We're back with a brand new Now Playing. Our team is playing a bit of everything this month, which isn't a surprise with our diverse roster of contributors who jump in each month. We have the latest FPS, celebrated indies, roguelikes, and AAA masterpieces. No matter what we're playing, we want to share with you and maybe send you down the path to try something new. Let us know in the comments what you're playing and what news has you excited for the future!

Charlotte Huston

Battlefield 6

I found myself rather intrigued by the prospects a new Battlefield game would potentially have to offer. I’ve always had a love for the FPS genre, and we haven’t really seen the genre’s flagship IPs shine in recent years the way they did in the late 2000s or early 2010s.

Those who aren’t familiar with the FPS genre are likely confused about why Battlefield has captivated so many in its launch. It’s been a long time coming for a franchise such as Battlefield to return to glory, to deliver an experience that players truly want. I was hoping Battlefield 2042 could’ve been that game, but it unfortunately had its own fair share of issues while also losing the plot on what makes the Battlefield IP so lovable. Perhaps it sounds simpler than it actually is, but that stellar sandbox-y immersive gameplay fans want from Battlefield does not cater to taking notes from Call of Duty’s Operator format in the way 2042 attempted.

As much as the two franchises get compared, any FPS fan will tell you that the two games play quite differently. Whereas Call of Duty is known for very fast-paced arcadey gameplay, Battlefield prides itself on playing objectives alongside team cohesion. Now was the right time for Battlefield. This moment in time is the perfect instance for Battlefield to truly nail what their fans want, and they were successful in doing that. Interest in Call of Duty has reached an all-time low, with the franchise cannibalizing its own identity with out-of-place collaborations. The average FPS fan does not want to see animated characters running around in their games. They want a game that invokes the feeling of being grounded in reality; the “mil-sim” experience, if you will.

When a game like Battlefield 6 releases in a state where it provides exactly what FPS fans are starved for, you get a game that blows up the way this one does. It’s beautiful to see, and it’s an absolute blast to play. I’ve always been a casual fan of Battlefield, so you won’t get a nuanced breakdown of what’s different in the gameplay from me. The game is enjoyable, and that’s all that matters. It feels wonderful to have a Battlefield game we can consider great once again. We should be rooting for Battlefield and even Call of Duty to be great.

Call of Duty is feeling clear pressure, as evidenced by the Black Ops 7 beta. Activision is finally giving in and rectifying long-standing fan complaints about the series. When there’s steep competition in a genre, we get better games out of it. The winners here are the consumers, who have higher-quality games that they can enjoy. It’s what we want from AAA shooters, and I’m very happy to see Battlefield doing well for that reason. I’d happily recommend giving it a shot if you are looking to hop back into one of these types of games.

B. Cantrell

Dead Cells

OK, I’ll admit it: I’m obsessed with Dead Cells. I’ve bought it on almost every platform I own. The only major frustration for me is the lack of cross progression. With a game this deep, progress ends up scattered across devices, and my hard-earned unlocks stay trapped where they were earned. Cross-platform saves would be a godsend. Of course, the smart move is to stick with one version for the long haul, and for me, that’s on the Switch. Because, you see, Dead Cells is very much a long-haul game.

By sheer hours alone, it sits near the top of my library, and even after six years of playing it still finds new ways to surprise me. By far, the main thing keeping me hooked is the razor-sharp combat. This is pure action, with every slash, arrow shot, and firebomb feeling visceral. I just love the way busted-up baddies burst into smatterings of crunchy pixel-art confetti - it never gets old.

Kills matter too, because enemies drop glowing orbs, which are the currency for permanent upgrades, so you’re incentivised to fight hard and clear every room (unless you're attempting a speed run, of course). Biomes are procedurally generated, and you choose different routes each time, so layouts, mobs, and secrets keep shifting. The roster of levels is huge, too, from toxic sewers and sunset ramparts to haunted shipwrecks and gloomy castles with vampires; there's always something new to see.

Have I gushed about the combat enough? No? Well, here's some more. Enemy encounters are fast and fluid, playing out like a Doom-esque dance of two-dimensional combat chess. You weave sword strikes, projectiles, and tossed grenades while dodging and sliding around hazards. On higher difficulties, it becomes a high-stakes ballet. When it clicks, it feels incredible. But when things fall apart, you usually know why, which makes heading back in for just 'one more run' an easy choice.

The epic boss fights really seal the deal, too. Every few biomes, things build up to a frantic test of everything you’ve learned on the run so far. One mistake can end it all and send you back to the start, which makes endgame victories feel like glorious fist-pumping wins. Another aspect I love: beating the final boss is only the beginning. Boss Cells (rewarded after completing a successful run) let you raise the difficulty for bigger rewards. Each Boss Cell added throws down tougher enemies and new hazards, but also higher-tier loot.

That moment I realised that finishing my first run was only a warm-up blew my mind. Years later, I’m still discovering new weapons and hidden rooms I’ve never seen. Dead Cells feels fantastic to play and offers depth and replayability in equal measure. For me, it's easily one of the best action roguelites ever made.

CJ Wilson

Keeper

Keeper had my interest based on my experience playing many of Double Fine’s previous games, like Psychonauts, Costume Quest, and Stacking. It’s very much a narrative game with some straightforward puzzles to solve. The gameplay largely revolves around you controlling a sentient lighthouse while also moving a bird who opens doors or turns levers to progress to the next level. While there is no spoken dialogue, the game makes you care about the friendship between the lighthouse and the bird as they make their way towards a mountain. The visuals feature some gorgeous landscapes with psychedelic effects that make Keeper stand out from the games I normally play. As something you can play on Xbox Game Pass, I highly recommend you play it if a short, calming narrative experience interests you.

Ryse: Son of Rome

This is an underrated game that I have played several times now, but I just finished it yet again on my Series X on Legendary difficulty. It’s always fun to replay a game that you enjoyed before, and I just wanted to get more achievements after playing some newer releases this year.

Dispatch

I finished playing Dispatch earlier this week, and I was pleasantly surprised by the writing and gameplay. I laughed out loud many times as I went through each episode. I appreciated the management sim elements of choosing which hero would work best for a given scenario and seeing the synergies formed among the heroes you create. Certain emotional narrative moments will definitely stick with me for a long time, along with the tough choices I made along the way. I definitely would want to replay it to see what the other choices would look like and see if there are any meaningful changes within the story. Dispatch is certainly a game that I see being one of my favorites for this year.

PJ Walerysiak

Hollow Knight: Silksong

Silksong delivers on every expectation I held in my heart and mind. The combat is far more varied and feels more difficult than its predecessor. Its hauntingly beautiful soundtrack enhances both story and environment. And speaking of the story, the narrative threads are woven more tightly throughout every location, every interaction, every item. Yet it doesn’t forcefully drill into your head with its storytelling. It all feels delicately connected yet reactive to your influence. You can see the web and touch the web, even change the web. In short, I’m consistently admiring Silksong’s narrative design; in a word, I’d describe it as thoughtful.

I love how small interactions over time can develop the environment or NPCs, as well as a player’s fondness and understanding of them. It is remarkable how those relationships have the potential to be radically altered in a single moment. I particularly enjoy playing Hornet’s Needolin for every NPC after exhausting their standard dialogue. Each sings a unique song, with words they would not share otherwise. Their tune, their message, gives you an intimate glimpse into their culture and soul: Sometimes it’s funny, and sometimes it’s profoundly sad. Yet it is always an enriching and thoughtful coda from Team Cherry.

Fallout: New Vegas & The Outer Worlds 2

I’ve been on an Obsidian kick lately. I’m lumping these two games together since I’m not particularly far in either at the moment. This has been a good year for Obsidian. Avowed is an excellent experience, and one I’ll miss since I cancelled my Game Pass subscription – though I’m eagerly waiting for a Steam sale.

In the meantime, I decided to buy New Vegas on PC and play through it for the first time since 2010. Then I just couldn’t help myself and bought The Outer Worlds 2 as well. It’s great fun so far, making me consistently chuckle at its hilarious writing. It feels very cool to see that Obsidian has kept its core DNA active and alive over the decades.

New Vegas encourages an immersive role-playing experience, constantly offering ways to utilize your chosen skill choices through gameplay mechanics or dialogue. It wants you to commit to a character choice, rather than being a Jack-of-all-trades. The Outer Worlds 2 follows suit, jamming every conversation with skill-related options and presenting various ways to utilize your abilities (as long as they’re leveled up appropriately). Both games wind up feeling very rewarding while simultaneously instilling in you a yearning to build an entirely different character next time.

Between these two games, I feel spoiled. The writing in each is great. Their stories have me captivated and entertained. Both do a good job of signposting where you need to go to progress the story, but neither ever tells you how you should do it. You have the agency to choose, which is what a good immersive RPG is all about.

Bryan Finck

Ghost of Yotei

My main gaming endeavour over the last month has been the fantastic sequel from Sony's first-party studio, Sucker Punch. I'm not quite done with it yet due to the fractured nature of my available playtime, but I'm guessing that the end is near. I've loved the fresh story, enhanced and expanded combat, and the multiple relationships that heroine Atsu develops with the various NPCs in and around Ezo. I think it might be padded out a bit too much, but I've rarely felt that any of the activities are dull or repetitive. The visuals are absolutely stunning, a true testament to the power of the PS5, and I'm constantly staring at the horizon and the incredible level of detail in every corner of the world. Make sure you don't miss this one!

Possessor(s)

I reviewed the new side-scrolling Metroidvania from developer Heart Machine Games over at Seasoned Gaming, and really enjoyed my time with it. Combat and traversal are quite enjoyable, with a wide variety of tools available to aid your destructive tendencies and keep things fresh even after many hours. There is ample reason to chase 100% completion, plumbing the world for all its secrets and goodies. The story made me want to keep playing, and there were plenty of late nights spent just wanting to see what was in the next area because the game simply looks fantastic.

A big thank you to our writers for dropping by and to all our loyal fans for being here to check it out! Be sure to tell us what you're playing in the comments, and check back next month for more of what our team is getting into. 

November was filled with action-packed experiences, puzzling goodness, dazzling exploration, and more. Did Call of Duty: Black Ops 7, Lumines Arise, or Where Winds Meet, or something else top your most-played lists for the month? 

How does it work? At the end of every month, PlayStation Blog will open a poll where you can vote for the best new game released that month. After the polls close we will tally your votes, and announce the winner on our social channels and PlayStation Blog.

What is the voting criteria? That’s up to you! If you were only able to recommend one new release to a friend that month, which would it be? Note: re-released games don’t qualify, but remakes do. We define remakes as ambitious, larger-scale rebuilds such as Resident Evil 4 (2023) and Final Fantasy VII Remake.

How are nominees decided? The PlayStation Blog editorial team will gather a list of that month’s most noteworthy releases and use it to seed the poll.

As strange as it sounds, I don’t think there’s another developer who’s inspired as many feelings of hype and disappointment over the years as Heart Machine. Hyper Light Drifter, a Zelda-like released in 2016, instantly made the studio with its beautiful wordless narrative, sharp combat, and fantastic exploration. Solar Ash, with its sci-fi platforming and Shadow of the Colossus-style bosses, seemed like an amazing follow-up but ended up just fine in terms of execution. The less said about Hyper Light Breakers, the better.

Still, it felt like Possessor(s) was a return to form, offering 2D animated characters in a side-scrolling action-adventure set in a massive 3D world. Unfortunately, despite a compelling premise and some sleek presentation, it also stumbles in various frustrating ways.

The setting is Sanzu City, recently torn apart by a disaster of demonic proportions. A massive otherworldly rift has opened, and demons roam the streets, ravaging the living. Luka, a high school student, is on death’s door after losing her legs, but she happens upon the equally wounded Rhem. Despite watching her best friend, Kaz, get killed by a demon, Luka reluctantly forms a partnership with Rhem, allowing him to possess her and heal her wounds.

It isn’t for free, though, as the player is tasked with escorting Rhem to the epicenter of the rift so he can return to his home dimension. Doing that requires accessing a mysterious underground vault belonging to Agradyne, who effectively runs the city and produces batteries (three guesses about where their energy comes from). You’ll then need to travel to different corners of the map and collect four eyeballs belonging to officials possessed by high-ranking demons to pave the way forward.

As typical as the MacGuffin search feels, Possessor(s) does a pretty decent job of not immediately lapsing into it. Luka spends a significant amount of time getting to know Rhem while mastering her new legs and strength. Their pasts intertwine as memories are mixed and secrets eventually spill forth. The characterization feels spot-on in this regard, with Luka coming across as immature and awkward, but also understanding and down-to-earth. Meanwhile, Rhem, despite his calm, collected demeanor is prone to stubborn callousness.

The barriers between them are slowly but surely whittled down along the way, even if arguments still tend to flare up. Other notable figures include Tens, a former Agradyne employee turned hunter who works alongside a possessed wolf; Professor Foss, Rhem’s former teacher who’s now possessed and mentally unravelling; and more. Outside of accepting quests or acting as vendors and one-time bosses, they don’t have a heavy presence in the plot, with the focus remaining squarely on the eyeball hunt and Luka and Rhem’s dynamic. Nevertheless, they’re intriguing and add to the overall setting with their backstories.

The two core components of Possessor(s) are platforming and combat, and there’s plenty of acquiring new abilities and revisiting previous locations to test them. All your favorites are here, from the grappling hook that also doubles up as pulling smaller enemies towards you to the slide and underwater dash. And while the platformer can feel solid enough as a whole, there are some fumbles, like the grapple not properly latching onto points at times. There are also some delays to your movement in combat – something I learned the hard way when trying to transition from a dash to a crouch to avoid a beam and dying in the process.

"Aesthetically, Possessor(s) is a mix of wonder and intentionally clashing styles. The look and motion of its characters are in stark contrast to the 3D environment, with limited animation frames that still manage to flow together relatively smoothly."

That awkwardness pervades a huge chunk of the combat as well. While attacking, you’re effectively stuck in one direction for the duration of that combo. Enemies aren’t, of course, resulting in frustration. Luka can utilize a primary weapon and three special weapons at a time, ranging from a mouse to juggle enemies into the air to a hockey stick with wide-range smacks. There’s a Super Smash Bros.-like feel to some of the action as you break through guards and knock enemies into each other and the environment, which feels pretty nice. It’s punctuated by parries, which are required to open up certain foes to attacks and reflect projectiles.

Given how many enemies tend to stay just out of reach, the latter can be essential. Occasionally, it’ll feel very generous as you parry multiple bullets back. Due to the lack of any kind of invincibility window when taking damage and the excruciatingly long stun recovery, you can easily get by hit dozens of them at once and die. This leads to some even more annoying runbacks, purely due to the layout of certain sections.

Even if you fully grasp the combat, there isn’t all that much to it beyond smacking enemies away, grappling them back and following up with another attack. The primary weapon variety is surprisingly low, and the special weapons are very mechanically basic. Admittedly, it can be cool to execute a counter-attack with the glasses or charge up a powerful katana slash, but that’s as far as their functionality goes. The affixes also feel a little too straightforward, though providing some lungs for an NPC to cook and effectively buff is one of the more memorable interactions.

Aesthetically, Possessor(s) is a mix of wonder and intentionally clashing styles. The look and motion of its characters are in stark contrast to the 3D environment, with limited animation frames that still manage to flow together relatively smoothly. Well, on most occasions, since some bosses still tend to just kind of float towards you with certain attacks. Regardless, they stand out well against the brutalist architecture of the world, its shadowy undertones and an analogue-like filter which lends an old-school horror feel.

Even the sound design is lovingly on point on most occasions. Possessed books float about, crying like babies while your whip lashes out with all the primalness of a beast. The music is also a nice mix of heavy-handed and moody, whether it’s the disarming nature of the Abandoned Mall’s tunes or the epic feel of the final battle.

"Even the story, when it’s all said and done, peters out in fairly predictable ways. Some elements are left disappointingly open – a significant contrast to how inviting Sanzu City felt when first diving in. "

However, the biggest problem with Possessor(s) outside of its movement and combat issues is that it runs out of steam in the closing hours. One area feels painfully straightforward, consisting of nothing but battle rooms en route to the final boss. The other plays with inverted structures and extensive gaps, but not in any really special way compared to prior areas (and it feels relatively short). While there are reasons to go out of your way, be it in obtaining items to add more affix slots to gear or discovering quest items, it begins to feel superfluous after a point. This leads to frustration when you happen upon any places not tied to your objective. At least many of the bosses feel unique, though the aforementioned combat and movement issues can once again hamper your enjoyment.

Even the story, when it’s all said and done, peters out in fairly predictable ways. Some elements are left disappointingly open – a significant contrast to how inviting Sanzu City felt when first diving in. As a whole, Possessor(s) is a decent side-scrolling action-adventure with some interesting twists, especially surrounding possession, backed by a relatively solid dynamic between its leads.

It just sadly doesn’t venture much further. Maybe that’s on me for being so enthralled by this concept and wanting to see where it ventures next, only to be suitably whelmed by the end. I wouldn’t classify this as Heart Machine’s worst effort by a long shot, but it’s yet another in a long line of personal disappointments for sure.

This game was reviewed on PC.