Revenge of the Savage Planet is a really lovely action-adventure with plenty of hidden experiences. It's wonderfully chaotic, especially side-by-side with a friend, but can also be enjoyed alone if you just want to explore the unexplored planets at your own pace. It's a game that puts a smile on your face as it's just a happy game and doesn't work against the player it's playing with. So, if you liked Journey to the Savage Planet, this is a no-brainer - you won't be disappointed.

Monument Valley has rightfully earned its reputation. Thanks to its artistic depth and unique puzzle mechanics, it's more of an experience than a conventional game. Its breathtaking visuals and engaging puzzles leave a lasting impression.

Monument Valley has rightfully earned its reputation. Thanks to its artistic depth and unique puzzle mechanics, it's more of an experience than a conventional game. Its breathtaking visuals and engaging puzzles leave a lasting impression.

It's a more concentrated and slightly simpler game than its brilliant second instalment, which really expanded every part and is better in my opinion. But if you scale it all down, it's still the same concept. You're treated to fantastic puzzles and a really nice facelift that makes it definitely worth experiencing. Even if it was then followed by something more grand and even better.

If you're a big fan of puzzle-platformers, Once Upon a Puppet might be an okay experience - others should probably avoid this otherwise unique theatre adventure.

As much as I like Metro 2033 and as much as I wanted La Quimera to be a "new Crysis" or a "new Killzone", there's no getting away from the fact that in my world this is more like an asset dump in the Unreal engine, crammed with poor design choices, useless enemies, generic gameplay and a lousy story.

If you already own the original and can take advantage of the "cheaper" upgrade path then it's not exactly a big risk if you are looking for a reason to return to Oregon and to replay Deacon's adventure. However, if you're going to snag this at full price, you'd be just as well to look to the original instead, as the best part of Days Gone is still very much the storyline.

DeadToast is a developer that knows how to do simple things but very, very well. Shotgun Cop Man, like My Friend Pedro, is a thoroughly entertaining action platformer that doesn't require much of your time and yet feels effortlessly replayable and fun. The thumping metal soundtrack and the simplistic art direction work wonderfully in the game's favour (even if the bullet hell is sometimes a bit much to track, but when isn't that the case for bullet hell games?), and the way it constantly manages to build and introduce new systems, traps, enemies, and weapons means that you never become bored or tired of the formula. This is another fabulous indie action game from a developer that I truly wish we could see games from on a more frequent basis than once every five-to-six years.

I think Oblivion Remastered is a skilful re-release of a legendary game that will bring out the nostalgia in most who have lived with the story and Martin Septim's battle against Mehrunes Dagon for almost two decades. Bethesda and Virtuos has kept the atmosphere and skeleton of what Oblivion was and updated it to feel fresh. Oblivion is a product of its time, and I don't know if new players will be able to live with the jank and awkwardness that the rest of us find charming today, but as a beautiful and shiny time capsule, Oblivion Remastered is everything you could want. No more and no less.

Forza Horizon 5 is beautiful. It's varied, it's well put together, it's deeply rewarding and overflowing with content to engage with. It's not even as confusing as it has been. That, in my book, makes it one of the best games of the year, but if you are expecting even an ounce of creative reimagining of the core formula, you might feel different.

Clair Obscur: Expedition 33 is a tremendous game that has set a new standard for RPGs, the ambitions of smaller teams, and AAA experiences in general. It's an easy game of the year candidate if I've ever seen one. A masterful story born from an exceptional concept.

Steel Seed is an exciting attempt to take on the big boys in the stealth-action genre. It doesn't quite reach the level of Uncharted or The Last of Us, but it doesn't need to. It's charming, fun, and at times quite cool, and while there's a bit of technical jank and a few rusty screws in combat and controls, the good parts outweigh the bad to make it all worthwhile. I hope the developers are allowed to build on this universe, because with a little more money and a little more polish, the next game in the series could be something really special.

If you liked this team's previous works and tactical games like Fire Emblem, The Hundred Line: Last Defence Academy is a recommended choice. However, I'm left with the feeling that it's a good idea that missed an opportunity to be something even more unique.

Fatal Fury: City of the Wolves is a dedicated hardcore game with a lot of mechanics that make it feel like a response to Street Fighter 6, which is a bit of a hilarious thought considering its predecessor 25 years ago was a response of sorts to Street Fighter III: Third Strike.

If the ambition is to create a new game for the Neo Geo format and for it to feel like a flirtation with the past, well then at least that bit is done with gusto.

I Have No Mouth, and I Must Scream is a welcome return to the golden age of point-and-click, despite some shortcomings. Like the characters themselves, the game is flawed and you have to go through quite a bit of agony to get to the end of the game. But at the same time, the game does deliver a truly haunting tale, going places where few other games dare.

In short, Tempest Rising is exactly what it seems to be: A modern and solid version of C&C. If you like that kind of game, you'll love this one

Bionic Bay and its tough and demanding action won't be for the platforming fans out there who bask in the delight of Spyro the Dragon or Kirby, but those who enjoy the increased challenge that comes from Crash Bandicoot and games like Mario Maker will absolutely fall in love with this game. It does enough from a gameplay and level design point of view to stand out, all while the art direction and visuals continue to attract and hold your attention. Sure, it could do with a bit of extra focus from a narrative standpoint to make its campaign more memorable, and the audio and soundtrack is serviceable at best, but other than these minor problems, Bionic Bay impresses and is absolutely a game that platformer fans should be keeping an eye on.

Externally, the PlayStation 5 version looks very good. The main characters, familiar from the movies, do not look exactly identical to their predecessors, but they still make their point, complementing the plot parts of the story during the dialogue sections. In terms of voice acting, the main attention is naturally focused on Indiana Jones, and Troy Baker succeeds in this area excellently, raising the atmosphere across the board. However, the supporting characters are not always up to the task, as the more open adventuring can sometimes cause unintentional repetition in dialogue or activation at the wrong moments.

I think we should all reflect on the situation of this type of video game. We see too many similarities between them, and that is understandable; it has always happened in all artistic disciplines. But with animatronic or semi-humanoid doll games, since the release of FNAF, we have seen how they have become a kind of golden goose: a resource to cling on to when you want to develop a horror project. And I think we have lost a bit of the essence of the genre that characterised great titles, be they video games or other audio-visual products. Silent Hill, Amnesia, among others that may come to mind, played with the psychological component, seeking to unsettle the player beyond the simple scare. Today, on the other hand, a few jumpscares are enough. Finding Frankie is a victim of this current moment. Surely the studio has good ideas for future projects, and it's always better to hope that the next title will surpass it. But we need a paradigm shift for the horror mainstream to make another 180-degree turn.

Croc: Legend of the Gobbos was a really joyful experience to play once again after almost 30 years. Despite its shortcomings, the game presented a really lovely feeling, and while it's undeniably old-fashioned in its structure and requires a lot of patience in places, for those who played the game previously, it offers a pleasant nostalgia trip.

Into the Dead: Our Darkest Days is a fantastic foundation for PikPok to build on, and while the current loop became monotonous for me, especially without a narrative framework to refer to other than the stories I created myself, I respect it immensely. [Early Access Score = 70]

I probably had too high hopes for the Monster Energy Supercross series' return. It feels like it could have improved even more than it was, but regardless, what we get is a motocross experience that is simply as good as it was before.

Commandos: Origins is a great game in a genre that sorely needs one. With a difficulty that'll challenge even the most tactical minds, combined with refreshing visuals and characters that are fun to play, what you get is a satisfying,, rewarding experience that has you reloading save after save, believing the next strategy you try will be the winning one. The difficulty may cause the odd frustration here and there, and you may wish for a bit more besides a satisfying gameplay loop, but overall this is a win for the fans of RTS games out there.

Blue Prince is easy to recommend if you've read the description of the premise and found the idea itself compelling. It's the idea that wins here, and maybe in the future developer Dogubomb can work with this diamond of a premise and polish some of the edges to make the player feel like they have a little more control over each outcome.

The final product is excellent, and my unpopular opinions about game length do not change the fact that this remains - still - one of the greatest video game releases of all-time.

South of Midnight is a good game - nothing more, nothing less - one that storytelling-lovers will find enjoyment from and one that fans of tight and refreshing gameplay will find a bit repetitive and flat.

Studio Tolima has created an emotionally complex and memorable story that stands out for its narrative and audiovisual direction. It lacks a bit from a gameplay perspective, serving up mechanics that either feel overused or simply don't quite draw in the player, but otherwise, for a short two-to-four hour story, Koira does enough to leave a lasting impression.