A consummate package of shooting, slide tackling and swearing, but with some familiar current-gen frustrations. The saving grace could be FIFA 21’s free PS5 upgrade. [Issue#182, p.137]

With three new enemy types and one (very challenging) boss in the mix, as well as three new perks to earn by completing the optional Slayer Gater challenges, it’s a familiar yet distinct experience. But it’s still best to play through Doom Eternal before trying this. [Issue#182, p.155]

Special Edition raises the character-action bar even higher than the original, with high frame rates and Legendary Dark Knight mode seriously wowing. [Issue#182, p.139]

If only it had Dirt 2’s crash damage, this would have scored a perfect 10. Even without it, this is a superbly playable, varied, and visually gorgeous racer. [Issue#182, p.141]

While its intriguing concept is slightly let down by simple puzzles and empty maps, Carto still offers a weekend’s worth of cosy fun for players of all ages. [Issue#182, p.154]

While far from pushing PS5 to its technical limits, this is definitely one of the most delightful launch titles. Dial ‘D’ for ‘different’ to learn how you can begin your own Snaktooth adventure. [Issue#182, p.134]

Tasi’s story is a well-balanced nightmare littered with delicious scares. While, like her ill-fated aeroplane, it doesn’t quite stick the landing, it should still sate your desire for atmospheric terror. [Issue#182, p.150]

Overall, this is a brief game, though you can replay missions to max out your skills or find secret statues. That these unlock old-school modifiers like Big Head mode at least shows the game’s got a sense of humour. [Issue#182, p.136]

The bottom line is simple: while TT Isle Of Man: Ride On The Edge demonstrates how hardcore, unforgiving motorbike sims can be amazing on PS4, Ride 4 is simply dull. Authentic and capable, certainly, but dull nonetheless. [Issue#182, p.136]

There’s less focus on building up a single party than in some games in the series. There are so many characters you’ll often switch them around without having time to outfit everyone to perfection. But it’s fun to see everyone come together for this finale, and being an ensemble piece means that four games in, this is an epic-feeling send-off. [Issue#182, p.136]

A range of mission objectives keeps things interesting, and there are nice moments when the action is used to tell the story.2 It’s fairly simple (it’s based on a kids’ cartoon), but this twist on the genre is easy to understand, and fun to stick with until the credits. [Issue#182, p.160]

It looks fantastic, with animation delivering the TV-standard realism EA always aims for2 while offering gaming cues for eagle-eyed players to spot; using the stick skills to shuffle keepers out of position for a slap shot will leave you wide-eyed and fist-punching the air. See, that Nicolas Cage opener paid off. [Issue#182, p.160]

You’ve played this before, 25 years ago on PS1. The ideas are ancient, the implementation poor, and when a dubiously named hero is the only fun you get from a shooter in 2020 it’s time to avoid. [Issue#182, p.160]

It’s a unique genre mash-up that doesn’t utilise the best-quality ingredients, but its two core elements complement each other well enough to result in a winning recipe. [Issue#182, p.156]

Regarding this catastrophic failure of infrastructure, a wearying, cynical malaise of ‘Eh, what can you do about it?’ pervades Rania’s early forays into the city and proves just a little too real for us. The game’s own answer to this question is ‘carry out individual acts of kindness’, as with each one Rania makes Nivalis a slightly less miserable place for at least one person she encounters on her rounds – and sometimes that’s enough. [Issue#182, p.156]

You’ll quickly learn which foods you’re comfortable making under pressure, but the harder challenges push you out of your comfort zone. With over 350 levels, there’s masses to do. And while hitting buttons to make food is pretty much all you do, each challenge feels unique. Though we don’t think we’ll ever be able to eat sopapillas again. [Issue#182, p.156]

A fantastic superhero story. Miles is an easy lead, and the tight design puts him to spectacular use (and is visually jaw-dropping on PS5). It’s a must-play. [Issue#182, p.131]

If you love racing sims and the WRC, you’ll get a lot out of this; but for the second year running, if you can only pick one rally game, Dirt 2.0 is the better choice. [Issue#180, p.75]

A game even irritating glitches can’t keep you from loving, Wasteland 3 is unique, inventive, and always fun. Make the right choice and put this one on your must-play list. [Issue#180, p.73]

A patchy, unbalanced, and shallow racer with obvious technical issues on PS4. Chasing lap times is fun thanks to the superb pad control and track list, but everything else is disappointing. [Issue#180, p.78]

Substantial, and makes us excited to see what’s next in Remedy’s Connected Universe. Our only question is ‘Alan Wake remaster when?’ [Issue#180, p.81]

A colourful sonic wave of imagination and joy with possibly the best soundtrack of any videogame this year, No Straight Roads is sure to pluck your strings in the best possible way. [Issue#180, p.70]

Despite tweaks to the formula and some interesting ideas, Mortal Shell is tired and familiar while also much less than its inspiration. This Dark-Souls-like should stay dead. [Issue#180, p.77]

Mastery is ultimately what will keep pulling you back in, and thanks to a wealth of modifiers, you can tweak the gunplay to be as accessible or as challenging as you want. Stick on Deadeye and you’ll discover just how much you’ve been relying on the default aim assist. Truly a whip-smart workout. [Issue#180, p.80]

From side-scrolling platforming to something that reminds us of Super Monkey Ball just a wee bit, there’s a good variety of levels in each world. While we say there are plenty of hidden collectibles to find, Lucky’s game doesn’t quite nail the sense of exploration and discovery in the way its mauve forbear does; you probably won’t need the finest-toothed comb to see all there is to see. But just because it doesn’t resonate in exactly the same way Spyro did for us all those years ago, it doesn’t mean that cute-as-a-button Lucky won’t be some small person’s favourite, or that the game won’t get them all nostalgic years down the line. [Issue#180, p.80]

It’s not terrible, but it’s not the game we (or anybody else) wanted either. This game gets tired long before 90 minutes have passed. [Issue#180, p.80]

But losing it all still stings, not least since some runs stack the odds unfairly. You might wander into a room where two shooters are entirely shrouded by the inky shadows, where a wall obstructs your view of an advancing threat, or an enemy-stunning lantern stubbornly refuses to light. When the RNG is against you, too, West Of Dead feels someway south of a good time. [Issue#180, p.76]

There’s a lot of text, but you only have to read enough to get the information you need. It’s more of a detective game, offering just enough guidance to ensure your snooping genuinely feels like an investigation into the denizens of this strange, surreal internet. [Issue#180, p.76]

With patience you can master the fiddly battle menus, and the wealth of content2 banishes any frustrations to a deep, dark dungeon. Outside of combat menus are a joy to navigate on R2. The sense of immersion helps break down the barriers of the game’s PC origins, as whether it’s cooking campfire meals or using a character’s lore knowledge to seek new narrative pathways, there are roles here you’ll enjoy playing for weeks. [Issue#180, p.76]

With a focus on care and comfort, this is textbook cosy gaming. Its world of spirits is one you’ll want to get lost in and there’s unlikely to be a single guest you won’t be endeared to by journey’s end. Set sail under a snuggly blanket as the nights begin to pick up a chill, and let your heart be warmed. [Issue#180, p.74]

Kaiju battles are fun, especially if you like huge damage numbers or big area-of-effect explosions catching hundreds of enemies, but be aware that 13 Sentinels is a drastic departure from the action-heavy antics of Odin Sphere and Dragon’s Crown, though Vanillaware’s signature hand-drawn art style remains intact. Safe in that knowledge, strap in for the wildest narrative ride since Nier Automata as you get lost in its messy conspiracy. [Issue#180, p.74]

The only downside to this year’s game, as with The Golf Club, are the visuals. Even knocking balls about a clifftop woodland can feel sterile. But then the game offers an easy-to-use course creator and all is forgiven. Placing accessibility on par with accuracy, this is a golf sim so realistic you can smell the freshly laundered acid-blue chinos. [Issue#180, p.72]

Where the game really excels is in its beautiful, colourful graphics and the relaxing atmosphere they help to create. There is also a deep lore to discover as you travel across the archipelago, culminating in a seafaring experience that’s sure to make waves. [Issue#180, p.72]

Long-time players will be disappointed at Joe Rogan’s absence from the commentary booth this time around, even if Daniel Cormier and John Anik’s excitable tones are perfectly serviceable. And that’s a phrase which perfectly sums up UFC 4 in general. It won’t surprise MMA fans, but it should delight. [Issue#180, p.72]

The Ms.-Marvel-centric campaign is almost worth the cover price alone. Deep hero customisation sets the stage for a strong online mode with plenty more to come. [Issue#180, p.67]

A short, tightly designed, and satisfying puzzler. Changing perspectives to alter sizes and shapes is intriguing. It stumbles awake but sweet dreams are made of this. [Issue#179, p.73]

Ultimately, it’s more Superhot – stylish, thrilling, reliably weird – and that’s no bad thing. But it’s the first game in the series that doesn’t feel like a revelation. [Issue#179, p.77]

We’re in love with the unique control system, but the longterm appeal of the launch version is questionable. If/when more features arrive to fill in the gaps, it’ll be an essential purchase. [Issue#179, p.74]

Sker Hotel is a beautifully realised survival horror location to get lost in for an afternoon– it’s just a shame about the monstrous staff. [Issue#179, p.81]

Worth playing for the visuals alone, to take in and explore these strange and beautiful environments, which will be timeless. The puzzles are fun, but not as revolutionary. [Issue#179, p.68]

Mission objectives are simplistic and the multiple sandbox maps are small by modern standards, but creative abuse of the game’s destructive weapons never fails to raise a smile. A welcome reinvasion. [Issue#179, p.70]

Despite an occasional mean streak, when Cuphead plays fair it’s as much a treat for the thumbs as it is for the eyes– and with these distinctive, cartoon-inspired looks that’s no small feat. [Issue#179, p.78]

Neon Abyss really shines when you you have unlocked enough upgrades to experience the carnage in full.2 Getting to that point, however, can feel like a long, hard slog. If you’re up for the challenge, persevere and this will offer you a dense, addictive experience that you’ll keep coming back to. [Issue#179, p.80]

This one’s definitely a lighter course overall but feels substantial as it’s filled to the brim with its own unique blend of flavours. Puzzle fiends looking for their next meal absolutely shouldn’t pass up this refreshing snack. [Issue#179, p.80]

At various points you need to choose how you feel about the other characters using the star-chart-like Senses Sympathy System, rating them on a scale. This is the only way you make decisions and branch the narrative. It’s a nice idea that works for the most part, but also feels a little clunky. For a visual novel that released in Japanese in 2012 it still holds up well, and it’s a mature story that relies on sci-fi disaster thrills more than romance, which leaves it on top. [Issue#179, p.80]

The turn-based combat is Gust at its best, and watching skills evolving into stronger versions, rather than characters learning new moves and making old ones irrelevant, is a nice way to show the characters growing in strength that feels right out of the anime. Mechanically it’s punching above its weight and is more magically charged than some bigger JRPGs, but it’s let down outside combat by stiff animations that feel a generation old, actions rarely feeling like they match up in conversations. Plus, multiple tedious side-quests to level up your guild bottleneck story progression. We love the characters and combat, and it feels like a beloved PS3 game we missed out on, but in 2020 the magic wanes. [Issue#179, p.76]

Sadly, many monsters end up feeling repetitive, and the environments are bland. You only have three true party members too (characters from the first game become usable, but to all intents and purposes aren’t an actual presence in your squad). As enthralling as the horrors in La Choara may be, it can be a slog to reach credits even when the game’s only 17 hours or so long. [Issue#179, p.76]

There’s a lot to enjoy here if you need a Monkey Ball itch scratched, but Rock Of Ages 3 is a mixed, scrappy ball of ideas that never quite lands. [Issue#179, p.76]

The level of control this system gives is compelling, and creatively arranging dialogue fragments is rewarding. The need to find the ‘right words’ creates an interesting tension throughout – unless you’re a people pleaser in real life, in which case this may hit a little too close to your everyday. Its short length and focussed story allows for an engaging variety of dialogue options and social scenarios, but it does also feel more like a proof-of-concept in the end. But it’s less than a tenner, which feels like a reasonable price, and we’re going to enjoy seeing how Insatiable Cycle fleshes out this dialogue system in future as what we’ve overheard here presents a tantalising snippet of conversation. [Issue#179, p.72]

Difficulty spikes are common and may be off-putting to some players, but the addictive nature of what is a seriously smart battle system will usually see you determined to persevere, just as the Mother did in times gone by. After all, like Mother, like Daughter. [Issue#179, p.72]

Relicta, in a lot of places, seems to be a lot more adult-oriented than many other puzzle games. If you can live with the repetition and you really loved Portal, you should find something here to keep you engaged. [Issue@179, p.72]

A refreshing dip. Things don’t look as impressive under this virtual sea as they do in the video clips, but there’s still plenty to keep you gently bobbing along. [Issue#178, p.83]

Recognising that genius billionaire playboy philanthropist Tony is just as important as his metal-coated alter ego, Iron Man VR is a guaranteed virtual reality thrill for fans of the shiniest Avenger. [Issue#178, p.74]

With carefully communicated lore, healthy doses of humour here and there, enjoyable new activities, and an abundance of content, this expansion has us falling in love with TESO all over again. [Issue#178, p.80]

The sprawling yet accessible career mode has been honed and the game engine absolutely purrs. When ‘prettier menus’ tops your wishlist, hats must come off. [Issue#178, p.77]

Neither a remarkable FPS nor RTS, it’s nevertheless fun to zoom around in multiplayer with your gunships blasting away. And sometimes, that’s okay. But it’s never really more than okay. [Issue#178, p.78]

Although the gameplay and character models feel refreshed (Patrick’s limbs are delightfully floppy), the level design pales when compared to newer 3D platformers. Fully remade,2 including a remastered soundtrack, Battle For Bikini Bottom proves to be fun on a technical level, but the barren worlds, many NPCs you cannot interact with, and vexing objectives (the rolling ball in Mermaid Man’s lair, anybody?) make it fun and frustrating in equal measure. Fans won’t want to leave this one at the bottom of the sea. [Issue#178, p.82]

This is a solid collection with two of the best shooters of the era, but it is pricey. [Issue#178, p.82]

This is visually bare-bones and an incredibly sloppy port of the PC original. The menus have an eye-jittering delay that makes navigating a chore. Worse still, hard crashes occur every 20 minutes in the final third of the story, forcing you to replay tombs already conquered. It’s hard to recommend a game that punishes you with its bugs. Pray for this one. [Issue#178, p.82]

As well as transforming abilities, you unlock room-affecting powers as you progress, and these are a lot more iffy– indications of where to use some are irritatingly lacking. The lack of map markings for currently impassable objects or collected heart pieces also feels a bit annoying.2 Still, it’s a lot of fun throughout its short duration, and the cartoony surface is backed up by plenty of heart. It’s not the best game of its type, but it’s an example worth playing. [Issue#178, p.76]

What still comes across is a blistering sense of speed. Sure, it’s missing much in the way of the interesting track gravity you might expect from a zero-grav racer, but tight corridors and hairpin turns can still delight as you shove your pod nearly on its side. Two-player racing is also a welcome holdover. Racer was once very impressive and it still runs well enough, but it all feels basic now. It does raise the question – why haven’t we had a new version that’s as exciting as this was in its day in 21 years ago? [Issue#178, p.76]

The large dungeons aren’t the only places for larger-scale puzzling. Every overworld is essentially a dungeon-space: this is a game of dungeons within dungeons. You automatically jump off the edge of platforms, and the game has a great sense of physicality, compounded by the twisty environment design. Combine that with plenty of inventive puzzles, obstacles that react to certain elements, and battles, and you have an intense retro throwback that constantly presents new challenges throughout its 35-plus hours of playtime. [Issue#178, p.76]

A very enjoyable mix of activities set in one of the most elegant open worlds on PS4. Ghost Of Tsushima does nothing particularly new but it does it all to a high standard. [Issue#178, p.71]

Still one of the most unique character action games we’ve played, combined with a heartwarming story and retro-futuristic setting that is just pure feel-good. Simply… wonderful. [Issue#177, p.150]

A lovingly remastered, nostalgic treat for fans, with all the cars and guns given extra polish. A robust GTA clone that should please anyone else who doesn’t mind a bit of gleefully juvenile silliness. [Issue#177, p.154]

The quality is a little uneven, but a good sense of humour and a determination to be inventive takes Pixel Ripped 1995 a long way. It’s rippedjeans- tastic! [Issue#177, p.157]

A heck of a catch. There’s plenty below the surface: this shark RPG isn’t afraid to comment on cycles of violence and pollution, while also being a gleefully good time. [Issue#177, p.145]

Offering many memorable moments and a well-realised if empty world, this remaster is dragged down by some technical flaws . The Definitive Edition? Not quite. [Issue#177, p.147]

A complicated rootin’ shootin’ tactics puzzler that plays like a miniaturised Hitman-headswest. It can get muddled when all the parts are moving, but this is a must-play. [Issue#177, p.153]

Poor signposting is a problem throughout, compounding frustration in by-the-numbers stealth/chase sequences (though each of these is mercifully to the point once you figure out what you’re supposed to do). Bright spots, such as the early story’s compassionate portrayal of childhood bereavement and some genuinely unsettling sound design, are too often overshadowed. We’re not leaving the light on for this. [Issue#177, p.156]

Boasting bitcrushed soundbites and bitpop beats by Defense Mechanism, it sounds the part. As for looks, the sprite work has the bobble-headed charm of chibi art styles. The vehicle aesthetic is more realistic but they still look like they’re straight out of the doll’s house. The art direction feels far more confident rendering nuts and bolts rather than our protagonists, but the pixel art is nothing to sniff at. There is a clear understanding that bosses are sold not only through their challenge but also via visual spectacle. They’re still diminutive but not to be trifled with, bringing the pain with screen-sweeping attacks in standout arenas. The Beljantaur Kingdom can take us on again any time. [Issue#177, p.156]

This adventure balances its challenge and gameplay variety well against its short length. Ultimately it’s not as layered as indie darling Hollow Knight but it’s a worthwhile play while you wait for Silksong.[Issue#177, p.156]

These are perplexing puzzles but they don’t become tiresome. It’s pretty too, with the beautiful background environments reflecting the mood of the characters. Everything comes together to create a game that will make you introspective, and by your interaction, really care about this small and personal story. [Issue#177, p.144]

If making your own vehicles holds appeals, especially if you have some engineering knowledge, you’ll have a lot of fun with this. Just be aware that the world you’ll explore is little more than a glorified testing ground. [Issue#177, p.144]

Beyond beautiful visuals and taxing puzzles, there’s also a hefty sci-fi story. Inspired by Japanese visual novels, Dysis’ investigation as she pushes inland into the ruins of a forgotten civilisation is intriguing, and full of twists. The dialogue that punctuates the puzzles rarely feels too long, and this mystery makes you want to keep pressing on. It’s a mixture that feels fresh, and the two halves of puzzle and story feel highly polished: more than enough to keep you remaining in this puzzle paradise. [Issue#177, p.144]

Mechanically, The Last Of Us Part II is a masterpiece that’s as joyous to play as they come, but it’s let down by its messy structure, leaving us pining for the journey of the first game. [Issue#177, p.135]

Combat so crisp it punches your nostalgia into next week, Streets Of Rage 4 is a time capsule well worth cracking open for a short bursts of expressive thuggery. [Issue#176, p.79]

Sakura Wars may lack depth in combat but that’s ultimately secondary to its storytelling and lovable characters, which it delivers with a big dose of anime heart. [Issue#176, p.75]

Predator: Hunting Grounds’ fun procession of film references and solid gameplay loop distract from the many flaws that hold it back from being an essential online shooter. [Issue#176, p.71]

A perfectly executed peep-’emup that makes you feel in control of your investigation, and tells a twisting tale that you won’t easily forget. [Issue#176, p.81]

A pitch-perfect party game for you and those who’ve come home to roost after flying the nest (or those who never actually left). Not as frantic as Overcooked but still a truck-full of fun. [Issue#176, p.76]

An evolutionary update with unconvincing AI makes for a tough sell, but updates are scheduled. The improvements create genuine moments of greatness. [Issue#176, p.80]

It’s pretty unforgiving, in that restoring health can only ever be done via scarce consumables, and firearms and their ammo are also incredibly rare. Nonetheless, each mission is a tense delight. You’ll mostly walk to conserve stamina and avoid drawing attention, yet rasslin’ zombies is unavoidable, and you’ll want to be done before the town bells ring. Throw in humans both friendly and unfriendly – who will sometimes even fight among themselves – and you have a wonderfully oppressive, unpredictable world. And, yes, you get to slather yourself in guts. Yay! [Issue#176, p.78]

Overall the writing, though at times clumsily reference-heavy, generally feels emotionally sincere, and playing through character conflict with this charismatic cast2 gives us (an extra) life. If you’re burned out on mainstream VNs, this is a perfect palate cleanser. So, got any quarters? [Issue#176, p.78]

When you finish a level, you get the option to replay what you did in one fluid motion, which ends up a little stiff thanks to the gridmovement and somewhat limited moveset. But you quickly get the hang of how to use each move, and soon you’re reacting quickly to each challenge rather than taking a while to figure out your next move. When you hit that rhythm, John Wick Hex sings, but it doesn’t delight as much as the movies. [Issue#176, p.78]

Back in 1995, Trials was unparalleled in its adaptability, even when it came to its story– you choose a party of three out of six possible characters to take on a journey to restore the sacred Mana tree and hopefully stop wars breaking out between different factions. Some parts of your characters’ backstories will overlap, leading to shared experiences. However, despite new additional lines, interactions between characters can feel random, and the dialogue doesn’t hold up for a modern game. The English voiceover, too, strongly varies in quality. A win for fans, Trials Of Mana nonetheless proves not every game ages well. [Issue#176, p.74]

Is it enough to make you forget you spent ten minutes trying to load a gun, or ignore the way the characters look like they were made in 1998, or forgive a story that delivers the emotional impact of Question Of Sport repeats? No. [Issue#176, p.74]

It’s rarely original, occasionally frustrating, and often clumsy in execution, but when it clicks there’s a meditative vein to Stranded Deep’s grind that will make time spent indoors sunnier. [Issue#176, p.74]

What really makes the game is Map Editor mode, where you can create your own maps and share them online. This is much more worth your time than the main mode. Many of the creations already available show great inventiveness with limited assets – things like cross-time football games or ‘Little Yharnam’, a Bloodborne-themed map. Hidden Through Time is basic, but at a low price (£6.49), it’s worth fooling around with if you’re still fond of Wally. [Issue#174, p.92]

The visuals are an improvement on My Hero One’s Justice, but there’s still a lack of English dub, despite the series’ popularity. This is a game made for fans, and it’s clear Byking’s staff are fans themselves. Plus Ultra! [Issue#174, p.92]

Fun in short spurts, patchy in quality, this is a club not everyone will want to get into, even if they have the password. [Issue#174, p.92]

Three-quarters of the way through, the experience becomes much more enjoyable, as you get a new mode of transport2 that expands and speeds up your exploration. This doesn’t last long enough, though, and the game ends as it begins; on a slow, confusing note. [Issue#174, p.86]

Given its focus on just one thing, Overpass doesn’t feel particularly realistic or weighty, and you can certainly get more excitement from conquering GTA V’s Mount Chiliad. Still, it does what it does without fuss, faffing, or frills, so take it or leave it. We’d probably leave it. [Issue#174, p.86]

Setting you up with key scenarios from across this period of Chinese history, there’s plenty to play through. The only problem is that with the zoomed-out approach to the map, the detail has become more passive. Unlike in the last game there’s no direct control of battles, no debate system, and no smaller-objective story mode. It’s an interesting evolution, though one that leaves you bored on the throne more often than not. [Issue#174, p.86]

Transposes the turn-based shooter into a futuristic setting competently, but ultimately is far from essential. For genre completists only. [Issue#174, p.93]

While PS VR ought to be a natural medium for Space Channel 5, it’s hard to see Ulala as more than a nostalgic opening act for the rest of the competition. [Issue#174, p.87]

The improved handling makes for a much more playable game and career mode is satisfying and slick. It’s a little stretched feeling and overly-familiar, but still a class act. [Issue#174, p.82]

Most of the boss fights been given a fresh do-over, with interesting new phases and twists that make them feel a little more special being introduced. These challenge you to think about a fight in ways beyond doing the most damage to your opponent. More than ever, Persona 5’s mechanics are used to further the narrative, whether that’s a high art plagiarist making fake copies of himself to fight you, or smart-aleck Akechi always throwing three bullseyes in a row at the new darts spot in town. It’s bigger, better, more. [Issue#174, p.84]