Signs Of The Sojourner is a compelling adventure that explores loss, healing, and the intimacy of conversations, wonderfully gamifying interaction. [Issue#187, p.89]

A celebration of videogaming’s brashest decade, Narita Boy at times tries too hard to impress but always feels good to play. Turn it up to 11 and enjoy the ride. [Issue#187, p.83]

Thanks to an increased, stabilised framerate, and clever use of the DualSense, PS5 offers the definitive version of Mortal Shell. Just remember it’s no Demon’s Souls. [Issue#187, p.84]

This playful space is engaging and sequesters some neat solutions but we wish Maquette thought more outside the box and followed its own fun. [Issue#187, p.86]

A surprisingly meaty, touching miniaturised romp. Ready up a player two! [Issue#187, p.79]

A very pretty and slick platformer that runs beautifully on PS5. Use of the console’s unique features are limited, but it’s still well worth playing. [Issue#187, p.80]

While its underpinnings are strong, it never fulfils its potential, and there are probably some lessons on how not to write a visual novel in here. If you came for cool werewolves, you’ll probably be bogged down by all the deforestation stuff. If you came for an environmental story, you may well be overwhelmed by World Of Darkness lore. Either way, it’s a miss, but it does at least aim in the right direction. [Issue#187, p.81]

Sadly, things get rather grindy towards the end, and Anodyne 2’s refusal to be clear about anything can make finding the last few items you need harder than it should be. Nonetheless, this is an enjoyable trip unlike any other. If you’re looking for something that differentiates itself from the ocean of grim shooters and angsty apocalypses, you won’t be disappointed with this. [Issue#187, p.81]

With new online modes, capable and fun split-screen, and one truly great fictional racetrack (Rusty Ravine), it’s only really let down by its slight low-budget feel and sense of déjà vu. But being enjoyable to play is surely the whole point of a videogame, and this is very enjoyable indeed. [Issue#187, p.81]

With such assured motion, incident-packed races and gorgeous stadium track visuals this should be an easy recommendation, especially since it’s a deluxe version of an already-polished series. But the harsh handling model and extreme sense of déjà vu suck out a lot of the fun. [Issue#187, p.85]

Besides spider death, each area has multiple objectives. Some of these force you doing a little bit of thinking, others simply ask you to destroy a set number of a certain object. Levels start out small, their routes unfurling as you reach spider-killing milestones. Progression is satisfying, though once you become used to the game’s tricks it wears a little thin. Still, if you want to “kill it with fire” and a whole lot more, it certainly lives up to its promise. [Issue#187, p.85]

Despite the pratfalls, it’s fun to swing into action here. [Issue#187, p.85]

If you’re tired of 2.5D puzzle-platformers with a horror tinge, The Pedestrian’s signswitching action will serve as a refreshing roadside alternative. [Issue#186, p.89]

Fans of the original need to play this. A fun story sits beside what made the last game special. Combat is mediocre, but flashy enough to bash through. [Issue#186, p.86]

Shallow, but also attractive and a lot of fun. Take Destruction AllStars for a spin, and you’re guaranteed a good time whenever you slip into the driving seat. [Issue#186, p.91]

Whether you’re dipping in and out or hunkering down with it for a long ol’ gaming sesh, Ys IX is captivating, rewarding, and worthy JRPG. [Issue#186, p.83]

Two of the best in the genre are running better than ever natively on PS5. While not startlingly novel, if you missed out before, you’re in for a treat. [Issue#186, p.94]

The deaths caused by the controls being not as responsive as we’d like may annoy, but there’s a whole world out there you’re going to want to feast your eyes on. [Issue#186, p.79]

Not being able to carry over save data is a huge drawback. However, we enjoyed uncovering the bureau’s secrets all over again, with ray-traced drama. [Issue#186, p.88]

While there’s no ignoring the limitations of the production, everything culminates into a laser-focused indie experience that is very much more than the sum of its parts. For a sunrise you won’t soon forget, this is more than worth the just-overfive- quid price of entry. [Issue#186, p.82]

After a handful of runs you may feel as if you’ve seen everything. The combat system still makes this worth a try if you’re itching for more roguelikes. [Issue#186, p.82]

Frustration is bad enough, but pain? Unacceptable. [Issue#186, p.82]

It’s rare to get top-quality Amiga games on PlayStation. Yet this collection can feel bare-bones, with extras only stretching to affectionate TV filters. If you’ve never played Turrican this is a curiosity. If, however, you grew up on the series there’s a sugary hit of nostalgia. [Issue#186, p.85]

Levels are served at random, so you’re not forcing yourself to do the exact same thing over and over again, but we ran into a lot of repeats. There’s something to love here, but it’s all incredibly basic, and perhaps a bit too fiddly to quite deliver with how the controls are translated to an analogue stick. [Issue#186, p.85]

The story is muddled and not engaging, which could be forgivable if the action was more involving. Using the monocle to see clues is a nice idea, but it’s underutilised and poorly implemented (though it’s possible some of this could be a porting error). The encounters with the Mother are successfully tense, and the (few) monster designs are good. It’s almost a shame you don’t see more of them. Silver Chains does achieve some solid jump scares and would be worth a run-through with friends if you can pick it up in a sale. Overall, though, it sadly lacks both substance and polish. [Issue#186, p.85]

See past the low-budget looks, and you’ll find this is no shaggy dog tale. It’s a well-paced adventure that’s worth sinking your teeth (and claws) into. [Issue#185, p.85]

Freddy’s first outing is a jump scare legend and a fantastic case study of pure, simple design. It’s too bad later outings simply don’t play well on a controller. [Issue#185, p.89]

Most of the issues have been addressed, making for a much more palatable bike sim. It’s still lacking spectacle and charm, but the quality’s much higher. [Issue#185, p.88]

A slick, surprisingly heartfelt 2D platformer that excels not in one area but in many. Olija’s a brilliant addition to Devolver Digital’s lineup of experimental indies. [Issue#185, p.83]

The step-up in fluidity afforded by PS5 makes this feel like a premium offering, but finicky handling, dull Playground mode, and sparse new content hamper the fun. [Issue#185, p.86]

Combine this game with imported levels from the past two, as well as everything being playable in PS VR, and Hitman 3 is a must-play stealth masterclass. Even the least favourite levels in this new selection are full of memorable moments. The weaknesses seem to lie in limited variety, but you’ll still spend hours unravelling even those. You can spend as much time on an individual destination as you would any Triple-A action game. Dartmoor’s atmosphere and family conspiracy is a highlight; Mendoza’s another, with a fancy party held in a winery fronting some intense security and a guarded villa above. It’s interesting that both feel very much inspired by Hitman: Contracts’ Beldingford Manor and Blood Money’s A Vintage Year, but it’s a testament to the design that they manage to feel so distinct, highlighting just how impressive the near flawless execution of social stealth is here. [Issue#185, p.76]

Mixing up your items is still the name of the game, though. While you level up in fights, a lot of your sense of progression comes from creating more powerful items (and finding higher-quality ingredients to do so). Holing up in your atelier, mixing the perfect items for quests, is still one of the most satisfying crafting systems around. You frequently return to your home to store materials, encountering warm little character events. A degree of automation makes mixing easy to get into, but customisation has evolved to the point where you can’t help but think up alterations to make, for instance, your bombs more powerful. There’s a strong connection to your items and equipment. [Issue#185, p.82]

The idea of solving puzzles with detachable limbs is interesting, but the execution is a bit simple. Since you can’t take a single step without having to solve another puzzle, the satisfaction of overcoming them is pretty short-lived, too. However, Helheim Hassle offers some excellent, goofy dialogue and characters, so solving puzzles can feel like something you have to get over with in order to get to those bits. The game lives off its cartoony, over-the top art style and absurd situations. Its humour is its biggest strength – dry and self-deprecating, sometimes reminiscent of adventure classics like Monkey Island. While the puzzles are a bit of a letdown, on the whole you get an entertaining game with a few great laughs. [Issue@#185, p.82]

Technically there’s little wrong with the game. It’s visually solid, smooth to play, and the 3D models do a decent job of replicating the style of an 8-bit side-scrolling shooter. Yet it feels anodyne. The magic sauce that made us shove ten-pence pieces into arcade machines is missing. [Issue@#185, p.82]

Ultimate Fishing Simulator rewards patience and skill like any good sim, and there’s something satisfying about picking your own fishing spot, casting a line you’ve prepared yourself, and pulling in a big one after a fight. Progression may prove to be too slow for some, but for fishing fans, this might just be a kipper app. [Issue@#185, p.87]

Roguelike games can sometimes feel very generic, and we’ve seen a lot of them in recent years, but the stylish pixel look combined with a subtle but effective soundtrack helps Colt Canyon stand out from the crowd, and with levels randomly generating each time you play, no landscape will ever be the same as the previous one. This offers a fantastic challenge (albeit sometimes it can be a little too tough) but you’ll keep coming back for more. [Issue@#185, p.87]

While the occasional, inexplicable slowdown is forgivable, what really holds the game back is the checkpointing. It sometimes feels downright unfair as, due to the slowly-slowly nature of play, you can lose ten minutes of progress that’s a real pain to retread. It’s enjoyable enough to keep you coming back, but prepare for some pain in among the pleasure. [Issue@#185, p.87]

While it’s never a stretch to find yourself in a twist, Phogs! makes getting out of these predicaments a joy thanks to imaginative puzzles and level design. [Issue#184, p.93]

An impressive PS5 upgrade that makes excellent use of the DualSense. This does a rally good job of letting you feel the road as well as see it. [Issue#184, p.92]

It’s fun in bursts of 20-30 minutes or so, but this is the sort of thing you play in between sessions of games you enjoy more. Worms deserves more love. [Issue#184, p.97]

Modern Warfare’s a tough act to follow, and Cold War struggles to keep up. It’s still enjoyable though, and with many updates to come, it’s just getting started. [Issue#184, p.95]

A collection of Space Invaders varients with diminishing returns. Come for Extreme, hang around for Gigamex SE, leave when Arkanoid Vs. rears its ugly head. [Issue#184, p.87]

While FIFA 21 is as good a showcase for the potential of the DualSense as we’ve seen so far, the underlying issues with this entry remain. [Issue#184, p.88]

Though nothing groundbreaking, this version provides a collection of nice-to-have additions which boost an already great game, making it the one to go for (unless you’re a graphics snob). [Issue#184, p.89]

The five-to-six-hours-long single-player mode is certainly challenging, with some very well-designed boss fights, but the main maze-like levels feel basic and dreary. It’s a slog. Ponpu’s clearly best suited to local party play, but… well, it would be a pretty strange party if you got this one out. [Issue#184, p.89]

When you combine all of the smart design decisions with superb writing and dialogue, you get a truly memorable game, proving you don’t need a Night City-sized budget to impress. [Issue#184, p.89]

When The Past Was Around is an endearing game that is a celebration of two people’s shared love of music. It teeters on being sappy, but its dreamy, abstract nature brings it back from the brink. It’s an endearing pocket-sized tale and a wonderful gem from the Indonesian indie game scene. [Issue#184, p.86]

A game that while atmospheric, turns monotonous very quickly, and whose ideas are never developed in a way that makes it interesting to play. [Issue#184, p.86]

Very much in the Puyo Puyo mould, it’s goofy fun about the dimensions crossing over. PPT2 isn’t a gamechanger, but is still one of the best puzzlers around. [Issue#184, p.86]

Carrying you through this arduous journey are the minimalist story and art style – both of which are just detailed enough to remind you what you’re fighting for. Unto The End’s brand of intelligent combat makes for a demanding challenge that isn’t for everyone, yet its unpretentious nature results in a refreshing, if brief, melee-based adventure. [Issue#184, p.91]

Sam is implied to be neurodivergent, and is forced to pick between masking his differences for a happy ‘normal’ life or living authentically but miserably in a forced existence. Twin Mirror is bleak, often flawed and far from Dontnod’s best work – case closed. [Issue#184, p.91]

While the success of the storytelling (and its exploration of psychology and mental health) is up for debate, there’s no denying this is a wonderful puzzle-platformer that is intelligent, unique, full of surprises, and, at five to six hours, never threatens to overstay its welcome. [Issue#184, p.91]

If you liked the look of Dark Souls but bounced off the difficulty, Chronos offers a solid (if cheaper), more user-friendly, yet still demanding alternative. [Issue#184, p.90]

A hugely ambitious, immersive RPG that too often works against itself. Perhaps worth playing – just not at full price and not on PS4 without further patches. [Issue#184, p.82]

Ghostrunner frustrates and thrills in equal measure. There is too much trial and error at times, but persevere through clenched teeth and you’ll be rewarded. [Issue#183, p.95]

This PS5 edition offers new ideas and swish next-gen presentation. It looks, plays, and feels a step above PS4 but is held back by a similar need to open your wallet. [Issue#183, p.80]

Much buggier than the PS4 version, Dirt 5 is nonetheless a showcase for PS5 gaming, and a much-needed champion for splitscreen racing. [Issue#183, p.86]

It’s the MK11 you know and maybe love but it looks like a new game on PS5. Running at 60fps in 4K gives this brawler a new lease of life. A must for newcomers. [Issue#183, p.75]

Magical in conception but uneven in execution, it overcomes the slowest of starts to become one of the most imaginative platformers in ages. [Issue#183, p.88]

Planet Coaster is uplifting and allows you to let your imagination run wild. It’s full of charm, wit and is the perfect escapism that fits your every need. [Issue#183, p.94]

A stylish adventure that makes like Fleetwood Mac and goes its own way. Beautiful to ear and eye, this is a trek through the forest that you need to take for yourself. [Issue#183, p.90]

Come for the change of scenery, stay for the change of abilities. Even if you don’t usually enjoy the grind, you should end up warming to this chilly package.[Issue#183, p.97]

A compelling game given new dimension. New wrinkles in the tale justify revisiting, but the more abrasive parts of its personality are wearing thin three years on. [Issue#183, p.74]

Immortals has heart and when it comes together it can soar. But those wings are waxy and the sun is hot – tinkering is needed before it properly takes flight. [Issue#183, p.60]

Mechanically simple and sometimes a bit repetitive, Yu and Kay’s relationship feels original and genuine, and their journey full of chill vibes. [Issue#183, p.87]

Repetitive, Godfall isn’t the Destiny-withswords we’d hoped for. But there’s fun to be had from its core combat, Dreamstones mode, and next-gen visual wallop. [Issue#183, p.76]

The most fun we’ve had with a music game in ages. Sophisticated yet approachable for those who belt out bangers and virtuosos alike – it’s got real potential. [Issue#183, p.64]

Even old Demon’s Souls hats will find plenty new to marvel at in this faithful and stunning recreation that showcases just why PS5 is so impressive. [Issue#183, p.83]

There’s a surprising number of changes, and most work. With an enjoyable campaign and a generous amount of online content, Cold War deserves a warm reception. [Issue#183, p.68]

Though the game is brief, you’ll return to it for a go at beating your high scores, or to take on a pal in the competitive mode featuring the Prince’s colourful cousins. It’s a truly bizarre game through and through, but all the better for that. [Issue#183, p.67]

Subtle uses of the new console abound, with the DualSense’s triggers ‘hardening’ if a power is still in cooldown.2 Running at 60fps in 4K, Chaosbane manages to feel fresher than it should. Even when the screen fills with enemies, zinging notifications, and colourful projectiles, it never misses a frame. All that said, Chaosbane remains the same generic game behind the PS5-ness. [Issue#183, p.67]

From the cinematics to the script to the sound design, Chicken Police delivers. If you’re a lover of film noir aesthetics and solid witty dialogue, peck it up. [Issue#183, p.67]

This isn’t a game for hunting high scores or even for getting your hands on new lore (you get about 20 minutes of new, low-stakes cutscenes), but it is a good fit for lovers of Kingdom Hearts music or young players who are usually put off other rhythm games by the high difficulty. [Issue#183, p.81]

If you’ve already sampled the delights of this series one way or another, rebuying content you already own is understandably a hard sell.But if you’ve never embraced the heat of the kitchen, allowed it to burn bridges between you and your loved ones, on the couch or online: you owe it to yourself to add this tasty treat to your PS5 library. [Issue#183, p.81]

Ironically, this played better in 2003. [Issue#183, p.81]

The puzzles and platforming challenges never really require you to get creative. The result, sadly, is an idea that’s more interesting on paper than in practice. [Issue#183, p.65]

Playing solo it can feel too casual but Hard mode stages with a friend (or four) fare better. Ultimately, the inclusion of the original arcade game is a saving grace and is as addictive as ever. [Issue#183, p.65]

Lair Of The Clockwork God is sometimes very, very clever, although this cleverness leads to rare instances of self-indulgence that obscure the way forward, which is thankfully the exception rather than the rule. When the disparate parts fit together, and you overlook the ropy platform controls, there’s an unusual game in here with personality. It’s a jolly (and occasionally filthy) adventure, the likes of which we’d love to see more of. [Issue#183, p.65]

When Valhalla is at its best, it evolves series mechanics. And when you’re cruising down river, about to blow your raiding horn, there’s nothing quite like it. [Issue#183, p.71]

More than a simple re-release, Vicarious Visions has pulled off the impressive trick of delivering definitive versions of two legendary games. No fakie, this is the real deal. [Issue#181, p.97]

It’s the game PS VR was made for; dogfighting is fast and nuanced, but it’s the physical act of sitting inside some of the Star Wars universe’s most iconic cockpits that never fails to impress. [Issue#181, p.84]

A worthy sequel to an indie pioneer that delivers countless surprises in a refined package. Not for the easily frustrated, perhaps, but essential for everyone else. [Issue#181, p.87]

Wacky character models and environments can only distract you from the repetitive action for so long. Be prepared to submit. [Issue#181, p.97]

One of the best-loved games on PS2 gets a pitch-perfect remake. Thick with atmosphere, Mafia: Definitive Edition just about manages to mask over any agerelated decrepitude. [Issue#181, p.91]

Worth playing for the humour alone, its twists on genre staples set it apart as a bitesized, approachable roguelike that’ll have you grinning for its duration. [Issue#181, p.95]

If you never got the chance to experience the original when it came to PS3 and want to pick this up out of curiosity, it’s probably best to avoid it – it’s outright damaging to the legacy of Crysis. [Issue#181, p.88]

Precise platforming and readable challenge delivers on the Crash 4 promise. There’s heaps of challenge, but some new additions are a bit of a letdown.[Issue#181, p.81]

It loses a point because of its Virtual Currency (VC) obsession, a recurringissue in 2K games. It’s supposed to ensure that all your actions in every mode – career, MyTeam, even watching 2KTV – secure rewards, but they’re often someagre that the entire game comes across as a grind, aimed at funnelling you towards the PS Store to part with real cash.Please don’t do that. The only way games like this and FIFA will change in the next gen is if their players make a sustainedeffort not to exchange any of their hard-earned dosh for digital trading cards. Otherwise this is solid, but on that front 2K (and EA, and the rest) must do better. [Issue#181, p.94]

You’re never up against more than one opponent, though (if you have an opponent at all), meaning you’ll usually have an empty road ahead of you whether you’re ahead or behind, which can kill the sense of competition. This burning rubber cries out tobe a group activity, if you catch our– ahem – drift. Perhaps online play would transform the experience into a thrill, but we’d need to actually find somebody playing to check. As it stands, it’s stuck in first gear. [Issue#181, p.94]

On paper the game has it all; in reality, Necromunda is clunky, plagued by bugs, including hard crashes and desynced audio, and an old-fashioned approach to the genre. [Issue#181, p.94]

With a fantastic lineup, interesting fresh mechanics like the minions, and a bounty target being placed on the player performing best, Bounty Battle was in a good position to succeed, but it’s frankly hampered by being clunky and not much fun to play. A real shame. [Issue#181, p.86]

Acquiring the lanthorn provides more of a twist as this enchanted instrument can move around more objects, such as a snakey platform beneath your feet or blocks triple your size. It’s this kind of magic that adds to this enchanting little world very much inspired by a bedtime storybook. And if all that doesn’t tap into your inner child, a section featuring slides certainly will. [Issue#181, p.86]

Reasons for playing, then? Nostalgia. Appeasing all those ‘best RPGs you’ve never played’ listicles. And as a reminder of why character– new ideas and memorable places – is so important to a grand adventure. [Issue#181, p.86]

Translating the series’ brawling to turn-based fights with modern twists, this walks the line between laugh-out-loud comedy and gripping crime drama with ease. More Kasuga, please. [Issue#182, p.144]

What you’re left with is a game that delivers a greatlooking futuristic London, and not much of anything else. It suffered a hefty delay, and the series transitioned from Ubisoft Montreal to Ubisoft Toronto. Something has been lost here, and we can’t help but feel that the commitment to making any character playable is the core issue. That’s been made possible, but just because Ubisoft could, that didn’t mean the developer should have. [Issue#182, p.147]

Successfully encourages and rewards both patience and quick reactions, and punishes laziness. It’s a VR gameplay loop that you’ll gladly run through again and again. [Issue#182, p.157]

While this bug-infested horror doesn’t quite inspire us to grab the fly swat, we can’t recommend this in its current state. However, its few bright spots draw us like a moth to a flame. [Issue#182, p.152]

Taking us back to the ’90s in a mostly good way, Pacer is a solid WipEout clone with enough new ideas to slowly reveal its own personality. [Issue#182, p.161]