Despite Abrams and his team’s Herculean efforts to deliver a massive blockbuster spectacle that could also neatly tie together three trilogies' worth of story and character, The Rise of Skywalker was an abject failure. The movie was panned by fans and critics alike, and performed worse at the box office than Episodes VII or VIII. To quote the director’s prophetic interview again: “Sticking this landing is one of the harder jobs that I could have taken.”

With 2025 rapidly drawing to a close, it’s fair to say this has hardly been a year in which we’ve been starved of exceptional gaming experiences. From the lightning-in-a-bottle success of the magnificent Clair Obscur: Expedition 33, to the long-awaited resurgence of the Battlefield franchise courtesy of October’s excellent Battlefield 6, the superb Kingdom Come: Deliverance 2, and the unexpected domination of the extraction shooter genre by Embark Studios’ ARC Raiders, we’ve been well and truly spoiled for choice. Happily, we’re delighted to report that 2026 is shaping up to be even better. With that in mind, let’s take a look at the most anticipated games of 2026.

007 First Light

With it being nearly 14 years since the last James Bond tie-in hit our gaming machines (2012’s utterly risible 007 Legends), it’s safe to say that ol’ 007 has some serious work to do to restore his reputation among players. Thankfully, Hitman developer IO Interactive has stepped up to the plate – and judging by what we’ve seen so far, they look poised to do the franchise some long-overdue justice.

A third-person action-adventure that puts players in control of a younger, less experienced James Bond, 007 First Light sees 007 tracking down the treacherous agent 009. Drawing heavily from IO Interactive’s Hitman design DNA, the game leans into stealth, player freedom, and sandbox-style environments, while significantly expanding the formula with punchy cover-based gunplay and a stronger, mission-to-mission narrative throughline—something the Hitman series has traditionally lacked. Simply put, James Bond has never looked quite so essential, and March can’t arrive soon enough.

CONTROL Resonant

The sequel to one of 2019’s standout releases, Control Resonant is a direct continuation of the events of Control. This time, players step into the shoes of Dylan Faden, who awakens in the aftermath of the chaos set in motion by his sister Jesse and must stop the Hiss from completely annihilating downtown Manhattan.

While Control Resonant retains the third-person exploration and eerie atmosphere that defined the original, it meaningfully expands the formula with a stronger emphasis on visceral melee combat and the introduction of a host of new Hiss-possessed enemies. If you loved Control, then Control Resonant is about as close to a no-brainer purchase as you’ll find in 2026.

Crimson Desert

From the studio behind Black Desert comes Crimson Desert, a markedly different proposition from its sprawling MMORPG sibling. This time, the action moves offline without sacrificing any of the spectacle or ambition.

An open-world action RPG of frankly breath-taking scope, Crimson Desert allows players to explore a gorgeously realised dark fantasy world where they can fly dragons, pilot mechs, unleash Devil May Cry-style melee combos, and ultimately shape the fate of a nation. Powered by the studio’s bespoke BlackSpace Engine, the game also boasts some of the most impressive visuals seen in years. Are we excited for Crimson Desert? You bet your bottom gold coin we are.

Gears of War: E-Day

Although little has been shown of the Unreal Engine 5-powered Gears of War: E-Day beyond its initial cinematic reveal, that hasn’t stopped excitement from reaching fever pitch. This marks the franchise’s second foray into prequel territory, following the underrated Gears of War: Judgment.

Likely launching toward the tail end of 2026, Gears of War: E-Day places players back into the well-worn size 16 boots of Marcus Fenix and Dom Santiago as they face the Locust menace on the very first day of the invasion. While gameplay specifics remain under wraps, it would be genuinely shocking if the game didn’t feature generous helpings of cover shooting, roadie runs, and chainsaw executions. Regardless, Gears of War: E-Day already looks like manna from heaven for fans of the series and horror shooters alike.

Grand Theft Auto 6

Like a vast cosmic black hole, the gravitational pull of Grand Theft Auto 6 on the games industry cannot be overstated. No publisher is brave – or foolish – enough to launch a game in the same week, let alone the same month, as Rockstar’s genre-defining juggernaut. Each delay sparks a curious mix of frustration and celebration, as developers scramble to fill the vacuum left in its wake. That’s before factoring in the impact on booked annual leave and mysteriously timed sick days.

As for the game itself, Grand Theft Auto 6 looks set to fundamentally reshape the open-world genre yet again, much as GTA V and Red Dead Redemption 2 did before it. Players can expect a meticulously handcrafted version of the fictional state of Leonida, packed with extraordinary micro and macro detail, vastly improved NPC AI, cutting-edge next-gen visuals, and Rockstar’s trademark sharp, satirical storytelling. Add in a dual-protagonist system starring ex-con Lucia and her partner Jason (embarking on a Bonnie and Clyde-style crime spree across a sunshine state that definitely isn’t Florida) and you have something truly special.

Grand Theft Auto has always been a trailblazer in open-world design and cinematic storytelling, and all signs suggest GTA 6 won’t just be the most anticipated game of 2026 – it has a very real shot at being the game of the decade. Hyperbole? Not in this dojo, my friend.

Marvel’s Wolverine

Marking a clear tonal departure from Insomniac Games’ Spider-Man series, Marvel’s Wolverine looks ready to fully embrace the ultraviolence of its comic book roots. And yes, that means an unapologetically brutal video game to match.

Voiced by Liam McIntyre of Spartacus fame, this gruffer, more feral Logan carves his way through mutant hunters, Sentinels, and even the notoriously vicious Omega Red. Visceral, furious, and visually striking, Marvel’s Wolverine is already shaping up to be the next essential superhero game.

Phantom Blade Zero

A wuxia fever dream brought to life, Phantom Blade Zero has impressed at every turn since its announcement in May 2023. This lavish, third-person, combat-focused experience infuses each frame with rapid, acrobatic swordplay reminiscent of Crouching Tiger, Hidden Dragon and House of Flying Daggers.

The result is a balletic showcase of Chinese martial arts, brutal violence, and haunting mythology that stands apart from almost everything else on the horizon. Phantom Blade Zero is simply unmissable.

Resident Evil Requiem

Essentially Resident Evil 9 in all but name, Resident Evil Requiem takes players to the very end of the series timeline as we know it, delivering an experience that truly feels like a game of two halves.

As FBI analyst Grace Ashcroft, players are thrust into classic survival horror territory, where jump scares are frequent, and evasion is key due to Grace’s limited combat abilities. The other half of the game places players in the blood-soaked boots of returning fan-favourite Leon S. Kennedy, who dispatches enemies with explosive kicks, bone-crunching suplexes, and chainsaw carnage that would make Leatherface proud.

Beyond its dual-protagonist structure, Resident Evil Requiem also allows players to switch between first- and third-person perspectives, adding a level of customisation not seen before in the series. With a February 2026 release date, this looks set to be an essential experience for both longtime fans and newcomers to survival horror.

Slay the Spire 2

The sequel to one of the finest indie games of the 2010s – and one of the best deck-building roguelikes ever made – Slay the Spire 2 wisely avoids reinventing the wheel. Instead, it builds upon its already rock-solid foundations with meaningful new twists.

Alongside returning characters like Ironclad and Silent, two new playable heroes join the roster: The Regent and The Necrobinder, each with distinct mechanics and playstyles. There are more cards, relics, items, and consumables than ever before, as well as new quests and a stronger narrative focus that expands the game’s lore in ways the original only hinted at. Deck-building fans are going to eat very well when Slay the Spire 2 enters PC early access in March 2026.

Tomb Raider: Legacy of Atlantis

A full-fat, full-sugar remake of the original Tomb Raider, arriving thirty years after its debut – and nearly two decades after 2007’s Tomb Raider: Anniversary – Tomb Raider: Legacy of Atlantis is already one of 2026’s most anticipated releases.

Built in Unreal Engine 5, the game completely reimagines Lara Croft’s first adventure, modernising its puzzles, refining its platforming, and overhauling combat to meet contemporary expectations. Crucially, it aims to strike that elusive balance between honouring the spirit of the original while presenting it in a bold, refreshed form. If successful, Tomb Raider: Legacy of Atlantis could be something truly special.

The post The Most Anticipated Upcoming Video Games of 2026 appeared first on Green Man Gaming Blog.

Highguard, the upcoming free-to-play PvP “raid” shooter from Wildlight Entertainment, made its debut as the final reveal at The Game Awards 2025.

It was the “we have one last thing to show” moment in the show that is meant to land hard before the Game of the Year presentation. Instead, it left people scratching their heads.

Fast forward three weeks after the reveal, and there’s been nothing but silence from the developers. No follow-up. No sense of urgency. No visible marketing push to support the game.

That’s especially strange when you consider that Highguard is reportedly set to release this month, on January 27.

A Missed Opportunity to Build Momentum

Landing the final slot in The Game Awards felt like there was a clear plan to follow up on such a commitment, yet we barely see anything. No Developer updates, deeper breakdowns, or at least something to remind people the game exists. Not even early content creator access for them to show the game to their communities.

All we have is a single announcement trailer on the game's official YouTube channel, and social media barely has anything during the game's release month.

That’s very unusual, considering this game is free-to-play and is a newly formed studio. On top of that, the reception of the reveal wasn’t all that kind online, as it’s echoing a similar response to when Concord’s gameplay reveal was shown. We all know how that turned out.

Was the negative reaction online enough for Wildlight to quietly rethink their rollout? Or are they gambling everything on a surprise-heavy launch day reveal?

It could start next week, dumping one piece of information after another until release, but time is running out as people are slowly forgetting. In today’s market, a pre-launch communication plan is essential, especially now, considering everyone’s knee-jerk reaction to Highguard was mainly “Oh, another hero shooter?” They are against people not excited, but disappointed at what they saw.

It’s puzzling, really, as this is from the developers who worked on Apex Legends and Titanfall. That puts even more weight, and quite frankly, it would have been a solid hit if they just decided to shadow drop the game after the show, like how Respawn Entertainment shocked the world with Apex Legends, slowly cementing their spot in the battle royale genre.

Either way, the silence is a red flag, and if Highguard struggles out of the gate, this early lack of communication will be one of the first things people point to. It was given a rare opportunity, and it’s looking that they failed to capitalize on it, or at the very least maintain a solid momentum.

About the Author - Carlos Hernandez

Carlos Hernandez is the founder and Editor-in-Chief of Too Much Gaming, where he writes about video games, reviews, and industry news. A lifelong gamer, he would do anything to experience Final Fantasy Tactics for the first time again and has a love/hate relationship with games that require hunting for new gear to improve your character.

The Game Awards 2025 ended its run of reveals by announcing Highguard, a free-to-play hero shooter set to release on January 26th. 

It left many confused, as one of the biggest events in the video game industry ended with a game that felt out of place.

The Game Awards 2025 Started Strong

The show was getting good momentum. A new Mega Man, Ace Combat 8, two new Tomb Raider games, plus they even had Larian Studios reveal that they’ve been working on a new Divinity game, and dropped the bombshell that Casey Hudson (Mass Effect, Star Wars: The Old Republic) and his new studio will be working on a new RPG called Star Wars: Fate of the Old Republic. These are the kinds of reveals that we believe would have been a solid mic drop before the Game of the Year presentation.

It felt like an awkward trip while crossing the finish line after a long marathon, as everyone’s watching a slow-motion stumble. With the massive reveals before it, in our minds, surely Geoff and company left the best for last.

Not this year. They went with Highguard.

It was a choice that broke the tradition of shows like TGA leaving on a high note. That “we have one last thing to show” moment fizzled out into nothing. It’s unfortunate, as it was a decent show, all things considered. A nice glimpse into 2026 and beyond. But that final reveal made us realize that, in the end, The Game Awards is also just a business. 

Clair Obscur just took it all

As far as the awards go, it was expected that Clair Obscur: Expedition 33 would dominate, but just not to the extent that Death Stranding 2 and Kingdom Come: Deliverance 2 walked away empty-handed. Kojima’s sequel easily could have taken at least one award given its strengths, while Kingdom Come: Deliverance 2 has been met with near-universal praise since launch.

The Game Awards 2025 Winners

The Game Awards 2025 delivered on spectacle and surprises, but its final reveal exposed a worrying disconnect between what the show aims to value and what it now prioritizes.

About the Author - Carlos Hernandez

Carlos Hernandez is the founder and Editor-in-Chief of Too Much Gaming, where he writes about video games, reviews, and industry news. A lifelong gamer, he would do anything to experience Final Fantasy Tactics for the first time again and has a love/hate relationship with games that require hunting for new gear to improve your character.

It’s a bit of a distant memory, but remember when that woman on the Arena of Valor team was caught cheating at the 33rd SEA Games? Well, the truth behind the situation is even crazier, bringing the situation back into the spotlight once more.

Back in December 2025, Warasin “Tokyogurl” Naraphat was caught using unauthorized software and having third-party involvement while competing at the SEA Games. After getting caught cheating, Tokyogurl was disqualified (even though Thailand had just lost 0-3 to Vietnam anyway). The rest of the team continued to the Lower Bracket Final, but Thailand ultimately decided to withdraw from the women’s tournament altogether.

Even though Tokyogurl denied any wrongdoing – and even claimed it was due to her being sick and panicking mid-game – it seemed like a pretty cut-and-dry case of cheating and banning. However, it’s now come out that she was, in fact, cheating, but with help from her boyfriend.

In fact, her boyfriend had been playing for her this entire time. Tokyogurl had made it to the SEA Games without ever having played a game by herself.

Tokyogurl’s boyfriend admits to cheating at SEA Games

Tokyogurl’s boyfriend goes by Cheerio. He’s a semi-pro esports player who’s competed in tournaments before, although nothing as big as the SEA Games.

After months of silence, Cheerio took to TikTok to admit he was playing for Tokyogurl at the prestigious international tournament.

“I want to come out and clarify the issues that have happened in the past during the SEA Games period and other competitions, where everyone suspected that a third party was playing in place during several matches. I admit that it’s true,” he confessed.

“I didn’t intend for things to escalate to this point and cause disappointment to many people. I humbly accept all criticism and the consequences that follow, without any excuses.”

After Cheerio’s groveling apology, Tokyogurl shared one of her own: “I’m sorry.”

Not only is Tokyogurl banned from Arena of Valor tournaments, but the President of the Asian Electronic Sports Federation has stated that it’s taking legal action against Cheerio and Tokyogurl. So it’s being taken quite seriously.

Why are dudes so obsessed with beating women in esports?

My initial thought when I learned of Tokyogurl and Cheerio was: Why? I am not quite sure what the benefit of doing something like this is.

But then I thought back to the time the Fortnite community decided to be a transphobic pile of shit after the Milk Cup. The responses were quite telling. Instead of congratulating Vader for not only winning a pretty impressive tournament but finding a community that accepts and supports her, incels all over X accused her of “pretending to be a woman” so she could beat all the girls at the Milk Cup.

And this got me thinking: Subpar, insufferable men that don’t feel worthy of other men due to various shortcomings want to feel better about their lowly status by beating women at random stuff. That’s why they think trans women are doing the same thing: projection. This is their own fantasy, not the fantasy of trans women.

You see men constantly claiming they can beat up a female wrestler or get more points than her at tennis or win a Counter-Strike tournament, and you wonder: “Why is that even on your mind? Why do you care?” Maybe it would make them feel better about themselves to actually have a chance for once in their life. Or maybe they want to prove women aren’t good at things to make themselves feel better about getting constantly rejected. I can’t tell you. But this seems to be a pattern.

Remember Vaevictis eSports, the all-female League of Legends team that competed in the Russian League (LCL) in 2019, emerging without a single win? The team was made up of female players that weren’t even the highest rank in the game and they were all support players. It seemed basically built to fail – and it was. It was a stunt to essentially mock women and point out that they can’t play video games as well as men.

As the insults and think-pieces rolled in, the Vaevictis eSports players were quick to point out that it wasn’t about gender at all.

Former member Anastasiya “HellMa” Pleyko said: “Take five men with diamond rank, put them against these teams, and they play just as bad as we do. I know a lot of women who are better and would have performed better. “

As the harassment and mockery continued, Riot Games disqualified the team for its performance.

A year later, an all-female Counter-Strike: Global Offensive tournament was infiltrated by a man dressed in feminine clothing. All to get one-fifth of the winning team’s $600.

The tournament, Legion of Valkyries CS:GO May 2020, required players to have a webcam on. The male player wore a black wig, glasses, and a mask. When he was asked to remove the mask, the tournament organizers immediately saw he was a man.

Despite the blatant disrespect, most people online found this funny. Many joked that he was “transgender” and should have been allowed to compete. Women’s esports are clearly not taken seriously, and men found it funny to make a mockery of the event. I’m assuming he was hoping to wipe all the women in the tournament to prove how much better he was than female CS:GO players. To prove what? I’m not sure. I guess that he’s not a total loser? To prove that he has more skills than other random players in a small tournament?

Beats me.

I don’t know Cheerio and I cannot tell you what his exact line of thinking was when he decided to cheat at the all-female Arena of Valor tournament at the SEA Games. My assumption, however, is that he is unable to reach his esports goals against other men and felt that this was an easy opportunity to win some money and beat competitors while he’s at it.

Again, the team had lost 0-3 against Vietnam while Tokyogurl was “competing.” Guess it wasn’t as much of a free win as Cheerio had thought. But even if it were, now what? He gets to tell people that he failed to beat anyone with the same advantages as him and had to compete against a scene with less support and fewer resources instead?

Congrats??

I’m not here to tell you if men are better at esports or not. I don’t really care. I am shocked that this even occupies a part of their brain at all. I’m shocked that they spend time thinking about how they’d be able to beat random women at a random game.

SSSniperWolf 2.0

Remember SSSniperWolf? She currently makes lazy “reaction” videos while putting on an irritating fake baby voice. And somehow, that’s enough for people to forget where she came from: pretending to play games to bait simps.

Years ago, it came out that she wasn’t playing Call of Duty or any of those games. It was her boyfriend’s gameplay. She wasn’t competing for money, so it wasn’t as career-breaking as it should have been, but I think this also deserves a mention in this article.

Why?

Because her boyfriend was, once again, a jealous, snivvly loser. Compared to Sssniperwolf, nobody was very interested in watching him play. A man playing Call of Duty? Boring. A hot woman playing Call of Duty with her cleavage showing? Subscribe! This concept makes many men salty, even though it’s the same men who subscribe to these women. Make it make sense.

Nobody would watch this dude’s gameplay unless he were a sexy woman. So he agreed to do streams and make content with her. Now, he was helping make money and getting attention. Just like Cheerio would never make it to the SEA Games, but now he could make it to the Games as a cute woman.

The real question is: Who is providing Snoop Dogg with the gaming footage?

Anyway, that’s the end of my rant. At the end of the day, Cheerio apologized and he wasn’t all that great against the other teams at the SEA Games anyway. But I can’t help but think about this continued obsession with these surplus men fantasizing about playing in women’s esports tournaments when nobody is even concerned about this. Just go get therapy between your solo rounds of Fortnite and leave everyone alone.

The post Tokyogurl and her boyfriend cheated their way into the SEA Games as men continue to fantasize about beating women in esports tournaments appeared first on The Escapist.

Super Mario Galaxy and its sequel, Super Mario Galaxy 2, are among the best, if not the very best, in the plumber's impressive 40-year platforming career. He's had other careers: entrepreneur, golfer, painter, and English Premier League player, just to name a few, but plumbing will always be his most famous profession.

The pair of games has been released together for Nintendo Switch, and playing on Switch 2 brings stunning improvements to the visuals and gameplay flow with a smoother frame rate and higher resolution. These are easily among the best games released in 2025, and even with Donkey Kong Bananza leading the charge on Switch 2, this Galaxy double pack is a worthy companion. Mario Galaxy is in its best possible shape and form today; in fact, younger players could be forgiven for not realising that it's nearly two decades old. Mario Galaxy itself had quite a journey before it reached its pristine form on Switch 2, and it almost feels like it had to travel light-years to reach this point today.

The initial circumstances surrounding the release of both Galaxy games were far from ideal, and that's largely due to their primary platform: Nintendo Wii. The console is still among the best-selling systems in history, and yet it was always subject to criticism, especially when compared to the PlayStation 3 and Xbox 360. Unlike Sony and Microsoft, who were aggressively pursuing high definition raw power, Nintendo wanted Wii, for better or worse, to distinguish itself from the rest purely on the basis of 'play'. The Wii Remote and Nunchuk were far from everyone's ideal ergonomics, but we can now see how the Switch JoyCons would not exist today without the foundations set by their predecessors.

The Wii was the furthest thing from a graphical powerhouse, but first-party developers made the most of these limitations to create beautiful-looking games. Games that simply should not have worked somehow worked, and so after a weak launch lineup, players wondered how a major 3D Mario would fare, if at all.

Super Mario 64 raised a pretty high bar and also set the blueprint for the very notion of 3D platforming, and its follow up on GameCube, Super Mario Sunshine, couldn't quite be the epic sequel everyone hoped it would be, despite its interesting play mechanics. Most gamers wanted Mario 64 turned up to 11 and more, and Sunshine wasn't quite that with its water hose gimmick. Then, with 'gimmick' being the middle name of the Wii, this mega sequel seemed even less likely, at least until the sheer brilliance of Super Mario Galaxy blindsided the legions of sceptical fans.

On paper, Galaxy should not have worked; from the unconventional control scheme to the even less conventional spherical level design. These ideas would have created a disaster if it were any other developer, but Nintendo gave us a game that not only built upon the strong foundation of their Nintendo 64 hit, but also took this foundation to new galaxies. It crosses the dimensions of 3D platforming, allowing players to experience new perspectives, and the sensation of exploring spherical spaces becomes second nature almost instantaneously. I'm not a game design expert by any means, but I feel only Nintendo could have pulled this off. Decades earlier, believe it or not, there was a title for the SEGA Saturn that attempted almost these very same ideas, but was cancelled after a development hell that resulted in its lead designer nearly dying due to sheer overwork... that game was Sonic X-Treme!

Super Mario Galaxy introduced bold ideas to perfection, and brought it all to life with stellar presentation, stunning orchestral music, and, for the first time, rich lore for Mario that was as emotional as it was whimsical. On Switch 2 today, this is a stunning and engrossing platformer; the core control mechanics translate effortlessly to the JoyCons when playing docked, and the experience feels tight and polished on handheld. This is what makes the game great; it wasn't tied strictly to its original Wii hardware, as the core principles were so strong that they still shine on modern hardware. That's even more true for the visuals; no longer scaled down to fit the hardware limitations of 2007, Galaxy shines today in all of its intergalactic starry-fullness, evoking a sense of discovery and wonder that very few 3D platformers can offer.

Nintendo did something else that they don't often do with Mario: taking a concept and performing an encore remix of the best ideas. Super Mario Galaxy 2 was never intended to be a numbered sequel; in fact, the core story is exactly the same, but it remixes and refines some of the ideas and level design approaches of its predecessors to create a novel and fresh experience. Where Super Mario Galaxy was methodical and challenging with emphasis on exploration, Super Mario Galaxy 2 streamlines the design and pacing for sheer, utter delight. Using Sonic again as an example, it's a bit like going from Sonic Adventure to Sonic Adventure 2, where it's not necessarily one game being better than the other, but rather each game has its own unique philosophy. At the end of the day, it will all come down to player preference. Even now, forums are filled with Galaxy vs. Galaxy 2 debates with no clear or decisive winner.

Super Mario Galaxy 2, from a purely gameplay standpoint, feels like a sequel; while it shares core fundamentals with its immediate predecessor, it adds plenty of layers to make the experience feel evolved. Most notable of all is the inclusion of Yoshi as a playable ally, rekindling the magic of SNES's Super Mario World in a fully 3D space. The experience feels like a roller coaster in outer space, with great thrills and brisk pacing.

Together, Super Mario Galaxy and Super Mario Galaxy 2 are games that other developers could only dream of making. I wouldn't be surprised if Nintendo itself had to fight the temptation to create a Galaxy 3 (fans of the Blue Blur still beg for Sonic Adventure 3, by the way). Paired together on Switch 2, this is an excellent trip that will feel new even to players from 2007. Until the next Mario entry comes along for the current generation console, both longtime fans and newcomers have plenty to discover in the galaxies offered here.

Despite their origins, the games' arrival on Switch 2 feels like a true homecoming. Super Mario Galaxy and Super Mario Galaxy 2 finally look, feel, and play like the games they were always meant to be. It may have taken short of a light-year, but it goes to show that some ideas are not only built to last, but are built with the future in mind.

The challenging part about enjoying a game from Japan is that we often don't receive timely updates. We know that there are probably distribution reasons, but the wait can provide such a high window of uncertainty. Mystic Mansion hasn't yet added the levels from Japan to its American version. I get why, but still, not having an update is killing me, and the creators haven't provided a release date.

I've been playing Mystic Mansion long after completing a challenge involving the game for Swagbucks. Since mythology is one of my hyperfixations, the game's storyline of an apartment mansion home for deities is my jam. The game takes advantage of the cute style for visual humor; I found it hilarious to learn why the king of the Greek Gods is a sentient teacup, or how Gal was having trouble using all the makeup she had to look amazing. 

Mystic Mansion is a standard sorting game where you clear boards using matching pieces, power-ups, and tools like arrows. It also has an ongoing plot where you, the human, are working undercover in an apartment house with gods. Meowlin, the owner, knows who you are, but he keeps that information on the down-low. In fact, any tenant suspecting the truth gets a surprise visit from him, with threats and ominous shadows. Every time he thinks about his plan, he chuckles. That's surely not ominous. 

Your partner-in-crime and building superintendent, Purrcy, doesn't know. While you complete the challenges by matching gemstones within a series of limited moves and different obstacles, Purrcy does the grunt work of replacing windows, making carpets, or installing sparkly lights. 

What Makes the Game Work?

The characters are a lot of fun. They provide challenges with their requests for different types of furniture, protesting when you clear their papers, and offering hints of backstories. Some blend in with the garbage in their apartments, while others stand out like the idols they admire. 

There is also plenty of lore to go with each character's designs and quirky interactions. As mentioned, Zeus has been turned into a teacup while his son has no idea (Hera is not in this game, not yet, as far as I know). Cleopatra remains miserly while getting as many renovations out of us as she can. We have an owl deity who can't get a good night's sleep while taking residence indoors, and a penguin Poseidon that cannot shed a cute nature to look fierce. The dialogue between completing challenges and fulfilling tasks is entertaining, especially if Purrcy tries to back out and Meowlin has to remind Purrcy that the superintendent has a job to do. 

Also, having Ganesha running an Indian restaurant but not making it look Indian hit close to home for me, with everyone wanting hamburgers. I can make decent almond burgers, but you're on your own with the meat stuff since I'd probably be making lamb, and I'd need to try out the recipe before. At the same time, as a diaspora, I wouldn't know exactly what details to put into restaurant decor to make it look authentically "Indian" since a lot of what I make at home is fusion. 

What I'm Waiting for In Mystic Mansion

Reaching the top floor. Seriously, the original game does have an ending according to its Wikipedia entry, but we Americans just haven't received it yet. It could be needing the translations or having to deal with the red tape of distributing international video games to Americans (thanks for that, by the way, tech bros). 

I still can't figure out why Meowlin needs a human to work discreetly as the handyman. The way Purrcy reacts, a demigod or spirit could work just as well. Humans seem to be special to Meowlin's mysterious plans, but it's unclear. The gods have powers, just a lot of emotional dysfunction given their various backstories and failures. What makes us special?

If the developers have a newsletter or social media account, it would be great to get an update. I want to know what happens next, sooner rather than later. 

Reus, designed by Abbey Games, is a simulation game about gods, giants, and growth. You start with a barren planet and gradually fill it with life. First, you place down biomes like swamps, forests, oceans, and deserts. Then you fill these wild spaces with animals, minerals, and plants. When humans come to settle the land, you support the development of their communities so that they can flourish, but you also need to ensure that you don’t give any one group too many resources too quickly, otherwise they might become proud and start waging war against their neighbours.

At its core, Reus is about balancing ecosystems and encouraging synergies. Herbivorous animals want to live near plants, different clusters of minerals provide different effects when placed down in different combinations, and predators require prey. If you can keep all of these relationships in mind, as you gradually unfurl the sprawling web of nature on your planet, then the world will thrive.

There are two Reus games, and while both have the same central concept of making an initially barren planet prosper, they approach it in very different ways.

The first game employs a real-time management system, which, while intuitive, clashes with the game’s nature. The second learned from its predecessor’s mistakes and implemented an approach that lets players experience the game at their preferred pace.

On Borrowed Time

Worlds in Reus aren’t designed to be played in perpetuity. The game wants you to develop one, see it grow, and then move on to another. This is similar to how in Rollercoaster Tycoon, you’re constantly shifting from one park to the next, except on a galactic scale.

Both games use different methods to let players know when they should move on to their next project. When sitting down for a play session in the first Reus, you must choose whether you want to work on your world for 30, 60, or 120 minutes.

It can be awkward choosing this upfront. You might know exactly how long you intend for your current play session to last, but chances are you’re just sitting down to unwind for a while, and putting a timer on your fun makes the experience feel a lot less relaxing.

These time limits can also be uncomfortable at times because they’re either too long or too short.

In a 30-minute game, you really have to sprint to get everything completed on time. Watching the worker giants, who terraform the world for you, slowly trudge around the map can make you feel truly impatient.

In 120-minute games, meanwhile, you can sometimes be left waiting out the last 10 or so minutes of the timer as everything slowly crawls towards a conclusion.

While the game itself is a compelling puzzle, Reus does itself a disservice by only allowing players to tinker with their worlds under strictly timed constraints.

It was clear that any future instalments in the series would need a new way of encouraging players to move along once their work on a particular planet is finished. Sure enough, the sequel succeeds in developing an innovative solution.

Eons to spend

In Reus 2, you’re unconstrained by time. Instead of needing to get everything done before the clock runs out, your actions are only limited by a newly implemented resource system.

Every time you place something down on your planet, it costs a small amount of “eon.” You’re only given a finite amount of eon, meaning that you must place down every animal, ore formation, and plant carefully. You need to think strategically and ensure that you’re always placing everything in the optimal location.

The game is split into three eras, each with objectives that must be fulfilled. If you can complete these goals, you’re granted more eon, and are allowed to advance into the future. If you can’t, then your progress stalls, and you need to move on to another planet.

As well as clearing away the discomfort of the timers from the first game, Reus 2’s approach also pays off in other areas.

The era system makes the civilisations that develop feel more grounded in history. The ability to move from prehistory to the Iron Age, and then into the present, gives you a sense of progress. The tiny people on your planet feel more like they are changing, growing, and developing.

Additionally, needing to spend your eon carefully to advance through the eras adds an element of welcome challenge to proceedings. If you scattered everything across the world randomly in the first game, there was no real penalty beyond receiving a low score once time ran out. In Reus 2, playing without purpose will quickly lead to your pool of eon depleting, and the need to end your current efforts and try again. This incentivises you to learn the game’s system and ensure that your next try will be more successful.

Conclusion

Games are truly great when all of their systems click together harmoniously. For example, part of the secret behind why Minecraft has endured for so long is that its vast, explorable open world provides a wealth of resources that perfectly complement its crafting system.

Both Reus games offer a cosmic sandbox that you can sculpt and develop as you watch life grow. They’re both good fun; however, the first tries to weld real-time and puzzle-based elements together, creating an uncertain experience where you need to charge through an otherwise relaxing game. The second, meanwhile, takes its time and allows players to move at their own pace. By limiting the number of actions players can take, rather than the time available to take them in, it better understands its nature as a tactical puzzle requiring the correct approach.

Reus and Reus 2 are both available on Steam. The former is also available on the PlayStation 4 and Xbox One, while the latter is available on Switch and Xbox Series X/S.

Final Fantasy VII: Remake Intergrade is one of my favourite PlayStation 5 games, a perfect reintroduction to the heart and soul of all things PlayStation and Final Fantasy. Much like how the original Final Fantasy VII gave the original PlayStation its identity, I feel this Director's Cut expanded release of FFVII Remake reminded me of all the intangibles which collectively come together to define the style and culture of PlayStation. Stepping into a fully realised Midgar was a surreal and enchanting experience for me, and more than the dazzling combat system, it was the intimate moments shared between characters which helped me lose myself in the setting. Returning to Midgar, along with the heartfelt cast, rolled together feelings of nostalgia and wonder into one beautiful sensation of escapism. 

The game is now making a comeback of sorts, with a brand-new port for Xbox platforms and Switch 2. No matter the era, Final Fantasy VII is one of those games that's almost too easy to place into the "overrated" camp, and yet even its biggest naysayers are closeted fans. 

As the premier RPG showcase for the original PlayStation, I've had an on-and-off relationship with the game, having spent more time with the follow-up, Final Fantasy VIII. My first time with Final Fantasy VII involved a one-sitting playthrough in the absence of a memory card (occasionally there would be shortages of those darn things!), where I made it all the way to Disc 3 (remember disc swapping mid-adventure?) before I finally hit the Game Over screen. I was pretty pleased with myself, but in hindsight, I realise just how linear and cinematic this RPG really was, and how dead-easy it was for me to be make it as far as I did without saving progress.

I eventually did play it again on the rather disappointing PSOne Classic mini-console, and then on Nintendo Switch, which is perhaps the best possible way to enjoy the classic at this point. A lot of things about the game obviously don't hold up (random battles are irritating), but the thing I enjoy the most, time and time again, is the time I get to spend in Midgar. This underground urban dystopia serves as the main hometown, so to speak, a fascinating fusion of sci-fi, fantasy, and steampunk, featuring both Western and Oriental cultural influences. Midgar is a melting pot of culture and inspiration, and each time I have replayed the original PlayStation game, it's only just to immerse myself in the early areas of the adventure once more.

Then there are the characters, and honestly, it feels to me that every RPG since 1998 has tried their hardest to be just like Final Fantasy VII, particularly in the effort to replicate the same chemistry and synergy of the cast. Since 1998, there have been so many JRPGs attempting the same magic; the cast of Final Fantasy VII, once known for their unique personalities, consequently created these now laughable tropes. The brooding amnesiac has been done to death, but when Cloud did the then-novel character gimmick, it was cool and edgy. To this day, no one does it better. Yes, Cloud has the mood swings of a teenager, but he also has a sense of humour with his witty comebacks. His personality certainly has more range in the remake, with lines like "I'm sorry about your ass."

I was initially hesitant about Final Fantasy VII Remake; for one thing, I didn't quite like the idea of it being episodic, with the uncertainty surrounding whether they would even be able to complete the project. The game first landed on PS4, as part of the apex lineup of swansong hits for the console. It came to PS5 as Final Fantasy VII Remake Intergrade, and now has landed on Xbox and Switch 2. At the time of its PS5 release, I hesitated, yet something about it called to me, as I desperately needed an epic JRPG experience for my new console, especially since Scarlet Nexus was not quite what I hoped it would be.

One of the biggest complaints from critics was how VII Remake "never left Midgar," and then it hit me: every time I have replayed the original game, it was simply to relive Midgar all over again. I actually don't really want to leave Midgar; I'd rather perpetually live in a hyper-realistic recreation of it for as long as possible. Even now, my save progress is at the point of no return in Chapter 14, because once the party infiltrates Shinra headquarters, it's a rollercoaster into the endgame sequence. To be honest, I'm still not ready for it, as I'd much rather just roam the Sector slums. It's been a blast to explore every nook and cranny and meet all sorts of interesting characters.

The slums of Midgar are downtrodden and rustic, and yet they brim with so much life and personality. It's a multicultural hub in the truest sense, a dystopian future setting most video games struggle to create. Not everyone is friendly here, but even with so much pollution and rampant corruption, there are moments of quiet beauty and genuine kindness from its citizens. It needs to be experienced to be believed, and the level of detail present provides an unreal level of intimate immersion.

Then there is the cast, whom I've gotten to know over the years via the main game and various spin-off games and media, including full-fledged motion pictures. I don't claim to be the biggest Final Fantasy VII fan, nor was I ever a diehard fan of the cast, but over a period of two decades, I can't help but have a nostalgic sentiment towards it all. They're a bit like old friends I rarely keep in touch with, but getting in touch with them takes me back to a moment in time. I have lived through the anticipation, hype, magazine covers, stellar reviews, and everything else since. It's hard for Final Fantasy VII not to hold some meaning to anyone who grew up during that magical time.

At this point, the death of Aerith is the worst-kept spoiler in pop culture. Everyone knows about it, even those who still don't plan to play Final Fantasy VII any time soon. In hindsight, Aerith's character development was a little rushed in the original game, but in VII Remake, the depth of her development makes it so easy to genuinely care about her, and even sadder knowing what inevitably lies ahead for her (unless.. well, we'll see). One of my favourite moments in the original was the brief duration spent in Aerith's house, from its warm, cosy interior to the beautiful flowerbeds. In VII Remake, this humble setting is brought to life in rich detail, everything from creaky staircases to lush sun-kissed flowerbeds. It's an area where I can't help but stop to take it all in, an unexpected respite for mindfulness.

This is exactly what VII Remake does so well: the way it goes from moment to moment, allowing both its cast and setting to grow with the narrative pacing. The most profound moments are quiet yet interactive segments of intimate vulnerability, such as when Cloud and Aerith simply walk through the slums, talking just to overcome the awkwardness of being strangers to each other, or when Cloud and company visit Jessie's family home, as the cast walk through her childhood neighbourhood, complete with a park and a swing set. 

These are the moments, so intimate and authentic, which defined my experience with VII Remake Intergrade, even more than the excellent battle flow and the sheer depth of its intricate systems. These quiet yet profound moments of immersion are what I hope to see more of in video games, daring moments rarely seen in gaming since the original Shenmue on Dreamcast.

I love a lot of things about Final Fantasy VII: Remake Intergrade, but the lasting moments to me are when things slow down to a mindful halt, where the game world simply allows itself to be, and allows me to be a part of it, and gives me the agency in allowing the cast to bravely be their vulnerable selves.

Cozy gaming, both as a genre and aesthetic, has exploded in popularity over the last few years, especially since the pandemic. I'm no stranger to this space; I've been a lover of cozy gaming since I started my obsession with Stardew Valley nearly a decade ago. It felt like a natural niche for me as a person with lots of cozy hobbies (reading, gardening, cat cuddling, crochet, knitting, etc.). Take a look at my history here at SUPERJUMP, and you'll see exactly what I mean; I love a good, slow-paced sim, management, or adventure game where I can get lost in someone else's world for a little while.

While I've played the games for years, I haven't really gotten into the aesthetics of the cozy gaming community, which are a major part of its presence online. Creating your own cozy gaming corner, full of soft textures and warm lighting, seems to enhance the experience and add to that escapist, stress-relieving joy found in the hobby.

So, I've embarked on a quest: curate my own perfect cozy gaming setup, complete with accessories and hardware that make me feel most at home.

The Vision

So what exactly screams...well, not screams, I suppose, but gently says, "cozy" to me? What exactly is the cozy aesthetic?

Scrolling through Pinterest, Instagram, and other online communities under the tags #cozygaming and #cozygamingaesthetic, I saw quite a lot of trends I could definitely get behind. Cozy gamers, apparently, tend to love things like RGB lighting setups (because who doesn't?) and lots of plants, as well as softer pastel shades of pinks, blues, and greens matched with lighter browns, creams, and white. These setups - usually a bedroom desk or dedicated office/gaming room - often have either a very nature-inspired theme, full of leaves and wood accents, or they're minimalist and white, with soft, cloud or sky inspired touches. Frequent inclusions are fun drinks (hot and cold) in cute mugs and glasses, soft blankets, and candles.

Also cats. Lots of cats.

I took a lot of inspiration from these setups and pondered the things I love about my space. I love space and galaxy-themed items, as well as darker natural woods and contrasting white accessories, and of course, RGB accents. I'm a big fan of long, dangling houseplants and fairy lights, and I almost always have a mug of tea or an iced coffee to hand anyway - why not get some cute drink containers to go with them? And hey, I've already got the cats to go with it!

So, here's the dream wish list for my ideal cozy gaming space:

• A dark wood desk with plenty of space
• White peripherals for my computer (and maybe a white tower case) with RGB accents
• Something space-themed to hold my controllers (also space themed, of course) and my headphones
• Space and nature-themed decor for the walls around my desk
• A cute, warm-colored lamp and nice-smelling candles
• Various plushies from games and shows I like
• Soft blankets on a comfortable gaming chair
• Fun drink station including mug warmer and cute mugs/glasses

Easy, right?

The Problems

So, I started assembling my setup! And...well, it's a lot harder than you might think it is to do this.

For starters, the practicality of my dream setup is a bit questionable at best. I have an active child who loves to hang out with me and game with me. I also have cats who adore being in my space and knocking over everything they can reach. Both of these factors mean that having anything that's pristine white or breakable on my desk - like delicate decorations or drink containers - is an absolute no-go. I can't tell you the number of times my cats have knocked my things to the floor, gotten fluff stuck on everything, or chewed on cables. My kiddo isn't the most careful either, so I'm constantly cleaning up crumbs and spills. Most frustratingly, my office is open-plan on its floor of the house; I don't have a door that I can easily shut to keep them from touching or moving things. This means that candles and plants are a definitive no for now, and glass drink containers and white peripherals are a challenge.

The next issue I face is that I simply have limited space. Our house isn't very big; as I mentioned, I have an office that's just a corner of our finished basement, with my husband's office on the other side and a communal living space in the middle. The only real space I have to decorate is on the desk itself and the two walls behind it in the corner. I also have two computers for work purposes, meaning that space on my desk is already restricted. Having all of the accessories may be fun, but it tends to require room that I simply do not have right now.

Finally, I must address the cost of my dream project. Computer accessories are notoriously expensive, especially for gaming-specific setups; a good keyboard and mouse combo could cost as much as $200 or more, depending on the brand you go with, and RGB lighting for your space, because it's currently trendy, is incredibly expensive in its own right. I want to support small businesses with my accessory purchases, but because their operating costs are higher, they have to charge higher prices for their products. I do think it's worth investing the money in quality pieces, but it's simply not practical as a working mother to justify that kind of investment during an economic recession.

These issues caused me to reassess my ideals. What I'd love to have is an Instagram-worthy setup, and maybe that was my problem. See, the setups you see in #cozygamingaesthetics on the internet are curated, selective, and often unrealistic. These creators may have been paid to advertise certain products in their space; they may have received them for free or as part of a brand deal, meaning they didn't have to invest their own money into the space and have a stake in your wanting to buy these things. Beyond that, many of these spaces have been curated over years and years of careful collection and reorganization. They're not quick-fix, perfectly new rooms that sprung up overnight, exactly as perfect as they appear. They may not even be perfect! I know I've been guilty of shoving clutter out of frame when posting; I have no doubts that these cozy gaming influencers do the same thing. There's nothing wrong with creating a space like this and posting cute pictures of it online, but as the consumer, I have to be wary of these facts and not let myself fall into the trap of false authenticity. I have to remember that it's unrealistic to have a perfect setup immediately or at all times.

Does all of this mean I need to give up on my dreams of a cozy office space? No, not at all. It simply means I have to re-evaluate my wish list and make it more actionable in the real world.

Progress So Far

There were a few things I simply couldn't have or had to rethink. Namely, I just had to accept that I wouldn't be able to have delicate, breakable decor out in the open on my desk. I love my kid and my animals; I want them to be able to enjoy my space, too. So, I've opted for metals, woods, and, in some cases, plastics for all of my decor. I did have to give up on the idea of fairy lights - anyone who's ever owned a cat will know exactly why - but I can still have fun RGB peripherals, and I'm looking into getting strip lighting that I can attach to the desk itself. I also bought something called museum gel, which is a clear gel that works a bit like mounting putty and is used in museums to keep displays secure without damaging them. This helps mitigate the issue of cats knocking things over, which is handy.

Next, I accepted that some of the things I wanted needed to be long-term goals rather than quick buys. I have a perfectly functional computer right now; I don't need to be going out and buying all new monitors and keyboards and mice just for the aesthetics. So, slowly, over time, I'm replacing bits as they need replacing with more aesthetic versions that're going to last me. I recently had to replace my keyboard (because writing for a living does tend to take a toll on it) and managed to find a lovely, affordable RGB white mechanical piece that even has adjustable light modes. While I'd love to now get a matching headphone stand with room for all three of my controllers, my current headphone stand still works just fine, so I'll wait a while before I replace it.

I'm also having fun making pieces to go in my setup! Outside of video games, I love to take part in various crafty hobbies, including knitting and crochet. I've made myself a lovely comfy lap blanket and a good, soft foot rug, as well as mug cozies and coasters that make my setup fun and colorful, and are all the more personal because they were something I made rather than bought.

Finally, I'm learning to accept the space that I'm already in as cozy in itself. I'm learning to love my little corner, full of art and decorations I already own that I'm finally finding homes for on my walls. I keep little trinkets on my desk from various adventures I've gone on with my family, and I'm leaning into the aesthetic I already have while I build the one I want. It's not perfect; it's still messy and cramped and a bit disorganized and uncoordinated. But it's mine, and it tells a lovely story about what cozy means to me.

So, have I achieved my perfect cozy gaming setup? Probably not, and that's okay. I'm going to keep working on it slowly, and I'm not going to let the internet's idea of a picture-ready desk hold me back from enjoying what I already have. When I'm snuggled under a blanket I made, cat purring in my lap, with my hands on my glowing keyboard and the Stardew Valley soundtrack in my ears, I really don't want to complain about the little things I'm missing. It's enough to be cozy where I am.

I love the original Wipeout games in a way that probably isn’t healthy. 1996's Wipeout 2097 was literally the first PlayStation game I ever played, and I played it to death. As a life-long electronic music fan, this was less a video game and more a way of life, a manifesto in digital form. It was speed, attitude, sound and sweat all fused into a Red Bull-charged fever dream.

When Wipeout 3 arrived in 1999, I can clearly remember the hype. For anyone whose interests were at the crossroads of gaming and club music, this was a cultural event, forever linked with Sasha’s hugely influential Xpander EP. I remember descending the staircase into Sydney’s legendary Central Station Records, seeing Wipeout 3 running on TVs in the store, and playing the opening race while drinking my first ever can of Red Bull. As an icon of underground culture, Wipeout was a bridge between the worlds of gaming and music.

After picking up Wipeout 3: Special Edition during a trip to Asia in 2000, I sunk 100+ hours into it. I unlocked everything, chased those gold medals, and only hit a wall at the highest speed classes. I never loved the later entries like Fusion, Pulse or HD as much. Even though the Wipeout Omega Collection on PS4 was excellent, it never captured that gritty magic of Wipeout 3, with the floaty handling and angular, industrial courses that felt like rainy, moody glimpses of the future.

A lot of it came down to the raw gameplay, too; I've always loved the turbo boost mechanic of Wipeout 3 (sacrificing shields for speed) over the barrel roll boosts of the later games. And while Wipeout 2097 kicked off the hysteria and was a much larger commercial success, true fans know that Wipeout 3: Special Edition was the refinement of the original formula into something close to perfection.

So when I tell you that 2018's BallisticNG is a lovingly crafted homage to classic Wipeout, I’m saying it with deep affection and slightly unreasonable levels of nostalgia and expectation.

Old-School Heart, Modern Muscle

While BallisticNG accurately captures the vibe, handling, art style, and track philosophy of Wipeout 3, it also folds in modern flourishes that broaden the experience. Some new-era weapons are included, like the machine-gun cannons, and the mode variety is enormous, vastly outstripping the 90's series' offerings. The huge single-player campaign features a deep variety of events with ever-increasing difficulty, moving far beyond the standard combat racing formula.

The most interesting inclusions are two distinct physics modes that lean toward both the classic and modern. The base handling, called 2159, is rooted in that classic floaty feel, with pitch control being a big part of the dance. Keep the nose up by holding back as you air-brake through tight corners and land on ramps, then push the nose down on straights to squeeze out extra speed. Then there's 2280 mode, which leans more towards the Wipeout HD/Fury feel, bringing the camera closer to the vehicle and generally being more forgiving in the corners.

BallisticNG’s 1.4 update in May 2025 was centred on the expanded 2280 mode, bringing redesigned menus, quality-of-life improvements, and beefed-up modding tools. I still prefer the classic 2159 feel because I was raised on the original trilogy, but I’m genuinely glad 2280 exists. It opens the door for a whole new wave of players who grew up with the modern Wipeout titles.

A Team On a Mission

BallisticNG’s developers are a tiny, independent, remote team called Neognosis, whose name feels like a cheeky nod to Psygnosis (later Studio Liverpool), the legendary British studio behind the original Wipeout series. Their wider presence is pretty low-key, but the core of Neognosis appears to be two key people: Adam Chivers as lead developer and Aidan Lee handling support and Linux/Mac porting.

As far as public info shows, their only publicly released game so far is BallisticNG, but they’ve backed it up with custom tools and strong mod support, so it feels alive and evolving rather than a one-and-done. In 2025, Steam reviews keep flowing, and the game's Discord is still very active. That long-term care is a big part of why BallisticNG comes across as a passion project that grew into a genuinely polished and community-adored indie success story.

Nowhere is this love and reverence for the source material more evident than the absurd amount of content on offer in the stellar campaign. For starters, there are modes galore: Racing, Team Racing, Tournaments, Time Trials, Speed Laps, Eliminator, Knockout, Survival, Upsurge, Rush Hour, and Stunt modes are all here, with Custom Race options too if you want to get tweaking. You also get two-player split-screen, online play, and even VR compatibility, which, looking at the upcoming Steam Frame, could be very interesting.

All these expansions are included in the base game too, with no extra DLC to buy. Everything comes bundled, which helps the whole package feel huge. It expands the world and adds even more event variety, with over 50 courses available once you factor in mirror modes and other variants.

Along with the staggering amount on offer, the excellent course design deserves its own spotlight. These are hands-down some of the greatest anti-gravity racing tracks ever made. You’ll be racing through everything from busy sci-fi mega-cities and seaside industrial zones to snowy mountain circuits, cavernous canyons, huge smoggy factories, glistening speedways, and ancient forests. For an indie project, the range and artistry are truly impressive.

It’s the kind of game that makes you quietly furious Sony isn’t doing more with the Wipeout franchise, because a small dev team just walked up and built a whole parallel universe for the genre.

The Anti-Gravity Gauntlet

I’m more of an offline-mode person these days, and BallisticNG is perfect for that. In my region, I haven’t had much luck finding online matches, and as a Mac user, my mod compatibility is limited. So I’ve been living inside the single-player campaign, which is massive. And here's where the “Dark Souls of racing games” label stops being a joke and starts feeling like a warning.

BallisticNG starts pleasantly enough. You get into a rhythm. You start thinking, “Okay, I’m still good at this, I still have it.” And then about halfway through the campaign, the game calmly removes the floor and lets you fall. Suddenly, you’re staring at a level of difficulty that feels almost pathological. It shifts from exhilarating to intimidating in a heartbeat, like the game quietly deciding it’s done being friendly.

One bad corner and suddenly you drop from first to eighth, with the entire pack flashing past your eyes. I can see how this could be discouraging if you’re not fully locked into the anti-gravity mindset, but I also get why the game is built this way. There’s a certain purity to it. The challenge is the point, and mastery is the reward.

At its best, BallisticNG creates that intense patience-and-focus loop where every failed run teaches you something tangible. You warm up. You lock in. You sharpen your line. You learn the track’s secret language. You stop fighting the ever-increasing speed and start dancing with it. Much like a Souls game, there are no compromises here. You just have to put in the time and rise to the challenge.

Into the Groove

The original Wipeout series' soundtrack was a landmark in video games, being among the first video games to license underground music artists and make full use of Sony’s new CD-ROM technology in the original PlayStation.

The in-game soundtrack for BallisticNG is certainly strong, but to really fall into the trance, I’ve found the perfect move is building a custom playlist of classic and modern electronic music (think The Prodigy, Underworld, Paul Van Dyk, Sasha, Metrik, Fred V & Grafix) and playing it alongside the game's stellar sound effects on a high-end pair of headphones. This is the fuel you'll need to lock in, find flow, and push through the tougher tiers.

At a certain point, something magical happens. After repeated plays, you memorise a course so deeply that the speed melts away. You anticipate each corner. You feel the air-brake timing deep in your bones. The game demands near-flawless execution for gold and platinum, and that can be brutal. But if you love the vibe, the style, the music, and the combat racing chaos, these are hours well spent.

Commit or Crash Out

BallisticNG is a ridiculous package. It's a love letter to PS1-era Wipeout with modern flourishes, a huge range of modes, loads of tracks, expansions, split-screen, VR, modding and multiplayer. It's got an active, passionate community. But it’s also unapologetically demanding and merciless. You simply have to put in the time, or get left in the dust.

So yes, BallisticNG is the Dark Souls of racing games. Not because it’s grim or punishing for the sake of it, but because it respects your potential to improve. It’s a game that asks you to commit, and if you do, it rewards you with some of the purest anti-gravity racing highs you can get. If you’re a Wipeout fan and you haven’t played it yet, you genuinely need to fix that.

Climbing has always been a fundamental pillar for communicating verticality and freedom of movement in video games. Still, it was only a couple of years ago that it began to take center stage in this medium.

The connection between climbing and playing games goes to the very essence of the sport. In 2009, climber Kelly Cordes wrote about The Fun Scale, a concept that he heard in 2001 from another climber. The scale separates the fun you have with certain activities into three types: Type I fun, which is pure, immediate fun, or, in his words, "enjoyable while it's happening." Type II fun is "fun only in retrospect, hateful while it's happening" (every Dark Souls fan knows this type of fun). Type III fun is horrible in the moment, and it isn't even fun in retrospect, but it might give you a sense of achievement.

The Fun Scale has become a fundamental concept in game design, and almost every game attempts to balance the three types to achieve a satisfying flow between difficulty and reward, tension and release.

In previous generations of consoles, climbing meant finding weak spots in giant enemies in Shadows of the Colossus, hiding places in Assassin's Creed, or secret tombs in Tomb Raider.

Everything changed with the arrival of The Legend of Zelda: Breath of the Wild for the Nintendo Switch in 2017, where the protagonist Link could try to climb any surface in the game world. The result was impressively effective; the feeling of freedom and accomplishment once you reached the top of a mountain was unmatched. It also added an extra degree of danger to the protagonist's adventure. If Link ran out of stamina during his climb, he would let go of the wall and fall into the void, usually resulting in his death.

However, climbing remained a means to an end, a transitional action on the way to the place where the adventure resumes. Besides planning your route, climbing in Breath of the Wild, as in most video games, consisted of mindlessly pushing the joystick forward, erasing all the complexities and challenges that the real-life sport offers.

In the ensuing years, a series of events would raise the public's interest in the sport in ways never seen before.

In 2018, the documentary Free Solo, directed by Elizabeth Chai and Jimmy Chin, was released. The story of climber (and absolute madman) Alex Honnold's quest to climb El Capitán without any protective equipment, such as a harness or ropes, had us all on the edge of our seats for its entire 96-minute run. The film received numerous awards, including Best Documentary Feature at the following year's Oscars.

The inclusion of the sport in the 2020 Summer Olympics also helped bring the unorthodox sport into the mainstream, with more than 30 climbing gyms opening per year in the US and a 58% increase in visits to climbing gyms in the UK since 2019.

Since Breath of the Wild, there has been an interest in video games with more realistic climbing mechanics, perhaps responding to the desire of climbers to see the challenges they encounter on the wall reflected in the games they play. Games such as PEAK, born from the collaboration between indie studios Aggro Crab and Landfall, which has sold over 10 million units to date, or White Knuckle, which combines the need to climb with the need to escape from a monster chasing you from below, have dominated conversations in the gaming world in recent months.

I decided to reach out to the developers of some of the upcoming climbing video games to try to understand the effort to create a game that simulates, or is inspired by, this particular sport.

Climbing, Translated

New Heights, by Wikkl, took on the challenge in 2023 of portraying the mechanics of climbing a real wall as realistically as possible. I spoke via Zoom with the studio's co-founder, Guido Boogaard, to ask him about his vision for this new trend and whether it is possible to translate a sport into code.

SUPERJUMP

Where did the interest in making a realistic climbing video game come from?

Guido Boogaard

Can you guess?

SUPERJUMP

I guess you climb.

Guido Boogaard

[Laughs] Yes, I climb. But seriously, it started as just a sketch, because there was nothing before. Now there are more [games about climbing], but in the past, all the climbing was automatic. If you think Breath of the Wild, it's quite enjoyable, but it's all automatic.

Which is a shame, because climbing itself is a puzzle game. I mean, climbing in real life is a puzzle game; it's a very video game-like sport. I do other sports, and climbing is one of the most similar to a video game.

So I thought, why hasn't this puzzle been translated into a computer game? And then there's the audience issue. Climbers are generally millennials and young people, so they are more likely to play video games.

But then I realized that making a game is incredibly difficult; I'm literally still working on the climbing system.

SUPERJUMP

Thinking about what you said about the audience, why do you think climbing has become so popular in that sector?

Guido Boogaard

There's the puzzle aspect, but I also think it's popular because you can do it with your friends, and it's not... Well, it is competitive, but in a different way.

It's also not a team sport, like soccer or hockey, where you have to be much more committed. And maybe people are more interested in nature than before, because of all the electronic, almost dystopian, stupidity we're getting into. So maybe it helps with that. It helps me, at least.

I like being in nature, which completely contradicts the fact that I'm making a climbing video game. But I want to translate this interest into my other interest, which is computer games.

SUPERJUMP

Looking at the game, it's very easy to imagine myself doing all the different movements, applying all the different pressures. How did you manage to translate the feeling of climbing in real life into a video game?

Guido Boogaard

It's very complicated. First, in real life, you have a lot of control. Just standing up and walking is incredibly difficult for a human, which is why children learn it when they are already one year old. So [in the game] we have to make it a little easier than in real life.

So the character will do their best to get into the position you want them to be in. That's the first thing. The second thing is to calculate whether you can actually do that, whether you are in a position that allows for this movement. So if you're above a hold, you can push; if you're below one, you can pull. It's pure vector math. An incredible amount of vector math.

We calculate everything we can, and it's going to look a little rough at times, because if you look at climbing in real life, it's a little rough.

Total Freedom

Cairn, from The Game Bakers, was one of the most anticipated video games of 2025, before it got delayed to January 2026. It combines realistic climbing simulation, survival elements, and an intimate narrative. Its Marketing Manager, Lauranne Caudaro, and the game's Creative Director, Emeric Thoa, kindly wrote to me in response to a few questions I asked them.

SUPERJUMP

What were the inspirations for combining climbing with survival?

Emeric Thoa

Cairn is the last entry in what we call our freedom trilogy. In Furi, you fight to "live free," and in Haven, you fight to be "free to love whoever you want."

This latest entry concludes the trilogy with a powerful theme: overcoming your limits and achieving total freedom. That's what alpinism is in real life, too. Why do people climb mountains? What makes them feel the need to risk their lives to reach the summit?

It's always been fascinating to me, and it makes a great video game pitch in my opinion. It's simple, but extremely concrete. You're at the bottom, and you see the goal.

The survival mechanics work along with the realistic climbing simulation to immerse you into the ascent. You need resources for the ascent (climbing gear, but also food and water). But it’s not a 100% “collect and craft” survival game; survival supports the main mechanics, which are climbing and planning your route.

SUPERJUMP

The game has a mix of stylized graphics and realistic mechanics. What was the process for deciding the game's level of realism?

Emeric Thoa

Stylized art directions are a part of our studio’s DNA. It helps our games stand out from other games, but it also means the graphic style never gets old. That’s why we asked comic book artist Mathieu Bablet to join the team and work on Cairn.

The stylized art direction drives home the fact that Cairn is a realistic simulation, set in a fantasy world. It reinforces the idea that Cairn (like all our games) is a journey into a different world.

SUPERJUMP

I was wondering if anyone on your team does outdoor or indoor bouldering, or if the realism of the climbing is achieved only by studying.

Emeric Thoa

The whole team has tried climbing. We went to a workshop in Chamonix, in the French Alps. There, we did rock climbing on the cliffs, learned climbing techniques, talked to mountain guides, and to Elizabeth Revol, who’s an alpinist who did several 8000m climbs. We also hiked, all the way up to 3840m high at Aiguille du Midi, face to face with the summit of Mont Blanc. It was a lot of fun and a lot of learning to apply in the game (and a good deal of sore muscles too!)

SUPERJUMP

Do you think that the proliferation of climbing games is happening naturally? Or is it following a trend (IRL or in video games)?

Lauranne Cauduro

Climbing is definitely trending, and going back to what Emeric was saying, climbing gives you a very clear goal; you see a summit, and you have to reach it. I think this translates extremely well in terms of gameplay, and games like Peak, Celeste, or Bread and Fred are great examples! But it’s still a very fresh idea, there’s not that many games really focusing on climbing, and definitely none that do it like Cairn, with a focus on realistic climbing and climbing at the core of the experience!

Far From the Summit

Another reason behind the success of these types of games is "kinaesthetic design." This game design technique allows developers to make the player mimic the actions of the characters on-screen, resulting in more immersion. It's not rare to finish an ascent in PEAK with sore hands, tired from holding the controller triggers in order not to fall, just like a climber has to hold a grip on the mountain wall.

However, if the past years in the video game industry have taught us anything, it's that there's always room for reinvention and innovation. This emerging genre of climbing video games is far from having exhausted all its potential.

Developers seem to have found an activity that perfectly suits the sensibilities of a considerable niche of players, mixing challenge with personal rewards that go hand-in-hand with self-improvement beyond simply leveling up.