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We Love Katamari REROLL + Royal Reverie is the best version of what is generally considered the best Katamari title. That being said, if you own the original and are looking to buy it just for the Royal Reverie content, its extremely short runtime makes it hard to recommend for that alone. However, for anyone who hasn't played this weird and wonderful game (or series) it's a definite recommendation – and a game with an extremely fitting name.
Ultimately, the issues that arise aren’t enough to quash the immense level of fun or the mastery of design on display. Red Matter 2 is a PSVR2 must-play.
Despite our complaints, though, Killer Frequency is lifted by its daft charm. It's an intriguing, unorthodox murder mystery that fans of narrative-driven games will certainly enjoy — it just needed a little bit more tuning.
Budget Cuts has thrilling stealth gameplay that'll have your heart pumping as you dodge, duck, dip, dive, and dodge your way past robotic pursuers. With a solid length campaign, headset haptics, and an intriguing story, you'll want to see this one through to the end. Although some major hand tracking issues and jagged visuals cut the immersion, we'd still recommend you optimise your time and give this one a shot.
A good time loop mechanic is supposed to give you enough variety so that repetition doesn't set in. Unfortunately, this is where Loop8 falls flat. You’ll be going over the same conversations and they’re just not interesting enough to make it worthwhile. It also doesn’t help that there’s only a small variety of enemies, and that the underworld is mostly just the town with a different colour palette. It's hard not to get annoyed when you realise that you’re still not strong enough to take out the next boss, and have no choice but to repeat the last few weeks.
Five to six hours of playtime will be enough to reach one of the game's three endings, in which time you'll explore a number of eccentric rooms that wonderfully capture the visuals of the PS1 generation. We'd argue some of the environments look slightly better than what Sony's first home system was capable of, but the character models are absolutely bang on. With conversations presented just like Metal Gear Solid, it's a wonderful trip down memory lane.
Even with these setbacks, you still get a brutally exhausting, immensely fulfilling gameplay loop with masterfully charted songs. However, until those issues are fixed, what you have is merely an adequate port.
Street Fighter 6 is an absolute humdinger of a sequel.
Diablo 4 is the true successor to the bad old days of action RPGs and oozes quality in its frenetic combat and deep, engaging character development. It tells a complex, gritty narrative set in the darkly beautiful world of Sanctuary. Even better, it provides a solid foundation for years of Diablo content to come.
For anyone familiar with the series (and the RTS genre itself), Company of Heroes 3 is a solid but flawed entry. For newcomers, getting to grips with the controls and trudging through the patchy Italian campaign might not be worth the price of enlistment. However, if you do learn its intricacies, you're rewarded with fantastic, intense combat. It's a great effort to translate the RTS to console even with one or two issues.
Other game modes feel slightly less frenetic than the campaign and scenario modes, and are definitely the modes to try if you really want to take your time and not feel rushed. There's definitely a lot of opportunity to play the game exactly how you want to, and find the mode that works for you if you feel the competitive options are a bit too stressful.
The Lord of the Rings: Gollum is a broken mess of a game. There are barely any redeeming qualities to be found amidst what can only be described as a massive missed opportunity. There is some serious potential in a single-player linear Lord of the Rings experience like this, but with outrageously dated level design, clunky controls, a severe lack of polish, muddy and unimpressive graphics, and a dull story, Gollum completely misses the mark. As massive fans of the books, films, and games, it's sad to see that there is nothing precious about this experience.
Nock is a super addictive bow-and-arrow soccer title with accurate physics, on-point hand tracking, and impressively satisfying traversal that’s almost impossible to put down. The few niggles here — similar arenas and lack of visual environments — aren’t enough to detract from the core gameplay. Nock virtually hits the bullseye, and we’d recommend you give it a shot.
In Tanta We Trust is a DLC better than the game it's based on, but that's more because it strips the Forspoken experience of its open world busywork than anything else. An expansion that focuses more on combat, the single open area is a condensed version of what the base title offers, turning it into a more tightly packed undertaking that gets you in amongst the action much faster. It's more Forspoken, but a better version of it.
There's a kernel of a fantastic tactical role playing game in Miasma Chronicles, but it lacks polish in a few key areas, and while the lore and the characters are endearing in their own right the overarching fiction that binds it all together disappoints.
If you can overlook the glaring issues Glitch Busters has with its poor presentation and basic AI, then there's fun to be had with friends in the form of some enjoyable boss fights and vehicle-based levels later into the campaign. However, without a buddy by your side, it's not worth trawling through the rest of the game with a bunch of useless peas to get there.
If you can look past the repetition and the roadblocks, Warhammer 40,000: Boltgun is a largely solid shooter. It nails the visuals, the guns generally feel great, and the sound design is suitably punchy — just don't expect it to push beyond those foundations.
With lofty ambitions and some great elements, After Us lets itself down in as many ways as it triumphs. Gorgeous art direction and an admirable anti-pollution message aren't enough to make up for tedious combat, performance issues, and open-ended level design that plays things a little too loose. If you're itching for an experience like this, there are better options out there, at the very least until After Us' performance issues are addressed. There's the core of an incredible experience here, but it's just not ready yet.
While the game doesn’t look particularly pretty, it does run at 60 frames-per-second on PS5, and the developer has implemented haptic feedback and the adaptive triggers, which help communicate the feel of driving a gigantic double-decker. Post-release support is en-route, too, promising new school bus-inspired gameplay and trams, so there’s a lot of life left in this one even once you’ve mastered the extensive content available on day one.
Whether you're a fan of LEGO, arcade racing, or both, this game comes highly recommended from us, with the unfortunate caveat that it also features pretty aggressive monetisation. Tactile open worlds have a decent amount to discover, the Story mode strikes the perfect tone, and the driving itself is great fun. On top of all that, an impressive build mode lets you make your own crazy cars, though it's a shame you can't share them with your pals. Unfortunately, the microtransactions are hard to ignore, and they drag down what is otherwise a creative and engaging racer.