I've been playing Arco on and off for the last few weeks on Switch and PC. I'm loving it - I think Arco's pretty wonderful. But the builds I've been playing on are also rather buggy, and I haven't been able to get to the end, either because of show-stopper bugs or random crashes.

What we're going to do in this case is hold back the review until next week, when I'm able to play retail code and know how the final thing runs. Until then, I wanted to give you a brief taste of what this game is like and why I think tactics fans should be excited. Hopefully next week we'll find that the final code is a lot more stable.

I'm going to focus pretty tightly on the combat today, which is an absolute gem. Just to set the scene, though, Arco's a Western story of indigenous people and greedy colonisers, and it plays out across a number of acts with the player shifting between different roles in each act. You take on missions and move from one area to another, helping people, fighting, and generally learning the story of this place.

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In the roiling waters of the northern sea, a mysterious oil rig has appeared whose lights can be seen for miles in the darkness. The foreman is a bit jittery, clearly worried about the platform's somewhat shoddy construction and his overbearing boss docking his pay for being behind schedule. When the drilling does begin, it's not oil they strike, but something far more sinister that splinters the sea floor with an ominous red, volcanic glow. And the resident scientist and his corporate suit boss only seem to want to feed this supernatural terror, the safety of their fellow workers be damned.

To some, I've just described the plot of The Chinese Room's recent walking horror, Still Wakes the Deep. But in a strange coincidence, Dredge is now following the same trajectory with its latest DLC, The Iron Rig - albeit with fewer left hooks throwing errant Coke cans to distract wandering nasties and more actual hooks reeling up yet more fresh horrors from the deep. This new chapter in Dredge's faintly cursed archipelago finally puts the spotlight on the mysterious Ironhaven Corporation, whose CEO is a dead ringer for Wake's weaselly boss Rennick, right down to his last-minute escape on the corporate helicopter. It's all profits before people in this unfortunate corner of the ocean, though unlike Wake's poor Caz, at least you can share in some of those benefits this time thanks to the plentiful supply of upgrade opportunities for your boat.

Over the course of three to four hours, The Iron Rig will see you revisit each of Dredge's main island clusters, hunting for fresh fish in new micro-habitats created by pools of ungodly ooze that have sprung up from the fissures created by the rig's drill. Each time one of these clearly very bad cracks opens up, the rig's scientist will task you with collecting various samples to bring back to him for further analysis, but some of these aren't easily won with your default set of equipment. Cue, then, a gentle and well-paced upgrade back and forth that will see you construct new buildings on the rig to unlock enhanced versions of your rods, nets and winches, as well as blueprints for new engine parts, bait types and other gadgets to help speed the process along.

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Few things in life are as irritating as a song playing on an endless loop in your head, while its name escapes you. Fortunately, Google can help you identify that elusive song title. So next time you are at a party and want to add the groovy music blasting in the background to your playlist, or you want to take over as deejay, you can use the steps below to identify the song.

I'm not sure how funny Buster Keaton movies are these days - I assume there are moments that still work as pure gags. But these films of his remain wonderful, because Keaton was kind of the Tom Cruise of his age - or rather Cruise, who namechecks Keaton often in interviews - is the closest thing we have to the original. Keaton's gags were almost always stunts, dangerous, brilliant, clearly visual stunts that moved the action forward while giving audiences something to gasp at. There's nothing on the surface to make me think of the World of Goo games, and yet I think of Keaton constantly when I play.

Keaton's world moves. I think that's it. Its physics are dependable - and predictable, which is important for gags and for games - but the ground itself cannot be trusted. If Keaton's sat on a steamboat's wheel and he thinks he's safe, we know that wheel's going to start turning. If he's climbing a ladder, we know that the ladder itself will start sinking into the mud. What then? Keaton has to vamp - to make the moment work. He has to over-engineer things to create a sense of new stability. That's where you get the gag, where you get the fun.

This is everywhere in World of Goo. At the heart of the first game, which helped usher in the Indie era, and at the heart of the second, which has just arrived, bringing with it both new ideas and a lot of fond memories - at the heart of both you're dealing with treacherous foundations. These games are bridge builders at their simplest. (Granted, they never stay simple for very long.) You have a pile of black goo lumps, and you can extend the lumps outwards to create rudimentary frames. The goal for each level is a pipe you have to reach, which will suck in any remaining goo balls. So build upwards in a tower to a pipe that's lurking above you! Build outward as a bridge across a nasty gap.

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