Thing is, Marvel Rivals can still be an incredibly accessible hero shooter, one that does allow people who don't care as much as me about Competitive Stuff to just hammer buttons and play as muscular people who frequent the screens of the Odeon as much as Kojima spends his time 3D scanning beautiful people. There isn't anything wrong in that! In fact, I think this is great. People can just hop in and have fun in a free game that doesn't even seem particularly predatory in its microtransactions...The extra thing is, Marvel Rivals is also a PVP hero shooter that lacks the restraint of Overwatch and turns matches into slightly formless blenders as a result. The fact I can't remember any of the map names is a testament to this, where normally I'd have those sightlines and chokepoints memorised. It won't be a surprise to you that I won't be sticking with the game. and if you're someone after The Next Competitive Timesink, I don't think you will either.

When played locally with others or when the netcode is as good as it can be, Street Fighter V is an astonishingly good fighting game. Simplified without being dumbed down, deep without being utterly impenetrable, it’s as good as the series has ever been. I’m glad that there’s no need for a number at the bottom of this review because how do you score this game? In many ways, it’s the perfect fighting game, an easy 10, but it is woefully lacking in some areas. Waiting for content to be added to the game sucks, but what’s a month when you could be playing this for many, many years to come.

It’s The Texas Chain Saw Massacre as remade by Eli Roth, starting with the worst possible thing that can happen and then daring itself to go further. Shock tactics so persistently silly that they become the equivalent of a flaming bag of poo on a doorstep. I will always defend the right of horror fiction to be horrible, but never excuse it for being so dull in its depravity. One of the game’s six chapters is named after the Biblical Job and by the end of the game that’s who I felt like. I’d suffered through great and terrible hardships but was no closer to understanding why.

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]

I’m looking forward to more surprises, which isn’t as banal a statement as it sounds: it means I’m going to keep playing once I’m done with this review, which is pretty much the best praise a game can get. I want to be WeebPeepoClown, except also maybe not exactly like WeebPeepoClown. On a hunch I just checked the leaderboard, and it turns out he’s the 47th best player in the world. Lord knows what he was doing in one of my matches, but I’m glad he was there to show me the path to greatness. The combat’s frustrations can be overcome, though it’s a learning curve not everyone will want to scale - even if they can do that as an acrobatic warrior with a grappling hook.

Maid Of Sker is more frightening when it’s not trying to scare you. The story, the atmosphere and the music are well-crafted enough that they would almost be enough on their own, but its obsession with chucking monsters at you ends up destroying a lot of that good will. Perhaps, in looking sideways at Capcom’s desk, Maid Of Sker copied even the answers it didn’t need.

Telling Lies feels very much like Her Story 2, in the sense that a sequel is like the previous entry in a series but more: bigger, better, faster, stronger.

Vestaria Saga is a merciless game. It can be wonky. Unpolished. Occasionally frustrating. But I know a particular subset of players won’t care, because this is a new, old, Fire Emblem, and nobody but Shouzo Kaga makes games like this anymore. Have fun with it, then, if you suspect you fall into that group. Enjoy this beautiful mess.

It is, in fact, a perfect game to play in the background while listening to podcasts. Or perhaps while listening to the audiobook of Moby Dick, and add The North Water and Jamrach’s Menagerie to your whaling horror reading/listening lists as well, if you’ve got the stomach for them.

It makes Teenage Mutant Ninja Turtles: Shredder’s Revenge a fun - albeit short - romp that's perfect for a night lounging around on the sofa with mates, or in a Discord voice call from your bedrooms. It doesn’t make any big departures from what you might expect, but that simplicity lends itself to a more social gaming experience than I’m used to. I like to imagine it captures the feeling of crowding around the original arcade machine with your pals back in the 80s (even if, as a 00s baby, I’ve never actually done that). That said, Shredder's Revenge wasn't so fun alone, so I'd recommend waiting until you manage to get a group together. There's no rush to play this one, but it'll be a good couple of hours when you can convince friends to hop in.

There's too much going on in Biomutant. Maybe if there weren't so many unnecessary things then the devs could have spent more time making the annoying bits less annoying. Making those menus clearer and easier to use, properly signposting critical QTEs in boss fights, and tightening the combat lock so fights feel less chaotic and you can be more intentional with your attacks. Who knows? In the end there isn't loads wrong with Biomutant, it's more that the bits that are wrong are pervasive, and you have to wade through extraneous fluff to enjoy the bits that are right. Really cool hats, though.

Overall, Last Stop feels like a game of unfortunate inconsistency. That's not for lack of effort, I have to stress. On the contrary, I get the feeling that Variable State could have really let rip with this if only they'd had more time, money and resources, along with the robust production and editing processes that goes along with that (and that's not just because I'd have loved to play the fourth, although sadly cut, Junji Ito-inspired story either, I promise). In that sense, Last Stop is probably the opposite of Black Mirror and Doctor Who... but one I'm glad I saw through to the end regardless.

And it’s a world to spend time in, too, not just turn up and smash a few pots and hoard a few coins. Take it slow, says Garden Story. Yes, peril approaches, but fences need fixing just as monsters need slaying. Fighting to save the world is a lofty abstract. Instead, fight to save the soil and the sky, the frogs and the flowers, the wise cacti and the talking pickles. Fight like only a grape in a green bucket hat armed with a parasol can.

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.

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.

All of this could be fixed with future updates, but I think the devs have built themselves into a corner with the fundamentals of Minecraft Legends. Adding more content and complexity won't solve the issue of the awkward control scheme and lack of precision - something that all RTS games need in order to be great.

Still, there’s loads here to like. It doesn’t feel like an all-time classic, probably because the original Race Driver Grid nailed the feeling of metal and rubber clattering down San Francisco hills far more convincingly. Think of this more as the track-based sibling of Dirt 5, with everything good and bad that comparison implies. But as with that game, there are few mass-market racers better than this in the current climate, so it’s definitely worth your attention.

Is Grunn for you? Well, do you like the feeling of doing things that took you a long time before, again, but really fast? Do you like weird and delightful discoveries? Do you like going ‘ah!’ really loudly when a mystery clicks together? Do you like dying in various ways and unlocking new endings and knowing to do things a little differently next time around? Do you like knowing how many coins you’ve picked up? Actually, Grunn doesn’t tell you that unless you pick up another coin. That’s annoying, Grunn. Please sort that. Otherwise: Grunnderful stuff. Gnome notes. Dig in.

I’ve had an enormous amount of fun playing this, obsessively clearing the map of icons, occasionally relenting and accepting I need to do one of the main quest threads to progress, riding around on the backs of mammoths, diving off cliffs into pools hundreds of feet below, wrestling crocodiles, being dazzled by sunsets, escaping labyrinthine caves, and using my “hunters vision” to track enormous beasts. It’s undeniably great fun, and unquestionably a huge achievement. Just a very, very recognisable one, for all the best and worst reasons.

This is not a replacement of the original game. Far from it. In my mind, it occupies the same space as its (exceptional) VR version. A retelling of a classic crafted on its own terms. A brilliant action shooter that is big and daft and brilliant. When asked what my favourite game of all time is moving forward, my answer will remain the same, only richer and more complex as a result of this excellent remake. Resident Evil 4, I’ll say, and whatever interpretation they think of will be entirely correct. [RPS Bestest Bests]

I love the presentation, I love the conceit, but ultimately this is just a cleverly disguised badly designed point-and-click adventure. Hell, this is a game where you get moon rock by looking at the moon through binoculars. Come on.

Oxenfree was an unexpected delight for me. Atmospheric, beautiful and with the ability to feel real connections between its characters.

It's telling that the missing feature I desire most is not an emote or a graphics setting or a - pffft - "mandatory pass". But just some way to auto-rematch, so I don't have to tap Y at the end of every game within a 10-second countdown to re-enter the queue for another game. This is how moreish (and perfectly named) Rematch is. My biggest complaint is that I'm sick of the game asking "Do you want to play again?" Of course I do.

Silksong, I can and will get mad at you. But I can’t STAY mad at you. You brilliant, beautiful bastard of a game.

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.

I’ve not gotten an enormous way through We Happy Few, because I’ve severely disliked the hours I’ve sunk into it. I think it’s probably, really, just a mediocre game, but it’s one that’s made me feel drained and discombobulated with its incoherence and that deeply peculiar atmosphere of feeling like it should be a great game, while never actually being one.

This is not for the slow, the methodical, those desiring to investigate corners or play a shooter over many small sittings. No, this is for bingeing.

A glimmering space crystal, including some great story elements, buried under a patina of lowest-common-denominator grime. A lovely bone, full of marrow, specially formulated for growing ogres. Don’t make the mistake I nearly made and disregard it: if you enjoy the tactical and strategic game styles it draws from, you’ll find a game that doesn’t go out of its way to innovate on either front, but one that performs a bloody lovely duet.

It's a big stodgy dinner plate piled with dissonant RTS ideas, the baked beans of unit management mixing with the Coco Pops of auto-battling. It's such a map-clearing jambalaya that it's difficult to tell which elements are working together and which are simply crowding out the fun parts. For all the things I can say about Hero Hour's design, it's not by-the-numbers. I can't even tell you if I enjoyed it or not, it's so much like eating a fistful of rando-flavoured jelly beans. And I suppose that in itself is kind of remarkable.

The big challenge, again, is spicing up the roguelite layer, or perhaps thinning it even further back to the parts that matter. If Breachway can manage that, it will satisfy me more than any chantarelle ever could. [Early Access Review]

Aptly for my deficient problem-solving skills, if this is something the developers wanted to address, I don't know what the solution would be. More onscreen information, such as the ability to know how long it will take a group to reach a certain point in the maze, would make it easier to plan out your traps, but it might dispel all of the game's difficulty. Total information works in games like Into The Breach, but it doesn't mean every tactical game should be 100% predictable. In many games, the fuzziness and opportunity for mistakes is where you find the fun. Maybe then, instead, there needs to be a greater set of options for what you can do as a player when something does go wrong. Snatching a messy victory from a mistake-triggered defeat may be more enjoyable than a clean victory where you're watching your complex machine of interlinked traps do exactly what you planned. For that, Asterion will need to be more capable, because once your trap sequence is broken, it's already too late to fix.

If you’re after a smart implementation of Threes-like input and tile-based battling, Tiles & Tales does that, and is free!

If you love Doom and you're the kind of Guitar Hero player who wants to 100% Through The Fire And Flames, then I think Metal: Hellsinger might have you obsessed. For me - who only played Guitar Hero on Normal mode at parties, and whose only understanding of heavy metal comes from Wayne's World - it remained an excellent five hours. Party on.

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]

It really feels like Blizzard bet everything on Overwatch’s 21 heroes and it absolutely paid off. Overwatch already feels as timeless as Blizzard’s other games, and it feels weird to realize that this is the first time we’ve seen any of these heroes. I definitely have some concerns about where Overwatch will be headed in the future, but I’m not thinking about that as I teleport across the map as Tracer. No, I’m thinking about how I’m going to get behind that Bastion to take that asshole down. I’m thinking about how good it’s going to feel seeing him crumple into metal parts. I’m thinking about how much fun I’m having. The one thing I’m not thinking about? Going to bed.

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.

Maybe Aquatico is more satisfying on higher difficulty levels and maybe campaigns will be introduced in future updates (though I haven’t found anything from the developers indicating that is the case). All I can do, though, is review the game in front of me: it’s pretty but lifeless.

Crucially though, just as I would one hundred percent go to a real-world Jurassic Park despite the near-certainty of getting hypermaimed in a portaloo, I will one hundred percent keep mooning over this game’s wonderful dinosaurs, right up to the point where my attention span is chewed to bits by micromanagement raptors.

It's a very short adventure, clocking in at three or four hours. Precisely the right call for a story like this. It's smartly written as well (or maybe I just assume it is from the dozen references to Russian history and culture that went over my head…) I just wish the game's slumberous design was as enthusiastic with its verbs as Ivan is with his adjectives. For parents, or maybe anyone burnt out at the end of the day, or anyone seeking the cinematic beauty of Another World without the accompanying teeth-gnashing, this tall tale of a tiny terranaut could work as a pre-sleep chill-out game (psst, it's also out on Nintendo Switch, but you didn't hear it from me). But for someone who likes their platformers with more oomph, with trials of dexterity or twisty puzzle-thinking, then its straightforward tale might make you a little snoozy for entirely different reasons.

There is something great glinting just below BattleTech’s dour and crusty surface. So much now depends on whether future updates will dig for it or not – I pray they do. I’ve put an inordinate amount of time into playing Battletech, even starting the campaign over at one point, so convinced was I that I must be missing something or playing it wrong, but now I have reached an inescapable conclusion. If you want a picture of BattleTech, imagine a giant robo-tank silently firing an ineffective laser at another giant robot-tank – forever.

At present, Stormgate is a potentially good game that makes a poor first impression. Six missions, only three of which are playable for free, makes neither a good campaign nor a good deal, while the game's most interesting factions are hidden away in the multiplayer, where you need to do a lot of on-the-spot learning to get the most out of them. All that said, I don't think it's a game anybody should write off. Behind its blandifying art style is a very tactically chewy strategy game. If you're a fan of the genre and have friends who are likewise, there's good fun to be had in its 1v1 multiplayer, which I should stress costs nothing to try out. [Early Access Review]

A short-lived yet slowburn sci-fi drama about two engineers exploring a spooky, beautifully designed Martian base that's let down by a general lack of inspiration and especially, a dissatisfying plot.

I can’t, in short, say anything bad about Savage Vessels that isn’t heavily outweighed by everything it’s doing that’s rewarding and exciting. Uncovering new levels stressed me out enough to wail at my desk, but in a way I enjoyed a lot more than the people around me probably did. Its slower pace and clearer presentation made for a less frustrating time than its zombie-stabbing inspiration, and its difficulty is more manageable and better at inviting the sense of “okay, well, this time…” that any good roguelike needs.

This is far from the most polished remaster I’ve played, and the original was a hit-and-miss affair to begin with. Judged in terms of Platinum’s own end-of-level trophies, this earns a silver award at best. But then that preposterous theme tune kicks in, sweeping your misgivings away for a precious handful of minutes. When you hear that music, you feel like you can do anything – even draw a circle correctly on your very first try.

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.

The satisfaction of a fully-ticked list kept me going to the end, and I happily lingered for a few more hours to identify objects I'd missed. The highs of Strange Antiquities – and there are many – match those of anything else I've played this year, and surely put it up there with Blue Prince among the best puzzle games of 2025. It is fiendish and delightful, and hopefully, one of many more Strange games to come. [RPS Bestest Bests]

For those who prefer their logistical twiddling to be more abstract and neat, this isn't going to tear you away from the factory lines of Shapez 2. But it might be worth a pop for those who prefer their number-fiddling to be wrapped up in a thematic purpose. It doesn't have the moral compassing nor the defined flavour of Frostpunk (which, for me, remains the more eye-catching post-apocalyptic city builder). But it does enough with its humble scavengers and salvaging expeditions to at least invest you in the populace as a whole. Even if that concern is always attached to a selfish desire to avoid resources plummeting. [Early Access Review]

Wonky performance aside, Nioh 3 is excellent. It's not as elegant and practiced as FromSoftware's efforts, and I daresay that the creativity present in recent Chinese soulslikes like Black Myth: Wukong isn't matched here either. But it still warrants a Bestest Best, because what this game does do is deftly borrow from modern titles in a variety of genres, mingling their flavours into one delicate Miso soup. There's a word in Okinawan - chanpurū - which means to mix together. That's what Nioh 3 is - a chanpurū of influences that manages to entertain in a wonderful fashion. Even if you're biased against samurai like I am, it's still worth your while to fire this one up, tackle the Crucible, and cuddle a Chijiko or three. [RPS Bestest Bests]

I tried my damnedest to like Source Of Madness... but it all comes back to The Itch. The game has its moments and the world's beautifully horrid, but when everything's churned out of a machine-learning bot it makes for a roguelite that's too random. Yes, you've got to think on your feet, but a lack of defined margins means your life's often snuffed out by mess. And mess leads to frustration. And frustration leads to excuses. When you're pinning your demise on the game itself, it's hard to summon the willpower to push on.

After years of seeing the same thing, it has become clear that Ubi games cannot function on the strength of their formula alone. And they certainly can’t rely on the strength of your mate Greg. They need some hook and less bait. At the very least they need decent story-telling or likeable characters. However, the principal problem that will forever plague this developer is that the transparency and rigidity of their formula will always hinder them. You can always see it skulking over the surface of the game, like a man in stars and stripes facepaint trying to sneak into a cocaine warehouse. It has been detected: insta-fail.

This is an idea we’ve seen before, most recently with Quantum League, which Nic Reuben gave a favourable review but I wasn’t hot on thanks to its repetition and mediocre gunfeel. I will say Lemnis Gate is better on both counts by quite some margin, so if you got a kick out of Quantum League then hey, dig in. Fill your chrono-boots. Timey-wimey Tic Tac Toe is still an intriguing concept, and Game Pass provides a handy way to check out games that are more interesting than fun. It’s just a shame it hasn’t made me think harder about where to place my chrono-Xs.

If you’re jonesing for a new game in the field, then this isn’t a disaster by any means. If you put up with its clumsiness, there’s a tough-as-nails isometric twin-stick action-me-do (that’s the one!) here to play. Just one that doesn’t really stand out from the crowd.

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.

For a game about spies, Phantom Doctrine is atrocious at providing you with information. It doesn’t set up its pieces in an interesting way, it just pretends to – and while it has some neat ideas I haven’t gone into detail on, that’s because I so rarely needed to engage with them.

Glittermitten Grove is nothing but misery. Build, wait for meters to refill, endure, repeat, self-loathe.

Repetition stings more here than it did in the main campaign as traditionally Assassin’s Creed DLC has been a place for designers to test out weirder ideas. Think of Syndicate’s hunt for Jack the Ripper, or getting a suite of magic powers to fight a godlike George Washington in AC3, or taking a visually spectacular tour of the afterlife in Odyssey. If anything, The Siege of Paris’ run of strong missions and knottier story feels like what Valhalla probably should have been in the first place; a tantalizing glimpse of a better game penned into an eight hour DLC. It only dips its toe into the giant, plastic skull full of red wine; time for a bolder developer to take the plunge.

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.

Honkai: Star Rail is still in its early stages but it’s incredibly good fun to play. With the promise of more planets to come, more characters to fall in love with, and more twists and turns than anyone can see coming, this is one train that’s worth riding.

If you reckon a tense, varied, visually impressive and mechanically gripping campaign is enough to sweeten the sour taste of its politics, that’s fine. That’s about the page I’m on. If you’re ready for another dunk in COD’s multiplayer gunge, the tank’s right there. The gunge is good as ever, and there’s no need to play in Ground War’s side-pit if you don’t want to. Personally, though? I’m gunged out. Modern Warfare delivers pretty n’ twitchy low-stakes shootouts, but my tastes have changed while COD has not.

It’s all focused firmly towards evoking the period though, and here, Creative Assembly’s love for history absolutely bleeds through.

Progressive, witty, and touching, if chronologically troubled, Killing Time At Lightspeed a fine thing.

This is an incredible game. I started it with no expectations at all (as I mentioned before, I can’t even remember why I’d flagged the game to look at), and have come away from it as one of my favourite games of 2016.

A largely uninteresting original story and an otherwise bloated word count aside, Dynasty Warriors Origins is a joyous balancing act of tension and spectacle that's completely reignited my interest in the series.

The Forest remains a huge achievement, and a survival horror game that somehow manages to keep those two elements surprisingly separate and yet let each impose upon the other in very interesting ways. I do wish it had been tidied and bug-fixed by now, but I can’t stop wanting to play despite it.

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]

Beyond its success as a mood piece, it's tempting to recommend Exo One solely for its scenery. As a machine for generating desktop wallpapers or screensavers, it's first rate. Some of you, I feel, will love it for this alone. But as I said up top, maybe I just don't like sci-fi vistas as much as I thought I did. Long before Exo One's short three hours reached their conclusion, I just wanted it to be Exo Done.

Figment 2 is an overall solid game, but it’s just a shame that it feels like second violin to Figment 1. Even so, getting to peer inside the minds of the folk over at Bedtime again is always a treat. Playing Figment 2 solo is fun enough, but if you're after a fun co-op game with a young player 2 in mind, then it's a great shout.

The important questions are whether it replicates the fun of the tabletop game – at least for the rank and file of casual players like me – and whether it’s a good PC game. The answer to both is a resounding yes.

As far as Rainbow Six Extraction goes as a whole, I think there's a lot of good here. The missions are challenging, the aliens are clever, and the progression system is rewarding enough to keep you interested. Nothing is going to blow you away or keep you playing for hours on end, but it works as an FPS you can have a really fun time with on occasion. Sometimes that's all you really need, isn't it?

The fact this is all the work of mostly two developers also just blows my mind a tiny bit, too. I don't think it will convert those who have never enjoyed a Pokémon game before, and I can also see its in-depth elemental system being a bit too much like a GSCE chemistry lesson to capture the attention of those Pikachu-loving ten-year-olds. But for those who have felt increasingly like the Pokésphere just doesn't cut it for them anymore, there's definitely a lot to like and admire here. Pokémon will always likely be the dominant force in the monster-catching genre, but Cassette Beasts is a smart, evolutionary offshoot from the Game Freak family tree that I hope has a long and happy life ahead of it.

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]

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.

It’s got as many flaws as an outdated Windows operating system.

The buggy, like the rooftops, is a temporary form of safety. All of the enhancements in the latest edition – new loot, new levels, new end-game excess – are icing on the cake. Dying Light is about creating moments of safety, empowerment and comedic triumph in a world that wants nothing more than to tear you down, and The Following is a perfect expansion of that central tenet.

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.

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.

Relationships don't just encompass those with whom we drink our pumpkin spice lattes, or those we work beside, or take out to the cinema, or plan a roadtrip with. There is meaning in the anecdote you share with a train conductor, the mini-rant about the local council you have with a fellow dog walker, even (god forbid) the blue joke you get from a taxi driver. Kind Words 2 isn't about forming friendships (it admits as much when it asks you never to identify yourself). It isn't even about community, as every live service game seemingly wants to be for its own purposes. It's simply about passing someone in the street, seeing their hurt, and telling them it isn't the end of the world.

Saturnalia though? That's an experience you want to have. More and more I find myself skulking around the edges of the bell curve, looking for unusual things that provoke unusual feelings. Saturnalia is one. It's a pulse-raising, shiver-making, dark little whisper; a beautiful game. Sometimes tiny things go a little wrong in Saturnalia - dialogue triggering at slightly the wrong moment - but you'll hardly notice. It's a rare game that unsettles you enough to stop playing, but attracts you enough that you turn it back on almost immediately. A rare game that's so unapologetically specific, that doesn't seem to have diluted any part of itself. Rarest of all is a game that's truly unique, and makes you think "I haven't played anything like this before." [RPS Bestest Bests]

I enjoyed Ghost Song overall, but that middle act slump did almost kill it dead for me, too, which is a shame, as underneath it all, this is a very accomplished Metroid-like for such a tiny dev team - and it will certainly fill that Hollow Knight shaped hole in your life while we wait for Silksong, especially if you're a Game Pass subscriber. There's still plenty to admire about what Old Moon have made here, but there are enough fluffed notes in the mix that it just stops short of being a harmonious whole.

I think, streamlined significantly, with the repetition removed, this could have been a really neat two-to-three hour game. Instead, with so much that feels like padding, it gives all the mistakes so much space to become a problem. It’s often a lot of fun to grapple and leap about in, but it’s always too quickly spoiled by something else.

In a way, it's fitting that HROT should repeat the mistakes of the games that inspired it, frontloading all the best bits into that first episode inherited from the shareware model, then following it up with level packs that have sparks of brilliance but lack the same coherence. I have zero regrets about playing it, those brown and twisty murder dungeons speak directly to my blackened husk of a soul. But this is a treat baked specifically for shooter enthusiasts, and probably not where you should start your adventure into an imagined FPS past.

It is a game about embracing engineering and being unafraid to encourage craziness, so long as it can be physically done. It is a game that does the very idea of Science, with a capital S, proud.

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.

How To Say Goodbye doesn’t try to make grand statements about life and death. You get out of it what you like. It’s a short, cozy adventure about how death sucks, and how losing people sucks, and how grief sucks. And I appreciate that simple sentiment.

Lovecraft’s Untold Stories lulls you into a false sense of security with its mostly banal horror, and then boom! Penguins screaming like people. I can still hear them. [Premature Evaluation]

The best thing about A Space For the Unbound, though, is that it takes a supernatural teen drama gives it real heart. Mojiken were already masters of telling bittersweet stories in miniature, but I'm pleased to report that sense of longing, sincerity and earnestness hasn't been lost in their transition to making a larger game with a larger scope. A Space For The Unbound may be more ambitious than their previous work, but it still feels distinctly Mojiken, and that's something to be celebrated. What a wonderful start to 2023.

The game makes a fairly decent fist of infantry combat, comes with some nicely crafted maps, and inherits CC’s natural elegance and approachability, but falls short in too many core areas to earn a positive review from someone who has Combat Mission, Graviteam Tactics, and Armored Brigade ready and waiting in his amusement arsenal.

While multiplayer offers a lot of potential for TFC even this early in its early access run, and functions very smoothly in terms of matchmaking and connection, finding an actual opponent is a vanishingly rare event. There are, sadly, very few people on the servers so far, and I’m pretty sure the lion’s share of multiplayer games happening right now are being arranged on Wield’s Discord server. Still, that will hopefully all change if this game gets even half the attention it deserves. On which note, I urge you to grab yourself a pomegranate, sell someone a load of high quality copper, and have a go. [Early Access Review]

It’s a really well made and sometimes great portion of turn-based tactics, but more often than not, it was frustration rather than strategy that drove me to go maximum boyo.

Pixel Privateers knows exactly what it’s doing, and though it’s about as deep as a microwave lasagne, it’s almost impossible not to lose yourself to it for a few evenings.

Making entertainment media rooted in the recent past is never easy. The interactive nature of games makes that even trickier, and Paradox is no stranger to certain groups deciding that presenting historical reality is equal to endorsement. Victoria 3 succeeds at rendering a tumultuous chapter in world history with a straightforward grace that educates as much as it entertains, encouraging reflection and empathy in the process.

So, some of White Shadows' individual parts are flawed, but I did really enjoy my time with it. If you don't really mind the game's simple puzzles and you're willing to ignore the exposition dump at the end, I'd recommend it. White Shadows offers two hours of creative, chilling designs, joyous musical set pieces and enough screen-shottable sights to fill your hard drive.

Consider the real promise of the game then, the underlying fantasy. How thoroughly can you make this talking rat regret its life choices? That’s still a fantastic sell.

Even more upsetting are the momentary flashes of Platinum brilliance that shine through. The game hits you with the occasional stunning oil-painting backdrop, draws you in with the story for a split second. Sometimes the bosses are super cool, or you'll do an awesome last minute dodge and you'll feel unstoppable. Somewhere, deep down, there's a sliver of the fantastic Platinum. But it's mired in what it thinks makes a live service game tick and loses itself as a result.

All this for £13! Honestly, this is purist FPS as good as it gets, just a constantly stunning game. Don’t miss this. [RPS Bestest Bests]

Silt is a fairly short game, though, and playing it over a few days meant I usually figured out a puzzle the next time I came back to it. I'm just not entirely sure that coming back to Silt is the ideal state of affairs. Really the question is: are the vibes good enough to make up for the want of a nicer checkpoint system? I'm not sure they are, both because of Silt's comparative brevity and because it's not as if it's Dark Souls, here. The stopping and starting and reloading felt a bit at odds with the dreamy and/or nightmarish floating in any case. On the other hand, the addition of more checkpoints would proabably be all it needs, so your mileage, especially under water, may vary.

This is Full Throttle made playable once again, and that’s something to be celebrated. It’s a really fantastic game, with a lovely story, and brilliant performances. And out of its original timeline it’s free to just be itself, not compared to the last or the next LucasArts adventure to hit the shelves. If you loved the original, this is worth buying for the improved sound alone. If you never played it, then oh my goodness, hurry up!

It’s a good sign that such a short game has me thirsting to know more about an obscure occultist who lived 400 years ago. In one scene, Doctor Forman admits to a patient that he merely has “the gift of logical surmise”. With that in mind (among other crimes) it would be easy to see him as the charlatan he is said to be by his enemies. But there are also moments that reveal a more complicated and conflicted man. In a short game full of haughty songs and jokes about willies, that’s an impressive achievement.

My Friend Pedro does let you realise the fantasy of conducting a bullet symphony while hanging upside down from a zipline, but like most fantasies, it doesn’t survive past the initial rush of blood to the head.

Breached is just too small in every aspect to feel satisfying. I’d love to see this fleshed out into something with more ambition and more purpose.

It looks just lovely, a bold and distinct cartoon style that’s something I want to see more of. And it’s important not to underestimate how much the voice acting adds, including daft singing characters.

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.”

The Gardens Between is all about reminiscing. It plays like two friends talking about all the adventures they’ve had, with the conversation flowing as they remember details and go back over stories that’ve grown with the telling.

There’s a special appeal, too, for Dota players. It’s remarkable how effectively Artifact captures the structure of a Dota game, where semi-isolated struggles build to climactic battles that see every hero converge on the same lane. Though not always: Artifact’s well of possible situations runs deep, offering variety where other CCGs dry up.

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

Cursed To Golf has plenty of visual charm, and elements taken from its Flash game origins feel like a fun throwback. Unfortunately, though, it’s a bit of a swing and a miss for its roguelike elements.

I already knew that Cosmo D could make games which tell fascinating and fun stories in a world I want to explore. I'm thrilled to now learn that Cosmo D can also make a game which makes me consider moves carefully as I enjoy mastering a system. I have no idea where he might go after this, and will be delighted to see. [RPS Bestest Bests]

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.

So yes, there are flaws and niggles that come with it being almost 30 years old, but Tactics Ogre: Reborn remains one of the great strategy classics for good reason - and to finally see it come to PC and other modern platforms where everyone can enjoy its densely plotted tactical machinations is well worth celebrating. In another timeline, maybe, we might have seen this receive a more luscious HD-2D makeover (the game's 'Lawful' route, perhaps), but as it stands, this thoroughly 'Neutral' remaster still has plenty to admire and sink your teeth into - particularly if you're planning to play it on Steam Deck, where it works surprisingly well (bar a few touchscreen annoyances on the main map screen), despite not being fully verified yet.

Slick, beautiful, gently challenging and supremely well designed, it’s a stunning piece of work.

What I can say is that it is delightful and non-threatening, and playing it has typically left me feeling pleasantly drowsy and contented, the way I might after wandering around a brightly-lit midway, munching a corn dog covered in mustard in a gauzy childhood memory of the carnival.

Ultimately, it's not the machinery of Citizen Sleeper I'll remember, not the ticking clocks and the rerolls, but the hackers and the mercs, the drunks and the shipyard workers. Because like Feng once said: systems aren't important, people are.

I liked it! More than I expected to like it. But at the same time, after six hours of it, I’ve had enough. The spider labyrinth was astonishing, but it’s not really a mess I’d get myself in twice, when the real joy was in escaping it. I could have spent more time finding secrets and backtracking for loot. And there’s certainly a huge replay potential to RE3 for completionists, and folks who are fond of difficulty challenges. But that ain’t me. I was precisely in the mood for a fairly linear, day-long series of setpieces, and that’s exactly what I got. If that’s what you want too, then the question is whether it’s worth £50 to you. Unless of course you also have pervasive fantasies about being smacked around by a wardrobe-sized bastard wrapped in bin liners, in which case this is a must-buy.

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.

In its present state, Duelyst is fantastic, and with time it’s likely to only get better.

I'd hesitate to renew that Nioh 2 prescription if you're someone who's already invested many hours into the PS4 version. Apart from the DLC and the swanky performance upgrades, you aren't really getting anything actually new (apart from an RGB Valve helmet, I suppose). Having said that, I think Nioh 2: CE is absolutely worth it if you're fresh to Nioh and like crunchy, combo-laden combat. Even moreso if you love stats and skill-trees on top of that.

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.

Frostpunk may be one of the most tense, exciting city building survival games on PC, but for a game with such an emphasis on innate justice, and heat, it leaves you surprisingly cold.

So much damage has already been done to the game simply by calling it Overwatch 2. From the second of its announcement, Blizzard were at the mercy of players' expectations for a full-fledged sequel. And when they compare those two side-by-side screenshots and see virtually no difference, that's a major disappointment and perhaps a turn-off for many players. For a content update, Overwatch 2 does an absolutely phenomenal job. For a sequel, it feels pretty underwhelming. I wonder, would it have been better to use chapters like Fortnite did? Something between a content update and a sequel? [Review in Progress]

Disc Room might be readily slept on, but if you are the kind of tough game obsessive, a connoisseur of arcade death, or a bullet hellion who cannot resist the call to mastery, these rooms should be approached wakeful and willing and ready to die.

So few games are capable of putting humans together like this in a den of villainy and letting them become slowly corrupted or instantaneously redeemed. Hackmud does this and does it very well. It is like the early internet it so perfectly mimics: a world of confusion, paranoia and possibility.

In short, this is a hulking jaunt through a gauntlet of scum, traitors, filth, and heretics. The social landscape of 40K's galactic hellwar is fuelled primarily by hatred and secondarily by a twisted sense of honour. And it's so overblown it is often Verhoeveningly funny. But within the confines of its own delightful cesspit, the story does its job. It gives us an excuse to see a chaos demon smashing the graves of a thousand unknown souls to pieces. The guns 'n' galumphing likewise serves its weighty purpose. From the perspective of an outsider, this is a well-crafted third-person action game with a story somewhat bloated with lore. From the perspective of a fan, it may be pure ambrosia.

You get to be methodical. Curious. Work through all the different species you need to research. Log all the specimens you need. Update all the taxonomies until you know everything you can about this world. You can order it all, and order your mind. You can imagine Ellery’s careful steps. You listen to the deep, slow breath of the ocean rolling overhead and around you. Ah. Lovely. [RPS Bestest Bests]

Competent enough as these things go, but far less suited to manic action-comedy than it is to languid angst and survival.

It’s less dramatic than some of Dontnod’s other outings (and probably not for those with short attention spans given the pacing), but Tell Me Why remains a good entry in their the library of stories about families and sad magic – and it’s probably the most hopeful one yet.

Those golden-era JRPGs are beloved because they were packed with memorable locations, characters, and combat. I Am Setsuna unfortunately falls short on all three counts, and instead delivers an average and forgettable adventure, albeit one with wonderful music.

Whatever happens to Afghanistan 11 in the future, it’s sure to be one of my most played w******* (history-steeped military strategy games with influential terrain and plausible, reality-derived unit relationships) this year. I love how it forces me to spin plates. I like the way it uses IEDs and RPGs to transform every vehicle move into an adventure. In a genre dominated by demolition and death, the emphasis it places on construction, and improving the lives of the local populace, is cheeringly discordant. The theme isn’t one I’m naturally drawn to, but the design is so strong, the history so ingeniously utilized, an ‘RPS Recommended’ rosette is inevitable.

Sharp as a spike bayonet in the AI department, surprisingly realistic in areas like morale modelling, LoS and armour penetration, SD’s crowning achievement is arguably its interface. It’s hard to think of a wargame that makes control feel so effortless or one that communicates unit details so effectively. [RPS Recommended]

Tokyo 42 is an inventive and strikingly attractive game, with a very natural blend of stealth, combat and figuring out a path, unfortunately hamstrung somewhat by absolute fealty to its isometric perspective. I alternated between the beautiful tension of sneaking through busy places (personally, I incline towards the silent kills of a katana rather than the Syndicate-esque mass destruction of miniguns and rocket launchers) and the jaw-clenched annoyance of death-by-camera. An impressive accomplishment, but sometimes a grating one too.

But alas, bugs only exacerbate the sense of freedom curtailed. One prevented essential resin from spawning that made a sequence unfinishable until I rebooted the game; another saw Isao pause in uncharacteristic, eternal silence during a mandatory conversation. It’s testament to Jett’s great strengths that, in the language of the scouts, I adapted and persevered through its severe lows. Once the story finished, I hoped an endgame would open up and allow me to play freely in its world. That I’d have more opportunities to watch great Ghoke, the red sun, rise in real time, and to ponder the Far Shore’s fascinating mysteries at length. Instead, I could only replay previous chapters. If only Jett had embraced a rhythm as organic as its inspired ecosystem.

Ultimately, Season is a mercurial game that will likely hit different for everyone who plays it. [RPS Bestest Bests]

Sniper Elite 5 maintains the series signature sharpshooting across some gorgeous locales, but its renewed emphasis on close-combat encounters often feels like a shallow sidestep away from your rifle, leaving objectives feeling flat and monotonous. The game's at its best when you can sit back and snipe like a champ, but when the campaign constantly forces you into tight, muddled environments, it ends up distracting you from that glorious sharpshooting. The new Invasion Mode ups the ante and makes missions more tense, while the new weapon customisation system lets you personalise your sniping experience, but the amount of time spent sprinting around means that Sniper Elite 5 often fails to hit the mark.

Northgard is simple in all the right ways, challenging not because of complexity but complacency – it’s harsh, but rarely unfair.

Clearly the Deponia series is loved by enough people for them to keep making more of them, so I’m sure this will be as gleefully received as the rest. But it’s a nasty, stupid, and most damningly of all, badly constructed adventure game. The animations and art are lovely as ever, the music’s great, most of the voice actors are decent enough, but good grief, please, no more. Just make it stop.

Minute Of Islands' story - which includes a character saying the title of the game, as well as the narrator at one pont saying "no one is an island" - isn't necessarily subtle. Absent people are represented by scarecrows wearing homemade protective hazmat suits. Mo has visions of the machine attacking her, and she also hallucinates about standing on top of her own, giant, dead body. But for all its narrative bluntness, Minute Of Islands is an incredibly elegant game. Much more so than the most other indie games that are about death and grief and sadness and responsibility. In a strange way, Minute Of Islands is comforting as well. Just, you know. Don't actually tell it to your kids. [RPS Bestest Bests]

Little Nightmares II such is a splendid mix of cute and creepy, beautiful and awful, that it sort of defies categorisation. A childhood terror gothic, perhaps? [RPS Bestest Bests]

That’s where Resident Evil succeeds. Not in the drivel spouted from its character’s mouths, but in the bullets spewed from their guns. Or better yet – the clicking of empty chambers, or the spine-chilling scratches of scrabbling overhead. I may hate lickers, but I’m also a little bit in love.

I can’t believe I’m about to say this, but it’s at least as good as Slay The Spire. [RPS Bestest Bests]

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.

If you’ve a kid who just got into Star Wars via the new movie, goodness me this can’t be recommended highly enough. But at the same time, and I’ve been the one fighting off saying this for years longer than many others, it’s getting stale. It needs to be something new, to invent a new way to create something so adorable, because at this point it’s getting very hard not to recommend just picking up the older, cheaper titles. You’d barely notice the difference.

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.

I love being exposed to new places and histories, but the distancing of Aurelia’s structure had me looking for a way to get closer; that brush with the familiar pulled me right in for a moment and I wanted more of the same.

Twice this year I’ve felt such a strong need to support a game that I’ve bought a copy for a friend as soon as I’d finished my review copy. Alongside Tactical Breach Wizards, Mechabellum is the best fifteen quid I’ve spent all year. At this rate, it’ll still be best fifteen quid I’ve spent next year too. It's sometimes hard to tell if my love for Mechabellum comes from its place as an entry point to a genre I always would have loved, but I strongly suspect it's simply because this is such an thoughtfully constructed and impeccably designed bit of strategy. I'd call it loving, almost, if it wasn't so incredibly cuthroat that I almost feel guilty each time I do what mechs do best: stomp another opponent into dust with little more than a single, well-considered click. [RPS Bestest Bests]

Much like 80 Days, Sorcery stands as a great example of what text can do, the more fun bits of gamebooks between the bullshit bits, and an excellent classic adventure that soon becomes a fascinating modern RPG in its own right. No dice, scribbled margin notes, or agonising little paper-cuts required.

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.

The tissue-thin layer of political commentary in House Of Ashes mostly serves to get in the way of what is almost a decent horror romp. It has real monsters! A big length of iron thrown at head height! Flashbacks to the past with a creaky old English voice! A cool combined knife and flare fight! Mushrooms! For God's sake, stop trying to say something meaningful beyond, "the member of your group who has been bitten cannot be trusted." By going back to being a silly 00s survival horror, House Of Ashes has taken a step firmly in the right direction compared to other Dark Pictures Anthology games. But what it really needed was the cast to be two cheer squads from different schools, who were on their way to regionals when they fell into a vampire nest. I'm sure you could come up with another way for them all to have massive guns. [RPS Bestest Bests]

It’s sailing on, happy to be what it is – another pirate game with a skeleton crew.

Ultimately, even if more of the jokes had landed, they wouldn’t have been enough to carry the game they’re crushed under. I’m aware that repetition in games gets rubbed in by playing long stints for review. Perhaps it all would have been less tiresome if I’d experienced it in the small bursts the original mobile version of DD was designed for. But repetition in general isn’t good game design. It needs to be spiced up with novelty or thought, and the actual dungeons of Dandy Dungeon don’t pack enough of either.

I’ll end with this: I can confirm that during at least one race, you get the opportunity to drive around as a dog in sunglasses.

There’s greatness here, and damn, it’s so funny and cutesy-sarcastic. The puzzles are top notch, and the dungeons, when properly equipped, often a pleasure to plough through. But there’s just so much annoyance layered on top for absolutely no discernible reason, beyond presumably a fear that their sequel didn’t feel sufficiently different. The silly thing is, it was.

Very occasionally, I'll play an RPG that makes me feel ten again. Rebirth. Cris Tales. Revisiting Suikoden. Years come, the big number ticks down, and comfortable appreciation replaces the spellbound enchantment of being told a story, of being swept off to a new world. Of playing Final Fantasy 8 in that special edition shirt that Ben Starr likes to wear that I wish I'd kept because I bet it's worth a bloody fortune now. You wait for a game to bring you back there, mostly certain you've moved passed the capacity to feel that way because you now have the sort of adult concerns that cause you ask how much a shirt might be worth on Ebay. I can't say if Clair Obscur will work its magic on everyone the same way, but it certainly did for me. I'm still not ready to leave, honestly. What a special and rare thing this is: a story that feels like someone wanted to tell it so badly it hurt. [RPS Bestest Bests]

I’ve still happily lost hours mining away, blasting gun-toting demons with bouncing icicles and hanging with my skulls. It’s constantly doling out new weapons and monsters to test them on, and every dive into the subterranean world results in so much more loot than I can carry that I’ve just got to go back down one more time. Brevik, as you might expect, is still pretty good at making the grind compelling. [Premature Evaluation - Early Access]

My opinion of Children Of Morta has improved, and I can see it finding a happy audience. But if I wasn’t reviewing it I doubt I’d have got there. It leads with its worst foot and you have to grind for hours to drag the other one into the dance.

Paranoia is geared towards this kind of playful arguments and collaborative storytelling more than it is simulation. You can’t easily replicate scenarios like the above in a video game, so to port the setting into a standard computer RPG requires… more. I do wish Paranoia: Happiness Is Mandatory had been a bit more daring in the attempt.

Shadows Of The Damned: Hella Remastered will no doubt please fans of the original, as it doesn't touch the demonic meat and bones of the original besides giving them a bit of a face lift. For those coming in fresh, it's a fairly good time, but only until you start noticing its nastiness. I respect its zaniness and its double-A feel from yesteryear, but I also despise how its characters and its world portray women. I wish that attitude had been tossed in the bin and 'remastered' instead, honestly.

I can’t shake the frustration that the Savage Planet could have been something more, but that might be because I’ve been spoiled through reading reams of outlandish sci-fi. It’s populated by the pulpy bug-eyed monsters of the fifties, rather than the oddities dreamt up by the likes of Iain Banks or Greg Egan. Or Liu Cixin. Or China Miéville. Or Ted Chiang. Or Peter Watts.

Lego Marvel Avengers is very much what they’ve already been, but with most of the magic missing.

Firewatch is a rare and beautiful creation, that expands the possibilities for how a narrative game can be presented, without bombast or gimmick. It’s delicate, lovely, melancholy and wistful. And very, very funny. A masterful and entrancing experience.

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.

If you’re a little bit curious, or if you enjoyed any of the games with which it shares its DNA, Virginia may be one of the oddest and most fascinating things you’ve played in a long, long time. Vivid Virginia is a hell of a lot more than plain old “walking.”

Despite those reservations, and the sometimes plodding nature of the matches, there’s a lot of brains to Faeria. It’s certainly more interesting to me than vanilla Hearthstone, even if many of its cards lift directly from the big book of CCG mechanics. It’s a game of risk, reward and really bad decisions. It’s many times more thoughtful than Duelyst, which is always my yardstick for card games. But at the same time it is much less climactic, less explosive, and less creative with its minions and their abilities.

Both games boast shortish campaigns, modest price tags, and occasionally shoot themselves in the feet with lines of B movie dialogue. Both bring down The Helicopter Fallacy with a flurry of tracer-laced MG fire, and deserve our admiration, gratitude and patronage for doing so.

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]

£14 is a lot for two hours, and as I think I’ve perhaps covered above, it’s an abysmal game. The Welshest game I’ve ever played, but still abysmal. Great TV show for the most part, but one that keeps annoying your viewing pleasure by asking you to click on a dot. Graphics are amazing, though!

Despite these missteps, though, Episode 2 was still exactly what I wanted from this game, and that's more Coffee Talk. I wanted an excuse to hang out with these characters again and check in to see how they're doing - a feat I've continued to do with Toshikazu Kawaguchi's now three (soon to be four)-strong Before The Coffee Gets Cold series - and Hibiscus & Butterfly absolutely delivered on this point. I wouldn't say it's a better visual novel than the first Coffee Talk, but it is more of the same ingredients, and that's fine by me.

My overwhelming impression is of a game that wants to set its own pace, its own "high noon" rhythm. And I quite liked that. As a roguelike its quirks will either endear you to it or make you grimace in mild frustration. Its up-and-down pacing, both on and off the battlefield, makes it hard to recommend to people who like their roguelikes snappy. And while I thoroughly enjoyed the cowboy chatter, it might grate on anyone who wants to hurry up and hit the next showdown. It's a slow burn and the opening hour doesn't communicate the intention particularly well. But as anyone who has really tried cooking beans over a fire can testify, once they're warm, they're just fine.

The cracks in its facade are stark because it’s otherwise such an incredibly vivid work, and the life breathed into it by its animators, artists, and actors is potent enough to survive some deeply odd writing and tonal choices. There’s a wonderful story, I’m sure, to be told about Kratos’s journey from destroyer to conciliator - the glimpses at mythological wonders that are allowed to exist in his presence without getting suplexed into paste here are stunning - this one just feels like it skipped a few steps.

Is it currently fun? Undeniably. It’s gross, silly, and more than a little thrilling, and while the matchmaking system is a bit rubbish, there are always plenty of active servers to choose from manually, ensuring that you won’t have to spend much time looking for a game. But for that single mode to remain fresh, a frequent injection of new stuff is going to be necessary.

Early access makes blank spaces obvious to long-serving fans, who will rightly look back at the first Space Engineers and observe that it still does ten times as much for roughly half the price. There's good reason to be hopeful that this sequel will become the definitive way to weld together planet-hopping death traps for your pals. But I wouldn't blame any astronauts out there for staying planetside until there's a little more to see. [Early Access Review]

Baba Is You is immediately completely superb, a puzzle game where you literally rewrite the rules as you play.

A delightful, charming, and relaxing affair. It’s a Sunday afternoon television of a game, and goodness me, does that have a place. It’s funny, daft, and the look is incessantly fantastic. Backgrounds are beautifully drawn, characters are well animated, and the voice cast are all modestly strong. And it’s got Tom Baker in it. I had a thoroughly lovely time.

Axiom Verge 2 isn't the most straightforward sequel, then, and some of its mechanical mutations are more successful than others. If you adored the guns and boss fights of the first game, then its sequel may be something of a disappointment. However, if you're into the puzzles and exploration side of Metroidvanias, Axiom Verge 2 shows a level of sophistication in its design that I haven't seen from this genre in quite some time, even if the end result can sometimes be a little obtuse. It's familiar, yet different; the kind of game the first Axiom Verge might have been in an alternate timeline, which feels fitting given its obsession with portals and shifting realities. With the door left open for even further forays into this kaleidoscope of different dimensions, you can bet I'll be back for more when Axiom Verge 3 rolls around.

So yes, GreedFall is better than The Technomancer. But being better than The Technomancer isn’t exactly the hardest thing in the world. And despite its clear attempts to be, GreedFall isn’t better than the BioWare classics either. This is a step in the right direction for Spiders, but they still have a lot of work to do.

There’s a lot wrong with The Martian VR Experience [official site], and it’s almost scandalous that they’re charging for it at all, let alone asking sixteen quid, but the bit where you get to drive a rover across an Unreal 4-rendered Mars with I Will Survive blaring is very hard to argue with. The bit where you cack-handedly chuck some potatoes in a bin, less so.

This might be the most beautiful, intricately hand-crafted open-ish world in gaming. I wish I was more excited to spend time in it.

That's kind of par for the course in dating sims, though, innit? You get to smooch who you like. That's the thrill! If it's a good dating sim, it'll trick you into feeling like there are consequences, and because Boyfriend Dungeon is very good at that. I also stand by my assessment that because of the additional literal layer to "using" characters, it is the most realistic video game romances have ever been) I was just sort of expecting to be called out at the end. I deserved it! And I'm a bit sad that I wasn't. It turns out that truly, the biggest weapon of all... was me. But if you like dating sims, this is a rollicking good time that offers more action and less passivity than your standard genre stuff. All I want from Boyfriend Dungeon is, basically, more of it. Better, faster, stronger. Sharper...

Look, I know making almost any game is a labour of love, but I spent like a week being sad and not knowing why, until I finished this game and realised I was happy because I didn't have to play it every day after work anymore. All this does is prove that Gearbox cannot be trusted with their own IP anymore. The very existence of New Tales From The Borderlands is a more effective critique of corporate structure and the pitfalls of capitalism than any of the content of any Borderlands game. Apart from the best one. Just play Tales From The Borderlands.

Nowhere Prophet’s ideas fill the game like a balloon, rising towards greatness – a balloon that gets punctured by lacklustre writing and wonky AI. It reaches for The Banner Saga‘s intimacy and Duelyst‘s intricacy, but winds up falling shy of both. Like most prophets, Nowhere is a false one.

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.

I like Hellblade 2, and without wishing to sound churlish, I'd definitely give it a whirl if I had a Game Pass subscription. But in a month that's included Animal Well and Crow Country and Cryptmaster and Little Kitty, Big City and Dread Delusion and Indika and Lorelei and the Laser Eyes, dropping fifty notes on this shiny but safe sequel just seems daft. Amid such a cornucopia of imagination, Hellblade 2 needed to be more than just more Hellblade, to elevate the ideas of the first game and build them out. But for all its technical wizardry and narrative worth, more Hellblade is exactly what Hellblade 2 is.

It’s not the deepest game, but it’s smart, ridiculously pretty, and has me completely hooked. [RPS Recommended]

It’s the Baker family’s story and they’re magnificent. Grotesque, yes, but delightfully so. Like Friday the 13th, Halloween, Nightmare on Elm Street and the rest of their kind, it’s a game centred on its villains rather than their victims. And, like those series, this is a game that can scare you, startle you, shock you, draw a nervous laugh out of you and make you shake your head in disbelief, but mostly it’s just here to entertain. And the Bakers are right at the horrible heart of it all.

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.

OPUS is very cute, and while the story obviously borrows heavily from elsewhere, and while the core mechanic will feel familiar to fans of Mass Effect, it was almost a lovely idea. I’d love to play OPUS Remastered, with the ideas elaborated upon, the ship clicking given more purpose, and a greater focus on those ambient puzzles. This remains interestingly strange, but never quite interesting enough.

Battleborn isn’t a bad game in the sense that it lacks work or effort – the team has clearly put in the hours – it’s just that, for me, it’s an uninspiring result which can’t justify its hefty price tag.

It’s clean and painstakingly handcrafted, with superbly chosen colour palettes, striking linework, and cracking use of lighting effects to bring life to grisly, glowing ghosts.

Listen, Gotham Knights has the tiniest shreds of goodness, perhaps tapping into the primal urge within all of us to make the numbers go up. I just don't want to play it again, which says it all for a game that's designed to worm into your brain and keep you coming back for more of its bazillion currencies.

Streets of Rogue is a small and cheerful antidote to the relatively plain-faced immersive sims of the blockbuster sort. It’s a daft miscellany of violent mobsters and unseen assassins, criss-crossing feuds and small mistakes that snowball into bloody knife fights. If you want a tiny, varied Deus Ex that will make you laugh, this is it. [RPS Bestest Bests]

It’s not my favourite play of all time by any means, and I may never come back to it after my fascination fades. Even so, if I’m asked to come up with an example of a genuinely unique experience that shows what games are capable of in 2019, this is the block my internal Wilmot will bring forward from the tangled stacks of my memory. What it is, is entirely up to you. [RPS Bestest Bests]

God Of War feels like a game crafted from the ground up by a team of many people all pulling towards the same thing: to make you feel emotions about these two boys. But also, to really enjoy it. [RPS Bestest Bests]

If you crank the difficulty right up, missions are not something to just casually slaughter your way through. You’ll have to think smart, take longer and most of all sneak, something that is not realistically required on normal hardness.

I’m probably guilty of hoping that, now that the nu-Lara groundwork is established, Tomb Raider might now feel more free to re-embrace the tonal qualities that we loved the original games for. ‘Celebtration’ or no, I shouldn’t realistically expect add-on content for a game which very deliberately employs a dour vibe to somehow depart from that. Happy 20th birthday, Lara. I hope you find your way home one day.

Don’t play for the graphics. Don’t play for the story. Play for what this game is about: putting your brain through a thresher and loving it.

There’s every chance you’ll have more patience for those half-minutes of nothing, or that the rules of the game won’t distract you from the delicacy of the stories, but for me it ended up being more water than wine.

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.

The world of Scorn is singular, and carefully constructed, and intelligent. The way you're left to explore - and the way you can get through it without any help whatsoever - is a 10/10 bit of game design. But the most upsetting parts are upsetting by accident rather than intention. I think as many people should play it as possible, but I can't say you'll enjoy it. I'm really glad it's coming to Game Pass.

Void Bastards is ultimately not more than the sum of the parts I outlined 1400 words ago, but it’s worth rummaging through all the same. Just like yer da said about the bins, when he finally found those Euros.

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.

Perhaps my biggest gripe with Warzone and DMZ are the many launch woes, which feel like the game's servers are teetering on an active tectonic plate. Some matches are stuttery, elastic messes. Small grievances only serve to back up my theory that the game's backend also slides over a molten layer of rock, like when I'm queuing up for a DMZ match but seeing the "Battle Royale Quads" matchmaking whirr away, or finishing a match of Warzone and not even seeing how much EXP I earned and what levelled up. I've had important AI enemies fall through the floor in DMZ and Strongholds not even work as intended. One time I queued up for Warzone duos but it placed us in a borked quads, so I went to revive my teammate and it wouldn't let me. Sigh.

I’m just at a loss as to how this has happened. Just Causes have been buggy, sure. But they’ve never felt at least six months from finished. I cannot fathom how this wasn’t lengthily delayed, because it’s in such a dismal state. Although that said, even if the bugs and AI were fixed, it would still leave behind a version of Just Cause that barely changes anything you actually do since the third edition, yet has made every aspect of doing it so astronomically more annoying. What went wrong? How did such an established and entertaining series end up in such a quagmire?

Viewfinder is a puzzle game like no other. A reality-warping, mind-bending hook keeps it constantly interesting, and it consistently wowed me with the directions it goes in. It’s a game that makes me wish I could erase my memory and play it for the first time all over again. [RPS Bestest Bests]

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]

It’s just simply a wonderful creation that you absolutely should buy and play. It’s brief – the nine levels will perhaps take you a couple of hours – but a splendid couple of hours they are. Daft, fun, exuberant and very pretty, it captures a sense of joy like little else. [RPS Recommended]

But as a PC game, Chronos: Before The Ashes feels like a cash in, with nobody bothering to ask “does this really need to be ported over?”. Without VR it loses the magic of being in your living room knocking shit on the floor, and exposes the game as a very lukewarm soulslike.

That Kanda/Kagawa cloud hangs over Dark Ties and Kiwami 3, and expanding Yakuza 3 with minigames taken from later Like A Dragon games does nothing to dispel it. One moment, you can be merrily mashing away at baddies in the biker battles as the co-boss of a girl gang – which would feel refreshingly progressive in any other Like A Dragon game – but in the next you might need to consider adding Kanda and Hamazaki to your squad in order to win the next scrum. Yakuza Kiwami 3 & Dark Ties is a serviceable remake in a vacuum, but it doesn't exist in isolation. Quirky charm and moreish busywork can’t distract from RGG’s questionable attitude to sexual assault.

The Pedestrian is surprising and astonishing and delighting, it’s true. But for about the first hour and the last. Still, in complete fairness, that does add up to about half of the total play time – and 50% surprising and delighting is pretty good going.

The climbing is unquestionably repetitive, but that’s not something that puts me off at all. It’ll be the deal-breaker for many, I’m sure, but for those not put off, this is a delightful little thing.

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.

If it’s your first time back since 1999, however, rest assured that it treats your memories well.

I can’t recommend Pentiment enough. It’s an enthralling murder mystery (with a satisfying conclusion, I might add) and its use of Europe’s rich history during the 16th century as a backdrop is incredibly astute for a detective tale focused on faith and truth. Pentiment can sit nicely next to the likes of Paradise Killer, Disco Elysium, and Return Of The Obra Dinn as some of the best mystery games on PC. This is definitely one for the history books. [RPS Bestest Bests]

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.

Much like the titular band, Unbeatable is a game that doesn’t always hit the right notes but exudes so much heart and enthusiasm that it’s hard not to fall in love. It’s a sincere celebration of the creative spirit that overcomes its own rough edges by getting everything right where it counts. This is a song you’ll want to stick on repeat.

There's still plenty to like and admire about Planet Of Lana. It may not deviate much from the puzzle-platforming playbook, but its cinematic action sequences and environments are worth your six hours. It doesn’t quite reach the highs of Ori And The Blind Forest and Limbo and the like, but it’s a solid sci-fi tale and a wonderful debut from Wishfully. I'm excited to see what those folks do next.

As a faction, however, the Wood Elves are a worthy addition to Total War: Warhammer’s burgeoning list of fantastical armies. Distinct and terribly tricky, they make the game feel new again, while forcing half-arsed commanders like myself to up our game.

Blues and Bullets’ ambition is untouchable, but for its own sake it needs to calm right down and focus on what matters most.

But if you don’t mind button bashing through some brawls, just to see more of these good fellas solving bad problems with their strong fists and stern words, Yakuza Kiwami 2 is ready, once again, to get ridiculous.

Automachef is a great little thing when you adjust to its rhythms, and it’s entirely to blame for my abysmal lunch habits.

Most of all, the simulated personalities, habits and appearances of the dupes themselves feel like complete wasted effort.

Iron Harvest is a throwback to one of the last golden ages of the genre, often feeling as old fashioned and crusty as that association entails, but frequently reminding us of the essential appeal of extremely large robots chilling out in timelines where they shouldn’t be.

Yoku’s Island Express feels to me like a palate cleanser. I played it in short bursts at the end of long days and was refreshed by it each time. It’s not rich enough in terms of its ideas and set-pieces to get under your skin and I likely won’t remember much of the details of my time with it a year from now, but I will remember that it provided me with easy, simple pleasure. I could use a few more games like that in my life.

It’s rare that a developer is able to wrestle this kind of ambitious technical witchery into the shape of an actual game, but Noita pulls it off. Fast and loose, or tight and controlled? It doesn’t matter, I’m having fun either way.

From its origin stories to its brief emergent narratives, few games let you take part in better tales than this one. [RPS Recommended]

I had a great time with John Wick Hex. It tiptoes the line between tactics and puzzler in an engaging way, has a ton of character, and feels exactly as minimal as it needs to be: you pick up a working vocabulary of Wickensian tricks, just in time to be tested on them. Its slip-ups tend to just make it more charming, while most repetition can be offset by going for challenges that ask you to play quicker and smarter.

Thing is, dungeons only exist to further EXP and FP. Aside from numbers and forms, there isn't anything else to chase. You clear dungeons to watch grades and bars rise. Crack open chests at the end of a dungeon and you'll get some tokens. What do they do? Up some numbers. I suppose this gives the game a clear focus, but it's one that gradually wears you down. This a game built for churning through, and that's the problem. Nobody isn't so much as saving the world, but clearing it, instead.

That's the thing about Elden Ring, its open world has your back, in its own - often painful - way. Souls has always been about inching through claustrophobic corridors and bashing your skull against whatever's in the way. You compare foreheads with friends, "Look at this bruise Barry, that's me five hours in". And Barry would probably peel his hair back and reveal the exact same bruise. Adventures in past Souls games tend to line up, as you're all wandering down the same pathways. But that's not the case with Elden Ring. You might show your bruise to Barry and he'll peel his hair back to reveal a scar or a massive indent or a tattoo of a mouse tustling with a skeleton. Both of may be five hours in but you'll be on totally different trajectories. No matter how hostile the game's world may be, it pushes you to succeed and carve out your own adventures. It is, by far, the most encouraging Souls yet. [RPS Bestest Bests]

For the most part, though, Dawn Of Ragnarök is more of the AC Valhalla you like: more boating around singing, more armour, more raids (in which I kept getting referred to as Eivor but we'll let that one go). More NPCs with UK regional accents. More sub-bosses for different areas, leading you towards a big boss. A big new weapon and new, grim ways to instakill enemies. It's not game changing but it does feel game subtly-altering, and if you had to get one Valhalla DLC it should be this one. I think the best endorsement of Dawn Of Ragnarök is that it's fun, and it made me want to play Valhalla more. Job done.

These aren’t the worst of the Pinball FX2 tables by any means, and prolonged time with DOOM might even show it to be one of the best, but as a bundle of three, they’re…frustrating is the word I’m looking for. Frustrating because the idea of taking a big RPG and making a pinball table that carries over some of its qualities in mechanics as well as art and sound is brilliant. I suspect they’d need to escape the confines of a single table and such a basic ruleset to succeed though – an entire pinball game based around Fallout, with separate tables for factions and areas? Now, that might work.

It’s short, it’s brutal to the point of unfair, and I haven’t even mentioned half the things you need to manage, because I don’t wish to either spoil or overload you.

Good performances, some very nice animation (albeit embarrassingly similar to Telltale’s look), and a couple of passable puzzles, just aren’t enough to compete with some astonishingly dreadful design decisions, the monstrously slow pace, agonising traipsing, unskippable repeated dialogue and laborious cutscenes, violently pisspoor platforming and action sequences, complete lack of introduction or explanation of who anyone is for people new to the long-dead series, ghastly controls, cheap and tacky on-screen prompts, obviously designed for tablet interaction, and god-awful instant deaths.

Deserts of Kharak does manage to be standalone as well as prequel to an old series, and if you’re tired of the twitchy frenzy which grips so many latter-day RTSes, Kharak is a smart and beautiful destination whether or not you still dream of Hiigara. It might be set on land, but by recent RTS standards it’s nonetheless reaching for the stars.

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.

SteamWorld Quest isn’t going to be the next Slay the Spire, and to be honest, die hard Spire-ites will probably find its one-and-done story a bit, well, restricting. But for card novices (which I count myself one of), it’s still a real charmer, no matter how sluggish it might get in those early hours. There’s so much heart in Image & Form’s games, and SteamWorld Quest is no exception.

Beyond: Two Souls feels like a Frankenstein creature; a television show with interactivity jammed in for the sake of it. It’s an interminable cutscene that demands your input at every moment, constantly disrupting the flow of the story to do so, but doesn’t reward your actions with any kind of meaning. And being held hostage to every second only means you have a whole lot of time to think about how Ellen Page deserved better.

Post Void is a masterpiece of compulsive motion and hypnotic, irresistible sounds. It does something to my brain that I’ve never experienced before. [RPS Bestest Bests]

LawBreakers is more than good enough to foster a large community. Its zero gravity segments offer something that no other FPS can, and everywhere else it’s a solid, polished shooter. If you like the sound of it then I’d jump in now and build up some experience. That way, when ranked play launches, you’re ready to blast off.

This is the sweetness, I think, that consistently balances out everything that's creepy in this stretch of midnight countryside: along with the promise of cryptids and photo assignments and local cultists and satanic graffiti, Krypta FM promises community, and creates a growing sense of belonging. The names on the forums start to become familiar, and I begin to be able to anticipate the things they might say, the replies they might leave under my posts. The map slowly starts to make sense, and by day three, say, I'm leaving the house pretty confident in the direction I should be headed in. Photo objectives are ticked off my list and the story of what's truly going on out there starts to come into focus. I go to bed buzzing at what I've seen, and the next day, at ten past nine, I'm ready to turn on the radio again and hear that familiar voice.

Mouthwashing's a hard one to review, namely because I have to dance around the story in fear of spoiling it for you. I hope I've at least got across how it tells the story and how it really is a well-told, succinct descent into a crew's deepest darkest secrets and struggles. Trust me, you'll want to play it in one or two sittings, mainly because you won't be able to peel yourself away from it. The only times you might, are when it doesn't signpost those solutions well enough. Go forth and swill your mouth out with this one, I say.

A minor diversion at best, without the comic timing or cunning to turn anyone to a life of crime. A weekend of crime, perhaps, at most.

Shadows Die Twice is a beautiful, masochistic misadventure. Some of its boss fights are so stupendous, I dare not speak about them. It is a test of mettle and nerve that proves From Software are still winning the arms race against us cheesey rats. A brutal master who snaps the shield and broadsword out of your hands, and looks you up-and-down for what you are capable of. No more blocking, chump. You’re going to learn ballet. [RPS Bestest Bests]

There is a contagious fury in Hell Clock's bones, louder than its flaws or features list. Pajeú staggers, weakened, through a razed village in a storm. When he returns, he is the storm. Still spinning, still winning, made of wrath and gunsmoke and a circle of blades and lightning that just keeps expanding with every suspiciously perfect upgrade. I am certain there are numbers under the hood, stewing like the spirits of avenging dead, nudging the RNG just so. Much obliged, furious ghosts. One more run it is, then.

Mooncrash is an enormous paddling pool compared to Prey’s Olympic swimming pool. There’s none of the depth, but it’s a heck of a good time to splash around in.

Ultimately, Mortal Shell will make you want to headbutt your monitor out of sheer frustration. The puzzling nature of the map, the repetitive placement of enemies, the lack of options all coalesce into a big arm that holds the game back from being really good, to just good. No matter times I try and swat it away with thoughts of the meaty combat, that arm simply won’t budge.

Even if you don’t care about disjointed storytelling, repetitive levels or cringe-worthy jokes, I can’t recommend Youngblood. If you’re desperate to shoot bads with a bud, go play Borderlands, Destiny 2, or Far Cry flipping Five instead. MachineGames clearly felt the need to tread some water before Wolfenstein 3, but they damn near wind up drowning.

I wanted to make Pavol my own a little more than the game let me. He’s an alcoholic in prose, but rarely ever in deed. Different types of collectable spirits are plentiful, and I think I expected him to get the shakes after a while, performing worse in combat if I didn’t keep him topped up, but no such fun. The grime and the death and the RPG combat, and especially an early encounter that killed me right at the beginning, put me in mind of the Fear and Hunger games. I think Felvidek would have benefitted from a bit more of this deadly choose-your-own-demise sadism, but on reflection, only on the replay. What you get instead is a perfectly formed and paced single viewing, told by a black humoured, bawdy bard who weeps in secret at night over the inevitable decay of everything, but never drops the shit-eating grin for a second.

This is an often boring and sometimes brilliant game, where the brilliance depends on the boredom. If that’s too risky a pitch for a full-priced ticket on Suzuki’s time machine, maybe try the originals first (both are on Xbox Game Pass for PC). For better and for worse, Shenmue III is a perfect continuation.

I've been playing management games for a long time, and it feels odd that Planet Coaster 2 should make me feel so stupid. The method of building something as simple as a set of restrooms is elaborate and sticky, and requires so much returning to a side menu to resize grids or twiddle the angles that my brain just starts to reject it. Like I say, more patient Planetfans might feel the pain of this troublesome interface less keenly. If that's you and you're willing to risk a face full of chlorinated slider bars, then dive right in. But for new players like me, it's a painful belly flop.

Vran does enough to make itself distinct, and it does it well enough to create the imperative to keep going and going.

Railway Empire should be so much better. There are some extra track types and junctions that I’d like to see, but it’s still one of the best when it comes to the actual creation of a railway line. And on the economic side of things, it boasts a huge list of resources and manufactured items, reactive cities that change their needs as they grow and buy goods. And, of course, there’s the stock market shadiness. On paper it’s my dream railway sim. The reality is considerably more disappointing.

Even if the game’s final moments lacked the emotional wallop, South Of The Circle’s story, presentation, and visual direction hit every mark for me with the biggest surprise being the nuance and the way it handled its themes. It's a shame about the ending - but it’s about the journey, not the destination, right?

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.

Requiem is certainly a dazzling display of detail, colour, and considerate art direction but it never quite reaches the momentum of its predecessor even though the stakes are unequivocally higher. Huge set pieces and a wider selection of abilities make sneaking through soldier and rat-infested areas feel like a thrilling, if slightly repetitive challenge, but Requiem’s story fails to hold the same level of drama and spectacle.

If anything, the game's built-in radio station is its greatest weapon against any grinding or gnashing of teeth. It's just so darn soothing, playing a mix of poppy, lo-fi music and calm, softly-spoken listener stories that help fill in some of the game's wider backstory (in multiple languages, too, which is a nice touch). I'd happily listen to it as a real-life radio station if I'm honest, and I liked how constant and uninterrupted it was, too, playing whether you're navigating the menu to restart a level or moving between stages. It really helps to keep you in the overall golf groove, and it was one of my favourite parts of the entire game. Sure, life up on the red planet might not be much better than it is down here, based on the little story snippets you glean from the radio now and again, but man, when the golfing is this good, what an extraordinary bit of escapism. Let's go another round, shall we?

WoL is most easily described as a comedy game, and though it is indeed a prime-cut ribtickler, that can be a backhanded compliment – as if jokes are all it has. WoL does something far more accomplished, far more rare, which is to be joyful. [RPS Recommended]

I do think it's great that Capcom have released a weird, sometimes wonderful tower defence/ action RPG hybrid with such strong early-millennium vibes. And I think some will find its micromanagement more compelling than I did, with base repairs and the gradual power climb forming an easy way to spend an evening with an average-to-good video game. And yet, I also think many will find its take on tower defence only half-delivers. It might be full of distinct elements that often work together, be they base-building or hack 'n' slashing, but as a whole, it falls into a repetitive rhythm that struggles to capture the joys and thrills of much simpler tower defence games.

Megaton Rainfall is an awe-inspiring achievement.

I do enjoy Minilaw. I find its mistakes frustrating precisely because it’s otherwise a tonne of fun to play. It looks gorgeous, the sound and music are first rate, and when it works, gunning attackers down feels great. I light up when I see someone standing foolishly close to a ledge, and prioritise running towards them to line up a kick above far bigger threats, just because hoofing them off is so entertaining. I want to find an excuse to stop here so I can start playing it again, which is a sure sign it’s doing the important things right. But I’m resigned to recommending it only after an annoyed sigh, and a disclamatory “well…” about the clunky controls.

Largely, though, Catherine Classic is a pretty fantastic rerelease of a cult hit that people have nattered on about endlessly since its debut. Being able to finally play it on PC is wonderful, and having other game modes — Babel, where you unlock harder stages by getting gold trophies on normal or hard mode in the campaign, and Colosseum, a competitive multiplayer mode — gives it a lot of replay value.

Smart, subtle and sinister, Cradle is a wonderful work of science fiction that doesn’t quite fit inside the space Flying Cafe have designed for it.

Hellblade is brave for tackling psychosis so directly, and braver still for pouring so much of its efforts into its narrative. It’s unlike anything else I’ve played this year, and for that reason it deserves a slice of your time.

If you can get it for £4 – and as noted above, you can during most Steam sales – Crysis is worth returning to for at least its first few hours. If you’ve never played it before, I reckon it’d be worth playing all the way to its end. But Crysis Remastered’s spit-polished nanosuit can’t redeem the game’s aging design, or justify the Maximum Price.

I consider this a kind of grimly hilarious manifestation in the vein of an Alan Moorish act of chaotic development magick, minus the part where the art actually has anything of substance to say about literally anything. That’s fine! Substance isn't always necessary. Those doors were substantial, and you saw what happened to them, didn’t you? Sometimes what Anger Foot does offer is worse than nothing, mind. The concept for the final boss (‘unholy corpulence') is effectively “lol, fat.” You’re funnier than that, mates. I know you are because I’ve just played your game. He keeps trying to knock you into a pool of molten cheese, but this is weak sauce.

With the combat system and the way it’s actually trying to make a point with its exploration of social issues, The Fractured But Whole does improve on its predecessor in some ways, but it quickly starts to coast, relying too much on familiarity to get by. It’s still South Park, so we get to summon a drug-fueled Kyle’s dad to conduct a Heavy Metal bombing raid, and if you go into the back room of a church, yes, priests will try to have sex with you — it can be horrible and hilarious, just not as often as it needs to be to fill 15 hours.

GoNNER is this year’s Downwell – a neat, short-form action game that has found the perfect visual style to communicate its near-misses and big hits. Whether you want to show off by pushing its systems to the limits or play at a more relaxed and careful pace, basking in the gorgeous music, it’s an absolute delight.

Much as I loved trading in gossip, it’s just another distraction in a game where ultimately I’m here to find the love of my life, tentacled or not. I’ve greatly enjoyed weaving my own tales and following my nose exploring the Eldritch corners of this world, but I was hoping for more romantic endeavors seeing as it labels itself first and foremost as a dating sim. I’ve left the Neath with an anthology of tales, it’s just a shame that none of them included escapades of romance, flirtatious encounters, or straight-up monster f.cking.

This is really superb. Wonderful new puzzles, not over-complicating or trying to be a level of impossible above what came before, but still offering new challenges and new scope for the same tools. And a whole new story that lives within Talos’s original, but is communicated entirely through community discussion, and feels extremely reactive to the dialogue choices you make. It’s everything you could want an expansion to be.

Will dog lovers and cat-haters get as much out of Stray as someone who, as we speak, has two stretched out purr machines on the bed behind her? Probably not, in all honesty, as fully inhabiting its feline lead is at least 50% of the appeal here. But even if you're not massively into cats the same way I am, Stray is still a remarkable action adventure game in its own right, and whose naturalistic approach to 3D platforming is among the best I've seen. It proves we don't need condescending slathers of paint to point us in the right direction anymore, and that there are better, more immersive ways of traversing dense and detailed play environments. That's something worth celebrating in my books, so take note Lara Croft, Nathan Drake and every 3D action hero of the last twenty years. A good game of billiards isn't the only thing you'll learn from this four-legged fluffball. [RPS Bestest Bests]

It’s going to take a heck of a lot for anything to beat this game to be my favourite of 2019. What a splendid treat.

The Evil Within 2 feels like something of a departure from the first game, but also an extremely fitting follow-up. Its structure, enemy design, immaculate audio production and constant tension make it one of my favourite survival horror experiences to date, and while it doesn’t push the envelope in terms of providing anything new, it focuses on what it is and attempts to provide a definitive, well-produced classic survival horror experience. [RPS Recommended]

If you enjoy low-key wind-down sims like Train Simulator and American Truck Simulator I’d be surprised if you didn’t also enjoy City Car Driving.

If you're able to push past all the self-conscious cuteness, AR2's focus on crafting may just pull you in.

I don’t know if I can recommend this to someone who isn’t a word nerd. But at the same time, what Inkle have achieved in Heaven’s Vault is tremendous. I don’t know what to compare it to, because there isn’t anything. I can’t remember what the Ancient for love is, but I know it contains the word for heart, which contains the word for life.

Next week, once the servers are busy, I’ll return and find out whether this is a game that desperately needs the internet it insists upon to shine. I’ll be delighted if that’s the case. Right now, this is an awful lot of not very much. [Single-player review]

So while it's a less difficult take on a Resident Evil-ish formula, I don't think it's less good. The emphasis is more on the puzzles than the survival, but the attention to detail in the sound design, the excellent planning of the map, and the creepy story and setting, are accompanied with a wink at the camera now and then that really put a shine on Crow Country. It's knowing as well as very good, and I had an excellent time at Crow Country (though would not give it a recommend on trip advisor if you're after a family holiday).

Blair Witch is lumbering and predictable, as horror often is, and the rattling moments come mostly from jumpscares. The rest is a tepid sort of horror.

Session feels back-to-front: so unblinkingly focused on the technical side of riding a skateboard that it’s overlooked everything that makes rolling around on a board actually fun. There’s plenty of room for skateboarding games less arcadey than anything with a Tony Hawk face on it, but this early version of Session is a bleak, sterile thing, and one that only serves as a painful reminder of my own lack of talent in most physical activities. [Premature Evaluation - Early Access Review]

If you’re at all intrigued by Ni No Kuni, I’d strongly advise you to just go and play Revenant Kingdom instead. It’s a far more enjoyable JRPG than Wrath of the White Witch, and it won’t make you feel like snapping your keyboard in two out of a white-hot fury of your own (if only because its actual mouse and keyboard controls are much easier to get to grips with in the first place).

It's creepy, but Lixun treats it all as quite ordinary, even when he's trapped in a haunted mirror verison of the Tian family home. The fear is more bound up in what happened to the Tian family itself, because in a way it could happen to any family - and, indeed, does. Firework spins a lot of plates, and it's worth playing just to see them all being kept in the air.

Where previous Soulsborne DLCs took dark deep-dives into their worlds, embellishing the lore and offering some of the greatest boss encounters, Ariandel feels a bit tangential and tired by those (extremely high) standards.

As someone who doesn't really get on with the source material, I find myself warmed by Disney Epic Mickey: Rebrushed. It's not all that challenging and sometimes a bit eh, but I liked that easygoing nature more than I resented it. You're free to splosh paint around and stumble into cool mechanical puzzles or simply remove the floor from an enemy and watch them plunge to their death. And while some of the side quests and optional tidbits don't amount to much more than, at most, an end credit sequence, I admire its adventurous spirit. You can tell it tries to do things a bit differently to the usual platformer and for the most part, it works.

Although there are some elements that could've been improved with more time to bubble on the stove, Venba's visual novel-style conversations and gorgeous cooking puzzles complement each other perfectly. The result is a heartwarming love letter to immigrant parents, Tamil culture, and the food that raised us.

Age of Wonders III does the big fantasy conquest thing if that’s what you’re looking for, and Stardock’s own Fallen Enchantress is worth a look as well. Sorcerer King deserves plaudits for being something altogether different rather than yet another iteration of a game we’ve been playing for decades.

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.

It's just a shame these puzzles face such frequent interruptions from its wearying, drawn out combat system, as I reckon Sunday Gold would be so much more likable if it was just a straight-up point and click adventure. By forcing it through the tactical turn-based grinder, though, its glistening highs just get repeatedly mulched and ground down over time, turning this 12 hour game (or 15, if you count the three hour boss battle tacked on the end of it) into a dull slog.

There’s not much else to say about Frog Detective 3 without ruining the plot or stepping on punch lines to jokes. Here's what you need to know in short: it has the same earnest, good-natured fun with the same effortless comedy as the previous two games; it'll take you around an hour to complete (an hour and a half if you’re busy trying to do kick flips on your scooter); and finally, if you’ve played the first two then you’ll have a riot with this final episode. For those who haven't played 1 and 2, the complete trilogy is available to play over on Game Pass named Frog Detective: The Entire Mystery, and I highly reccomend you check them out before this one.

Not the most innovative game in the world by any means, but one of the best adventures you can go on inside a telly, and one of the most beautiful, too – especially now that telly is a PC. [RPS Bestest Bests]

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.

I like the game at CE’s heart, but interacting with it is simply unpleasant.

An incredible amount of hard work and money has gone into it, creating explosive spectacles and heavy gunfights. But that doesn’t stop it from being a hollow chassis, a tin man of a game – shiny, impressive, with absolutely no heart. [Campaign review only]

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.

How about telling people that this is a fraction of a game at the point of sale? It’s only a tiny £2.80, as you’d hope for something less than two hours long, but the principle remains: if something’s episodic, you say so. Starting with putting it in the title.

I like the world and the writing, and I especially like how it can click its heels and conjure up a story – as long as you don’t get bogged down in overlong battles. It’s certainly worth keeping an eye on, and if any of this sounds interesting then an early access visit might well be worth your while. Just do your best to forget about how you could be playing Slay The Spire or Monster Train instead. [Early Access Review]

Some may not agree, arguing that Hoa is more style than substance. But if that is to be Hoa's fate, then what style! The Ni No Kuni series may look more like Studio Ghibli films-turned-into-games, but Hoa's pre-occupation with nature, the environment, impossibly cute bugs and robots and heart-swelling piano music makes it a much truer successor to the interactive Ghibli crown in my eyes, possibly more so than anything else I've ever played. Much like the moment when troubled monster No Face slips into a steaming hot bath in Spirited Away, Hoa is a balm for both mind and soul in a year like this, at once a deep, soothing snuggle into Totoro's furry belly and a triumphant run across the raging waves with Ponyo. It may not have the bite of Princess Mononoke's wolf queen Moro or the nostalgic poignancy of an Only Yesterday, perhaps, but this is nevertheless a promising first outing from Skrollcat Studio, and marks them out as ones to watch going forward.

It’s a shame to end on such a sour note, because those earlier moments where the Pit shines are positively radiant. Battles in Into The Pit never get as intricate as a meaty fight in Doom Eternal, nor as suspenseful as the single, exquisitely choreographed encounter you’ll find in Devil Daggers, but I’d say they came close enough to make me giddy if only they came more consistently. Instead, Into The Pit descends into comfortable familiarity, and all the scuttling in the world can’t save the back half from feeling like a slog.

Blisteringly fast when it needs to be, challenging without being frustrating, and packed with sharp, fatal toys, Dead Cells doesn’t keep you on your toes, it keeps you on your toenails.

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 very nature of play makes even more drastic transitions.

If you're allergic to puzzle games, though, it's not a gentle introduction to the genre. Depending on the ending you get, it might feel a little abrupt at the finish, but there are some puzzles in there that feel revelatory to solve. You feel smarter than one of those sheltered Mensa kids whose parents force them to learn to play the tuba. I figured out that bit with the blood serums, godammit, I should be eligible for lifetime membership of your little genius-person club without any tests.

If you’re a die-hard survival glutton, and you wait a while for updates, you might find some fun here, since the framework does have those tiny sparks of playful ingenuity I’ve alluded to. Otherwise, uh: game bad. Don’t buy it!