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Call of the Sea is a first-person adventure from Out of the Blue, published by Raw Fury. You play as Norah, voiced by Cissy Jones, who travels to a remote island in the South Pacific during the 1930s to track down her missing husband, Harry, voiced by Yuri Lowenthal. There's no combat here, the focus is on exploring the island and working through puzzles.
The setting is the first thing that stands out. The island looks beautiful, with its bright colours, strange ruins and hidden corners that keep you curious about what's next. The presentation has real character, and Norah herself is a big part of that. Jones gives her a voice that feels warm and believable, and the story carries both mystery and emotion as it unravels.
Most of your time is spent solving puzzles. They come at a steady pace, usually clever and well thought out, and when they click they feel rewarding. The game clearly has a lot of care behind it, both in how the puzzles are built and in how the story pushes you forward.
Not everything lands perfectly. Some of the puzzles are tough, even with the hints available, and a few times I ended up checking online to figure out the solution. That can be a slippery slope, because once you've done it once it's tempting to do it again rather than wrestle with the harder sections. Playing on a Nintendo Switch Lite also showed up a few technical hiccups, with some stuttering in the animation, though it was never enough to ruin the experience.
Call of the Sea isn't the sort of game you'll replay often, but as a one-off adventure it works well. The combination of its striking island setting, its story full of heart, and a run of puzzles that mostly land makes it worth picking up if you enjoy thoughtful puzzle-driven games.
Goosebumps: Terror in Little Creek is a surprisingly solid and enjoyable entry in the long-running franchise, and it does a good job of translating the spooky, playful tone of R.L. Stine's books into a game. You step into the shoes of Sloane Spencer, a young teen trying to unravel the eerie mysteries lurking in the town of Little Creek. From fog-filled streets to abandoned theatres and dark, cluttered libraries, the environments are small but well designed, giving players plenty of corners to explore without ever feeling lost. The game balances exploration and narrative nicely, letting younger players wander, discover secrets, and uncover the town's supernatural happenings at a comfortable pace.
The stealth mechanics are a highlight, and they work better than you might expect from a game aimed at children. Timing your movements to avoid monsters, making clever use of your haunted book, and occasionally defending yourself with a slingshot all keep the gameplay engaging. There's a nice variety of creatures to contend with, each with its own behaviour, and the occasional jump scare, while mild, adds tension in just the right way for the target audience. Puzzles and interactive contraptions also provide a good challenge, encouraging players to think without feeling frustrated.
Visually, the game leans into a cartoony style that suits the Goosebumps universe well. Characters and monsters are designed to be creepy without being genuinely frightening, and the environments have enough detail to feel alive. Sound design complements this, with plenty of ambient noise, creature sounds, and spooky effects that heighten the sense of mystery. The learning curve is gentle, so players can pick up the mechanics quickly, and the gameplay loop of exploring, solving puzzles, and avoiding monsters is straightforward but fun.
The main downside is that the game is short. Most players will finish the story relatively quickly, which is understandable given the younger audience it targets, but it does limit replayability. There's also a sense that some areas and encounters could have been expanded to give the map more depth, but the game still manages to deliver a satisfying experience in its compact form.
Goosebumps: Terror in Little Creek is a fun, well-paced adventure that does a good job of introducing stealth and puzzle mechanics to younger players while staying true to the franchise's signature blend of spooky thrills and playful twists. It's not a long or complex game, but it doesn't need to be: it's entertaining, easy to pick up, and full of the Goosebumps charm that will appeal to fans old and new. For what it sets out to do, it's a strong effort and deserves recognition. I'd give it a solid 8 out of 10.
VR is littered with ambitious shooters, but Dixotomia stands out because of its odd mix of gritty sci-fi and supernatural menace. You're dropped into a crumbling colony, stuck between androids, mercenaries, and a cult of vampires who are all too happy to tear you apart. On paper it sounds a little wild, but in practice it works surprisingly well.
When Dixotomia hits its stride, it's a blast. The shooting feels weighty, the vampiric powers give you a fun edge in battle, and the freedom of movement across large industrial sites, Martian quarries, and neon towers makes it feel bigger than many VR games manage. It's easy to pick up and play, with straightforward controls that don't overwhelm you, and the visuals, when they're polished, look strong for a standalone headset. The sound design deserves credit too, with plenty of bite and atmosphere that sells the dystopian mood.
The flipside is the state of the game as it stands. Early Access is always a mixed bag, and Dixotomia is no exception. You'll run into bugs, rough edges in the visuals, and a general lack of polish that reminds you it isn't finished yet. Weekly patches are rolling out, which is encouraging, but that doesn't stop the frustration when a promising mission collapses under technical hiccups. There's also the fact that some boss fights and environments feel more like sketches of ideas than fully fleshed-out moments, which can be jarring in a VR game that leans on immersion.
Still, the potential here is undeniable. The combination of brutal sci-fi gunplay and bloodthirsty vampiric abilities is a clever hook, and the upgrade trees suggest the developers are serious about depth as well as spectacle. If Deep Matrix can tighten the rough spots, squash the bugs, and add a layer of polish, this could end up being one of the more interesting VR shooters out there.
Right now Dixotomia is a work in progress, and you have to treat it as such. There's fun to be had, but it's also frustrating in equal measure. The big question is whether the team can follow through and realise the potential that's clearly baked into the design. For now, it's one to watch.
Score: 6.5 out of 10, not quite there yet, but with time it could be something special.
Indiana Jones and the Great Circle has set a high bar for licensed action-adventure games, and MachineGames delivers a truly cinematic experience that feels faithful to the films while offering depth for players. The game's story, set between Raiders of the Lost Ark and The Last Crusade, sees Indiana Jones chasing a mysterious power connected to the Great Circle across iconic locations including Vatican City, Giza, the Himalayas, Shanghai, and Sukhothai. The mix of first-person exploration with third-person contextual sequences may initially feel unusual, but it allows for precise puzzle-solving, engaging stealth sequences, and fluid combat. The whip is brilliantly implemented, serving as a traversal tool, combat weapon, and puzzle-solving mechanic, and every movement or swing of it feels satisfying and cinematic.
The world design is a highlight. Large sandbox levels like Vatican City and Giza encourage exploration, with hidden relics, collectibles, and optional Fieldwork missions that reward curiosity. Adventure Books offer permanent boosts, incentivising careful observation, while the "Lucky Hat" mechanic keeps the action flowing without excessive frustration. Stealth mechanics are particularly strong, letting players sneak past enemies, hide bodies, or use disguises strategically. Combat feels weighty and responsive, with stamina management, melee, firearms, and explosives all requiring thought. Voice acting is superb across the board, with even Indiana Jones himself sounding convincingly like Harrison Ford. Cutscenes are smooth, beautifully animated, and bring the story to life.
The Order of Giants DLC expands this foundation impressively. Set in Rome, it immerses players in a fresh story that feels connected yet distinct. Indiana is called to help Father Ricci track a Roman artifact, but the quest quickly escalates into a perilous journey involving sinister plots by Emperor Nero, gladiator games, and the mysterious Cult of Mithras. The cultists, clad in dark red robes, strike from the shadows, adding tension to both stealth and combat encounters. The DLC opens up new areas across Rome, from the crumbling Colosseum ruins to the serene Vatican Gardens, then descending into the foreboding Cloaca Maxima and hidden crypts below the city. The sense of verticality and layered design in the catacombs and sewer systems adds depth to exploration, and the puzzles, while sometimes easy, are integrated naturally into the environment and story.
Graphically, both the base game and DLC are striking, with detailed environments, well-animated characters, and atmospheric lighting that enhances the sense of adventure and danger. If you have the Xbox Series X make sure you download the extra graphics/textures pack, yes I know it is another 40gb, but if you have room on your hard drive it is worth it, if you are on Xbox Series S, it wont make too much of a difference.
Combat and stealth remain as satisfying as in the main game, and new encounters with cultists and complex traps give players more opportunities to test their skills. The DLC is best enjoyed after a fresh playthrough or at least following the Vatican level, as it picks up the narrative seamlessly and adds layers of intrigue without feeling tacked on.
Minor criticisms remain. The DLC is relatively short, leaving players wishing for more content, and some puzzles lack challenge. For the main game, the shift between first- and third-person perspectives can feel jarring at times, and a full third-person option might have suited players used to that viewpoint in action-adventure titles. These, however, are small blemishes on an otherwise polished experience.
Overall, Indiana Jones and the Great Circle is an outstanding action-adventure game, blending cinematic storytelling, engaging gameplay, and faithful franchise recreation. The Order of Giants DLC complements the base game beautifully, delivering new locations, intriguing characters, and fresh challenges. Together, they create an experience that both long-time fans and newcomers can enjoy. Base game: 9/10. With the DLC included, the adventure only becomes richer and more satisfying, cementing the series as a benchmark for licensed games done right.
Out Now on Xbox, get the Premium version and you will get this and any future DLCs included.
EDENS ZERO brings Hiro Mashima's space fantasy manga and anime into a 3D action role-playing format, and it does so with a lot of energy and style. At the heart of the game is Shiki Granbell and his friends, setting out on a cosmos-spanning adventure that mixes the familiar storyline with original content created under Mashima's supervision. For fans, it means a chance to step back into a world they know, while also experiencing quests and scenarios unique to the game. For newcomers, it is a polished, action-heavy RPG with plenty to discover.
The game opens at a measured pace, and the graphics at first feel a little underwhelming. Stick with it, though, and the scope soon reveals itself. Blue Garden, the planet of Adventurers, is fully explorable, and the freedom to wander, collect cards and notes, and uncover secrets makes the setting feel alive. Across that journey, there are more than 700 equippable items to find, and the customisation system is generous. You can alter appearances with accessories and gear without changing stats, letting you design characters to your taste while keeping their builds intact.
Combat is the real highlight. You take control of eight playable characters, including Shiki, Rebecca, Weisz, and Homura, each with their own Ether Gear abilities and unique fighting style. Close-range brawlers, long-range shooters, weapon specialists, and magic users all play differently, and switching between them mid-battle feels natural. The controls are easy to pick up, and experimenting with different line-ups adds variety. Boss fights, in particular, stand out, demanding focus and rewarding you with the satisfying rush that only a tough win delivers.
Visually, once the game opens up, it comes alive. The vibrant anime aesthetic, bold character designs, and flashy combat effects look striking, and when paired with smooth controls, it feels built for high-energy sessions. The inclusion of Jiggle Physics, while not essential to gameplay, adds to the sense of leaning fully into the anime style. It is light-hearted, playful, and consistent with the tone fans expect.
If there is a criticism, it is a minor one: the map could do with improvement. With so much ground to cover and so many items to find, a larger or more detailed map would make exploring less fiddly. That aside, the game runs smoothly, feels polished, and offers enough depth to keep players engaged for hours.
What makes EDENS ZERO work is that it manages to appeal beyond the existing fanbase. Even if you have never read the manga or watched the anime, it plays as a strong action RPG with character variety, a vast world, and rewarding combat. For long-time fans, the blend of canon story and new material makes it feel like an expansion of the universe they already love.
I went in unsure whether it would be for me, but it won me over. It is packed with content, stylish to look at, and consistently fun to play. A few small flaws aside, it is a confident and polished adaptation. I score EDENS ZERO a strong 8 out of 10.
Lost Twins 2 is a rare kind of puzzle-platformer, one that feels both completely charming and genuinely inventive. At its heart you guide Abi and Ben, two lost twins, across a whimsical polygonal playground where the world itself can be shifted, tiles can be swapped, and entire pathways reshaped at will. It's a clever mechanic that transforms every stage into something both surprising and rewarding. The puzzles themselves are beautifully put together. They're tough enough to make you stop and think, yet logical enough that you never feel stuck for long. Solving them has that wonderful effect of making you feel just a little bit smarter than you are.
Looks wise, the game wears its influences proudly. Clearly inspired by Miyazaki and Studio Ghibli, the art style blends soft painterly backdrops with simple, expressive characters and fluid animation. Lighting, composition, and attention to detail give every frame a handcrafted warmth. It's paired with a score that is both soothing and atmospheric, wrapping the puzzles in a layer of calm that makes it easy to lose yourself in the experience.
The gameplay never falls into repetition. The signature sliding puzzle mechanic is joined by pressure switches, lifts, water gates, and breakable domes, with each new level introducing something that keeps the pace fresh. Playing solo is rewarding, as switching between Abi and Ben to achieve different goals feels natural and well designed, but the game shines brightest in local co-op. Working together with a friend to swap tiles, trigger mechanisms, and build paths is where the charm really comes alive. The only drawback is that there's no online option, so you'll need someone on the sofa with you.
What sets Lost Twins 2 apart is its philosophy. There are no enemies, no deaths, no timers, not even much dialogue to push you along. It is purely about discovery, tinkering, and exploration. That makes it as enjoyable for children as it is for adults, and it ensures the experience never feels stressful, only thoughtful and rewarding. The story may be a little light, but the art, the puzzles, and the sheer creativity more than carry it.
It's rare for a game to be this beautiful, this clever, and this accessible all at once. Lost Twins 2 is proof that puzzle games can be both relaxing and exciting without ever leaning on conflict or frustration. A delightful, charming piece of design that works on every level. I give it a strong 9 out of 10.
Metal Gear Solid Delta: Snake Eater arrives on PlayStation 5 with a weighty legacy on its shoulders. The 2004 original was not only a fan favourite but also the first story chronologically in the Metal Gear saga, setting the stage for everything that followed. Set in 1964 at the height of Cold War paranoia, you step into the boots of FOX operative Naked Snake, tasked with extracting a Soviet rocket scientist, dismantling the nuclear superweapon Shagohod, and facing off against his mentor turned traitor, The Boss. It's a tale of betrayal, loyalty and politics, wrapped in Kojima's familiar mix of high drama and eccentric detail.
At its core, Delta is faithful to what Snake Eater already was. You sneak through jungle and industrial environments, avoid guards and traps, and scavenge weapons and gadgets to survive. The survival mechanics return, where treating cuts, bruises and bullet wounds becomes part of the immersion. In fact, this time, Snake's injuries leave permanent marks, scars that stay with him throughout your playthrough. The camouflage system has been given an extra layer too, with mud, dirt and falling leaves sticking to his gear and leaving him battered and worn as the mission drags on. The Survival Viewer reflects all of this in vivid detail, and the presentation is undeniably impressive.
Delta also caters to both newcomers and veterans with two styles of play. The "New Style" borrows from modern action games with contemporary controls and a free camera, while the "Legacy Style" keeps the fixed camera angles and systems from the original, a nostalgic nod for long-time fans. Even the odd little "Snake vs Monkey" mini-game makes its return on PS5, a quirky reminder of the series' playful side.
The problem, though, is that for all the polish, nothing feels truly new. Underneath the shiny coat of paint, this is still very much a 2004 game, and in 2025, that shows. Some may see that as a positive, after all, it preserves the original vision, but others will feel short-changed. With a 90GB install size and a £60 price tag, it's hard not to question whether this is a remake in spirit or more of a remastered cash grab.
To be fair, Delta is the best way to experience Snake Eater today if you've never played it before. It looks stunning, the mechanics feel tighter, and the atmosphere holds up. But if you already loved the original, you may be left wishing for something braver, something that truly reimagined the game rather than just dressing it up.
I'd call it a good but safe update, one that plays well and respects the source material, but ultimately feels dated. For me, it lands at a 6 out of 10. A solid experience, but not the fresh take many of us were hoping for.
Sokobos 2 is a quietly clever puzzle game that takes the classic block-pushing formula and gives it a fresh spin. At its heart, you are loading vases into a cart, but here's the catch: the cart moves too, turning a simple task into a surprisingly satisfying mental workout. It's small, handcrafted puzzles like this that deliver those "aha!" moments you remember, and the game doesn't just rely on repetition. Objects behave in interesting ways: some sink, some float, and some can even form one-time bridges when pushed into water, making you rethink every move.
Set in Ancient Greece, the story is lightly woven through the gameplay. You've upset the Gods and are condemned to collect vases for eternity. It's a nice touch that gives the puzzles a little extra character without ever getting in the way of the solving. Beyond the vases and cart, there are gates, pressure plates, and water mechanics that introduce clever interactions without ever feeling overwhelming. The game is patient in teaching you the rules, then trusts your problem-solving skills for the tougher challenges later on.
Visually, it keeps things minimal, which works perfectly. There's no distraction, just you, the vases, and the puzzles. For newcomers, the learning curve is gentle. For veterans of Sokoban-style games, there's enough nuance and originality to keep things interesting. It feels like the developers learned from the original Sokobos, which sometimes dragged with overly large levels and too many moves. Sokobos 2 keeps it simple and satisfying.
Launching on Steam on 19 September 2025 for $9.99, with a 15% discount at release, it's available for Windows, Linux, and Mac. Overall, it's a solid little puzzle game that respects your time and your brain. I'd give Sokobos 2 a strong 8 out of 10.
I've been interested to play Jacked Up ever since the first chaotic trailer dropped, and now that it's finally on my headset, I can say it's definitely a fun VR game, if not groundbreaking. The pitch sounds ridiculous on paper: you're a musclebound rabbit trying to climb a giant tower, live-streaming the whole ordeal to an in-game audience that cheers, heckles, and distracts you while you bounce from one block to the next.
The bouncing feels pretty decent. It's fast, simple, and addictive, I lost count of how many times I smacked into the same spinning bar thingy and tumbled right back to the bottom, only to instantly restart without hesitation. That's the magic here, the game doesn't frustrate too much, it teases you into having "just one more go."
What keeps it from getting stale are the gyms dotted through the tower. Every few hundred metres, you land in a checkpoint guarded by outrageously shredded animals. Ripped frogs, bulked-up chickens, dogs with more muscle than sense, all cheering you on. Make it to the fourth gym and you unlock a Gym Token, which means you don't always have to slog back through the very start again. It's a clever little system that makes progress feel rewarding while keeping the tension alive.
The optional challenges are where the game goes from silly to completely unhinged. One run I was trying to bounce while holding a motivational poster in front of my face, another time I downed a glowing protein shake that made my jumps unpredictable. These "Bro Lab" dares are interesting, especially when your in-game chat starts reacting in real time. That feature might sound like a gimmick, but it really adds to the atmosphere. Having fake viewers roast you mid-run makes the whole experience feel like part-game, part-comedy show.
It isn't all perfect. The visuals are extremely simple, almost bare-bones, and the environments don't change much as you climb. The core loop is strong, but it doesn't branch out into much variety yet. I'm banking on those promised mini-games in future updates to fill that gap. And a big word of warning: if you're even slightly prone to motion sickness, this one could mess you up. Looking down or up at the wrong time is an instant stomach churner.
Still, for the price (just under six quid), it's a brilliant little package. It doesn't overcomplicate itself, it makes the bouncing feel great, and it has enough personality to stand out from the usual crop of VR experiments.
Jacked Up won't win awards for originality or visuals, but it nails what it sets out to do. It's goofy, frustrating in the best way, and weirdly motivating. I'm giving it a solid 7 out of 10, with the feeling it could climb higher if those updates deliver.
