox 360

• Assassin’s Creed (November 1-15)
• Dante’s Inferno (November 16-30)

It’s a new week, which means the Microsoft Store has a fresh set of deals on digital Xbox One and Xbox 360 games. This week’s selection isn’t all that large, but that doesn’t mean you won’t find anything worth picking up. And as usual, you’ll need an Xbox Live Gold subscription to take advantage of some of the deals below. Let’s take a look at some of the highlights of this week’s sale.

The acclaimed RPG Divinity: Original Sin 2 is on sale this week for $45. We gave it a score of 10/10 in our review. Brett Todd wrote, “From lonely farmhouses through pitched battles with gods in far-flung dimensions, Divinity: Original Sin II is one of the most captivating role-playing games ever made in both its original and Definitive incarnations, with the latter proving that even the most complicated role-players can be ported successfully to gamepad-limited consoles.”

If board games are more your speed, Ubisoft has discounted a number of its offerings this week on Xbox One. You can grab the world-conquering game of Risk for $6, the card game Uno for $4, or Monopoly Family Fun Pack for $8. The Monopoly bundle comes with three versions of the game, including a traditional one with an animated board, one that lets you create your own board, and a fast-paced card game variant.

Racing fans can pick up MotoGP 18 for $30 or the unique team-based racer Onrush for $18. Dirt 4 also got a big price cut, bringing it down to $15. Anyone who fondly remembers the NES and SNES era can grab the shoot-’em-up The Mummy Demastered for $14 or the gorgeous platformer Owlboy for $18. And if whipping baddies with your hair sounds like an enjoyable way to pass the time, Shantae and the Pirate’s Curse is on sale for $16.

You can find more of our picks below, or head over to the Microsoft Store’s deals page to see the complete list of this week’s discounts.

Super Smash Bros. Ultimate is likely to be the last triple-A game release of the year, thanks to a December release, but there’s still plenty we don’t know: the full roster, the mysterious final mode, the mystery of Waluigi’s absence, etc. At least some of those questions may be answered this week, with a new Nintendo Direct revolving around the game. It will take place Thursday, November 1 at 7 AM PT / 10 AM ET.

Judging by the tweet promoting the presentation, this looks to be a big one. It will be 40 minutes long, and then be followed by a Nintendo Treehouse: Live presentation. By comparison the last Smash-focused Nintendo Direct was just over 25 minutes, and it revealed the Castlevania stages and characters, Chrom and Dark Samus, Isabelle, and King K. Rool. The Nintendo Direct at E3 was roughly 40 minutes, and it was about a wider spate of games than just Smash.

So what could such a long, Smash-focused Direct bring? It’s a good bet we’ll see more fighters revealed, possibly even the entire roster. Director Masahiro Sakurai also conspicuously teased a mysterious final mode that’s important enough to be in the main menu. Revealing an all-new mode for Smash Bros. that stands alongside the usual competitive modes could justify a longer presentation as well.

This will be the last Nintendo Direct for Smash Bros. Ultimate, so it’s likely to tell us all we’ll know before release. The game comes out on December 7.