Indivisible may lack the number-crunching aspects of Disgaea, but it embodies the same sense of earnest cheer. It won’t change your life, but it’s a pleasant romp, extremely pretty, and clearly made with a lot of love. All good stuff.

Is Vanquish the legendary success that you may have heard others describe it as? Nah, but it is a distinctive and solid good time with excellent movement and controls, and some delightfully tricksy setpiece battles. It feels damn good if you can break apart your shooter muscle memory and give yourself to its new ways, and I only wish that element of it could somehow be transplanted into a game with a less turgid personality. In the absence of that impossible possibility though – yep, play Vanquish.

The great experiment of the game was not so much the change of scenery, from history to science fiction, it was the decision to create a Civ-like game of expansion with some complexities and aspects of simulation borrowed from grand strategy. It’s in the simulation of a living galaxy that most of the complexity has been lost, but what has been gained is a precise and finely tuned machine. Less erratic and surprising than its ancestors, but much more elegant in its design.

Norsca is a brilliant last hurrah for Total War: Warhammer. It’s full of spectacle, monsters and thrilling wars, but where it really succeeds is in its campaign twists. Even with its final piece of DLC, Creative Assembly have been able to find more ways to make the grand campaign feel novel.

Flashpoint is fine expansion in terms of re-engineering BattleTech for extended play, then – far better than kicking us into another pit of mega-story or necessitating a new beginning. Long-term, I’d love to see more vibrancy from BattleTech – wilder planets, more colourful mechs and special attacks, grimier, punchier characters – but I suspect only the latter is compatible with this decades-old setting. Already though, a Flashpoint-augmented BattleTech is a significantly leaner and more adaptable machine than the lumbering brute of launch.

Let’s Build A Zoo has a deeply absorbing core that it builds from, and its more unique elements do enough for this game to stand on its own in a crowded genre. I’d recommend it to most people, even those who think it doesn't appeal to them. I’m normally terrible at these games, and end up throwing, like, fifty benches in a corner to fulfil some level criteria as quickly as possible, but even I love Let's Build A Zoo. Plus, just like any good tycoon game, I came out of it slightly ashamed of my behaviour.

Scarlet Nexus is a decent game of two parts, and both have weaknesses. The combat is swish, stylish and usually competent, but there are too many foibles that stop it from feeling like a truly great RPG. The story is vibrant YA dystopian fiction that goes JRPG-cuckoo (in a good, laugh-out-loud way) at the 15 hour mark. But the plot has more holes than a chain-link fence. Why do people on opposing sides of a civil war keep brain-texting each other to make small talk? Why does nobody bring up the very significant murder that occured earlier in the story?

Ultimately, I’ve only got so much patience for games where the victor is nearly always whoever doesn’t get spotted first. There’s a reason I haven’t played Plunkbat in months. If you’re into your realism though (or just good noises) Insurgency: Sandstorm is worth a shout.

But if you’ve an appetite for space dungeoneering in the company of one of gaming’s most iconic and influential villains, you’ll find the remake cleaves close to that original pitch. This is the product of a team which, to its credit, believed in the 1994 proposition of System Shock and trusted it would still stand up today, in spite of a 30-year shift towards smoothing the player’s path. The result has proved them right. It transpires that our creepy, manipulative robot mother knows best. [RPS Bestest Bests]

I especially like how the arcade game's soul has been transplanted not just in the art style but also the sound design. The character select screen yells each character's name with the tinny echo of arcade enthusiasm. "Marco!" - "Fio!" - "Echo!" It is so married to its arcade roots that even the currency you use to unlock post-campaign upgrades is called "credits". I've accrued a fistful of these digi-quarters. But you know what? I'm content with what I've played. Like a good Metal Slug game, I can happily walk away from it without seeing every last battlefield. I'm fully satisfied with the time and quarters I've already spent.

Lost In Random gets lots of things right, including that Dicey is now with us. But for an adventure game with such a wacky setting, it somehow doesn't get playful enough - or really even random enough - to elevate itself from a solid time to a rip-roaring one.

The occasionally dull new characters are mostly redeemed by their motivations and backstories in the end, but it’s hard to overlook Zero Time Dilemma’s visual flaws, which distract from the brilliance of the story. It’s by no means the best Zero Escape game, but it’s a fitting end to the trilogy’s story arc and – animation aside – it’s an excellent way to spend a few evenings.

Even when things got super easy, I still really enjoyed ordering my beautifully animated, lovingly customised Pope bots around these maps, dripping with architectural oddity and detail as they were, and watching them dismantle their foes with fuck-off power axes.But there’s just no bite to it, and it sadly ends up undermining itself as a result.

I was on a mission-critical infiltration to save someone's life with nice giant Bode, and I kept running off like "I know man, just, yeah, no it is, it's very important... yeah, no, one second, I saw something shiny over here and I'm not going to replay this level for ages". That doesn't feel very Jedi Knight. My repeated calls for every game to be at least 40% smaller go unheeded. Still, it's very fun rolling a Stormtrooper over your back and pinning him to the floor with a lasersword, isn't it?

As survival games go, however, I cannot call it "bad". Fair warning: there are weird glitches and choppiness (one bug saw me backdashing every time I exited the inventory screen). And I had to abandon playing on a controller because of the obnoxious virtual cursor in menus. But this wasn't enough to interrupt my bloodsucking. Awakening is dense with lore, and loyal to the childlike "sand is lava" flavours of Dune. I've enjoyed it for the strength of its world, and I admire how straightforwardly Funcom have adapted the memorable features of Herbert's fiction in exactly the most sensible way. If you walked out of the cinema after the Dune movies of recent years only to have your thoughts and dreams peppered with imagery from those films, then this is probably one of the best ways to visit and inhabit that distant desert. Just so long as you acknowledge, going in, that you'll be doing a lot more rock mining, water farming, and unexpected laughing than Timothee ever did.

It’s the Cronenbergian cyberpunk game I never knew I wanted, and it’s shot right into my top ten of the year so far. [RPS Recommended]

I like Songs of Conquest a lot. I may not quite love it, but it's colourful and rich in flavour and has more strategic depth than at first appears. Its main inspiration is clear, but it more than earns its own place in the sun.

I’m looking forward to the first opportunity I get to play with some humans in the physical world – and sad that their online counterparts aren’t sticking around.

The only reason I’m not giving it a Bestest Best badge is because it doesn’t do anything particularly new. It just does everything very well.

In terms of where this opening salvo of game leaves me, I’m interested to see how some of the characters progress and wary of others. The latter is because some of the jerks are so clearly going to take their douchebaggery too far and I don’t trust historical novels to give people their comeuppance! In terms of where I’m the most emotionally invested, though, I’d say it’s actually in the fate of the cathedral. They’re so complicated and prone to expense/disaster/overrunning/all of the above and I really want to know if this one is ever completed!

Simply put, Marvel's Guardians Of The Galaxy is a really good time. Not only that, but its linear story-telling and fast, nippy pacing feels intensely refreshing after the bloat of, say, Far Cry 6 and the sometimes frustrating openness of Deathloop. As it funnels you down a story filled with japes and jabs, I'm transported back to a happier, simpler time. If you're a Marvel fan, this feels unmissable. And even if you haven't got a clue what a Marvel is, it still delivers a very enjoyable romp through the stars.

This year has blessed us with games that radiate care, where you can tell that the people who made it really loved the process of making it. Wytchwood is like opening a hand-drawn pop-up book and finding a cheeky little hag inside, throwing snares at living pumpkins and yelling, "I'll chop you good!" at giggling little changeling mushrooms. And who wouldn't want to tick "chop annoying little mushroom good" off a to-do list? [RPS Bestest Bests]

Calvary and Four Last Things both wear their Monty Python influences very much on their sleeve, though, and this is appropriate. Because while Monty Python is funny, people tend to forget that the TV show in particular had about as many misses as it did hits, and only the hits made it into the clip compilations. Yes, yes, I will whip myself in penance later for saying so, please hold your comments. But by that metric, The Procession To Calvary is better than Monty Python, because it’s probably more consistent and, perhaps surprisingly for the content, less surreal. But your mileage, as they say, may vary.

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.

What we’ve got here is a solid stealth-action core with some lovely level design – both visually and in terms of the vast array of possible ways to accomplish your objectives – wrapped up in something equal parts drab and cynical. The gore, the Farmvilleish reward system: these are there as contrived hooks for the less discerning man-shooter enthusiast. It’s highly telling that the rest of the game would be barely effected if these were removed...I do like that core, though.

I’m greedy. I want a bigger, beefier, more flexible Mutant Year Zero. But that’s because the small, linear but smart, powerful and atmospheric Mutant Year Zero I got grabbed hold of me so completely. [RPS Bestest Bests]

Another Crab's Treasure may be one of the most cohesive Soulslikes out there, in how it's taken the hermit crab theme and actually turned it into a playful ARPG with interesting fights. And while it's challenging enough for Souls fans, I rate the plethora of options that let you turn it into a far easier time. This is, genuinely, a soulslike for everyone.

That Dragon, Cancer is an important game because it tries, but not because it succeeds.

I only wish that one day, long after this incarnation, there’ll be a Hitman game with true narrative consequence, where a breadcrumb trail of slip-ups might lead the police or some other organisation straight to my door, while another player might produce such smooth and clean “accidents” that no such fate awaits them. That player – the silent assassin – will leave through their front door and disappear. Whereas I’ll try and climb out my window and get shot in the back.

This is charming and silly and gentle and fun, ridiculously intricate and lovingly crafted. It’s not hardcore, it’s not going to outfox you, but it doesn’t want to be doing that. This is one of those instances where you wish “casual” hadn’t become a meaningless nonsense term in gaming, because it would nicely capture the feeling of a puzzle book that’s magically come alive, a Where’s Wally where you get to poke and prod the characters. It’s a calm, calming and pleasingly silly game.

For me, at times, Everything feels like the game Spore should have been. When I watched the early presentations of that game’s silly creature creator and its invocation of Powers of Ten, I wasn’t imagining a fiddly, shallow strategy game, but an experience that hoped to approximate the awe I sometimes feel when stargazing or can tap into by listening to Carl Sagan talk. By throwing out most of Spore’s traditional mechanics in favour of a cross between Katamari Damacy and Nested, Everything gets closer to sublimity. And though I don’t think it gets all the way there – not for me, not right now – the silliness is constant and delightful.

Surviving Mars, it turned out, was little more than a plucky little rover, diligently raking the regolith to make a place for the main rocket to touch down. Now, however, the eagle has landed, and it’s a bloody lovely bird.

Aside from the plot, I’d say most of what held my attention about Green Hell was how dazzlingly beautiful and technically impressive it was, but the more traditional survival elements are all solid enough that I look forward to playing more. So, it turns out that the jungle does indeed got fun, games, and whatever you may need, providing what you need has a very strong stick component.

It’s reliably brilliant fun, and the best multiplayer experience a Ubisoft studio has ever worked into one their many open worlds. Whether played alone or alongside 63 other warm bodies, Riders Republic is unalloyed gratification in a stunning natural utopia, a streamlined series of rewarding activities so open-ended and forgiving it can sometimes veer into a directionless fuzz. Things are certain to change shape as more stuff is added and the player-base settles in for the long games-as-a-service haul, but there’s enough arcade fun here at launch to delight your inner extreme sportsperson, the one who looks at Tony Hawk at 53 and thinks, yes, there is still time for me.

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]

It’s rare for a puzzle game to be truly original, but Mushroom 11 can claim that accolade. It applies its originality in smartly traditional ways, employing 2D physics puzzles in a new style. It’s glitchless, which is a rare treat, especially for a game that lets you break your blob into many parts and jam them in between rotating cogs and swinging platforms. It’s one of the best puzzle games in a very long time.

Usually, in the course of gameplay, a game’s character becomes an avatar for you. But A Way Out accomplishes something far more subversive and bold. Eventually, for better or for worse, you become an avatar for your character.

This isn't a full review of Eriksholm, simply because after five or so hours, I didn't fancy playing any more. Maybe it gets amazing after five hours and one minute. Oh, I still don't like it. Yeah but what if it gets amazing after five hours and two minutes? You can probably tell by now this is sunk cost at its silliest. Lots of games to review, and I have to draw the line somewhere. So, here's some impressions based on the time I did spend with it. Apologies to Erik, I'm sure he's very nice.

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.

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.

The fights can be plenty challenging, especially if you venture online or into the openly-described-as-unfair gladiator arena mode, but I was never able to shake the sensation that they’re just a delivery vehicle for a really great cartoon.

Dirt 4 offers infinite replayability for stage rallies, and some good options in other disciplines. I’m hoping that in the future Codemasters is going to add some more courses for Land Rush and Rallycross (GRC, with its Red Bull addled, Vegas-XTREME antics and massive jumps would be a great addition), but for now I’ll be happily enjoying the bountiful content in the main game. Dirt 4 is right up there in the top tier with iRacing and Project Cars, and it has me loving low traction in a way I haven’t before.

It is, very much, A Tropico Game, but it knows how to go big, how to feel like it’s playing with the citybuilder big boys, instead of remaining in its safe soft play corner. There’s plenty of stuff I’d change, especially tonally and in terms of international relationships, but I played it happily until I couldn’t see straight. I’m left thinking it should have called itself Ultimate Tropico rather than the implied exhaustion of sticking at 6 at the end. [RPS Bestest Bests]

Perhaps I'm being a bit harsh here, but that’s because Solar Ash’s movement is brilliant and I hunger for more ways to roam its wastes. Don't expect one fluid joy ride, but when it does come together it really does impress. If you’re after a few hours of slicin’ and skatin’, I’d say it’s worth strapping those blades up.

But these issues are just uncommon enough that Microsoft Flight Simulator 2024 manages to weather them over and over again, and it’s never too long before the simulation begs your forgiveness with a relentless series of the most astonishing postcard views you’ve ever pointed your eyes at. Whether you’re breaking cloud cover over Mount Rainier, flying low over the gin-clear seas of Saint Lucia, or making your final descent into the greasy miasma of Gatwick, Microsoft Flight Simulator 2024 is an endless parade of giddy spectacle.

If you prefer your pleasures somewhere on the periphery of your attention, you’ll find there are plenty to pluck off the branch here.

I feel like Rime will be a game celebrated by those who already love the third-person genre, those au fait with Tomb Raider-style climbing and jumping, and environmental puzzles. It’s certainly celebrated by me. But I wonder if it might have a harder time winning the affections of those who aren’t already sold on the concept, simply because of the swathes of assumptions it makes about a player’s fluency. Or maybe I’m being patronising? I’m not entirely sure. What I do know is I’ve had such a splendid time with Rime, so deeply enjoyed its expansive and sumptuous world, and found myself not missing the attack button at all. Not when there’s a sing/shout button that does so many more interesting things. [RPS Recommended]

Far Cry 5 is frustratingly uneven as a whole. From minute to minute its combat systems are the best in the series, and its vehicles handle better than those in previous games as well. Its landscapes are a delight, their details rich and worth exploring, and you get to develop your playstyle and objectives on your own terms. Until something gets in the way. It wants you to enjoy all of the freedom it offers until, through its systems, characters or story, an interruption arrives. It’s the land of the free, but that freedom only goes so far.

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.

Galak-Z is a smooth, polished and compelling arcade shooter that trades in tension and tactical awareness rather than screen-clearing power-trips. The randomised structure adds just enough unpredictability that it’ll stay on my hard drive until I’ve managed to beat it at least one more time.

The characters all strongly stick with me after finishing, and I think that’s probably more important than anything else.

There's not a lot of depth to Tinykin but that's actually pretty nice. There'd a lot of fun to be had just being a tiny dude in a huge house. With satisfying platforming, cute little critters, and plenty of exploration surprises it’s the perfect bite-sized adventure. With a four-hour run time, I played it in two sittings and it was perfect for some laid-back gaming. It's great to see how Splashteam have taken the core inspiration of what made the Pikmin games so enjoyable and have infinitely improved on it. A solid recommendation.

It’s definitely a shame that painting isn’t more of a thing. But this really comes together. A slow, gentle, personal RPG, with neat little stories, characters I remember, and a real sense of having spent time in a special place. Oh, and last of all, in Eastshade if you want to get around a bit faster, you buy a bicycle. Yeah, it’s exactly that sort of place.

Battlestar Galactica: Scattered Hopes is playable for a run or two, and it has flickers of the series that inspired it, but spend too much time in its company and it simply becomes robotic.

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.

If I had lots of free time, I would probably enjoy it a lot more. But I don't, so tipping over with a cargo bay full of steel beams makes me frown, where it might have otherwise made me laugh. This, I think, is another issue. RoadCraft is a podcast game, in the same vein as Truck Simulator or Elite: Dangerous. There's a big place for games like this in the world, sims that excel in delivering a specific kind of wonderful and comforting boredom. Slow tasks that act as a reassuring sedative in the manic whorl of life. But RoadCraft's start-and-go flow makes it a bumpier ride for me. I was falling asleep, but I never quite drifted off into its promised dreamland.

What you need to know is that Mohawk have made a game that creates tension and ruthless competition out of a screen of ever-changing numbers. Every victory feels hard-earned and every defeat can be traced back to specific twists in the tale, and in each of its half hour sessions, there are as many twists as in Civ’s six thousand years.

It’s weird to say it, but Shadowkeep’s problem is that a lot of the problems and hard questions that Destiny 2’s first year threw up have been solved since the Forsaken expansion a year ago. Shadowkeep hasn’t had to fix anything, only attend the age-old challenge of keeping players on the Destiny treadmill. As a result, everything feels awfully familiar, from the big events right down to the quest types, which are still largely about earning currency to buy a quest that wins you a roll on a new item of gear.

My only real major disappointment with Atmomicrops is that the advertised simulation bits turn out only to be a few light nods to the genre. It’s got some simulation-shaped aspects, sure, but they’re flimsy plastic ferns in comparison to the very much alive and dynamic creeper vines of its shooty-dodgy core. This said, the farming does make fighting more interesting simply by providing a worthwhile distraction, leading to almost unbearably chaotic instances of frantic multitasking. As long as you know what you’re getting into, and are up for sewing a few hours of practise in before you reap the rewards, I think it’s well worth your cashews. Which I’ve only just realised are a play on ‘cash’. Ooh.

As negative as I’ve been, I would recommend Fights In Tight Spaces wholeheartedly as it is, because the action at the heart of it is honestly incredible. When everything’s going right, it engages my brain like I’m doing a particularly hard sudoku. The problem is there isn’t much besides that going on. The whole game feels like it should be one of the best things I played this year, but somehow I came away from it saying just “okay.”

First things first, Reigns is made for mobile and, frankly, it shows. You’ve almost certainly got a smartphone or a tablet, so put the PC version out of your mind and go buy it from the App Store or Google Play instead. If you absolutely must play it on PC then, sure, it works, because of what it’s trying to do at heart rather than because it’s been tailor-made for our computers.

This is a huge, deeply developed, beautifully crafted RPG, novel in all the right ways, and it’s not even finished.

Distant Worlds 2 has a lot of potential, both for official improvements and expansions and for mods, which is no small thing, but it's tangential to how it stands up on its own merits. And on that basis... it needs another draft, but I'm still enjoying it. It has a few months of patching and tweaking and rebalancing in store, even if you discount those performance issues. If you were hoping for a revolution, it isn't here. But it is a considerably improved update of Distant Worlds, and frankly has no direct competition. I want it to succeed, and while I can neither condemn nor wholeheartedly recommend it, I definitely think it's worth meeting in the middle.

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.

As a returning Frictional fan it shook up a slightly ponderous series to make something exciting and new. This is Frictional back on imaginative, exciting form, and I'd be happy seeing them do other slightly more contained projects like this. I'd also, of course, love to see something new - but it feels like Amnesia is a pocket dimension they can visit again. If it's an idea as well-rounded as The Bunker, I'm happy to go with them.

With a bit more depth to the worldbuilding, and a bit more time spent on the dialogue and storyline, this game could have been an absolute gem on the narrative side.

Shelmerston is an honestly charming place to visit, while also being a bit strange. The art is bright, round and cosy, but its plants and foods still make it look strange and exotic – a bit like the excellent (and also very chill) Mutazione. Some of the inhabitants are big bipedal fishfolk with curiously blank, smiley faces, for example, and there are tourists who are just really big birds. Some animals have either both eyes on one side of their head, or one big one on the front, and this is apparently unremarkable. Which is, itself, charming.

Techland’s taken something quite distinct and sanded down the edges. Some will find it agreeably smooth, I’m sure, but you can only sand so much off of chaos before it becomes ordinary. Come the real zombie apocalypse we should all be so lucky to face a world this trudgingly well behaved.

The music is fantastic. The art is striking and its got that timeless comic book thing going on that means it’s probably still going to look as good in five years as it does now. The campaign is a letdown, but that’s partly because the survival built such a high perch to be let down from. If you’re into strategy, I still think it’s essential, and I can’t really think of any better use than the sticky approval circle than that. [RPS Bestest Bests]

I really enjoyed it, I really appreciated having a methodical, forthright adventure game to play, with excellent art and animations, good music, great acting, and a story worth hearing. I just wish I’d been more of a detective as I did it.

In the end, if what you wanted was a traditional dating sim populated with (in Akabaka's own inspired words) Cthulhu-presenting anime girls, Sucker For Love may not be exactly what you were hoping for. But if you want a one-and-done horror visual novel that knows its lore, revels in gore, and just might surprise you with a genuine sweet moment or two along the way, then there are many worse ways to spend an afternoon and a few quid.

Indeed, and especially in the later stages of a game, Humankind can feel more like a puzzle game than a 4X, with the business of hexes and multipliers abstracting it from its central theme of humanity. Still, if the worst things I can find to say about Humankind are that it sometimes makes me think too much, and that I need to play it more, it’s hardly a bloody disaster, is it? Go make yourself some harbours, and tell the Olmecs I said hello. If they ever make it out of their Ancient Era time loop and invent writing, that is.

With Siege of Dragonspear, Beamdog has come on a long way. It’s not perfect, either at matching the style or being a great new RPG in its own right, and future games will need some heavy QA loving. But, as the company’s first big attempt to both follow in BioWare’s wake (the presence of former BioWare people notwithstanding), it’s a good start and at least a good first step to one day giving us that Baldur’s Gate 3 we’ve been waiting so long for – another nostalgia trip, but with a slightly more practiced eye on the future.

With those bugs squashed, The Pale Beyond would be a stonking survival game. I love the attention to detail in the story and characters, which makes you want to hang in there not for the sake of beating the campaign, but because you genuinely want to spend more time with the crew - and find out the bigger mystery behind the missing ship. Next time I'm going to try and save every single person, and not just barely make it through with half my crew dead and the other half frostbitten and starving. I think it's going to take me a while, though.

So, yeah. Not for me. Which is a shame, because I'm certain that if I kept playing, I'd keep finding more things that made me laugh or smile or spark more curiosity about the town's mysteries, but I'm not willing to push through any more of this cold and oddly soulless churn to see them right now. As a functional open map, it's a treat-sprinkled diorama. Static and mundane. As a management sim, the busywork is simultaneously so insistent and so lacking in complexity or choice that I ended up on a sort of trudging, mildly annoyed autopilot, like an underpaid shopping centre security guard on a deflated Segway. Deflating to say the least.

The result is something that feels like the game I wish The Walking Dead could have been – a free-form, free-roaming tale of brutal survival, but with a story to experience too. The two conflict as you play, knowing that the game has deliberately supplied you with what you need to follow its threads, but then also let you wander off into the wilderness at your own discretion. And it handles this well, letting you hunt and forage to scrape by when stepping off the path. With a better, more involving path, this could have been really something. As it is, it’s the glorious The Long Dark with a reason for surviving, and that definitely proves enough.

There is no deep understanding here, you won’t have your mind changed, and it certainly doesn’t have any of the emotional impact of Papers Please. But within its own barmy universe, it works! It’s a good chunk of fun, and easily survives at least a second play to see how much you can mess with people’s lives.

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.

A very middling execution of an extremely lovely idea.

Genesis is so unashamedly mid-tier (and I don’t mean this pejoratively, it’s great to see this sort of budget project surfacing again), and so overflowing with proud mid-decade nostalgia, that it’s easy to overlook its annoyances.

The constant, unexpected transitions between visual schemes, the wild leaps in subject matter, and the sudden appearance of majestic stags, would all have slam-dunked me into the bin of my own subconscious like I’d stuck every Boards Of Canada album on simultaneously. Never let it be said I don’t appreciate the highbrow.

This works out as a great balance between the icon-ticking compulsion of a top tier Ubisoft game, with the puzzling chops from a team that have suddenly remembered they were the best in the business. It’s huge and detailed and stupid and probably most of all, fun. Problematic fun, without question.

But the thing is, and maybe this is me just not being good enough at card games, that eventually all the conversations get too hard. On the one hand this is fine, because Signs Of The Sojourner is sort of about life, and you can’t win at life, nor should you think of it that way. But on the other hand, the bittersweet story – meeting people, making new friends, losing old ones – is a lot of this game’s appeal, and I got the sense I was missing out on loads of it because I wasn’t getting through conversations successfully.

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.

For me, it feels like Neurodiver only wants to flirt with my disbelief, rather than commit to suspending it.

However you might step away from the rig, I stepped away rattled, impressed, and hungry for more horror as solid as this. It may not revolutionise the genre in any mechanical sense (even that "look behind you" button is something from the Outlast series) but it does set a bar for groundedness and naturalistic voice acting. More Scottish horror? Aye, make it first-person anaw.

The invisible orchestra is another kind of herd that mirrors the one you drive before you – sometimes devolving to individual performers when your beasts are scattered, only to gather itself furiously when the Calicorns are in full flight. It’s a lovely audible modelling of a disorderly group of beings in motion. It’s also an audible expression of your power over those beings and the limits of their simulated autonomy.

In a roundabout way, this is a mission success for hands-off Mikami - Ghostwire certainly doesn’t feel like something he’s made. It’s too baggy, too loose, lacking the powerhouse momentum I associate with his previous work. What’s here just never clicks fully into place: a beautiful setting, tactile combat, tantalising hints of the beyond, but not enough to populate a city this big, leaving stodge to fill the vacuum. Mikami’s tinkling ivories aside, Ghostwire is a tad too discordant.

More than anything, it’s left me with a wide grin and itchy fingers, and as soon as I’m done here I’ll be jumping right back into the game.

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.

Sherlock Holmes Chapter One is somehow both the best game that I have ever played while also being as smart as a bag of rocks. What happened to Mrs Holmes is, on many levels, best left unsaid, but it is almost exactly a literal view of that Charlie Day conspiracy board image: a complex web of clues and plotting that is impressive in its execution, yet embedded with idiocy. It is the silliest thing I have ever loved and enjoyed; the best thing I have ever ridiculed. I wish it every success while also hoping that it is screencapped in a million joke tweets. I cannot wait to finish all the side cases I have left over, and I will laugh at every two out of three of them. I cannot explain it more than this, reader. Which is why I am not a real detective. And also why Sherlock Holmes isn't, either.

So despite the nagging feeling that FixFox needed an unforgiving editor at some points, Rendlike have made a lovely world to just BE in, tootling around on your desert bike, arriving in and out of town, eating nice soup. It's all about co-operation and being friendly and helping out. And in return the locals like you too! Isn't that lovely? Yes. Yes it is.

Despite all this, though, there's still a lot to like and admire here. I can see why people loved it so intensely at the time, and even now Clash Of Heroes feels like a true original. There's simply not a lot else like it - although given how hard it is, I can perhaps see why. Still, even knowing what I know now, if I was faced with the prospect of popping down £15 on a game I'd heard so much about for the last decade and a half, I'd honestly probably still give it a pop, you know? Loading times and all. I'd be more sceptical if it were double that price, say, but fifteen quid is a lot more palatable, and not so high that it wouldn't satisfy my initial curiosity for it. And if its online scene takes off (as it did with the HD remaster), then just experiencing it through multiplayer might lessen the problems I encountered in the campaign. A tentative recommendation, then, although probably more for strategy die-hards than casual toe-dippers.

As a work of horror Strangeland is doing way more interesting things than yer Outlasts.

I still enjoy Bannerlord because there's nothing else doing those open world battles. But almost everything else is a robotic, shallow grind offering no surprises, with a plethora of complaints that early access is supposed to iron out. You can ignore a lot of it, which only highlights how irrelevant it is, and though there are a lot more things going on, you have to provide your own motivation, because everyone's behaviour is basically the same, and everything feels like a missed opportunity.

Overall, Chimera Squad is solid. It’s still a shadow of its progenitor, with its new ideas not quite making up for the loss of old ones. But if you try to treat it as its own thing, play at a higher difficulty, and do your best to ignore the snake’s voice, I’d say it’s worth a punt.

Crimson Desert is ludicrously overstuffed with mechanics and systems, a scant few of which are really quite excellent (picking up cats and catapulting off trees are the highlights), but the rest of which feel half-baked. And they're the ones that you spend all your time with. Believe me, I want to like the game. It would certainly make my job easier. But alas, I had a better time playing Starfield. - Ollie [Early Verdict]

Clocking in at the 3–4-hour mark, Time on Frog Island is a bite-sized adventure that doesn't outstay its welcome and could easily be played in a single, cosy sitting.