I really wanted to love Forever Skies and I’d hoped that it would recapture the magic I felt when playing Subnautica for the first time. The foibles that I’d been prepared to overlook during Early Access became disappointing features in the final release and to be honest, I walked away wishing that the developer had taken more time to polish the experience. It’s been working hard to squash bugs since release and has promised a content roadmap going forward, so by the time you read this some of the issues I’ve outlined may be addressed. All in all, I did actually enjoy my time with Forever Skies and I recommend checking it out if you like these kinds of games, just don’t do what I did – and temper your expectations going in.

Racing after an armed robber, crashing through road signs and dodging civilians, only to jump out of your patrol car, take cover behind your vehicle and engage in a firefight with the crazed assailant is as fun in The Precinct as it sounds. Unfortunately, once they’re in cuffs, the monotony of processing the soon-to-be prisoner drags the experience down. Combined with a shallow story told in an uneven way, the repetitive gameplay loop tarnishes the badge and gives the boys in blue a bad wrap.

It’s an abundance of well written humour that bridges the gap between Skin Deep’s surprisingly deep gameplay and storytelling, despite a few hiccups along the way. I chuckled consistently as each new interaction played out in violent, amusing bursts, popping a few heads and scrambling around the outer hull to surprise an unexpected pirate or two. Sure, it’s not a Sam Fisher scenario, but if you’ve been hankering for a stealth experience with a twist, I can’t recommend this enough.

Game Over is a game bursting with music, colour, and movement which can make for an overwhelming gameplay experience. As players scratch their heads at the impossible rhythm challenges and get to know their instrument-people communities and their humour, they will also battle frogs, use special platforming powers, and all the while try to figure out why their world is glitching. Some will love the zaniness of their situation while others may feel exhausted by the central mechanical and story elements.

An amazing new array of systems reinvents DOOM once again, delivering a bombastic and brutal new way to smash demons. With awesome new cosmic threats dying to meet the serrated edge of your shield, The Dark Ages may well be the best age for any aspiring Doom Slayer.

Revenge of the Savage Planet already looked to end on a pitch-perfect note, rewarding the time and effort I’d put into erecting an entire outpost – inclusive of my own customised living quarters and several small zoos – with utter abandonment. But then it managed an even greater late-game twist. One that’s inward-looking, AI-critical and ends on a credits song about shitting and pissing on company time. It’s exactly as dumb and brilliant as that sounds.

I enjoyed my time watching the little Tempopo buds flapping about to my unintentionally silly commands, perhaps more so than solving the puzzles themselves. I don’t know what that makes me, but it’s a sign that Witch Beam has crafted more than just another puzzle game to wile away a few hours. There’s a lot of love and care in each element of its design, making it desirable to every level of skill or age.

Despelote is yet another juicy example of the ability of hyper specific stories to unlock universally human feelings, rather than the often misguided attempts to generalise settings and identities to reach more people. I want more games like this, and thankfully smart companies like Panic keep publishing them.

The ramshackle world that Zoe is trying to save feels a great deal like a metaphor for the game itself. What we have here is a game that, despite glimpses of interesting ideas, ultimately feels visually over-polished and underdeveloped. I see the concept of what Steel Seed aspired to be, and I desperately wish it had hit that mark –the experience on offer is uniquely impressive from a conceptual standpoint, but the execution of it all just asks too much of my patience to vibe with it properly.

Clocking in at around five–six hours, Slender Threads is a great example of a point-and-click adventure that simply tells its story and does not overstay its welcome. I wish more developers understood that not every story needs to drag on because it has to hit a longer runtime. In saying that, any story still needs to be entertaining, and Slender Threads’ finale may not be the conclusion that everyone is hoping for, but I enjoyed it. Regardless, Slender Threads is a great fusion of modern and classic point-and-click design that should be played by all fans of the genre.

Clair Obscur: Expedition 33 is a confident new IP, bold in its execution and not afraid to mix old and new ideas. It’s a stunning achievement, born from passion and raised within technical excellence equal to the best in the business. Go in unspoiled and be ready for a truly rewarding experience.

There are definitely moments that feel like you’re playing a game that could have come out 10 or more years ago, but the point-and-click genre is one that can accommodate such design choices if the narrative is good enough. In the end, Asylum’s narrative is solid with some great atmosphere that makes it a point-and-click adventure worth checking out if you like games with horror elements.

This is a game that hands you a hammer in the first thirty seconds, then introduces new and exciting nails for the next ten hours. A simple analogy, sure, but it works as beautifully as the game itself. Bionic Bay is one of those rare experiences that has such confidence in itself that it doesn’t need to muddy the water with bloat and uncertainty – it is precisely what it is, and what it is is excellent. Take a mystifying workplace accident, a rock solid visual identity and a hefty industrial soundscape, throw them together and serve on a bed of platforming mechanics that just refuses to quit.

To call South of Midnight a ‘perfect’ Game Pass title would be disrespectful because the reality is that our industry has become obsessed with bloated experiences, and it’s led us to believe that anything less isn’t worth paying for – at least at full price. The truth though, is that we need more creatives being just that, and South of Midnight is part of Xbox’s supposed plans to let its developers cook. We just have to hope that the kitchen doesn’t close when service is over, because we need developers like Compulsion Games to make games like South of Midnight – shorter experiences that tell new and exciting stories set in immersive worlds, even if the gameplay feels familiar, because nothing beats a good story.

I’ve already fired up a new save file just to get a taste of those first few hours where the way I ran my mascot business really mattered, and to re-experience the joy of immersing myself in Kaso-Machi and all of the strange and wonderful folks living there. There’s just something so oddly wonderful about this work, an unmistakably scrappy “indie” texture that permeates the piece. Go in expecting not to roleplay a savvy manager and talent agent, but to cosplay one in a world where a guy can be made of road signs and an asexual ex-yakuza can be hit on by a Tetris block.

Such is the joy of Two Point. It’s a lot of lessons about middle-to-upper management under capitalist rule, and it’s also a lot of slapstick gags and grueling puns. It could partly be because this is the richest and most polished effort from the team so far, but I reckon the Museum theme might have Hospital beat for what it brings to the little sim-lite niche that Two Point has carved for itself.

Everything about Koira left me with a smile on my face, from its cute environmental storytelling to its thoughtful, emotive adventure. It’s such a beautiful journey, one that tells important lessons for those willing to find them but otherwise explores how important it can be to have someone by your side. I wanted to protect that dog at all costs, so every moment that came across when they were in danger drove me to find the right solution as quickly as possible. Way to make me feel for a 2D character, Studio Tolima.

Level Devil is a unique 2D platformer that will have you fighting your instincts to survive unpredictable obstacles in its nostalgically simple worlds. Nothing is as it seems and the game is actively against you- rage if you want but keep pushing and you’ll soon escape hell in just a few short, but entertaining hours.

The additions and improvements made in WWE 2K25 more than justify the series’ annual cadence, but new mode The Island shows us a potentially grim future of monetisation and pay-to-win practices.

Ubisoft's big, bold swing with Assassin's Creed Shadows mostly connects, proving that it was right to hold off on the Hail Mary Feudal Japan setting until it had honed the series’ RPG trappings. Shadows’ attempts at new ideas don't all land the same, but it excels in the areas that matter most in these games with a gorgeous, rich and well-researched world to explore, compelling stealth gameplay and a story full of intrigue and fresh takes on historical figures.

The underdog in Monolith Soft's Xenoblade Chronicles series has never looked or played better, giving new life to a game that could have been destined to rot in the ill-fated WiiU’s library. By boldly refitting its systems and gently touching up the already-beautiful art, along with adding some welcome chunks of all-new content, this Definitive Edition of Xenoblade Chronicles X is essential playing for fans new and old.

Art of Play definitely deserves some thanks for bringing The Phantom back to video games, and it’s clear the team has a deep reverence for Lee Falk’s character. As a fan of The Phantom myself, it’s great to play him once again, and I hope this isn’t the last time we see him. But as a beat-‘em-up experience, The Phantom is unlikely to draw a big crowd outside of dedicated fans.

Wanderstop is a well-intentioned take on the personal weight of societal burnout and the issues typically found in the cozy genre but struggles to find much ground beyond its initial premise as surface-level commentary and frustrating, awkward gameplay spoils the brew.

Carmen Sandiego is a welcome addition to a franchise that continues to educate in all the right ways. For better or worse it doesn’t mix the formula up too much, but any young one should find much to like. Just be sure to stick with a portable platform to enjoy it best.

Building off the strong foundation that is It Takes Two, Split Fiction is a consistently charming and entertaining co-op adventure that doesn't take a single second to rest between its frankly insane number of unique and well-designed gameplay mechanics.

Monster Hunter Wilds manages to deliver on every expectation one would have for a new Monster Hunter game, before dropping the throttle and blasting through every expectation you didn’t even know you had. With gameplay shake ups, weapon tweaks and a brilliant range of monsters strewn across a score of incredible landscapes, Wilds is a different beast that establishes itself as well worth the hunt.

Starward Vector is a confident, brilliantly written sequel that builds on its predecessor's deft ability to weave thematic and story threads through direct-feed role playing. Gameplay tweaks and the new Contracts system turn what could've been an overly familiar double dip into a follow-up that stands confidently on its own.

In returning to its narrative adventure roots, Lost Records: Bloom & Rage feels like a retreat for Don’t Nod. Draped in nostalgia for both the 90s and Life is Strange, Bloom & Rage struggles to find itself among uneven pacing, tonal inconsistencies, and an uninteresting cast of characters. Despite some neat visual tricks with its VHS overlays, there’s little on this first tape worth a rental.