As one Steam review pithily, yet totally accurately put it: “It’s like if Runescape was fun.” Fantasy Live i has that big MMO feel to it, yet throughout the adventure never becomes exhausting. Whether the post-game stuff is for you or not, the journey there is such pure, wholesome, moreish escapism that it doesn’t matter. Level-5 took many years to get this out the door, but the wait has been more than worth it.
This is the strongest entry in a beloved series, and made all the more special because, after the original developer of the series closed shop, it looked like the entire series was dead for several years. This is a pretty good statement that there’s still so much more that it can offer yet.
Elden Ring Nightreign is a very clever game. FromSoftware has produced a multiplayer-focused “Souls” experience that borrows some of the best ideas from the multiplayer giants while retaining the Soulslike formula and style. It’s not really for me. I’m a mega Souls fan, but I’m there for the dark fantasy storytelling and exploration more than the action and bosses. But I can appreciate what FromSoftware has done with this, and I certainly think the team has nailed what they set out to achieve with it.
There’s a real heart and soul to this project, and Poland has produced yet another developer that is well worth keeping an eye on.
There’s absolutely room for an anime Returnal, and the base mechanics are there. Scar-Lead Salvation does play well. It is so achingly close to a good game. It’s just crushed by trying to spread that quality across a very, very long gauntlet.
All in all, the original Duck Detective was a wholesome, entertaining, totally charming bit of brilliance, and this stand-alone sequel does it justice.
There are otome visual novels out there that are far darker, more explicit, sharper, more horrific, and more intense than this one, but it’s not a criticism of 7’scarlet to say that it’s for those that want something more relaxing and straightforward to enjoy. A truly lovely setting that will have you pining to explore small-town Japan, and some lovely art, make this pulpy-style otome an easy-going page-turner.
It’s far sharper and smarter than the over-the-top fan service suggests it will be. That’s the archetypical half. Meanwhile, the JRPG mechanics are competent and enjoyable, but very standard with little experimentation.
Those gripes and wishlish items are minor issues that would be nice to see Big Ant address in future titles, but I don’t want to take anything away from AFL 26. It plays incredibly well and has had a lot of effort put into it, despite being a game that only really has Australia to count on as far as marketability. What’s more, Big Ant’s still patching away. It’s going to be fascinating to see where this one ends up in a year.
My gut tells me that as respected and successful as this game has already been, it’s only really getting started and over time will sit alongside the likes of NieR, and Planescape: Torment as the most literary and intelligent games ever made. Goddard, Camus and Sartre would be proud (well, perhaps not, existentialists are not a particularly jovial bunch by reputation).
The world of Oblivion alone is a perfect recreation of the Dungeons & Dragons descents into hell from my tabletop days, and I had such a rush of nostalgia playing that through again. It has made me feel old to reflect on the fact that it’s a 20-year-old game and I swear I remember playing it new like it was yesterday, and nostalgia always comes with some rose-tinted glasses, but yes, I haven’t minded having the opportunity and excuse to play this again at all.
Anything that truly challenges the player is anathema to modern design best practice. That’s why Amerzone is such a rare treat. It looks the part of a modern game, tells an exceptional story with a page-turning quality that only one of history’s finest comic book artists could achieve, and is willing to throw some genuine puzzles at the player. If you’ve got the resolve for it, then you’re in for a ride with this one.
I’m not sure why Square Enix has decided to become so prolific with the SaGa property. Three games in a single 12-month timespan is the most ambitious release schedule we’ve ever seen for it. But I’m also not complaining. SaGa has always been something of the forgotten child of Square Enix’s JRPG properties. With any luck, that’s changing now, and a whole bunch of people are going to realise just how good Frontier 2 here is for the first time.
The fact is that as a fan of Chu Chu Rocket, I am continually disappointed that there isn’t more done with that kind of puzzler, and Tempopo more than scratched the itch. This has been my favourite puzzle game in years.
To be clear, Indiana Jones and the Great Circle is good fun. The presentation is spot on, and it’s an example of how nostalgia can be traded on in a way that is fun, rather than desperate. But as a video game, it’s yet another example of how the AAA blockbuster end of the market is totally incapable of breaking away from the overly safe and familiar, and the inflexibility of these “video game design best practices” means that no property is allowed an identity of its own anymore.
These retro experiences really are predominantly for existing fans, after all, and Lunar was especially well-known for having deluxe collector’s editions back in the day. Something a little more luxurious than a menu with “remake” and “classic” modes would have been nice.
All in Abyss is exceptional. Sharp and very funny writing, is backed by a fast-paced, intelligent appropriation of poker. This is going to be one of my highlights of 2025.
Warside’s single biggest flaw is that it fails to do anything to step out of the shadow of Advance Wars in any meaningful way.
Battlefield Waltz is one of Otomate’s stronger efforts. It takes a strong setting, a strong narrative, and strong characters, and makes the most of them. It’s a “safe” game that takes few risks and doesn’t really push boundaries, but it’s an enormously enjoyable and moreish page-turner. The digital equivalent of picking up a good paperback.
The developers really tried with an exceptionally difficult genre. AI Limit won’t be remembered alongside FromSoftware or Koei Tecmo’s work in the genre, but it’s also by no means a poor effort. It’s like the work that a student who really understands the source material produces. It might only be a shade of the master’s work, but you can’t help but hope they get another swing at it, because they’re on the cusp of breaking out and carving out something brilliant with its own identity.