For many, scaling Mount Everest has stood as the ultimate challenge of one's strength and endurance. An achievement of a lifetime. For long-time Doom players, however, there is an equivalent: NUTS.WAD. Legend has it that NUTS.WAD descended upon Doom players in the year 2001: a map from the future in which players are dropped into a single map with more than 10,000 enemies and a handful of power-ups. And now - for the first time ever - it's playable on a games console.

I'm half-joking, of course, but the ability to load in any Doom mod is just one great feature found in the latest version of Doom and Doom 2. Helmed by Nightdive in cooperation with id Software and Machine Games, this new version is worth looking at as it is the most feature rich, best-performing version of Doom on consoles. It's available on PC, PS5, Xbox Series consoles, Switch and even last-gen PS4 and Xbox hardware. The game was transitioned over to Nightdive's KEX engine and brings with it a vast array of enhancements - 120fps support on consoles, 16-player multiplayer including co-op, and a new soundtrack from the legendary Andrew Hulshult.

But it was the mod support that was my first destination and with it, the chance to see how Nightdive's work would cope with the NUTS.WAD challenge. This pushes beyond the limits of what Doom engine was intended to handle and now we can test it on console and the results are interesting. Before we go on, it's worth stressing that all current-gen machines can handle 4K gaming at 120fps - and yes, that includes Series S. The engine is optimised and fast - all the included content and every map I tested runs like greased lightning. I wanted to raise this caveat because the challenge of NUTS.WAD is so extreme and cruel that I don't want people to get the wrong idea. The fact that you can run NUTS.WAD at all is cause for celebration!

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The art of the reveal is a difficult thing - and in our current industry, most publishers prefer trailers packed with pre-rendered CGI or snippets captured across the game. Yet, I've always preferred a different approach: a linear series of events showcasing what's possible in the game. This style was memorably used to reveal Metal Gear Solid 2, along with titles like Halo 2, Doom 3, The Last of Us and Killzone: Shadow Fall. It's designed to showcase the gameplay vision of a title contained within a single location - a way to help the player understand what sort of game the developer is building. With the reboot of Perfect Dark, finally shown during this year's Xbox showcase, I was thrilled to see a return to this format.

There's little doubt that the lead-up to Perfect Dark has been fraught with challenges. First named six years ago in a simple teaser, the studio went radio-silent afterwards, with rumors suggesting it was in a rough state. With this new trailer, however, it finally feels like we have a vision for what the team wants to achieve. This is still very much a vertical slice - it wouldn't be surprising to learn that little else of the game's campaign has been built yet - but this trailer gives me hope that they're on the right track.

Creating a new entry in the Perfect Dark series is perhaps not as simple as it may seem. On the face of it, the original Perfect Dark is a type of shooter that largely doesn't really exist any longer. It's mission- and objective-driven, filled with gadgets and other unique scenarios, but the central mechanics, level design and flow are very much of the era. There is one contemporary game, known as Agent 64, which perfectly builds on this style of play - the demo is excellent and a fun throwback - but that's not necessarily what you'd want from a full reboot.

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Senua's Saga: Hellblade 2 is a carefully paced cinematic game - almost like the logical conclusion of those early 90s FMV experiments. I mean that in the best way and I'm fascinated by its existence - in an era where it feels as if publishers are pushing to fill their games with arguably too many features, Hellblade 2 is a tight, pure experience more so than a typical video game. The focus is so tight, in fact, that some may be put off by the lack of interactivity, but let's be clear - it's his singular focus that allows it to shine, becoming its own thing that you won't soon forget. It's a masterpiece in audio-visual design from developer Ninja Theory and an astonishing demonstration of Unreal Engine 5's core technologies.

As a story-focused game, characters and character rendering play a significant role in the presentation. However, while the pre-release media largely focused on Senua herself, Hellblade 2 features a surprisingly large number of other humans. It's without doubt one of the games defining visual features - the character rendering in Hellblade 2 sets new standards, delivering sequences that, at times, almost resemble actual filmed scenes with real actors. This is one of the first examples of a game that stands up against the promise of the UE5 demo The Matrix Awakens. The scenes feel very natural and realistic in a way that manages to somewhat sidestep the uncanny valley almost completely.

When the camera zooms in for a close-up, the level of detail is such that it left me guessing whether I was looking at real-time graphics or a pre-rendered cutscene. Thankfully, with Photo Mode being available at any time, you can easily confirm that they are, in fact, real-time.Of course, it's really the animation you experience while playing that impressed me the most. The expressions visible while engaged in combat or simply exploring really help bring the characters to life.

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Let's great straight to it - Penny's Big Breakaway is one of the best platform games I have ever played. I thoroughly enjoyed my experience with this game to the point that even months on from its original release date, I still think about and play it regularly. It's the kind of game where within the first few minutes, you instantly know you'll be playing and replaying for years to come. Developed by Evening Star - the team behind Sonic Mania - what we're looking at here is a game that fully understands Sonic's momentum-based platforming on a level that is rarely observed, translated into 3D in a way that not even Sonic Team has truly managed.

In a sense, Penny's Big Breakaway is a game that feels as if it were built in 1995 during the rise of 3D graphics by time travellers from the modern era, bringing with them today's modern knowledge and know-how. It's a perfect blend of old-school sensibility and innovation: a rare treat in today's gaming industry. It's also a game built entirely using in-house, from-the-ground-up technology. This is not a Unity or Unreal project, it's entirely bespoke, running at native 4K at a full 120 frames per second on everything from Xbox Series S upwards - another rarity.

At its core, Penny's is a 3D platforming game. You play through a series of stages all based on different themes, you jump, you run and aim for the goal - with a twist - the Yo-Yo. Yo-Yo is Penny's personal multi-tool - harnessing its power, players can attack, fly and speed across the map - it's fast, it's original and it's fun. It's also the key to the game's momentum system: tap the Yo-Yo button and Penny hops on board, riding the Yo-Yo like a Razor scooter around the map. Even better, Evening Star has implemented a simple combo system allowing you to chain together moves as if you were playing Tony Hawk's Pro Skater - the Yo-Yo basically works like a manual in that game chaining together combos along the way. The thing is, like Sonic, while the controls feel simple enough, there is a lot of depth there and, as you play, you'll find yourself adapting, slowly mastering the controls while executing increasingly lengthy combos.

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No Rest for the Wicked is out now on early access, giving us our first glimpse at Moon Studios' latest project. The developer's prior offering - Ori and the Blind Forest and Ori and The Will of the Wisps - turned the Metroidvania style of game on its head, offering a powerful, fresh experience that is difficult to forget. And now, four years later, Moon looks set to do the same for action RPGs with No Rest for the Wicked. Simply put, No Rest for the Wicked couples a stunning visual design with elements inspired by From Software's Souls titles, Blizzard's Diablo and even Animal Crossing - and yet the whole is greater than the sum of its parts.

At its core, Wicked remains a game rooted in the Unity Engine but with a vast range of customisations transforming it into its own thing, hence the nickname - Moonity. This, however, is used only for the game's presentation layer - the graphics you see on-screen. Moon has also built a new simulation engine - built on top of Exit Games' Quantum Engine - to handle game logic, including a fully deterministic 3D physics system for networking, which No Rest for the Wicked will feature at a later date.

What makes this setup work well is the division between rendering and simulation - basically, input responsiveness is separate from frame-rate so, if you're playing on a lower end platform, like a Steam Deck, at 30fps, the game will still feel as responsive as a game running at a higher frame-rate. The visuals, however, are striking. First and foremost, Wicked supports HDR on day one - this is important as we have largely considered Ori and the Will of the Wisps to stand out as one of the best examples of HDR in any game released to date. The HDR implementation is superb and just as intense and engaging as Ori. It makes a gigantic difference if you use an HDR display.

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No Rest for the Wicked is out now on early access, giving us our first glimpse at Moon Studios' latest project. The developer's prior offering - Ori and the Blind Forest and Ori and The Will of the Wisps - turned the Metroidvania style of game on its head, offering a powerful, fresh experience that is difficult to forget. And now, four years later, Moon looks set to do the same for action RPGs with No Rest for the Wicked. Simply put, No Rest for the Wicked couples a stunning visual design with elements inspired by From Software's Souls titles, Blizzard's Diablo and even Animal Crossing - and yet the whole is greater than the sum of its parts.

At its core, Wicked remains a game rooted in the Unity Engine but with a vast range of customisations transforming it into its own thing, hence the nickname - Moonity. This, however, is used only for the game's presentation layer - the graphics you see on-screen. Moon has also built a new simulation engine - built on top of Exit Games' Quantum Engine - to handle game logic, including a fully deterministic 3D physics system for networking, which No Rest for the Wicked will feature at a later date.

What makes this setup work well is the division between rendering and simulation - basically, input responsiveness is separate from frame-rate so, if you're playing on a lower end platform, like a Steam Deck, at 30fps, the game will still feel as responsive as a game running at a higher frame-rate. The visuals, however, are striking. First and foremost, Wicked supports HDR on day one - this is important as we have largely considered Ori and the Will of the Wisps to stand out as one of the best examples of HDR in any game released to date. The HDR implementation is superb and just as intense and engaging as Ori. It makes a gigantic difference if you use an HDR display.

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Recently revealed game Kingmakers seems to perfectly capture the childhood thrill of smashing together characters from different worlds, with its debut trailer featuring a huge medieval army being demolished by a modern soldier with automatic weapons, a beat-up pick-up truck and command of a helicopter. Beyond that now-infamous plot twist at the 23 second mark, there's a lot going on: third-person shooter gameplay, real-time strategy elements and a massive scale to the proceedings with thousands of soldiers on-screen; it's like dropping a guy from Battlefield into Medieval: Total War.

The developers behind the title are Redemption Road Games, best known for the Road Rash spiritual successor Road Redemption that featured in our retrospective of that iconic series. Following that piece's publication late last year, the development team reached out to offer an interview about what they were working on next.

Here's that interview, which features John Linneman speaking to four members of Road Redemption Games: co-founders and programmers Ian Fisch, Paul Fisch and Daniel Balazs, and programmer Trace Myers. As usual, the text has been lightly edited for length and clarity, with the full interview available via the video embed below.

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The release of Doom in 1993 changed the industry forever - and in its wake, developers scrambled to bring their own visions to life in first-person. Star Wars: Dark Forces is one such game, created in a genre completely different to nearly every other product developer LucasArts would release, but it nonetheless became one of the most interesting and inspired Doom-adjacent shooters of its day. Now, thanks to Nightdive Studios, Dark Forces has emerged from its DOS prison with a new remastered version for all modern platforms, complete with new high-res assets and a host of other improvements.

This makes it a good time to take a deep dive on what made Dark Forces an important release back in 1995 - and how it improved on the epoch-making Doom. From there, it's onto the work of Nightdive itself in meticulously remastering the game for PC, Switch, PS4, PS5, Xbox One and Xbox Series X/S.

When Dark Forces was released in early 1995, it occupied an unusual place in LucasArts lineup - having mostly focused its efforts on point and click adventures, action games were still a rare breed for the company. In fact, despite their associate with Lucas Film, as of 1995, the studio had produced very few Star Wars related games.

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There was a time when Tomb Raider stood as one of the most recognisable game series in the world, but decades later the original entries are largely unknown to those that didn't grow up with them. That's where Tomb Raider 1-3 Remastered comes into play, a collection of brand-new versions of the first three titles with enhanced lighting, improved detail, high-res textures and better performance. Remastered feels both fresh and retro at the same time - and I've been playing it over the last week to determine how it stacks up against the original games in terms of visuals, controls and more.

Back in 2016, I created an episode of DF Retro covering the original Tomb Raider where I compared the PlayStation, Saturn and PC versions while showcasing some of the underlying technology in action, such as Sega Saturn's unique sprite-driven 3D rendering. Since that video, the Tomb Raider scene has continued to thrive with the release of the open-source Tomb Raider engine OpenLara, not only showcasing impressive new visual feature features but also enabling the community to go wild with porting. There now exists, for instance, versions of Tomb Raider that can run on classic consoles like the Sega 32x, 3DO and Game Boy Advance.

The rebooted series itself has also gone on a hiatus of sorts, disappearing following the release of Shadow of the Tomb Raider as we await a new installment. In the here and now though, we have this brand-new re-release of the first three games thanks to Aspyr and, save for a few minor issues here and there, my experience has been excellent.

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