It’s a tricky job reimagining one of Agatha Christie’s classics, but this new version of Death on the Nile manages to bring a certain ‘je ne sais quoi’ to the table. The dual-protagonist setup between Poirot and Jane keeps things interesting and varied, and while the acting and emotional beats sometimes fall flat, the gameplay absolutely carries the experience. Featuring a fun mix of puzzles and real-time events with flexible difficulty options, you’ll stay hooked despite the cringeworthy audio-mixing and wobbly visuals.
Borderlands 4 delivers a quality looter-shooter experience. Featuring the mightiest roster of Vault Hunters yet and chaotic, open-world gunplay that's a tonne of fun. Sadly, the story and pacing falls flat with bland characters, repetitive enemies and grindy side quests that drag down the flow. Add in inconsistent visuals and rough co-op performance, and you’re left with a game that nails the action but misses the mark in other key aspects.
Silksong feels like everything Hollow Knight fans dreamed it would be. It’s smoother, punchier, more alive and way more respectful of your time. Hornet brings the oomph, the world drips with atmosphere, and the bosses are absolute bangers. Honestly, I can’t wait to sink another 20 hours into this silken nightmare. Though I’m sure you already bought it before you even read this review. Let’s be real.
Lost Soul Aside is a game of two halves: a phenomenal action core with enjoyable platforming, wrapped in a bargain-bin story and a sprinkling of half-baked RPG fluff.
This is Snake Eater—bonkers, brazen and still one of the slickest spy thrillers you’ll ever crawl through.
Echoes of the End is a quirky, Icelandic-themed adventure blending awesome platforming, puzzles and decent combat, inspired by some of the biggest names in gaming. Its imagination and variety are impressive for a first-time dev, but the constant bugs, wonky animations and inconsistent sound design stop it from reaching its full potential. Though as the ending leaves things open for a sequel, hopefully they can come back and edge closer to glory.
A straight-up banger where it counts, Wuchang: Fallen Feathers features riveting combat, exploration and build freedom. Just don’t expect to be blown away by the story and lore, unless you’ve got a PhD in Chinese mythology... or insomnia.
The Drifter is a uniquely Aussie mystery that’s dripping with style, tension and strong voice work. It’s a captivating ride that only stumbles in its final moments and a few puzzles here and there—but mate, what a bloody good ride it is!
Like SWAT 4 got jacked on protein powder and PTSD, Ready or Not is absolutely essential for tactical shooter fans.
A worthy alternative to FC—Rematch is fast, flashy and endlessly replayable. Let’s just hope Sloclap doesn’t red card the momentum with bad post-launch support.
RAIDOU Remastered: The Mystery of the Soulless Army brings the trench coat back in black: with smoother controls, quality of life improvements and even more demons to make Lucifer sweat.
MindsEye fails with buggy missions, disastrous frame rates and some of the worst AI we’ve seen in modern gaming. You’ll find the odd spark here and there that’s enjoyable, but you shouldn’t have to trudge through layers of cookie-cutter content to be entertained.
F1 25 doesn’t shake up the formula, but it fine-tunes the experience with slicker handling, sharper visuals and a surprisingly spicy Braking Point 3 story mode that’s well worth the ride.
Blades of Fire had the potential to be a blazing sleeper hit, but too often settles for a safe, lukewarm affair. It’s not bad—it’s just painfully mid. And in today’s crowded action-adventure space, mid doesn’t quite cut it.
DOOM: The Dark Ages is exactly what fans were craving: a beefy, brutal evolution of the franchise that mixes medieval mayhem with modern polish.
Days Gone is like that beaten-up motorbike you find in a shed: rusty, a bit ugly, but once you fix it up? It absolutely flies, especially about 15 hours in.
Putting a fresh spin on the mascot horror genre with fairly solid parkour mechanics and intense chase sequences, Finding Frankie makes its short, 2-hour runtime feel pretty punchy and replayable—especially for speedrunners. While the first half delivers a strong atmosphere and tension, the second half noticeably loses steam with slower, exposition-based segments and an undercooked ending that's clearly trying to set up a sequel. Still, with the price it's going for, you can definitely do much worse.
South of Midnight is a visually distinctive action-platformer with tight platforming mechanics and a unique stop-motion aesthetic, but it suffers from excessive hand-holding, lackluster combat, and a story that leans too heavily on exposition. While its momentum-driven traversal can be satisfying, the rigid level design, repetitive encounters and underdeveloped narrative threads prevent it from reaching its full potential.
Some may call it woke, but Assassin’s Creed Shadows has turned out to be slightly better than you’d expect. While the gameplay remains engaging despite some repetition and technical hiccups, the story is passable with sluggish pacing and mixed voice-acting. Long-time fans will enjoy the experience, but it may not win over sceptics of the franchise.
A triumphant blend of co-op gameplay, diverse genres and solid storytelling; Split Fiction makes every moment fresh and exciting. With its tight pacing, addictive mechanics and generous online/couch co-op features, Hazelight Studios has easily delivered their strongest title yet. If you've never played a game from this developer before, now is a better time than ever.