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.

Cult of the Lamb expands in early 2026 with the Woolhaven DLC. Near the endgame, players can uncover the frozen mountain of Woolhaven, rebuild its lost town, endure blizzards, battle the creeping Rot, and even raise animals through new ranching systems. Aussie, Aussie, Aussie!

Unashamedly Dark Souls 1-pilled, Wuchang brings back slow, stamina-tight combat, interconnected level design and more, while introducing its own novel ideas. Difficulty starts mild, then spikes pretty hard. Builds feel meaningful, from clash-happy dual blades to busted spellcasting. Really solid!

What can one even say about a game like this? In short: I loved it. I was at 201 hours (and 1.7M Likes) when the credits rolled, and every minute was soaked in serene Australia-inspired ambience, poignant atmosphere, engaging storytelling, the usual Kojima absurdity, and most importantly, an intensely satisfying gameplay loop. It might not hit quite as hard as its predecessor, perhaps just by virtue of no longer being completely novel, but it makes up for that in what it does differently. Death Stranding continues to be a rare experience that invites even the most cynical players into a quietly moving form of connection - where travelling alone becomes a shared and strangely emotional act of collaboration.

The Alters starts as a base sim adventure but quickly becomes something heavier. You don’t just optimise workflows, you mediate between fractured selves while a deadline creeps closer. It’s definitely more narratively driven than deep simulation sandbox - it’s sparse but sharp. Presented wonderfully, well-paced and worth your time.

First of all: it’s good. I’m always for happy FromSoft to try stuff, and this was a really interesting idea. If you’re relying on two multiplayer randoms, you may be in for a bad time - it can be a bit of a dice roll, but solo is absolutely doable. It’s hard to play this and not have thoughts of a FromSoft live-service game, and so long as it wouldn’t distract from their usual approach… I’d be kinda down for it! This is multiplayer Elden Ring with drips and drabs of content and mechanics from all over the From archive - it might not be what you want from them, but it’s really fun.

Probably justifiably copped flak because 2016 and Eternal were so strong… Combat feels looser, less refined, and the focus on the shield seemed to me to just slow things down and funnel one type of gameplay. Mech/dragon bits drag, story’s forgettable. Music’s also a step down, given the unfortunate (lack of) Mick Gordon situation. Still fun though.

It’s real! A24 and Alex Garland are making a live-action Elden Ring film with Bandai Namco. Details are scarce, but the world is obviously ripe for exploration, and Garland rules. Hopefully George R. R. Martin and Vaati are consulting!