BALL x PIT sidesteps any potential roguelite fatigue by folding in new systems and surprising, satisfying fusions. Just when you think you’ve seen it all, it drops another major game-changer. Addictive, stylish and most importantly, super fun - very impressive.

Ghost of Yōtei is big, bloody, and beautiful - refining Tsushima’s formula rather than reinventing it. Exploration is richer, stealth more precise, the world obviously gorgeous. It’s polished and fun enough to keep me hooked through to the end - indeed, there’s a lot to love - but the familiar openworld rhythms are definitely feeling a little weary. It’s a strong execution, but tinged with a melancholy sense that the formula is wearing thin.

Equal parts zen hike and slapstick disaster. The Foddian leg-by-leg controls click into a weirdly soothing flow, then betray you in spectacular fashion. Big, silly, oddly tender - more Death Stranding for clowns than rage game. Not really for me, but I laughed, swore, kept walking.

skate leaves me torn, but mostly sad. The skating feels brilliant, every flick and flow just right, but it’s wrapped in such a soulless corporate gloss, unfathomably out-of-touch cringe writing, and a shop-first design. It’s tough, because there is fun to be found, but it’s buried under a product that replaces culture with monetisation.

Borderlands 4 is a blast when you lock into the core loop - snappy gunplay, meaningful loot, big playgrounds. But the bombastic, quippy aesthetic and tone now read like a bit of a relic. You almost have to meet it halfway - tune out the dated swagger, focus on the systems - then you can find the fun. In any case, if you’re looking for a shooter to turn your brain off in, there’s a lot to like.

Hell Is Us is haunting, pretty clever, and not what I expected. Combat is simple, sometimes clunky, but that’s not the point - it’s about mystery, puzzles, and piecing together scraps of story in a war-torn world. The no-map, no-hand-holding design is immersive, and rewards patience. At its best, it’s unsettling and atmospheric. At its worst, it’s repetitive and meandering. Not for everyone, but if you crave exploration over combat, give it a look.

After so long, Silksong somehow feels both inevitable and unbelievable. Hornet moves like a dream, every dash and dive tight, every fight a dance that’s punishing but (mostly) fair. The world of Pharloom is staggering in scope: it just keeps expanding, full of new enemies, lavish art, secrets around every corner - all underscored by beautiful music and crisp sound design. Items and builds feel meaningful, not filler, and the variety on offer is impressive even for a game of this scale. It’s everything I hoped for: familiar yet transformed, reverent of its predecessor but confidently its own. After all the memes, the silkposts, the endless patience - Silksong was worth it. Anyone grumbling about difficulty, especially if their point of reference is Hunter’s March, might want to remember Hornet’s famous line from the first game. Loved it.

Wheel World is a stylish, vibe-first cycling adventure that feels a bit like Forza meets Sable, but definitely carves its own identity. Riding feels fantastic, the soundtrack is a jam, and - while I wouldn’t know - I imagine the bike culture jokes land with those so inclined. It’s not particularly challenging, and the second half drags a bit, but it’s addictively satisfying, and as a love letter to bikes mostly sticks the landing.

Sword of the Sea, the latest from Giant Squid, is a gorgeous blend of Journey’s poetry and Pathless-style flow. Surfing your blade across sand and sea feels unreal, backed by another soaring Austin Wintory score. Short at 3–4 hours, but expectedly great.

Time Flies is short, strange, and potentially unforgettable. You buzz through clever puzzles and silly bucket list goals, laughing one moment and reflecting the next. It’s over appropriately quickly, but every second is packed with charm and thoughtfulness.