Miss your braking point by half a second and you’re either in the gravel, or being launched into the sky. This feeling of living (or riding) on the edge has become something of a synonymous feeling with the MotoGP games and in MotoGP 26, realism (and therefore the punishing lows and highs) is more prevalent than ever.

What is then the most authentic and demanding MotoGP game might also be the most rewarding, as well as the most accessible. For every nuance that’s available there letting you feel the delicate balance between skill, power and speed, there’s an assist to support you so you can race with the best and not feel out of place – or at least you need to commit every waking moment towards mastering the game.

One of the key changes in 26 versus previous version is the introduction of a revised physics system. Heavily focused on rider movement and weight transfer, you can no longer just brake into a corner and throw it in whilst leaning. It’s less forgiving with throttle control being extremely important, as well as having to master trail braking (braking hard, then easing off to get more control of the bike into a turn). The control this gives you as a player is fantastic, but it leaves you extremely open to errors and mistakes.

Despite the various accessibility benefits, it can still feel like an extremely difficult game. Rewinding helps (push a button to dial gameplay back a few seconds then try again) but even on ‘Arcade’ mode, it can be too hard for some I feel.

Visually, MotoGP 26 is slick without being revolutionary. The bikes look superb, rider animations are smoother, and the broadcast-style presentation still does a great job of making races feel like a Sunday afternoon on the TV. Rain races in particular look excellent, with reflections and spray adding genuine tension to close battles. Sadly, I did notice some stuttering despite the game being mostly silky smooth, but it openly seems to happen in a few places (such as the big hairpin on Mugello) but the game has had frequent patches in the last few weeks so hopefully this can be improved.

Few racing games however capture speed quite like this. Flying down Mugello’s straight at over 220mph then hammering the brakes into turn one is pure adrenaline every time. Clean laps feel almost like poetry, and this delicate balance persists through the entire experience in MotoGP 26.

Few racing games capture speed quite like this. Flying down Mugello’s straight at over 220mph while desperately trying not to outbrake yourself into Turn 1 creates genuine adrenaline. Clean laps feel earned in a way most racers can’t replicate. The sensation of balancing aggression with survival is where MotoGP 26 absolutely shines.

Career mode has been improved since the last iteration as well. Rider ratings are apparently dynamic now, although not sure I really got this but the inclusion of the paddock atmosphere across visual backdrops and racing debriefing is welcome. However the light team management aspect carries over from previous entries and is broadly very similar to previous years. I can’t really decide what I want from a career mode in racing games, as story versions feel ‘must-win’ but a classic ‘race after race’ can feel a bit dull. I guess it’s open for someone to innovate here. Still, it’s functional.

Which is more than can be said for online multiplayer. There is a lot of crashing, not just from other players but in the game application sending me back to the dashboard. This has reduced with recent patches, but still there. I’ve also had a number of races be stopped and restarted due to red flags – which is a cool feature but I’ve seen more than few never get going as there were too many red flags.

As you’d expect, every official rider, team and circuit from the 2026 season is here, as well as some motard and flat track racing which, honestly, add a little but not a whole lot. For hardcore fans this feels like the definitive edition of MotoGP to date, and the new handling model probably does enough to justify the upgrade even if the core gameplay loop is similar to previous outings. A few more patches should iron out the bugs and then this is a serious winner. Today though, it’s probably just clinching a podium.

Reviewed on Xbox Series X

This is a proper origin story, following a 26-year-old James Bond (voiced and likened by Patrick Gibson, of Dexter: Original Sin fame) as he claws his way from naval air crewman through to earning his 00 status. It’s an entirely original narrative, developed in collaboration with Amazon MGM Studios, and crucially, Bond’s appearance isn’t lifted from any previous film actor — the first time that’s happened since Agent Under Fire back in 2001. The supporting cast is rather tasty too: Lennie James as Bond’s reluctant mentor Greenway, Priyanga Burford as M, and Lenny Kravitz as the gloriously named villain Bawma, who the official materials cheerfully describe as a “Pirate King.” Sure. Fine. Absolutely.

IO Interactive’s Hitman DNA is all over the gameplay, which is very much a good thing. You’ll approach missions as a classic sneak-past-everyone-using-a-dart-phone-em-up (it’ll catch on), but you can go loud whenever the mood takes you. Bond can bluff his way past guards in a way Agent 47 never really could, and the levels are apparently designed to show off opportunities naturally rather than having you squint at a minimap. There’s hand-to-hand combat, car chases, gadgets and explosive set-pieces too. It looks, frankly, like the Bond game we’ve been pestering the universe for.

So in brief, here’s what we can’t wait to do:

• Bluff our way past an entire room of armed guards with nothing but a dubious cover story and a straight face
• Find out exactly what made Lenny Kravitz suitable casting for an arms-dealing Pirate King (and not question it further)
• Tear through the countryside in a DB5 on the wrong side of a high-speed chase
• Knock out a guard with the Dart Phone and feel unbearably smug about it
• Find out whether young Bond is actually likeable before he becomes… well, Bond

Can’t wait.

007 First Light releases May 27, 2026, on PC, PS5 and Xbox Series X/S. Nintendo Switch 2 version to follow later in the summer.

It still does really, of course things have moved on. And yet, when I’ve played those newer games in full 3D and aside from being able to ‘ride’ the rides, it’s missing something. Can’t beat the classics I guess.

Rollercoaster Tycoon Classic combines both the first Rollercoaster Tycoon and Rollercoaster Tycoon 2 together. By and large, they are as per the original, adjusted slightly to be able to fill your TV screen.

The core loop – build a theme park on a big plot of land, tweak it, put too much salt on the chips so people get thirsty and buy overpriced drinks – is still here, and is brilliant. It’s kind of amazing how well it all still holds up. Guests have individual thoughts and needs, layout matters as to where things go. Pricing is key – the depth of management is astounding.

The depth in terms of things to do is also huge. With two games, and all of the scenarios, things keep changing and require new thoughts of approach and ways to play. And when you’ve done it all, you can still build your own coaster. It’s so detailed, and fantastic to concoct a machine of such visceral pleasure (or destruction of your guests lunches) that you can easily spend hours whiling away just simple designs. Well simple in your mind, anyway…

There are two main obstructions to this. First; the graphics. Ok, well this can be forgiven really. You can’t be too mad about an old game being re-released and the graphics not being ‘good’. It’s ’as was’ despite some HD upscaling, and honestly whilst looking dated, I feel like this is all part of the charm.

The other is the control scheme. For a game that was designed for a mouse and keyboard, moving to a controller was always going to be a slight challenge. It’s not terrible of course, but it’s not as good as it could be. Once you get used to it, you’re fine, but it’s a bit jarring initially although I think it’s probably par for the course for any of these types of games on a console. To be fair, the classic isometric style means you’re a bit more limited than some of the fully 3D games, and therefore the controls aren’t as needlessly complex as some modern interpretations.

Whilst I wish for some slightly larger text, there’s no denying that Rollercoaster Tycoon Classic is the ultimate edition of the franchise for modern systems. It takes me back to that first time I played it, and surely that’s what it’s all about?

Reviewed on PS5

Oh yes.

You play as R.E.A.C.H. (Research Engine for Altering and Composing Humans, which is exactly as ominous as it sounds), an AI that has been forcibly installed into the body of a human named Warren Marsh by the deeply sinister Phoenix Corporation. You don’t want to be there. Warren’s memories and instincts linger around you like a bad smell you can’t quite place, and you’re plonked into Phoenix-City, a walled-off alternate-history 1980s hellscape built on the premise that the United States dropped nuclear bombs on its own soil rather than Japan at the end of World War II. The city’s wealthy live behind its walls while the poor have their organs harvested for the elite. It’s a brutal, bleak, and absolutely stunning place to spend a few hours, and from the second the neon flickers on and the synth soundtrack kicks in, it’s got you.

The visual style is the obvious headline. Sad Cat Studios were clearly going for something that looked like a playable film, and they’ve absolutely nailed it. The 2.5D approach layers gorgeous hand-crafted pixel art with modern lighting, depth-of-field effects and cinematic visual flourishes that make every alleyway feel alive. It is, genuinely, one of the best looking games I’ve played in years. Each screen feels composed rather than designed, like someone’s been agonising over every neon sign and rain-soaked puddle and decided nothing leaves until it’s perfect.

The gameplay sits somewhere between a neon-drenched-punch-everything-em-up (it’ll catch on) and a cinematic platformer with Metroidvania bones. Phoenix-City opens up gradually, with districts unlocking as the story progresses and earlier areas rewarding a return visit once you’ve picked up new abilities. The traversal is fluid and feels properly weighty; you’ll push boxes to reach ledges, swing from poles, and grab items and upgrades from the foreground and background in a way that never feels gimmicky. The platforming inspirations here are clear, drawing from Inside and the Prince of Persia games of the 2000s, and it shows in how naturally R.E.A.C.H. moves through the world.

Combat takes its cues from the Batman Arkham series, which is a fine set of shoulders to stand on. Enemy indicators above heads prompt counters and dodges, and chaining successful parries together builds toward a special move that can either execute a regular enemy outright or strip the shields from the armoured ones. It’s satisfying and well-paced, though it does take a little while to feel truly comfortable with the timing. There’s also a hub area where you can chat to NPCs, pick up side quests and generally absorb more of the world, which is a lovely touch that keeps you in the atmosphere rather than just pushing you from fight to fight.

If there’s any criticisms to level at it, it’s the first hour or so being a bit slow going, and that the combat occasionally struggles to match the sheer jaw-dropping quality of everything surrounding it. In a game this visually and narratively strong, the moment-to-moment fighting can feel slightly functional by comparison, and there are encounters that lean a touch repetitive once you’ve found a rhythm that works. It’s a minor grumble in the context of what is an otherwise exceptional experience, but it’s there.

The story though. The story is something else. Without wandering anywhere near spoiler territory, the relationship between R.E.A.C.H. and Warren, and the slow unravelling of what Phoenix Corporation has actually been up to, is gripping from the first moment and doesn’t let go. For a debut game from a studio that previously only worked on mobile titles, the ambition here is staggering, and the fact they’ve largely pulled it off is remarkable.

Replaced is the kind of game that reminds you why you play games. It’s been a long wait, but some things are genuinely worth it.

Reviewed on PC

You play as Jack Pepper, a private investigator voiced by Troy Baker, dragged into a missing persons case in the city of Mouseburg that very quickly spirals into something involving crooked cops, slippery politicians and the kind of shadowy corruption that only makes sense in a world where everyone has big round ears and bounces slightly when they walk. The writing is sharp and funny, the characters are memorable, and there’s a genuine story here worth seeing through to its end. The whole thing takes around twelve hours, which feels exactly right.

Gameplay-wise, this sits firmly in the boomer shooter camp, a teeth-rattling-retro-nostalgia-blast-em-up (it’ll catch on). You’re moving fast, never aiming down sights, burning through an arsenal that includes revolvers, tommy guns, a Carcano rifle, dynamite and more, all with an unlockable alternate fire mode you can research and unlock at weapon upgrade workbenches. The Devarnisher, for instance, can be upgraded to fire an enormous acid ball that coats a whole group of enemies at once, which is exactly as satisfying as it sounds. Managing your ammo across the various weapons is one of the more interesting parts of the combat loop, forcing you to rotate through your arsenal rather than just sticking to a favourite.

The enemies themselves are where things get slightly less impressive. Most of them fall into one of two camps: melee lads who charge at you, and gun lads who stand still and shoot at you. It does start to feel a bit repetitive by the final stretch of the game. The boss fights, though, are genuinely excellent, creative and demanding in a way the regular combat sometimes isn’t. One requires you to line up cannon shots against an enemy cycling through the windows of a building while their lackeys swarm you outside. Another has you tracking an apparition around a graveyard with a flashlight, which then splits into multiple copies to disorient you. They’re brilliant.

Visually, this is the game’s killer punch. The entire thing is rendered in black and white with that classic rubber hose style, all wobbly limbs and exaggerated death animations, and it is absolutely gorgeous. The variety of locations is impressive too, ranging from opera houses and harbours to swamps, production studios and a haunted village, each one overflowing with environmental detail and little jokes tucked into corners. There’s a web in one level with a derby-hatted spider rubbing a knife and fork together while eyeing its catch. It’s that kind of game. None of it feels like parody; it’s a genuine and sincere tribute to cartoons like Steamboat Willie, just with considerably more violence and a body count.

The big band jazz soundtrack deserves its own mention. It is outstanding, and entirely in keeping with the world Fumi Games have built. Between the music, the art direction and the voice performances, the level of commitment to the aesthetic is frankly remarkable. I do like the subtle sung version of the main music theme as the developer logos are displaying when first firing up the game. That’s a neat touch.

There are optional side quests given by the residents of Mouseburg that are well worth doing, expanding on Jack’s relationships and featuring some of the best writing in the game. Exploration is rewarded with hidden areas, collectibles and money for upgrades. The whole thing has a lovely rhythm to it, heading back to base between missions to pin clues on a corkboard and chat with locals before heading back out into the chaos.

It’s not perfect. Early moments make you question the quality of the shooting action until you find the more meaty guns, and the enemy variety runs thin and could have been bolstered a bit, but at least a handful of early post-launch bugs have been patched out in the first couple of hotfixes since release, so things are pretty smooth now. But when it comes to samey bad guys, when you’re sprinting through a beautifully animated noir city with a tommy gun in one hand and a stick of dynamite in the other while a jazz band absolutely loses its mind on the soundtrack, it’s very hard to care.

Mouse: P.I. For Hire knows exactly what it wants to be, and it nails it.

Reviewed on PC

There is a narrative here, but really all you need to know is ‘you work on a dock’. You find yourself managing a small docking station with a series of checkpoint tasks getting you through the day. Coordinating incoming vessels, allocating resources and making judgment calls that affect the operational effectiveness of the port will take up your time, but whilst this concept is similar to many games, it’s the slow pace that really sets Docked apart.

This isn’t about frantic multitasking or high stakes chaos and instead leans into a slower, more deliberate rhythm that encourages you to think about what you’re doing and make decisions that slowly reveal their impact. For example, you will balance logistics with limited information about what and when ships arrive, and prepare yourself to deal with their varying needs, such as fuel, repairs or unloading. Over time, what felt like a simple decision selection becomes not quite as clear, as each has an impact on the next, particularly as you are making the calls, and then having to carry out the action.

For example, do you prioritise the damaged vessel that might not make it or the one carrying critical supplies for sick people? Do you trust the data you’re given or your gut feeling based on subtle cues? What makes Docked particularly engaging is how it handles consequences. Decisions rarely feel binary or clean. There’s a lingering ambiguity to outcomes told through voiceover narrative that gives weight to even the smallest choices. You might never know if you made the right call, and that uncertainty becomes part of the experience. With these types of ‘job simulator’ games, I often find myself putting on a podcast or low-attention requiring show to watch in the background. I actually (surprisingly) found myself missing things in the game by doing this, which is a testament to how Docked pulls together its gameplay and narrative.

It’s a clever design choice that elevates the game from a simple management into something more reflective and at times quietly tense. Visually Docked embraces minimalism but uses it effectively. The interface is clean and functional with a muted colour palette that reinforces the isolated, almost clinical environment of the docking station.

Information is presented in a cut-back style – everything you need is there. Animations are understated but purposeful, giving just enough feedback to make things feel responsive without breaking immersion. Sound design plays a huge role in building the atmosphere too. The ambient noise of machinery, distant radio chatter and the occasional alert create a soundscape that feels both familiar yet slightly uncomfortable. It’s the kind of audio design that you don’t always notice consciously, but would definitely miss if it weren’t there.

The restrained, slower style of Docked won’t be for everyone. Players looking for fast-paced action or explicit storytelling may find it too quiet, and at times the lack of clear feedback on decisions can feel frustrating. There’s also a degree of repetition in the gameplay loop, especially where the novelty of the mechanics can start to wear thin before the challenge ramps up later on. There is a reward for those who persist, but again, it won’t be for everyone.

Docked is not about spectacle or adrenaline. It’s about responsibility, uncertainty and the quiet pressure of decision-making when there are no perfect answers. By the time you step away from it, you may not remember every specific scenario but you’ll remember how it made you feel slightly uneasy and surprisingly invested in it.

Reviewed on Xbox Series X

The biggest strength here is that matches feel smoother and more spontaneous than ever, with animations flowing naturally from grapple to counters to signature moves. The timing based reversal system returns, but it’s been tweaked to feel less punishing and more intuitive instead of constant guesswork being required. There’s a clear sense of rhythm rewarding skill without making newer players feel completely outmatched however, there is still some cadence issues. By this, I mean that some moves should be avoided due to slightly longer than you’d like animations, leaving you unnecessarily vulnerable.

What really stands out this year is how much weight each move seems to carry. Big slams land with impact, strikes feel snappy and finishers genuinely feel like matches should end. There’s a noticeable effort to bring back that sense of drama that wrestling games sometimes lose when they lean too far into simulation. The arcade influence is strong here, where WWE 2K26 tries to strike a strong balance between realism and spectacle.

The roster is, as expected, stacked from current headliners like Roman reigns and Cody Rhodes to lesser known fan favourites and legends. There’s an impressive breadth of talent to choose from; however, it’s a mixed bag in terms of success. There are 400 characters, which is simply insane. However, some are ‘joke’ characters, some are random in-engine built original characters, and some are the same wrestler with multiple skins but counted as alternatives (for example, there are TEN CM Punk variants). Quoting 400 feels a disingenuous.

The character models are among the best for some of the wrestlers. The series has seen improved facial animations and more accurate physics across the board, with some moves bouncing and landing unexpectedly as people fall on ropes or objects. I really love this, but it’s not consistent, sometimes breaking out into random glitches. And whilst some models look amazing, some are diabolically bad. Rhea Ripley is a notable one – arguably one of the biggest stars across the men and women’s rosters, and she looks last-gen. Terrible.

Entrances are always a big part of the presentation, and it is as over-the-top and  detailed as you’d hope. Dynamic lighting, camera work and crowd reactions add to the authenticity, and you can select to do good-guy ‘face’ moves or bad guy ‘heel’ moves during the entrance, but annoyingly, these are exactly the same for everyone.

Game modes are aware WWE 2K26 really flexes its muscles. GM Mode continues to evolve and is arguably the standout mode this year. It’s deep, more strategic and offers more control over how you run your brand. Managing contracts, booking rivalries and trying to outdo competing shows becomes surprisingly addictive. There’s a genuine sense of progression as you build your roster and craft storylines that keep ratings climbing. My Rise – the career mode – returns with a more focused narrative structure instead of sprawling disconnected storylines. It offers a tighter, more cohesive journey but suffers from some shocking voice performances. Universe mode remains the sandbox mode for players who want complete control. It hasn’t been radically overhauled, but it benefits from numerous quality-of-life improvements. Rivalries flow more naturally, match cards are easier to manage, and there’s a stronger sense that the mode is reacting to your decisions rather than just generating random events. It’s still the go-to for long-term players who want to craft their own version of WWE history.

The Showcase mode, which is often hit or miss in previous entries, makes a strong return here with a focus theme that celebrates CM Punk. It’s presented with a mix of live action footage and gameplay that blends more seamlessly than before, although the live footage is an intro, whereas in-game it’s all in-engine now. Objectives are clearer (if a little small to read), transitions are smoother, and it feels less like a checklist and more like an interactive documentary. CM Punk seems to have hand picked the matches that are featured (or so he says), but there are some truly odd inclusions, such as him injecting himself into famous moments in history like the Montreal Screwjob.

Creation suite continues to be one of the most robust in gaming, whether you’re designing wrestlers, arenas, championships or entire shows, the level of customisation is staggering. When I was younger, I would have killed for this level of customisation. Community creations remain a highlight, allowing players to download everything from classic versions of stars to entirely original characters. It’s the kind of feature that extends the game’s lifespan indefinitely.

Commentary has also seen some refinement with awkward repeats mostly removed, and with a slightly better flow, although it still can’t quite keep up with the unpredictability and pace of matches. Different combinations of commentators are on offer, although they’re not always shown at ringside. Minor niggle, but for a wrestling fan, hearing Booker T but seeing Cory Graves is odd.

Where the game stumbles slightly is its ambition to be everything at once with so many modes and systems, there are moments where things feel a bit stretched. Bugs and glitches still pop up reasonably frequently, and in some of the more sprawling modes, the load times are painful. I thought SSDs were supposed to make loading instant?

Online options are ok, serviceable, but nothing spectacular, with some mixed results. If anything, it highlights how button-bashy it can be. For me, I prefer to keep the pace akin to a real wrestling match, so leaning towards the arcade probably is too much for me here.

One of the key shout-out modes is The Island. A sort of sprawling, RPG-lite mode. Honestly, it’s just a bit too fictional for me, with wrestlers dealing with spellcasters and various oddities as they run around with lots of strange-looking characters. I suspect this is akin to COD-Zombies, in that you either love it or hate it. For me, it’s one to avoid, particularly with the pain of constant loading times. Annoyingly, collectables and unlockables are hidden in every mode, so you’re going to get your money’s worth.

Wrapping up the package is the dreaded battle pass. With the most expensive edition hitting close to £150, paying for in-game battle passes for even more characters is a bit rich. I understand the constant ongoing monetisation of live-service games, and even full price games want some income to continue development, but it doesn’t sit quite right. Pacing is off too, so it takes an absolute age to work through the pass.

A good entry then, with some rough patches amongst the brilliance. I feel like a hardcore wrestling development team (or perhaps corporate overlords) would steer away from some of the more gimmick elements and instead focus on the core gameplay, refining it as it’s extremely close to being the best ever. But sadly, second place a world champion does not make.

Reviewed on PS5

At a basic level, it’s quite similar to Vampire Survivors. You’re moving around an arena, dealing with waves of enemies, picking up upgrades and gradually becoming more powerful the longer you survive. The difference here is that everything is tied into the music, and that changes how you approach it quite a bit.

The main idea is built around assigning powers to beats in a bar, so instead of just reacting to what’s happening, you’re shaping what happens each time the loop comes back around. Get a few things lined up, let it run, and suddenly everything starts going off in sync. It very quickly turns into a set-it-up-and-let-it-rip-em-up (it’ll catch on), especially once you’ve got a few layers working together.

That’s easily the best part of it. When it all lines up, it feels great. You’re not just reacting, you’re building something that plays itself back in a way that actually makes sense. There’s a nice bit of trial and error to it as well, figuring out what works and what just turns everything into chaos, and trying to plan ahead to link up the various power-ups becomes something far more than just chucking a power-up wherever you want.

It’s not the easiest thing to get your head around straight away, though. Early on, it can feel a bit like you’re just placing things and hoping for the best. It takes a little while before you properly understand how your choices affect what happens when the loop repeats, and how to use the highlighted beat patters to increase the effectiveness of your attacks, but once it clicks, it clicks, and from that point on everything steps itself up a notch. You’ll also find a sequence of missions to complete as well, but while these are a nice way to give some direction to what you’re doing, they don’t set the game alight beyond providing a few upgrades. That said, I’d rather have them than not.

Visually, it leans into that loud, slightly chaotic style you’d expect from something this music-focused. There’s a lot happening on screen once everything gets going, and while it can be a bit much at times, it suits what the game is trying to do. Half the time I found myself just running away and trying to find a gap, not really paying much attention to the chaos unfolding around me… exactly how I used to play Vampire Survivors, actually.

What I like as much as anything else though is how easy it is to just jump in and mess about. You can play for a short burst, try a few different setups, and see what works. It doesn’t feel rigid, which helps a lot given how experimental it can be.

That said, there are definitely moments where it tips a bit too far into chaos. Sometimes it’s hard to tell if something didn’t work because of your setup or because everything just got a bit out of hand. A bit more clarity in those moments would go a long way, and it’s not hugely likely you’ll get chance to try the same setup in multiple consecutive games, which again dips into the trial and error bracket at times.

Still, when it does come together, it’s a really satisfying mix of rhythm and action. It’s doing something a bit different, and for the most part, it pulls it off. If you like something like Vampire Survivors but fancy a twist that leans into music and a bit more creativity, there’s a lot to like here, but it’s not breaking a huge amount of ground beyond the music twist.

Reviewed on PS5

It’s not that. Not really.

A couple of hours in, with some chilled tunes playing in the background, it sort of clicked into place as a wander-round-and-sort-things-out-em-up (it’ll catch on), and that’s where it’s at its best.

You’re dropped into a pretty enormous national park and pretty much left to get on with things. There’s a bit of structure in the form of jobs coming through over the radio from your operator, but you’re never really pushed in any one direction. If you want to head off and fix a few broken benches or replace some signs (which is a prominent feature of the opening moments), you can. If you fancy wandering further out and seeing what else is going on, that works just as well.

Despite that early impression of it being a bit of a fix-em-up, the concern doesn’t last too long. It starts there, with the smaller maintenance jobs, but before long you’re doing a lot more: checking permits, dealing with campers who shouldn’t be there, tracking down animals, even rescuing the odd lost hiker. It opens up nicely without ever feeling like it’s throwing too much at you.

There are moments where the park feels a little quiet, but that actually suits it. It’s clearly aiming for a slower pace, where you’re just taking your time and seeing what you come across rather than constantly chasing the next objective. And really, if you were constantly bombarded with visitors, rogue animals and whatever else every 3 metres it would end up getting a bit intense, and that’s not what this is all about. I really like is how relaxed it all feels… there’s no real pressure, no constant sense that you’re falling behind. You just pick something to do, head off in that direction, and see what happens along the way. It’s very easy to lose a couple of hours without really noticing, and I don’t think that would be the case if things were considerably busier around the place.

It helps that it’s a nice place to spend that time as well. The park looks good, there’s enough variety to keep things interesting, and it just feels like somewhere you want to wander through rather than rush past. There’s often something in the not-too-distant distance the looks like it’s worth exploring, so for those like me who just loves to wander round and discover stuff, it’s a nice place to be.

Being Early Access, it’s worth keeping expectations in check. There isn’t loads of depth to the systems yet, and you can see where things are likely to be expanded over time, but what’s here already is solid, and more importantly, it’s enjoyable. I’ve played Early Access titles that feel far less polished, that’s for sure.

I’ve found myself dipping in for an hour or two at a time, sticking something on in the background and just seeing where I end up. For a game that didn’t really grab me in the first half hour, that’s probably the biggest compliment I can give it. If you’re after something loud and intense, this isn’t it, but if you want something a bit more relaxed where you can just take your time and potter about, occasionally fixing a campsite or giving visitors a bollocking for not having the right visitor permit, this is well worth a look even in its current Early Access guise.