Rune Factory: Guardians of Azuma is a game of two halves. You have the village management where you’re decorating empty spaces and making numbers go up - this is the half that’s generic and shallow. The other half is a more-than-decent action-adventure populated with a pretty great cast. The gameplay cycle keeps you flipping between these two halves often enough to keep you interested and distracted, but when you look at Azuma with a few steps taken back, it’s not the prettiest sight.

Diving into game after game, experiencing that Soulslike loop in a microcosm, was unbelievably satisfying, and those moments of victory have never felt better. There are some minor quirks, like the lack of cross-platform play and spongy bosses, but on the whole, Nightreign is one of the most inventive things to come out of FromSoftware since it coined the Soulslike genre.

To a T is a delightful adventure, and the most accomplished we’ve ever seen Keita Takahashi as a fully-fledged storyteller. He is far more than absurd scenarios and strange mechanics, proving here that he can combine both of these with excellent storytelling that is simple yet effective in its characters, themes, and how it makes us sympathise with different ways of looking at the mundanity of life we might have never considered before. Few games this year have so much heart.

In a year that’s absolutely packed with banger releases every other week, Pipistrello and the Cursed Yoyo stands out to me as one of the biggest surprises so far. It can be a tad too tricky for its own good, but the charming presentation, quick-witted writing, and creative use of its standout feature make it more than worth the occasional swear. To put it simply - yoyo need to play this.

Considering how long Onimusha fans have been waiting for Samurai’s Destiny to make a return on modern platforms, the lack of significant bonuses doesn’t feel like a big sticking point. More than anything, it let me finally experience a brilliantly unique series that for years I’ve been missing out on.

Obviously, it would have been better if the collection had included the first Star Gladiator and Rival Schools games, and it would be nice if Capcom had provided us with characters and features locked to the console ports of these titles. However, you can always ask for more and the point stands that what’s here is already one of the best retro fighting game collections on the market.

Doom: The Dark Ages is the weakest entry in a fantastic trilogy of games, and despite how I feel about its additions to combat and exploration, I’d rather an experience that took risks and sought to reinvent what it means to play a Doom game rather than build upon the familiar.

The Midnight Walk is a story of redemption, of how one fiery spark can reignite old passions or heal a broken heart. Founding members of Moonhood once told me they thought about quitting game development altogether, before eventually founding the studio and finding a reason to keep going with this project. I can't help but feel The Midnight Walk is an allegory for that rekindled passion; sometimes a great game only needs a spark.

Best Served Cold doesn’t revolutionise the genre, but it does tell an incredibly compelling story about class, power, and people desperately trying to find their way in a world that’s not that different from our own. It’s not perfect, but it’s valuable nonetheless.

Detective Dotson succeeds in both its objectives – to capture everyday Indian life and create a compelling whodunnit murder mystery. Apart from some clunky animation, a slightly unintuitive mystery board, and unnecessary voice acting that sounds like a last minute addition, it's a point-and-click adventure that hits all the right notes and doesn't take itself seriously.

This all leaves me feeling mixed. On a basic level, Revenge of the Savage Planet is pretty fun. Despite shotgunning most of it in two days, I was happy to play more. Moving from a double jump to a grapple to a rail grind to a stomp is simple fun...But it feels like some identity has been lost in the game's expansion. In broadening out to encompass four planets and change, Revenge loses touch with the series' foundations. It's a more curated open-world experience than, say, Assassin's Creed Shadows, but it isn't nearly as different from that kind of mainstream triple-A open-world game as its roots would lead you to expect. Revenge of the Savage Planet seems to have confidently marched in this direction, but I'm not sure it was the right one.

I eagerly await the day when Primal Game Studios announces a sequel or a spiritual successor. Built on the wisdom earned with this project, I could easily see Mandragora’s sequel becoming a must-play for action RPG fans. But I’m not reviewing potential. What’s currently here is an ARPG that nails its setting and core gameplay; everything else is underbaked. Fans of ARPGs will likely have a great time with Mandragora as I did, but those who are more interested in a nail-biting Soulslike or a clever Metroidvania won’t find it here.

Ronaldo aside, the roster is fantastic, the game has a graphical style that pops, and the ability to edit color pallets allows for an excellent level of customization. Fatal Fury: City of the Wolves puts its best paw forward and proves that SNK still has what it takes to compete with the big dogs in the fighting game arena.

I had a great time playing Pax Augusta, and while it’s a niche game for a niche audience, anyone who has fond memories of playing historical city-builders will enjoy this breath of fresh air. A game built with real care and attention in a developer’s spare time, self-taught with YouTube tutorials. The fact the game is half as good as it is an incredible feat of development.

Forza Horizon 5 is beautifully executed on Sony’s console. If you’ve already played the game elsewhere, then you’ll know what to expect, but if you’re a new player, then you’re in for a great time.

Sandfall Interactive’s debut is a triumph. Everything about Clair Obscur: Expedition 33 is either a fresh reboot to soothe the traditionalist’s soul or an exciting, bold leap into new territory, and the result is a piece of art that pulled me in and refused to let go.

Under all the dinosaurs, the bug hunting, and the match-3 boards, it is at its core a love letter to game development and an indictment of the industry as it exists now. It seems impossible for one short game to juggle all this, to feel so unique in a gameplay sense and so prescient in a thematic one, and yet, it does. If only I wasn’t fighting against all these real-life bugs in an attempt to find the fictional ones.

Schedule 1 is the chillest game about running a drug empire I’ve ever played. My little dude, whom I’ve nicknamed The Eggman because all drug lords need a cool moniker, spends his time skating around town, laundering money at the laundromat, and peacefully snipping away at his plants in a dinky little room above a Chinese restaurant. When I invited my friend to play this new early access title, it wasn’t thirty minutes before three police officers were dead and half our supply was sinking to the bottom of the river. [Early Access Impressions]

If you devoured the Danganronpa and Zero Escape series in the same way that I did, and you’re also cool with playing a decent tactics game as you unfurl the mysteries instead of going to trial or solving escape room puzzles, then you’ll feel fully satisfied by what feels like a natural progression of these two series blending together. It’ll never escape apples-to-oranges comparisons with so much in-your-face Danganronpa, which might be off-putting for some, but that’s a highlight for people like me who loved that series and the games it inspired. Though the tactical elements never quite felt like they were prioritized as heavily as the narrative, The Hundred Line: Last Defense Academy earns its stripes as the next in the line of spiritual successors, given how close a chord it strikes to both Danganronpa and Zero Escape.

I ultimately have to give it up for Tape 2 and Lost Records as a whole, for delivering an evocative experience that manages to capture what it feels like to be a teenager, even if you weren’t born in the ‘90s. Lost Records: Bloom & Rage’s second and final episode is a mostly satisfying conclusion. I just wish it could have had space to do more than just wrap things up.

Rusty Rabbit is a serviceable Metroidvania at best, which just isn’t enough to warrant a recommendation. If you love rabbits, or Takaya Kuroda, then you might get a few laughs out of this game, but chances are you won’t actually enjoy playing it that much. It’s a shame: a great concept, some half-decent writing in places, let down by shoddy controls and gameplay.

Disney Villains Cursed Cafe is best handled in short bursts to carry on the cafe vibe. Personally, I play one day at a time to help carry the story, but it can all be completed within a couple of hours if you just want to see how it ends. Bully the Villains if you want or try to help them become better people; at the end of the day, it’s your cafe.

I have fallen head over heels, or rather bumper over wheels, for the world of Promise Mascot Agency. Though some elements might get a little repetitive, the narrative, gameplay, and unique charm have made it one of my favourite games so far this year. I have been left wanting more, but not because it didn’t deliver enough. The whole adventure was so moreishly enjoyable and the world so intriguing that I just want even more of such a good thing.

Blue Prince defies genre, and it defies the gamer instinct to min-max. It is contemplative, a journey that can’t be rushed, though you might be tempted to try. It will delight you, thrill you, and probably make you run crying to the internet for answers you can’t seem to tease out on your own. I’ve never played anything like it, but I won’t be surprised if we see more takes on the roguelike puzzler in the future because of it.

Competitive players already use Pinball FX to practice, and now they have an even better tool to do so. I can’t imagine anyone who wouldn’t enjoy playing this, including the pinball-averse. At the end of the day that may be my favorite thing about Pinball FX VR and why I’ll end up getting more mileage out of it than any other pinball game. Now when I introduce someone to VR I’ll be able to put them in a familiar setting with very little movement and let them play a game they already know how to play. This offers the best intro to VR ever, and the fact that it’s such a high-quality and meticulously designed game just makes it that much better.

Grit & Valor is, in many ways, exactly what I look for in a roguelike - individual runs aren’t too long, so it’s easy to squeeze in a game or two when time is tight, but there’s plenty of incentive for multi-run marathons as well. Between the compelling combat and the excellent visuals, I can see this being a mainstay of my late-night gaming sessions for the foreseeable future.

South of Midnight doesn't reinvent anything, but it does a competent job of everything it attempts. With all that’s going on in gaming right now, that's worth something. South of Midnight respects your time, delivers an emotional narrative, trusts that you know how to play it, and is bursting with texture and taste. This is a future classic for someone, and it might just be you.

If you love Croc, and love the idea of playing a polished version of the original game in 2025, that last part doesn’t really matter. All that matters is the remaster is faithful to the original and improves upon it. If you want to play the best version of Croc you’re ever going to play, this remaster is exactly what you’re looking for. If you never played the original and you’re on the hunt for a new platformer, you should absolutely take Croc for a spin.