Despite Sand Land being a game with an emphasis on traversal, I mostly used the fast travel, because there was never anything happening in the world that I was afraid to miss. It all made me feel listless and petulant - oh, but I don't wanna go there! - which is, I suppose, sort of in character for playing a young demon with limits on his gaming time. I'm going to watch the anime instead now.

Tales Of Kenzera shows great precision in its character and world design, in the writing, in the voice acting, even down to individual animations. But it lacks precision in some areas of the combat, in particular the platforming, which arguably is the bit that matters more in a platformer. For me, I'm not sure it does! Despite my frustrations - I have evidence in the form of furious texts to a friend about how many times I attempted one sequence where you have to sprint up waterfalls to a timed gate, and another that features a jump-dash in time to land on a platform floating on a lava fountain - I'd like to see what other tales can be told in Kenzera.

Eiyuden Chronicle: Hundred Heroes has some old school habits, and they can be difficult to live with at first, but once you settle into those quirks, it's a story you'll struggle to put down. The sense of journey is magnificent, as you march across snowy valleys, lush jungles, and dusty deserts, sweeping up buds along the way. And you regularly partake in moments that'll genuinely surprise, forever keeping your quest from getting stale. Expect one-on-one fights, cinematic song, and races of some description. If you're a fan of Suikoden, it's a no-brainer. And if you're a fan of JRPGs or struggle a bit with old-fashioned things, I'd still urge you to give it a shot. It's a really lovely hang.

I’ve got a list of other gripes in place of the effusive praise I wanted to give here. You fight vanishingly few heroes for a good while after the introduction. I signed up for hero slaying, but this is all zombies, wolves, and spiders. I can slay these bastards anywhere. The game threatens a good idea in letting you collect healing items on quests that you can then sell if you don’t use. A potentially nice risk/reward that falls flat because, as I said, gold just isn’t that useful compared to how common it is. The main issue is that pacing, though. I’m left in a weird position where it’s too slow to really want to play much more than a pickup game here and there, but a single run just isn’t very satisfying, or tense, or tactically interesting either. So if I don’t want to play for a short while, and I don’t want to play for a long time, I suppose I don’t actually want to play at all? Shit. Sorry, gobs. Extinction it is, I guess.

Initially I thought Bore Blasters would feel disposable, given how quick the runs are, but once you've levelled your engine enough they actually start to become a bit of a chore, despite inventive curve balls like goblins booby trapping a whole level with acid. Perhaps enough thought went into making this game that you don't have to think much at all when playing it. There is actually a story, but I think I like dwarfs yelling and shooting dirt more, as long as there's that urgency. Perhaps Bore Blasters a very well engineered stress ball for endless cartharsis. Don't expect meaningful diggy diggy hole. This is explodey hole.

Broken Roads isn’t bland. Fun writing and odd ideas prevent it from being so, but it does feel like a bland place to spend time. These roads aren’t broken, but they’re so serpentine that the game cannot help taking wrong turns and getting in its own way. If the setting and themes appeal to you enough to overlook the rest, then sure. Otherwise, save your dollarydoos.

Children Of The Sun is not, we can agree, an especially subtle game (the girl has NO PEACE written on the back of her jacket), but I'm afraid I found these moments a bit silly, most especially the one where the girl has to walk through calf-high water in a dream void and kneel before successive cultists.

The result as a whole is that Botany Manor is extremely peaceful and focused puzzle game, even as the puzzles increase in complexity. It is an oasis of calm. You know that everything you need is around you somewhere, and that you have all the time you need, and this makes it immensely satisfying when you do figure the puzzles out - because nobody helped you at all. You can take your time cataloguing apples. You can look for the different duck models that are hanging around. You can carefully examine the cards on the board game to discover which animal's heartbeat will stimulate this meadow plant. I only wish Botany Manor was longer - I would buy any DLC you care to name, be it a Succulents Pack or a Winter Plants Special, or what have you - except I have a suspicion it is perfectly balanced as it is.

I was very close to sticking a Bestest Best on this one, but that awful stealth chunk, combined with how the game failed to put up a real fight just when it needed to most, held me back. Up until the halfway point, though, and for a good while after it, I was having a ball with Sons Of Valhalla. It keeps its ARPG action within the relevant confines of its tactics, and keeps its tactics paced to match to its intense and immediate combat. It’s wonderfully scored and animated. It doesn’t overstay its welcome but then gives you an additional mode and thoughtfully tuned difficulty settings if you want to dive back in. And even with my complaints, I’m eager to do just that. Barkeep, more reindeer piss.

There are a few dents and scratches in Pepper Grinder's toolkit, then, and some of them will require a little brute force to work through. But taken as a whole, three-to-four-hour experience? I wouldn't say they're devastating enough to spoil the otherwise immaculate performance of its drill work. Pepper Grinder is still a fun, novel and sparky breed of platformer, and one that will regularly make you break out in more smiles than anguished grimaces. Despite its hardships, you'll still mourn when those credits roll, and if that's not a sign of a good video game, I don't know what is.

By the time you’ve begun to appreciate these nuances and story synergies, you’ll have long since seen past Geneforge 2’s visual shortcomings, the UI that fails to upscale with higher resolutions, and the goofy main menu with its frankly teenage animated cursor. Even if Baldur’s Gate 3 triggers a renaissance age for the western RPG, Spiderweb Software’s output will be unignorable so long as it delivers such a distinct flavour of wry, complex, and open ended roleplaying. Long may Vogel be in vogue. [RPS Bestest Bests]

So if I'm honest, and despite my allegiance here, I do think Horizon Forbidden West is probably better on PlayStation, but only marginally. If you don't have one, but you want to play a rip-roaring, morally uncomplicated post-apocalyptic hero's journey, where you get to clear a huge map and ride around on a giant boar that spits fire - and why wouldn't you, frankly? - then you should get this game. [RPS Bestest Bests]

It's the sort of game where, from one point of view, not a lot really happens, and it's almost surprisingly short (wrapping up in the region of two or three hours). But by the end, something has shifted between Tess and Opal in a way that lets you imagine the story continuing. The real open roads was, unironically, the friend we made along the way.

It all just starts to feel like you're endlessly spinning plates without any real end in sight. Each campaign scenario is more of the same, too, offering little more than a change in starting position and faction type. For some, £15/$20 will be a more than adequate price of entry for that. But it also feels like Bulwark is on the cusp of something greater, like it's aiming to be an Anno but never quite getting there in the process. It ultimately spreads itself too thin, doing lots of things well without being brilliant, and lacks the depth and momentum to make it feel satisfying on a strategic level. It's a citybuilder that hums along quietly, but lethargically, sputtering occasionally as you change gears, and eventually petering out altogether as both you and the game become completely and utterly exhausted by it all.

On the one hand, Raw Metal is confounding for somebody like me with certain expectations for the genre (one of my favourite elements of the stealth genre - that of pursuit, hide and seek - is greatly nullified) but it's also clear that the designers have played with the founding principles of their influences enough to make something distinct. As a mash-up of inspirations, I respect the nerve and work required to bind together previously unpaired concepts, even if does end up being a raw fusion of ideas that doesn't quite hang together.

The biggest miss, for me, is the Ages system, which feels like a solid concept that desperately needed more time in the pre-production concepting stage to make work the way it was intended. Pivoting to fantastical alternative eras of history could have made for a wildly exciting story with each campaign. Instead, it far more often ends up feeling like a compulsory family road trip to somewhere you don't want to be, while you pass the hours half-listening to another podcast about the Roman empire.

"Finding a way" sums up Dragon's Dogma 2 pretty nicely, I think. The game's an anecdote generator, where all of its AI and combat and day-night-cycle systems coalesce into bouts of chaos that'll test your improvisation skills but never your patience. And while it retains some of the original game's aged quest design and open world repetition, they simply aren't a problem at all, because the act of discovery is just so, so involved.

It helps also that the latter stages of the game capitalise on groundwork laid in the more predictable first half. The locations you find yourself sucked into become that bit more intricate, with multi-part puzzles to wriggle through, and some combat situations that force you to move through the gears. Plus, each time you reemerge in Decerto, with everyone else none the wiser as to what you’ve been up to, the notion that the whole thing might be in your head starts to grip. True, there’s nothing especially original about a story that blurs the lines between madness and the paranormal, but it does inject doubt and paranoia into your investigation, which only makes you long to unravel the truth more. While spending time alone in the dark may not be as uncomfortable as it should be this time, then, with all the changes it may still be worth peering into the void, to see what returns your gaze.

Lightyear Frontier brings up just enough questions to feel uncomfortable and then sets you off on a loop with such forward momentum that you can’t do anything with them. And that momentum is fun, and its questions leave me curious, both of which are good things for an early access farming game. I will probably come back to both enjoy more of those chill, resource-guzzling days and to find out what the game has to say about them. Whether I’ll be satisfied in the end, though, remains to be seen. [Early Access Review]

Ultimately, it just makes Outcast: A New Beginning feel very tired and generic - an open world that might have impressed a decade ago, but now comes across as a game both out of time and out of favour. A small word on the game's performance, too, before I close, which (politely) runs like arse. Aside from frequent stutters when moving to new areas at speed, there were also moments where the frame rate had a full-on meltdown, descending into a farcical slideshow. Publishers THQ Nordic have assured me that optimisation patches are incoming for launch day, but oof, the review build was not a pretty sight at times, lemme tell ya. Even without these performance issues, though, Outcast: A New Beginning has bigger, more fundamental problems lying at its heart. It may finally look like the Adelpha you dreamed about 25 years ago, but this weary sequel has never felt more alienating.

While Snufkin: Melody Of Moominvalley wraps up a bit abruptly and doesn't get the band back together as deftly as I'd have liked, I can't be too harsh on it all. Snufkin's adventure is focused on simplistic fun, where you meet some pals and uproot some order, all within the span of an afternoon. Pair this with a cuppa and a fluffy blanket and that's a holiday to remember.

Zoria is doing a lot of stuff. It'll remind you of Baldur's Gate, Dragon Age, Lord Of The Rings, even Terry Brooks' weird fantasy books, and a bunch of it is done well, and in interesting ways. But in other cases the ambition has stretched beyond breaking point. But you kind of love your terrier even though it pisses on your cushions sometimes, right?

While I understand Nightingale's in early access and things are subject to a tweaking, I can't help but feel that its problems lie deeper than surface level numbers and UI. I respect how it's tried to push the survival genre forward with its realm-hops and gear scoring, but both of these fundamentals aren't implemented very well. The realms strike me as re-skins once the novelty's worn off, and the way progress is tied to numbers only serves to make survival feel like a grind. Unless things change dramatically, I think I'll pass on reaching Nightingale. [Early Access Impressions]

These ruts in the road prevent Saber Interactive from delivering a soil-cold classic, but Expeditions: Mudrunner nonetheless succeeds in its primary objective, to build a world where the car and the ground are at irrepressible odds, and it's your job to make them work together to crack the case. That case might prove to be mundane fly tipping rather than anything juicier, but watching our dynamic duo constantly wrestle with one another for supremacy never ceases to be entertaining.

Berserk Boy is a cheery action platformer that makes Sonic’s high speeds readable and Mega Man’s unlockable powers genuinely exciting. There’s real fondness for those beloved games - even down to the occasional run ‘n’ gun vehicle sections - but more importantly, this never feels like a flat retread of what’s come before. None of the levels were challenging enough for my tastes, which might admittedly be a skill issue, although if my biggest critique boils down to simply wanting more, then I think that’s quite a promising sign.

But that's also precisely why The Thaumaturge ends up feeling like such an interesting, rough-hewn gem of a game. It's those wonky edges and the almost-but-not-quite-there presentation of them that gives it such a unique sense of character and personality, as well as the space and depth to debate its themes and ideas long after the credits have rolled. There's a lot to applaud and admire here, particularly in how each one of its systems feeds and complements the others, and it makes its own crop of flaws easy enough to forgive and overlook when considered as a whole. Pride may not be the most favourable trait in the world of The Thaumaturge, but given what Fool's Theory have managed to accomplish here, I'd say they've got plenty to be proud about.

To less wizened players, this might, understandably, all prove too much to make this remaster either enjoyable or worthwhile. But if you're willing to try and divine the inner workings of Dark Forces with a bit of spit and elbow grease, then there's certainly an interesting artefact to be found here - even if it's frequently wonky and obtuse in places. Despite the aimless wandering, I did have a good time with Star Wars Dark Forces Remaster, especially after only experiencing it through a demo disc all those years ago. But I'm also glad it's over now, and that I can go back to playing properly new games again. In that sense, Dark Forces Remaster is a complete success. It's reminded me of a fun memory from a long time ago, and having now revisited it and admired it from every angle, I'm happy to put it back in the carbon freezer, far, far away.

Wrath Colon Aeon Of Ruin could tighten up a few things here and there, and it could have been a bit more outlandish, and it should probably not have led with some of its drabbest levels. But where many of its peers merely ape the loud and obnoxious reputation 90s FPS games had, it's a solid shooter that remembers how they actually played and why they worked.

I think Skull And Bones might be one of the most boring games I've ever played. There might be value in it for those looking for a leisurely sail, or folks who enjoy the time management side of making deliveries optimally. For everyone else, boat-lovers, live service fiends, and people who like fun, the game will be nothing more than a tedious slog through unrewarding waters.

It's deftly done, and goes a long way in smoothing over some of the cracks that emerge from its simplified take on Papers, Please's gate-keeping. Overall, I had a very good time with it, and wolfed it all down in almost a single serving. It's probably a good one to play with kids and young teens, too - a kind of Baby's First Papers, Please, if you will, that can introduce them to the core concept while also giving them a jolly good story at the same time. For adults, Lil Guardsman may ultimately miss the point of what Papers, Please itself was trying to interrogate all those years ago, but you can’t deny its heart always tries to be in the right place.

If you're up for a challenge and thrive on chucking everything at the wall to see what sticks, then Solium Infernum has plenty to offer here. Despite feeling like I've been flying by the seat of my pants in a lot of scenarios, I've ultimately had a great time playing this over the last few weeks - even if persistent crashes on victory screens or black screens when loading up event cards has dulled the impact of some pivotal moments. Thankfully, the generous auto-save meant I never ended up losing anything, but it's a shame nonetheless that there are still some quite critical bugs lingering in hell's hallways.

Mostly, I really like the high drama and high fantasy of Last Epoch. It's much less depressing to stare at for hours as you blast mercenaries and ice wolves into trembling ragdoll corpses that some of its contemporaries, and the the mid-complexity crafting and gear systems, along with the character building, makes it easy and, dare I say it, actually fun to engage with minor percentage increases. I never thought I'd see the day.

While Pacific Drive has trunk loads of atmosphere, a powerfully engaging premise, and simulates the feel of driving a quirky old machine in admirable detail, it’s all locked into a laborious framework. For all those “Get off the road!” moments, the processes of gathering, crafting and advancing through its story are fraught with irritating potholes and diversions. With all the repetition of mundane tasks, I imagine it’s closer to the reality of being in the army than that old advert ever was.

Ultimately, Balatro is a game that delights in the art of making numbers go up - big, fast and on fire - by whatever means necessary. It reels you back in not to exploit psychological weakness, but to celebrate the inherent joy of learning, mastering and beating a system gamed around impossible odds, all while being just a teeny bit naughty in the process. It not only invites you to sit at the table, but openly hands you all manner of scalpels to tear into it, make it bleed, and gut it for everything it's worth - and it will smile and applaud you for it every step of the way. Balatro is very generous, in that sense, even when victories are seemingly few and far between. Indeed, the only way I ever felt cheated by Balatro is when I had to stop playing and not spend more time playing Balatro. [RPS Bestest Bests]

Unfortunately, good vibes simply aren’t enough to save Bandle Tale from its overwhelming busywork. It too often gatekeeps the fun behind skill tiers and layers of crafting that never felt totally satisfying to me, but at least the constant repetition etched the beautiful pixels onto my eyeballs. That’s good. I think?

Granblue Fantasy: Relink has absolutely no pretensions about it, isn't saying anything, and is quite dedicated to it's fantasy. Good guys are good, bad guys are bad, and a hot witch who explodes roses everywhere in battle is cool. So are attacks the size of a planet, and monsters with hands on strings flying everywhere, and pirate captains who are also dudes with big cow horns. Unless all of that doesn't sound at all cool to you - in which case, best avoid this game, if I were you.

Helldivers 2 has filled an ache in my heart. My friends and I have longed for another fun co-op shooter since we all drifted away from Warzone, and Helldivers 2 has exceeded my expectations on every front - and particularly as someone who's grown tired of live service tropes. Yes, it might be lean in comparison to some live service giants when it comes to unlockables (looking at you, Destiny 2), but I think it has a longer tail by virtue of silliness being its top priority, where twists on simple acts make it a laugh generator and skill venerator. I could go on about how you can switch to first person for crunchier, more accurate shooting. How rockets can turn into explosive skimming stones if you angle them at the dirt. How the orange flashes of a gatling gun cutting through a dense mist is so beautiful it brings a tear to my eye. Oh heck, just buy the damn thing. [RPS Bestest Bests]

The annoyances, such as they are, will weigh heavy on some people, and the invitation to care earnestly, and to enjoy a story that is unironically about the power of love, will be anathema to others. But gosh, it's a nice game - an oasis of solid single player story in a dry season of live service - and the biggest step forward in this particular direction that Don't Nod have taken for years. I'm hoping the colon in the title might mean more banishings to come. [RPS Bestest Bests]

I can see and respect what it's trying to do, absolutely. But the systems underpinning Ultros' ambitions simply aren't up to snuff to deliver them in a way that feels satisfying to play.

There’s a really excellent single-player action game hiding somewhere deep inside Suicide Squad: Kill the Justice League, calling out for help from beneath a few metric tonnes of loot-addled drudgery. The vast talent of Rocksteady peeps out just often enough to make it worthwhile for the genre’s fans, but the game’s extended development time has Suicide Squad chasing old trends, leaving it feeling cautious, unambitious and old-fashioned.

Everything's in service of building your base in Palworld, and if that's where you get your kicks from, then by all means have at it. There's room in this world for junk food as well as fine cuisine, and sometimes we all need a bit of simple satisfaction in our lives. But right now, there's very little else to recommend Palworld, least of all its 'take take take' mentality and the way it so brazenly frames everything as a tool to exploit for your own gain. Maybe Assassin's Creed is guilty of that, too, as well as Monster Hunter, Pokémon and all the other games Palworld's so clearly riffing on. The difference, I think, is one of attitude and ambition, because for all their respective monster mauling, those games still feel alive in ways that Palworld simply doesn't at the moment. They have the heart and presence to laugh at their own silliness, but Palworld just feels a bit dead behind the eyes. All that exists is the infernal checklist. [Early Access Review]

For me enjoying anime comes down to whether I can weather the inevitable anime tropes, and here they overwhelmed my flood defences. I found little solace in combat that was either overly cruel and grind-demanding or mindlessly easy, yet always agonisingly repetitive even on the easiest and therefore speediest difficulty. I'm sure existing fans will be pleased with the modernisations, and newcomers who want cheesy anime, low stakes conversations, and dungeon crawling will find plenty to love here. But if you're Persona-curious, I’d be wary of leaving your giant street coffin.

If you can get on with Enshrouded despite its early access quirks and underwhelming premise, you'll find a rock solid foundation for what I really believe could one day be one of the most popular and well-thought-of survival crafting games out there. The building is absolutely exquisite, and the main reason I'll continue playing. The combat is sound, the world is evocative, beautiful, and thick with surprises. It is, as I say, the closest anything has got to recapturing the feeling of playing Valheim for the first time, and while my 40-odd hours with Enshrouded has left me more than anything wistfully wanting to go back to Valheim itself, I'm sure there will be times when I say to myself, "I wish it did this thing like Enshrouded does it." [Early Access Review]

Infinite Wealth is everything I wanted from a Yakuza: LAD sequel. It refines and expands on many of Yakuza: LAD's RPG loose ends or underexplored bits, whisking you away to the wonderful Hawaii in the process. Yes, it may be a bit too expansive for some, retains some of Yakuza's more annoying quirks, and isn't an RPG in the sense of making Ichiban's story totally your own. But the story it does tell, and the adventures you do go on, are heartfelt and funny and told with such rich detail. I'll say it again: thank goodness for Yakuza. [RPS Bestest Bests]

My point is: YOUR favourites are probably still here. And if they are, you'll be content to kick and/or punch. There isn't anything revolutionary happening aside from the Heat meter and all that it entails. But a lot of the quality of life improvements and subtle design tweaks stack up. Practice mode alone has become an excellently robust training zone that clearly displays a lot of handy info about frame advantage and move properties. For pros, streamers and rank-chasers, the transfer to this sequel is therefore a no-brainer. And since little else quite like Tekken exists in the fighting game niche (don't listen, little Soul Calibur 3) the rest of us pugilistic rubes will only get FOMO if we don't follow. So when I face Death, I guess Tekken 8 it is.

It's good to see Apollo get his time in the sun again, even if this trio of games don't quite do him the justice he really deserves.

Those early frustrations gave way to satisfaction at scraping through a close call, and feeling like I'd won a fight through applying the right skills and plans, and making progress because I'd learned to judge my team's capabilities rather than just make a number go up enough. That's a great spot for any RPG to be in, and if you're less interested in complex or hefty narratives than some chunky tactical combat and tinkering with characters as toolboxes, Kingsvein could be a slightly rough gem.

So it definitely leans into the lite in roguelite, but it's a good version of that, and it does much more with its story and characters than you might expect. Turnip Boy Robs A Bank fully commits to the bit, doesn't feel the need to explain itself, and it's having fun - all things that are big ticks. I suspect it's not super welcoming to a player who isn't already a Turnip Boy fan, and, indeed, it's my second favourite Turnip Boy game, but I still hope there are more games in this world that are all a bit different, every single time.

Home Safety Hotline is definitely in the Daniel Mullins vein of game ideas, where a game starts as something and becomes something else, and while Home Safety Hotline is very thoughtful and has a brilliant framing, it never fully transformed. Which is perhaps ironic, given the ending.

The Lost Crown is an outstanding reinvention of what a Prince Of Persia game can be, as well as a top notch platforming-led Metroid-like in its own right. It brings so many welcome nips and tucks to the genre to make it friendly and accessible, all while giving players a meaty and uncompromising challenge to really test their mettle. It really is a proper belter, this one, and absolutely should not be missed if you've ever enjoyed a single second of the Ori games, Hollow Knight or SteamWorld Dig 2. After years of indie games dominating the Metroid space, it's heartening to see Ubisoft's Montpellier team find their feet again, leaving possibly only Silksong to steal back this otherwise crowning achievement. [RPS Bestest Bests]

For now, The Finals is the most exciting multiplayer shooter launch I've played in years. It's a clever blend of old-fashioned generosity and new-fangled technology, and it's exciting enough at its core to offer delight and drama no matter your unlocks or skill level. I'm going to play it right now.

Time will hopefully grant us concrete evidence as to whether Fntastic genuinely tried to make The Day Before into anything like the survival MMO shown off in the reveal trailer (or subsequent devlog that's been preserved here), or whether it was always destined for the garbage bin. Either way, I'm glad you can't buy it now and I hope people get their refunds. What a tiring mess. [Early Access Review]

Had I tried to write up Rogue Trader for embargo, I suspect I would have disliked it a lot more. Much as I try to distance myself from pressures cultivated by review conditions, having a game this gigantic lobbed at your calendar inevitably leads to burnout and impatience. Rogue Trader is a lot more entertaining when you can dip in as you please, providing you keep copious notes, but even then, there will be moments when you feel overwhelmed. The game’s appetite for the pomp and pageantry of Warhammer 40,000 is at once its best and worst quality. Sometimes, it’s a gorgeously Gothic gateau noir that teems with strange and different flavours, such that you can spend hours guessing at the ingredients. But sometimes the flavours obliterate each other, and you just feel like you’re trying to swallow a cathedral.

Honestly, I'm glad I don't have to play any more Avatar: Frontiers Of Pandora. It lures you in with a stunning map and some lovely parkour around the trees, maybe a touch of shooting, a touch of looting. But as things progress, the Ubisoft algorithm kicks in and the excitement plateaus. Everything you do is predictable and everything you find, another tally mark. Give me a jeep and let me call in an airstrike, then maybe I'd change my mind.

A Highland Song is beautiful and does it very well. As a game trying to let us run into that wildness, it trips up sometimes. After playing it, I am left with a desire to visit it again, but also a lingering, vague sadness. I can only be grateful for A Highland Song making me feel that.

Against The Storm is designed to be returned to time and time again, except here a fresh start is always seen as progress. It makes for a construction game that wraps up at precisely the moment it begins to lose momentum. It is a wonderful, wonderful thing. [RPS Bestest Bests]

Ultimately, the stars haven't aligned with this RPG, and I don't have the time or patience any more to put up with its tedious nonsense. It's a shame, really, as its turn-based battles can be very enjoyable every now and again, and its cast of cute weirdos are often quite endearing when they're not bleating on too long. Younger folks in their mid-20s may well argue that its characters are enough to carry them through the rest of the boring bits, but a halfway decent story does not a good game make for me. I need more sustenance in my old age, and for its time-loop to be more than just gristly, unsatisfying filler.

Last Train Home's other great strength is that all its parts lead so naturally into each other that its considerable length goes by in hour long waltzes from assaulting a town, to upgrading your engine while the fishing expedition walks back, to driving to the next station, to buying some ammunition, to scavenging for fuel, to reaching the next chapter in a fictionalised history of remarkable events that seems now like the most obvious fit for a game ever. To make all this so fun and compelling without feeling tacky or overly sanitised is a remarkable achievement, and one I'm glad to recommend.

For a series that's always excelled at feeding players' imaginations - from sniping off hats in SteamWorld Heist, mixing magic cards in SteamWorld Quest, or speedrunning its platform challenges in Dig 2 - Build just lacks that spark of creativity to launch it into SteamWorld stardom.

It's a real shame that Knuckle Sandwich's combat is beyond frustrating, because it's a huge part of uncovering the mysteries lurking within Bright City. If it gets rebalanced later down the line, then it would undo a lot of why I'd hesitate to recommend the game right now. I simply don't think the kooky residents and wonderful visuals can make up for fights that'll raise your blood pressure to dangerous levels. Here's hoping things change.

With Flashback 2 there’s really only one thing to say: don’t buy it.

Hopefully, with a bit of rebalancing, Small Saga might yet reach the upper echelons of pint-sized RPGs, joining the likes of Jack Move as another lively reimagining of their Final Fantasy inspirations in miniature. As things currently stand, though, Small Saga gets a much more tepid recommendation - though I'd be half-tempted to say the Adam Curtis battle music (and its excellent score more generally) is almost worth the very reasonable price of entry alone. It's certainly a one-off, I'll give it that, so if you can stomach its lack of challenge, you'll probably still have quite a good time with it.

Loddlenaut is a cute, cosy and charming adventure in all the ways you'd expect it to be. The process of powerwashing this idyllic ocean floor is chill and zen-like, and if you're the type to coo over adorable nuggets of animal, then its little loddles will be right up your street. But it will never be anything more than that. It will not challenge you in the slightest, and it probably won't make you feel anything particularly profound, either - and for some people that will be absolutely fine. For me, GUP-14 felt like a marginally happier place once I'd worked my magic there, but I wish it had a bit more grit in its own convictions.

Naheulbeuk’s Dungeon Master scratches at the Dungeon Keeper itch for a short while, but the problem is that it’s a goofy, comic fantasy story hoping to be carried by a management simulator way too barebones to support it. Parody only works if the underlying offer is interesting enough to be worth investing in, and you can’t ironically play something for any serious length of time before feeling like the joke is on you.

Despite their respective annoyances, you can't help rooting for Angela and Trevor, and especially Trevor. He has, as he points out, not actually done anything wrong except to not be an awful fitspo influencer, like American Arcadia's most popular resident. By the end of the game you're catharting as hard as anyone at the prospect of victory at the entertainment company at the heat of the show. It's especially great to see how Trevor's concept of what victory in his own personal context means.

Of course, if you consider the talking cat and the computer girl close personal friends then any excuse to spend more time with them is a good excuse, and all of these shortfalls won’t matter in the slightest. We’re in a world of rapidly depleting and fleeting pleasures, so in the grand scheme of things, an aggressively mid turn-based strategy game is a fairly low price to pay.

Strip those personal complaints away and Realms Of Ruin is a solid RTS with some fun units and missions. Even if I do still think you'll find the Stormcast Eternals boring.

There’s a common narrative that Call of Duty campaigns were at their peak in the late ‘00s. That may be true in pop cultural terms, multiplayer having long since overshadowed solo modes for the typical COD fan. But this Modern Warfare reboot began with Infinity Ward firing on all cylinders, embracing brave themes and experimental designs in single-player that excused its occasional stumbles. It’s a shame to see the engine it built sputter and fail, betrayed by a stopgap schedule-filler with nothing to say. [Campaign Review]

Ultimately, though, great Colosseum fights, sometimes funny Akame missions, and occasional story wins can't quite make up for Like A Dragon Gaiden feeling like a hurried excuse to resurrect Kiryu. Yes, it ties into his upcoming role in Like A Dragon: Infinite Wealth and it's lovely to be in his shoes again, but the story pales in comparison to previous offerings. Motoring between endless fights in the game's story doesn't represent what Yakuza stands for, and throughout I couldn't help but wrestle with the idea that it might be erasing not just Kiryu's own name, but the series' wider legacy.

In such a crowded and accomplished genre, getting within spitting distance of these all-time heavyweights is still mighty impressive in my books, and I will absolutely be playing more of it in the months to come.

All of which is to say that there's a lot to love in The Talos Principle 2, even aside from its excellent puzzles, philosophical questions, and really quite gorgeous scenery. [RPS Bestest Bests]

It may be obsessive and uncompromising, but it’s also the best to ever do it.

Oddly, The Invincible is at its best when you are like its simple automatons, following instructions to complete a clear objective. However, as soon as your instructions become unclear, you can find yourself walking in loops or frozen part-way through an action, unsure of what to do. The game is a great example of how engaging first-person narratives can be, but also how any missteps or unearned moments can eject you from the head of the narrator, leaving you cold and confused.

Ultimately though, the game is quick and breezy enough that none of these shortcomings have the chance to become truly grating, and the writing and visuals are strong enough on their own to carry you through Jala’s little reconciliation saga. In a genre that is frequently achingly white and straight, it’s a balm just to have something that is so resolutely neither. And it’s downright exciting to play something that, in place of overblown fantasy worldbuilding, is more interested in reflecting cultures, demographics, and relatable struggles that rarely get a spotlight in mainstream games.

It's so full of love and pretty reveals, and empty dwarf pubs that feel hand crafted, and overheard orc conversations where they bitch about goblins. If you have a group of friends that you already play games like this with, then I'd say it's well worth bringing campfires and cosy stew to as many corners of Moria as you can.

Jusant is a very lovely game that asks you to meet it half way. It's worth the leap.

So yes, Song Of Nunu won't win any prizes for ingenuity or platforming prowess, but it is very handsomely made, and I had a lovely, heartwarming time with it. It certainly feels like a step up from Rime, the game that helped put Tequila Works on the map for these kinds of soulful adventures, even if it doesn't wrench quite so violently at your heartstrings. If nothing else, it will remind you of simpler, perhaps happier days when every third-person adventure game wasn't just another grim Soulslike you had to endure, and that there's still plenty of joy and warmth to be found in a story about a boy looking for his mum with his big yeti dog friend. Whether you like League Of Legends or not, it's another notch we can add to the recent 'good character platformer' list.

Even if Remedy's spellbinding undertaking does eventually come undone at the final hurdle, it remains a horror game unlike any other. Here's hoping Remedy don't suffer their own bout of writer's block as they continue their journey into their burgeoning Connected Universe.

Technically, you can just go ahead and unlock everything in the settings menu if you'd rather avoid these kinds of frustrations, but for me at least, that rather deflates any impetus to keep playing Subpar Pool in the first place. Any sense of structure and challenge is instantly lost when you don't have anything to work towards anymore, so I'd recommend playing it as intended if you're keen on giving it a shot. There is certainly a lot to like here, but as time's gone on, I find myself less and less keen to come back to it. The pool tables are all a little too similar to feel truly different in longer game sessions, and the challenges themselves come just a little too slowly to make it feel fresh and exciting. The allure of the googly-eyed cue ball is strong, but for me, it pales in comparison to the soul-hooking stare of Holedown's hypnotic worm lad.

Despite my misgivings, I think plenty of people with the right mindset and fast-twitch muscle fibers will enjoy Ghostrunner 2 and its demands. There's a lot of variety on offer here, whether that lies in options to slice foes or just veering between bikes and cyber realms and large areas. But for the rest of us who aren't as enamoured by relentless trial and error challenges, I'd find it a difficult one to recommend.

I did have one minor gripe when Urbo first launched, in that it was sometimes hard to discern the exact level of particular buildings, but a recent update has fixed this so you can always see exactly what's in play. So really, I have no complaints about this whatsoever. Neat! If I was being nitpicky, I'd still say that Dorf is probably the more nourishing puzzle game for me, what with its quests and discoveries and near-endless map sizes to play about in, but if you're more of a cerebral Threes-type, then Urbo will fit right into your regular puzzle regimen. It really is a lovely little thing, and a very chill way to while away a dark and rainy afternoon.

I haven't had the performance issues everyone's been fretting about, for what that's worth. It ran absolutely fine on “medium” with my usual anti-blur options, until I put everything up to "high" again for screenshots and it became both uglier and much slower. Colossal Order have been quick to issue acknowledgements and a second review build of graphical fixes, and “intend for these performance improvements to be delivered at or very shortly after launch”. But glitches that only happen in fancy mode matter little to me, and will probably come out in the wash.

Repetitive combat in World Of Horror can't entirely mar a unique, stylish and layered horror adventure that makes you want to play more the more that you play.

So aye. Like any stew, there's a lot piled in. But the principle ingredients are filling and simple. Endless Dungeon's core design, if we want to break it right down, is made of the following stuffs: turret, door, nest, money. There is nothing in these elements, or even in the "verbs" of the game, to make it unique. Hundreds of games use the same ingredients, even aim for the same taste (lighthearted Aliens). But Amplitude's recipe here, their choice of spices, results in a uniquely pleasing dish. They sprinkle the turrets, they keep the nests chunky, they bake the money into the doors. (God, I'm hungry.) The result is an absolutely stacked dish that roguelike-likers will be very happy to gorge on. [RPS Bestest Bests]

And yet... I recorded all these complaints with a detached sort of "hmm" rather than major frustration. It's one of the most low-stress strategy games I've played this year, and its detail comprehensible once you've picked up the stone it's hiding under. It's a combination of engaging and undemanding that grand strategy seldom manages, and has enough Trek stuff to work for someone who's seen most of the serieseses but only once, and can only sometimes tell if something's a reference to an episode or wholly new. How the boon of such a familiar setting will stand against the weight of that setting's expectations I do not know, but if you go in wanting an enjoyable game that you kind of already know, Infinite will be a pleasant little surprise.

I really want to like Lords Of The Fallen more than I do. Sure, its bosses might not be spectacular or its maps brimming with character, but thrills abound when you defeat a tough enemy or finally poke your head into a crumbled house and see the cosy light of a Vestige. Moreso when you shine your magic lantern on a wall and it fizzles away to reveal a secret passage or a levitating platform that looks like the Adams Family's kitchen island. The lantern almost elevates it into special territory! And at times, there are flashes of a grand adventure to cleanse a kingdom of rot. But there are just too many little annoyances that prevent the journey and its umbral counterpart from ascending into Soulslike royalty.

There is so much I adore about Saltsea Chronicles. The characters, the setting, the look of the damn thing. It's all absolutely wonderful, and I would gladly make several more roundtrips with the De Kelpie crew without batting an eyelid (although I will make a stop at cat island Los Gatos every. Damn. Time. Mark my words). It's just… that ending. It's a sticking point I can't quite resolve, causing that dreaded FOMO net to creep back in and loom eerily around my shoulders. Perhaps that's the point. Perhaps my desire for a heroic and triumphant final flourish simply doesn't fit within the confines of what this ragtag bunch of ordinary folk can realistically achieve. Perhaps, it's a story for another time.

Sofia have made the absolute best of a bad situation here, and I’ve had a good, freeing time taking part in what basically feels like an interactive design conversation. You’ll probably want to, you know, play something fun though.

But the structure is repetitive and frustratingly random. Strategy devolves into grinding through the same side missions to perk everyone up so they can endure main missions, which quickly repeat a grind of scouring the map for resources, hoping enemy placement and movement won't screw you over, and then slogging through too many enemies with very irritating attacks in a system where just one or two lost actions can doom a whole mission. It's far from a write-off, and some players will love the exact elements I hated, but I've mostly been left with mounting disappointment and frustration at a design that lets down a very likeable game.

I think my CS days are behind me. It's an FPS that requires a lot from you, and those after a shooter you can sort of switch your mind off to should look elsewhere. But if you're a newcomer, lapsed player, or veteran, I think CS2 offers up thrilling matches that can twist and turn after a smart play or a remarkable shot. Many will find it's rather close to CS:GO with neat upgrades to grenades and extra pop to maps, while another portion of the community might just want CS:GO back. Right now CS2 is a great iterative update to a tried and true formula... that's missing an awful lot of fan favourite stuff. Give it time, though, and I think it's onto something pretty special.

Mirage takes the good bits from what the series has become in decades of not being a stealth RPG, polishes them up a bit, and puts them together with some of the best bits from the early games in the series, in a neat little package. It's smaller, sure, but you don't miss out on anything, and when you've finished you don't feel like you wasted any time. This is how big companies should make better games.

It's also just very nice to look at. You can zoom right in to watch the trains pass one another, loaded with goods, and horses galloping along by the completed tracks. It's a bit like going to a model railway, except one you built yourself. You want to build beautiful railways, you want to build a luxury passenger train that winds around a mountain path rather than smashes down it with a steep bridge. You want to make your great design part of the landscape - there's a level in a forest that rewards you for not destroying any trees (and each tree destroyed in the forest stage costs money). Station To Station is a short but lovely puzzle game, perfectly balanced, and you'll play it in pursuit of a more beautiful engine. [RPS Bestest Bests]

As someone who doesn't usually care for puzzle games, Cocoon gripped me the entire way through its seven-hour-ish runtime - thumbs up for a nice, compact game. Its world-hopping gimmick sees you inhabit orbs laid out with such precision it makes each problem clear, and has you experiment with literal worlds-within-worlds as if it's second nature. Anyone can take on the responsibility of insect lad and gain the confidence to construct a backpack swimming with marbles, all while going on a grand adventure that feels like you're liberating a sequence of CPU cores from a wriggling virus. What are you waiting for? Hop in.

As James gets closer to his destination, he accepts it as a one way trip. His morose sense of duty starts to slip away, and he finds himself liberated. He starts enjoying the catharsis and doom of it all. If you get yourself similarly attuned to its sometimes abrasive nature, you’ll find that El Paso, Elsewhere turns into a strangely sad and sweet odyssey, borrowing heavily from similar works but ultimately creating something deeply unique. A cosmic third-person shooter from a forgotten age that will make you dwell on your worst break-up.

In short, Mineko's Night Market never coheres into an enjoyable whole. There's always at least one part that grates against another - and frequently it's not just one thing, but everything rubbing you up the wrong way and pulling you in different directions. Being the local errand kid is a pretty thankless task at the end of the day, and the more time you try and invest in this game, the poorer you feel at the end of it.

Payday 3 isn't not fun. The shooting is fine, the mastery of a crime feels good, the knowing where to go when and escaping with bags of ill-gotten gains! But Payday 3's level complexity requires a bit more active co-operating than your average 'go here, shoot thing' sort of co-op. The current skill gating also makes it harder to succeed unless you've already played quite a lot, which works against welcoming new players. As such, it makes it harder to have fun with strangers, which is arguably death for an online co-op game. It's not a massive plus, anyway.

And it gets a lot right. When Phantom Liberty was first announced, I was a little disappointed that it wasn't continuing V's story onwards from the end of Cyberpunk 2077. Given all that ending entails, or can entail, I couldn't see how a mid-game expansion could add anything of narrative significance. I needn't have worried. One of Phantom Liberty's great strengths is that, despite Dogtown's secure borders, it isn't ringfenced in any way from the rest of the story. You can leave Dogtown midway to take on a few missed sidequests, or give your gal Judy a call to discuss what you got up to with the President the night before. The result is an expansion that reflects, refracts and enriches the game around it. If you've never played Cyberpunk 2077 before and buy the expansion, Phantom Liberty is an absurdly lush, thrilling, 20-hour-long side quest; if you have played it before, it's an unmissable opportunity to check in on old friends, and to make a few new ones, in Night City. [RPS Bestest Bests]

Is Lies Of P Bloodborne just Bloodborne with puppets, then? I say again, no! Lies Of P is a fitting ode and a definite must play for fans of From's dark epic, just don't expect it to match Bloodborne's supernatural cinema.