I beat Expedition 33 a week and a half ago, and since then, I’ve been thinking about the game every single day, even almost every single hour. I’ve been agonizing over how I feel about story choices and the ending. That, to me, is the mark of something truly revolutionary.

Clair Obscur: Expedition 33 is one of the most remarkable achievements I’ve seen in video games in the last decade — a stunning debut from a new studio that both harnesses the spirit of classic JRPGs and pushes forward in a bold new direction that is utterly steeped in French culture and art, specifically what’s known as the Belle Époque that started in 1871. But even more than that, Expedition 33 feels like an indictment of the way RPGs have developed — how the genre has relegated turn-based games and classic elements to nostalgic throwbacks. It proves that those “classic” elements can still be fresh when used effectively, that there’s a place for high-quality turn-based games with innovative mechanics, stunning performances, and unflinchingly bold storytelling. Expedition 33 is a modern-day masterpiece.

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Until Dawn was one of the first video games I can remember playing that really felt like a movie. The 2015 survival story took the conceits of a teen-focused “cabin in the woods” horror and placed the story in our hands. The choices we made determined who lived and who didn’t, and its “butterfly effect” gimmick made us think hard about the consequences of playing God. It’s one of a handful of truly cinematic, plot-driven games that have dominated the zeitgeist, pulling dedicated gamers and total novices into its orbit. Like its contemporary The Last of Us, it doesn’t necessarily need a live-action adaptation. But of course, that hasn’t stopped PlayStation Studios from making one anyway.

Ten years after Until Dawn, Sony unveils a new version of a familiar nightmare. To call the film a true adaptation of the Supermassive game is a stretch of epic proportions: where the former was all about story and causality, Until Dawn: The Movie throws plot out the window in favor of gore and schlock. It uses a time-loop conceit to replicate the feeling of dying and respawning in a video game. It also gives director David F. Sandberg an excuse to blitz through as many teen horror tropes as can fit in two hours. The result is a diverting, if utterly unhinged and nonsensical, homage to the genre.