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Released near the end of the Xbox 360’s first year on the market, Gears of War was a defining moment for Microsoft’s console. Its gameplay relied heavily on forcing you to take cover to avoid enemy shots, which meant that it required a healthy dose of patience as well as a steady trigger finger. It then beat that mechanic into your head over the course of its quality story mode, while also letting you team up with a friend online to take on the nefarious Locust forces together. Of course, it also had an amazing team-based multiplayer mode in which up to eight shooters could connect and go at it in a variety of different modes. Over time, more multiplayer maps and modes were added to the collection via the Xbox 360’s download service. All of that great stuff is now available on the PC, on which the game looks better than it ever did on the Xbox 360, and without sacrificing anything in the process. If you’ve never played Gears of War, or if you just haven’t played it in a while, do yourself a favor and try this new version of the game.

The game’s story component puts you in the shoes of Marcus Fenix, who up until the very beginning of the game was serving time in prison for treasonous behavior. But the war effort requires his special brand of badness, so he’s quickly set free, dressed up in his old soldier garb, and put back into action with the members of Delta Squad. Your enemy is the menace known as the Locust, which seems to be an amalgamation of different races and creatures, all seemingly devoted to exterminating your kind and taking over your planet. The game’s plot points are inconsequential and work in a number of meaningless MacGuffin devices that serve as the only impetus you need to march from point A to point B while gunning down bad guys the whole way. You’ll blast even more bad guys in the PC version of the game, which has a new section at the start of the final act that fills in a blank left by the 360 version. It does a better job of explaining how you go from running away from a huge beast with rocket launchers mounted on its head and shoulders to showing up at a train station to take the battle to the enemy general before he ruins everything.

The new content in the campaign is significant because it’s new, but it’s not especially noteworthy in the grand scheme of things. If anything, it probably would have worked better as a separate “deleted scenes” mode than as an integrated part of the game because it changes things up a bit in ways that betray the difficulty progression of the game. The new content often takes place in wide-open areas that are larger than any areas found in the console version, and it also brings together different combinations of enemies than you see in the rest of the game. Likewise, it forces you to cover a lot of distance between most checkpoints, and it feels much harder overall than anything in the “old” sections of the game. One section even features multiple paths to get to the same location, which seems weird and out of place, given the rest of the game’s extremely linear nature. The new content is pretty good, but it’s not so mind-blowing that you need to drop everything immediately to see it.

Of course, the rest of Gears of War is completely intact here, as well. And the complete package, done better than it was on the Xbox 360, is exactly the sort of mind-blowing that you might need to drop everything if you haven’t already played it. Aside from a few frustrating cases in which the checkpoints are a little too far apart–and perhaps the need for a difficulty setting that falls between the too-easy “casual” and the occasionally punishing “hardcore” setting–it’s hard to find many faults with the campaign, which will probably take new players around 12 or 13 hours to complete. The war-torn world you navigate through looks really great, and you’re always wondering what will be around the next corner.

It took awhile, but Infinity Ward finally got the message that World War II is played out. With modern times and international affairs becoming more and more, shall we say, interesting in recent years, the 1940s just don’t carry as much weight as they used to. Perhaps that’s why Call of Duty 4 has a new subtitle, Modern Warfare. By bringing things into a fictionalized story that still seems fairly plausible, the developer has made a much heavier game. But COD 4 is more than just an updated setting. It’s also an amazing multiplayer first-person shooter and a great but brief single-player campaign with the visual chops to make it a standout shooter in an era filled with seemingly dozens of standout shooters.

While the game may feel short, it covers a lot of ground.

The only real catch is that the single-player is almost shockingly short. If you’ve been keeping up with this style of game, you’ll probably shoot your way to the credits in under five hours. While you can raise the difficulty to give yourself more of a challenge, the main thing this does is make the enemies frustratingly deadly, which sort of detracts from the fun.

While it may have a lack of single-player quantity, it makes up for most of it with its quality. The game tells its story from multiple perspectives, and you’ll play as a new British SAS operative as well as a US Marine. The campaign takes you from a rainy night out at sea on a boat that’s in the process of sinking to a missile silo where it’s on you to save millions from an unsavory nuclear-powered death. Along the way, there are plenty of jaw-dropping moments where you’ll look around the room for someone to whom you can say, “I can’t believe that just happened.” In a world filled with war games in which the good guys come out unscathed and the world is left at total peace, Call of Duty 4 will wake you up like a face full of ice water.

The action in the campaign is usually very straightforward. You have a compass at the bottom of your screen, and the direction of your current objective is very plainly marked. But getting from point A to point B is never as simple as running in a straight line, as you’ll be conducting full-scale assaults in Middle Eastern countries by moving from house to house, taking out what seems like a never-ending stream of enemy troops along the way. You’ll also get an opportunity to raid Russian farmhouses in search of terrorist leaders, disguise yourself as the enemy, and, in one sequence, don a brushlike ghillie suit and crawl through the brush as enemy troops and tanks roll right past you. It’s a breathtaking moment in a campaign filled with breathtaking moments. Unfortunately, it’s about half as long as the average shooter, and there are plenty of sequences where you wish there were just one or two more hills to take.

Of course, if you’re looking for longevity, that’s where the multiplayer comes in. Up to 18 players can get online and get into a match on one of 16 different maps. Many of the levels are taken from portions of the single-player and they offer a healthy mix of wide-open, sniper-friendly areas and tight, almost cramped spaces where grenades and shotguns are the order of the day. There are six game modes to choose from. The old standby is team deathmatch, though you can also play in a free-for-all deathmatch, which isn’t as much fun as the team modes. The other modes are more objective-oriented, and a couple of those have you lugging bombs across the map to blow up enemy equipment, or preventing the enemy from blowing up your base. Others have you capturing control points. Lastly, you can change up the game rules a bit with a hardcore setting that makes weapons more realistically damaging or an old-school mode that puts weapons on the ground as pickups and generally moves away from the simulation side of things.

It’s hard to talk about what Valve’s The Orange Box offers without immediately falling into an impression of some sort of late-night pitchman for fantasy knives and alternative cleaning products. That’s partially because the name “The Orange Box” sounds more like some kind of citrus-scented bathroom cleanser than a video game, and partially because this five-games-in-one package is the kind of crazy deal that almost forces you to shout “Now how much would you pay?” With three amazing new games and two classics all in one package, it’s impossible to go wrong with The Orange Box.

Let’s start with new stuff. Episode Two is the continuation of the Half-Life 2 story. It picks up right where Episode One leaves off, with Alyx helping Gordon out of the rubble of a train crash. You’ve escaped from City 17, which now looks more like a smoking crater in the ground with a huge, swirling portal floating over it. But you aren’t safe just yet. You’ve escaped with information that the Combine very much wants to get back from you, so the chase is on again. Fortunately, you’ll do much more than just run in Episode Two. The biggest difference here is that Alyx doesn’t directly accompany you through the entire game. You’ll split up much more frequently, so, for example, you’ll find yourself working your way through antlion nests and crushing antlion grubs all by your lonesome. You’ll also negotiate a mine with the help of a vortigaunt who happens to serve as a subtle form of comic relief. It spouts dialogue that plays off of the serious, spiritual tone that most of these aliens take, only applying it to things such as crates full of supplies that just flew down a broken mineshaft and out of reach. These bits alone give Episode Two a much different tone than the previous games, but there are also significant gameplay alterations.

But that’s beside the point. You don’t need burritos, sealed dealer cases of baseball cards, or fully integrated fitness systems thrown in at no additional charge to make The Orange Box a great deal. It’s practically guaranteed that if you enjoy video games, you’ll find at least one thing to like in this collection, though there’s also a very good chance that you’ll really enjoy all of it.