In the hot seat at Number 13, survival typically takes precedence over morality, but developer Cavalier delights in letting you feel the sting of your actions. [Issue#425, p.121]

Stories such as this are still rare in games, and the visual-novel format Toge Productions employs gives them the space to unfold with delicacy and nuance. [Issue#425, p.120]

Even if Call Of The Elder Gods is never as thrillingly weird as you'd hope, Myst-lites as wide-ranging as this are hardly a Dimetrodon a dozen. [Issue#425, p.118]

Mina is at its best when it's channelling Zelda, less so when it lens into Soulslike territory or becomes ascetic in its early-'90s sensibilities, trying too hard to retain a link to the past. [Issue#425, p.116]

Phonopolis' few flaws are easy to forgive in the face of the artistry with which this terrible, magnificent place has been put together. [Issue#425, p.114]

When Legacy of the Dark Knight finds its focus, there's still plenty of zen-like charm to enjoy here. And if you crave the chaotic? Well, beanbag begins. [Issue#425, p.112]

If there was any chance of coming away from this frictionless journey feeling deflated, then, Good-Feel ensures there's no danger of that. [Issue#425, p.110]

These mechanics are supposed to be more immersive, but they're little more than busywork designed to placate any suspicion that you're only truly playing a game if you've nudged a character around with the analogue stick. [Issue#425, p.108]

Zero Parades does succeed, but it's a qualified success. [Issue#425, p.106]

When Forza Horizon 6 manages to get out of its own way, its magic is that it was two compelling fantasies to draw on. Being a world-class race driver is a pleasure we can get elsewhere - although this makes it accessible to those who might fear Gran Turismo's sterner sim - but it can also satisfy the humbler dream of being on holiday in a fun new place. Whether Playground has captured the authentic Japanese experience, we can't say, but it's certainly got that last bit nailed. [Issue#425, p.102]

The final result is surprisingly unvaried and well-behaved. Within the space of 20 hours, it makes what is ostensibly a fresh version of Bond feel like he needs another new shot of life. [Issue#425, p.98]

It's as intoxicating as it is intoxicated and thus, for those who partake, perhaps best enjoyed with a glass of wine. For comfort, naturally. [Issue#424, p.121]

When The Cosmic Abyss plays more like a walking sim or a first-person horror, it's excellent story really shines through, but its overdesigned systems tend to get in the way of its otherworldly ambitions. [Issue#424, p.119]

You've seen most of what it has to offer before you've even unlocked all of the sculpting tools. [Issue#424, p.118]

Barring a couple of all-too-short sections near the beginning, Will: Follow The Light is a bewildering and arduous journey. [Issue#424, p.116]

In its wake, Dosa Divas can often only muster the kind of anti-capitalist polemic we've heard many times before. [Issue#424, p.112]

Tomodachi Life proves beguiling and boring in equal measure. [Issue#424, p.110]

The weapon animations remain gorgeous to the last drop, but what about the other two-thirds? [Issue#424, p.108]

Here is the rare deckbuilder that doesn't feel like it's merely aping the giants of the genre. [Issue#424, p.106]

Things pick up considerably in the game's final third, when the excessive exposition has at last been laid to rest and you've learned how to best work with the disobliging visual language. [Issue#424, p.104]

Alien worlds scarcely come more mundane than this. [Issue#424, p.102]

If the future's to be sustainable - let alone bright - we may need to reduce our reliance on single-use game design. [Issue#424, p.100]

Pragmata has an original combat system, some smart toys and tight engineering, yet its rhythm and structure are a touch too singular. This is no mere 3D printout, but an exercise in the pristine and clinical nonetheless. [Issue#424, p.96]

Even more than in Returnal, the Roguelike elements here seem to exist more for flavour than systematic depth. And in that they complement the unmatched action, and the incredible visual, audio, haptic experience. It will be hard for Housemarque to come back stronger than this. [Issue#424, p.92]

Even as it wraps up within four hours, Mixtape feels like an exemplar of the form: generous, indulgent and expertly curated, a crowd-pleaser with just the right number of deep cuts. If it doesn't persuade you to make one of your own, it may well convince you to call up an old friend to reminisce about the moments you spent together. When the world simultaneously sucked and felt so full of potential. When you were bored and rudderless and didn't realise how good you had it. [Issue#424, p.114]

There's scant variety as Nutmeg runs through the same handful of sequences repeatedly, and little tactical leeway within your deck. The beautiful game is thus made less so as the rose tint softens its essential texture. [Issue#423, p.121]

Indeed, perhaps Pokopia's finest accomplishment is that it caters equally to all kinds of player: those who love to build freely, and those who crave more direction. If you're the kind of Pokemon obsessive who plays every entry and spinoff, you'll find plenty here to delight. And if you're an older or lapsed fan, or Pokemon has passed you by completely? Well, ditto. [Issue#423, p.118]

People of Note is a gratifying, if ultimately ephemeral, hodgepodge of ideas - a pleasant distraction but hardly an instant classic. [Issue#423, p.116]