The first BioShock managed quite a feat: It was that rare game that both opened and closed the book on a strange, new environment. For the most part, it left very few questions unanswered, and despite its flaws, the general consensus was that gamers’ first go-round on the bathysphere should also have been their last. For all intents and purposes, the game was a complete experience that didn’t need a sequel. But it got one, anyway.

And yet, for all the talk of BioShock 2 being nothing more than a quick cash-grab, the game is actually quite good­—great, even. But is it a worthy successor to a modern classic? Yes, surprisingly enough.

BioShock 2 stuffs you into the hulking diving suit of the first Big Daddy—roughly 40 percent of which is composed of a gigantic, face-perforating drill. Yeah, you’re not just some wimpy, fish-out-of-water human this time around. And the changes don’t end there.  Rapture’s been overtaken by a veritable army of little-girl-kidnapping Big Sisters, and it’s up to you to put a stop to their maniacal plan. What follows, then, is a whirlwind adventure of drilling, Splicer shooting, Adam-harvesting, and more drilling.

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Dragon Age: Origins is the first in a new franchise from role-playing powerhouse BioWare, and while its swords ‘n’ sorcery setting may, at first glance, appear to be the result of an especially fruitful attempt at robbing J.R.R. Tolkien’s grave, don’t let that fool you. Dragon Age may very well contain one of the finest, most compelling videogame worlds ever created.

But that on its own isn’t what makes Dragon Age great. Rather, the game’s heart lies smack-dab at the intersection between setting and character development. It’s a fine line that many sprawling RPGs attempt to walk, yet BioWare has managed to cross the proverbial tightrope with startling ease. Chalk it up to years of experience with similar games, but with Dragon Age, BioWare has truly perfected its craft.

The story initially appears to be something of a straight line but quickly spins out into a complex web, with you at the center. It’s a surprisingly personal experience—especially when contrasted with other story-based RPGs—that begins with your choice of an origin story. Depending on your race/class combination, you’ll encounter any one of multiple, wildly different opening scenarios. Your origin, then, follows you through the rest of the game. Human, elf, or dwarf, male or female, rich or poor—the whole game changes in ways both big and small to reflect your humble (or not-so-humble) beginnings.

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There are a few signature characteristics of Call of Duty games—at least, the ones developed by series-creator Infinity Ward. First, the games feel real. The story unfolds as you play through a conflict as a few normal soldiers—regular guys on the ground who find themselves thrust into extraordinary events. They aren’t supermen. The campaigns are plausible, even if they’re fictionalized or set in the near future, reinforcing the feeling that the experience could take place in the real world. The third characteristic is that there’s usually a deep, engaging multiplayer experience thrown in the game for free. Unfortunately, in this outing, Infinity Ward whiffed on all three counts, much to our dismay.

Let’s start with the seven-hour single-player campaign. Instead of playing as normal grunts in this year’s entry, you end up playing as junior varsity supermen—an American soldier who’s always in the wrong place at the wrong time and the protégé of one of the characters you played in the first Modern Warfare. While none of the characters you play are named Jor-El, they’re a long way from the untrained Russian conscript who was handed a single clip and chained to the guy with the rifle at Stalingrad in the first Call of Duty. This creates a sense of unreality that’s reinforced by the game’s ludicrous plot twists and completely unbelievable characters. (Warning, spoilers appear in the next paragraph!)

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Borderlands is an undeniably fun game with a killer concept, innovative game mechanics, a gorgeous art style, and kick-ass cooperative gameplay, but it also includes some frustrating design choices that require the player to bend to the limitations of the game. If you can do that, and you enjoy shooters and Diablo-esque action RPGs, you’re going to love this game.

The sales pitch for Borderlands is simple: It’s first-person Diablo… with guns. While exploring a large, open, post-apocalyptic world, you complete quests, collect loot, and go on adventures with up to three of your pals. While it may sound like Fallout 3, Borderland’s shooter heritage is obvious—the combat is fast and furious without the maddening influence of a random-number generator to take your shots off target. The game feels more like Quake than any RPG.

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