Luke Addison 's Reviews
Directive 8020 is a love letter to iconic sci-fi horrors that terrified us in years gone passed. While certain aspects could be improved for example the efficacy of the Turning Point System, the real meat and bones of the game, the environments, the audio, the graphics, are outstanding and easily the best that SuperMassive Games has ever brought us. I enjoyed nearly every minute of my time with the game, and it succeeded several times over in scaring me. It’s the best that SuperMassive Games has ever given us.
007 First Light is exactly what a modern-day James Bond game should be. Action-packed set pieces, decent combat, fun shooting, a story that feels like you’re responsible for the world and a smattering of sex appeal. All wrapped up in a beautiful, globe-trotting adventure that makes you stop and stare, whilst Bond, played by Patrick Gibson, spits out some snarky, witty comment to anyone that’ll listen. Great fun, great first entry in the IP and a game that’ll be up there come award season.
Pragmata feels like a love letter to numerous sci-fi IPs, and while it may have taken six years to actually release, it seems every single day was one well used by the developers. Gorgeous to look at, fun to play and like a brain worm that’ll keep you thinking about it, Capcom is having an incredible 2026, and a great flagbearer for taking a risk on new IPs.
Drop Duchy scratches an itch that I didn’t realise needed itching. The randomness of nodes, variety of deckbuilding cards, boss battles and the simple, if unexpected combat mechanics add a different flavour to proceedings. No two runs being the same keeps it feeling fresh, and after a few, you’ll find yourself thinking less and acting more on instinct. The different factions also provide starkly different experiences, with how I played during a Duchy run incredibly different to that of The Republic, or The Tribe, for example.
Reach and his story in REPLACED is an apt one in a time where AI is slowly replacing us, both in every day life and artistically. You’d be hardpressed to find a better looking 2.5D platformer, or one that is as tight and enjoyable an experience as this one. I cannot get it out of my head, and would urge anyone to give it a go.
The best thing I can say about Opus: Prism Peak is that I was thinking about it long after I rolled credits. It doesn’t do much gameplay wise, but what it does do, it does incredibly well. Tight story, actual important message and some genuinely heartfelt moments meant even my cold, cynical heart was warmed a little. You won’t regret giving this a punt.
Mouse P.I. For Hire is a ridiculous good time, with solid level design, good-to-great voice performances and an art style I will not shut up about. Gunplay is hit and miss, mostly hit, and the pop culture references can be a bit too much sometimes, but if anyone were to ask if they should play Mouse? Well, that’d be the easiest yes of the year.
I loved WWE 2K25, and considered it a massive leap forward for the franchise. For the most part, WWE 2K26 is more of the same. Some additions are good, some not so, and the overall package, whilst arguably having more content and time to play with it, isn’t as valuable as its predecessor in the sense of what it’ll bring you. The attempts at changing up the gameplay with the new Purple Ring fall short, but additions to match types, modes, promos, accessibility options and the absolute size of the library available for customisation more than makes up for it. It’s more than good, but there’s room for some improvement next year.
If you’ve played any of Suda51’s previous games, you’ll know exactly what you’re getting into with Romeo is a Dead Man. If you haven’t, you’re missing out on arguably the most insane and mind-boggling releases of 2026.
Reanimal is equal parts horrifying and daunting. Fun in ways only horror gamers can appreciate, you’ll spend as much time exploring the beautifully designed world from Tarsier, as you will trying to escape it, and its disgusting, body horror inhabitants. Decent puzzles, good platforming and some seriously impressive world design await if you can deal with some simple, if not repetitive gameplay.
Code Violet is a very mixed bag. It’s as likely that you’ll enjoy your time with it, as you will hate it. It’s a shining example of a game trying to regain the ‘Golden Era’ of our childhoods, but it goes as far as including the bugs, stunted gameplay and nonsensical story beats as well. If not for the environments and collectible storytelling, there’d be little left to redeem it.
She’s Leaving does atmosphere well, as any first-person horror game should aim for, but performance issues, somewhat tacked-on forensic features, and a predictable story let down what’s otherwise a tense affair.
With the new Crossworlds mechanic really spicing things up gameplay-wise, alongside the Gadget Plate, this might be the best Sonic racing game ever, and it’s definitely the best of 2025, including the moustachioed plumber’s latest offering.
Cronos: The New Dawn hits nearly every beat it needs to, from a genuinely terrifying atmosphere and environment painstakingly created, to a gameplay loop that harkens back to a nostalgic age of survival horror, all wrapped up in one of the most unique stories of 2025. If you’re looking to be scared, look no further.
Dying Light: The Beast is a return to the zombie-slaughter, parkour-jumping form we needed, and it never disappoints. From huge hordes to new enemies, human and not, it’ll not only have you running for your life, but desperately seeking out shelter in a way the franchise has been missing for a while. Horror fan? Zombie fan? Parkour fan? All-out-carnage fan? You won’t regret getting Techland’s latest offering.
Clearly influenced by sci-fi legends like The Thing and Alien, Dead Reset will have you neck deep in body horror, blood, and time-looping shenanigans. Mixed bag performances and a lack of consequences to your actions are a drawback, but the atmosphere and audio will draw you back in. The completionists will love the tracker available, and no matter the ending, you’ll always be wondering if you could have done something differently.
Hell is Us hits so many of the milestones the developers clearly wanted to, with ominous, environmental storytelling brilliantly achieved, a dark and brooding story that’ll have you questioning your own humanity, and a supernatural tale that weaves into all of that seamlessly, elevating it further. Issues with optimization aside, you’d be missing out if you don’t give Hell is Us a real chance, and it may just be Nacon’s best offering yet.
The frankly beautiful environment, rags-to-riches/forbidden love story, and memorable characters lift up the game, while the popping-in and optimization, and lack of a true open-world let the finished game down. With a couple of patches, this could end up being elevated to the best of the franchise, but for now, it’s just on the cusp.
Theres so much I could say about my time with Wuchang: Fallen Feathers, but in a time where everyone and their dog is attempting to capitalise on the Soulslike craze, Leenzee have left me feeling like I've encountered and experienced something special with Wuchang: Fallen Feathers, and something I can't help but gush about to anyone that'll listen. It's fun, frustrating in the best way, and one of the best Soulslikes for a long while.
Ready or Not has some truly cinematic moments, all with a realistic tone. The firefights feel urgent and truly life-or-death every single time. The variety of situations and levels, alongside the replayability thanks to the freedom of choice, will keep you coming back and trying to do better, for you, your team, and those you save (or don’t).