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.

Visually, MAVRIX won’t steal the spotlight with hyper-real graphics, but its sprawling terrain and crisp track design make traversing the world feel rewarding and exciting. The PS5 hardware helps smooth out performance compared to older Early Access builds on PC, though it’s still very much a work in progress – occasional framerate dips and optimisation quirks remind you that the game isn’t in its final form yet.

The heart of the experience lies in its control system. Every ride uses dual-stick steering, independent brake controls, and a physics-based handling model meant to replicate the feeling of actually riding a bike. When it works, it feels satisfying and deliberate – you can lean into turns, stomp tricks, and ride lines that feel uniquely yours. However, the learning curve is noticeable, and some players may find the controls unforgiving or inconsistent, especially while attempting mid-air rotations or precise landings. After a short while I did get used to it, but I think some refinement is needed – the game suggests that it’s a simulation, but feels arcade-y at points, especially in rather large bunny hop jumps. It’s definitely leaning into the Tony Hawk accessibility at points.

One of MAVRIX’s biggest draws is its freedom. There’s no strict storyline – instead you carve your own path, tackling challenges, trying to top global leaderboards, and even chasing sponsorship deals that mimic a pro career. Ride solo or in multiplayer sessions with friends, sharing the mountain and duking it out for bragging rights. This won’t be for everyone as it’s very much a ‘make your own fun game’.

The world can feel a bit sparse between main trails and events, and the lack of convenient fast travel often turns long rides into tedious treks rather than exhilarating descents. Performance stutters and occasional rough edges in the physics can also pull you out of the experience. These flaws won’t surprise anyone familiar with Early Access, but they do temper the excitement. Matt Jones pops up a lot during the long tutorial, and whilst it’s great he’s happy to put his name to a game, and even better than it’s decent, he is definitely a biker and not a presenter.

Overall, MAVRIX by Matt Jones on PS5 is a bold, fresh take on mountain biking games that’s still refining its identity. Its huge open world and deep riding mechanics hint at something special, even if the current Early Access state feels unfinished. For MTB enthusiasts and players who love skill-based, physics-driven traversal, there’s a lot to enjoy here, and plenty to look forward to as development continues.

At its core, Ride 6 is a racing simulation built around one simple idea: letting you experience life on two wheels in as many contexts as possible. The centrepiece is the Ride Fest career mode, a “festival-style” progression system where you choose your own path through events and challenges instead of grinding a linear ladder. You’re introduced to a cast of legendary riders, such as Casey Stoner and Guy Martin, and tasked with proving yourself across different classes and disciplines. This festival presentation brings more personality to the experience, and comparisons can be drawn very closely with the Forza Horizon series. Somewhat frustratingly however, the festival skin is really just that – a funky hub menu and UI that gives off a cool vibe (with some shockingly horrible generic rock muzak) without really tapping into biker culture.

One of the biggest strides forward for Ride 6 however is sheer scale. The game boasts over 340 licensed motorcycles from 21 manufacturers across seven categories, including familiar superbikes, quirky scooters, and newly introduced bagger and maxi-enduro bikes. Paired with 45 real and fictional circuits, this variety keeps things fresh, from tight technical tracks to sweeping road courses and, for the first time in the series, off-road terrain.

The choice to embrace a full range of bike types and events is a double-edged sword. On one hand, it gives you endless options and keeps races unpredictable. On the other, not every discipline feels equally compelling: I cannot get excited about riding scooters for example vs. some of the considerably more exciting street racing. In fact, some of the smaller disciplines feel just like that in terms of content, but also polish. Off-road is a nice inclusion, but limited track and handling differences make it feel close to being tacked-on.


Ride 6 introduces a dual physics system that aims to cater to both newcomers and veterans. The Pro Experience delivers simulation-oriented handling with nuanced braking, cornering, and throttle control, while the Arcade Experience smooths things out so you can jump into races without a steep learning curve. This is a great addition, and was seen in the most recent Moto GP franchise too, however even the pro handling here is more accessible than Moto GP’s so I would recommend this to begin with.

On PS5, the game runs smoothly at a locked 4K/60 fps, delivering crisp visuals and responsive controls that feel excellent with the DualSense… you can literally feel grip shifts and surface changes through adaptive triggers and haptics. Personally I’m still unconvinced by pressure triggers, but turning it down to ‘low’ in the settings still gives me the feel without breaking my fingers.

I suspect that some people will appreciate the accessible physics, as it can make Ride 6 feel like a natural progression from Ride 5 and easier to enjoy without constant crashes. Others may argue it leans too far toward “arcade-lite” physics, losing the weight and inertia that defined earlier entries and diluted the mechanical depth that simulation fans crave. Personally, I feel like even with the arcade option, it’s closer to the Project Gotham style of racing than Burnout. I’m all for it.

The festival vibe carries over to the Ride Fest career mode. It injects more personality and choice into progression, with a festival vibe, and events tailored to different bike classes. Unlockable content includes cosmetics, performance upgrades, and new racers. This progression feels meaningful without forcing excessive grinding although with Turismo-esque racers like this, the grind is par for the course.

Content-wise, there’s a huge amount to do, whether it’s chasing leaderboard times, unlocking every bike class, or trying different race categories. Yet even with all this variety, the presentation sometimes feels too familiar. For a series now in its sixth iteration, that may feel like both a strength and a weakness. Whilst the gamplay itself has been refined, I feel like the career progression is a casual at best attempt at iterating.

Milestone’s use of Unreal Engine 5 results in bikes and environments that often look stunning. Detailed bike models, realistic lighting, and smooth performance make the experience really sing. The engine notes are crisp and individually distinctive; V-twins growl, inline-fours scream, and baggers rumble with authority. Visuals aren’t flawless – some shadows can pop, shaders take time to cache, and certain ambient sounds, particularly music and crowd noise, can feel inconsistent or underdeveloped. These don’t spoil the experience, but they remind you that Ride 6 isn’t yet hitting the presentation heights of top-tier racing titles.

Online mode with cross-play broadens the game’s competitive appeal, letting you test yourself against others worldwide. Ranked and casual races offer plenty of reasons to hop online, although it is always a case of finding a lobby to race in – I would like some matchmaking options, or timed events like Gran Turismo or Forza offers. Still, it’s close and works well.

All of the customisation options you could hope for are here. Different manufacturers of equipment for both your rider and bike are here, with full flexibility to change the designs yourself. Whoever designed the UI needs a bit of a shake though, as the design editor in particularly is incredibly cumbersome and frustrating to use. There is not really an excuse where this has been mastered across many games over the years now.

Overall then, Ride 6 on PS5 is a passionate, content-rich motorcycle racer that gives fans of two-wheel action plenty to love. With a massive roster, varied tracks, dual physics catering to different skill levels, and thoughtful career progression, it’s easily the most complete entry in the franchise. That said, not every choice will satisfy everyone. Some players will miss deeper simulation fidelity, whilst others (probably most) will find the festival theme clunky. Despite this, if you want a motorcycle racing game with real depth, wide variety, and hours of enjoyment, Ride 6 is a strong choice that represents a genuine evolution of the series.

Reviewed on PS5

It did.

First thing to mention, this will be a spoiler free review. There are some wonderful story elements to this game, still covered in a layer of mystery from the unknown language used throughout, but there were so many times I was surprised, taken aback or mildly heartbroken that I wouldn’t want to take that part of the experience away from anyone else. It’s quite incredible how, even with no recognisable dialogue (apart from the recap intro that contains subtitles to set things up) the story can be so recognisable and engaging, even with the relatively simple visual style used on the characters.

Speaking of the visual style, the first game’s gorgeous art style carries forward into this, with some incredibly gorgeous settings as you work your way through forests, frozen wastelands and underwater caverns amongst numerous others. The variety is really impressive, each chapter is in its own setting with its own challenges, and while some of the puzzles will leave you experimenting for quite some time there’s never a feeling of things being unfair. There are a few interesting ways to approach puzzles as well; controlling tiny alien fish who can leave a cloud of ink to conceal you, or rolling balls of robot fluff that leave a flammable trail are both nice example of this, giving you a whole new way to approach problems that you come across as you make your way towards your goal.

There are, as per the previous game, moments when you take control of other robotic devices to help you move items, carry you to other areas or keep you protected from security cameras or sentinel enemies. You’ll also be reunited early on with your cat companion Mui, who (again, without dropping spoilers) gets its own story arc and develops into a far more integral part of what you’re doing and why you’re doing it. The development of both Lana and Mui, as well as some other surprising characters, is the main bulk of this game, and everything ends in possibly the clearest signal you could imagine that Planet of Lana 3 is going to be rocking up at some point in the future. It’s a wonderful story, with enough loose ends to make a sequel something to seriously look forward to, but also providing enough information to make you feel like you’re not missing out on anything for now. I’m excited to see where the story goes next though, and the next game in the series really can’t arrive soon enough.

Playing the first game isn’t essential to enjoy Planet of Lana 2, but it certainly helps. Between knowing how the puzzles tend to work, understanding where the recurring short tune comes from (which plays a pretty major role this time round) and getting to know the characters, it’s a useful experience to run through the games in order. If you’re in a hurry then the intro covers some of the details, but I would very strongly recommend a run through the earlier title first.

I genuinely can’t think of a reason not to recommend Planet of Lana 2; the gameplay and puzzles are perfectly pitched, the storytelling is a work of art and the numerous and beautiful locations are so well made it makes it a pleasure to press on and progress through the game. Easily one of the best games I’ve played recently.

Reviewed on PS5

At its core, Baladins is a “choose-your-own-adventure” experience inspired by roleplaying campaigns. You take on the role of one of several unique Baladins, like the cheerful Cook, the mystical Luxomancer, or the energetic Dancer, and traverse a colourful world filled with quirky quests and memorable NPCs. Rather than hack-and-slash combat, progress comes from decision-making, skill checks, and creative problem-solving. This gives the game a relaxed rhythm that fits perfectly with its whimsical tone.

One of Baladins’ most enjoyable features is its cooperative play. The game supports up to four players, either locally or online, and this is truly where it shines. Team play encourages collaboration; combining abilities and sharing resources makes quests feel like a shared journey rather than a solo grind. The story unfolds in roughly one-hour chunks, making Baladins perfect for bite-sized sessions with my brother. I managed to get a couple of games with people, and whilst not a full party, it was still an enjoyable enough time and a good way to pass a few hours.

Visually, the game opts for a stylised, almost storybook aesthetic rather than cutting-edge realism. Character models and environments look like they were lifted from a vibrant illustrated board game, which suits the game’s tabletop roots. It’s aesthetically pleasing if not technically groundbreaking, and it keeps the experience light and inviting.

Gameplay balance isn’t perfect: solo players might find the experience feels a bit limited since Baladins clearly rewards group play, and occasional UI or technical hiccups can interrupt the flow. There is also a little bit of repetition sometimes in decisions and the outcomes, which may reduce replayability or interest for some.

That said, the heart of Baladins is its unique approach to storytelling, cooperative fun, and creative choices rather than brute force combat. If you’re after a relaxed RPG with personality, a memorable cast, and a distinct tabletop flavour, this adventure on PS5 is well worth your time, especially with friends by your side.

Reviewed on PS5

At its heart, Puzzle Quest remains a terrific fusion of casual puzzle gameplay and surprisingly deep role-playing mechanics. Players create a hero from a variety of character classes, each with unique skills, spells, and equipment, then embark on a sprawling quest to save the fantasy realm of Etheria. Progression unfolds through match-three battles: lining up gems not only generates mana for casting spells but also deals damage, heals, or triggers special effects depending on your class and build.

This blend of strategy and luck is the game’s biggest strength… and occasionally its weakness. The match-3 battles are endlessly engaging at first, as you learn which gem combinations work best against different enemies and tailor your approach with gear and spells. The RPG elements add meaningful progression and give real weight to victories. However, long stretches of repeated match screens can feel a bit grindy, especially in the mid-to-late game where the challenge spikes and the board often feels like it leans on sheer randomness rather than pure tactics.

The PS5 version benefits from sharper visuals and smoother performance compared to older iterations, and DualSense support adds satisfying haptic feedback during matches and spellcasting. Initially I did feel like I was just playing a mobile game on my TV, but these little enhanced updates do add a bit of a special feeling which I enjoyed. Fans of tactile puzzle experiences will appreciate these modern refinements, though I do wonder if a perfect balance might be on Switch rather than PS5 where a touch screen could be used and you would still have the big-screen benefits of a home console rather than a mobile device.

One of the edition’s nicest touches is how much content you get for a modest price: not only are the three classic campaigns included, but there’s also a brand-new character class and dozens of additional items to discover and experiment with. This means there’s real replay value for enthusiasts who enjoy tweaking builds or trying different playstyles.

Graphically and narratively, Puzzle Quest: Immortal Edition won’t rival AAA RPGs, and its reliance on match-3 mechanics may not appeal to everyone. Yet if you have a soft spot for puzzle games with real depth, or fond memories of the original, this edition on PS5 delivers a hefty package of strategic fun that’s easy to pick up and hard to put down.

Reviewed on PS5

The core hook here is building miniature Japanese-inspired Zen gardens. You’re given a blank plot of land and a massive library of assets to play with, everything from stone lanterns and wooden bridges to tiny trees and foxes. What’s impressive is how tactile the tools feel. The terrain editor is surprisingly intuitive, letting you raise hills or dig out rivers with a click. But the real showstopper is the rake tool – tracing intricate patterns into the sand with the curve of the rake moving and twisting with your mouse inputs, just like a real karesansui garden, is strangely hypnotic. It’s the kind of thing you can lose an hour to without even realising it.

Visually, the game is a real treat. Everything from the moss-covered rocks to the way the trees sway in the breeze holds up even when you zoom right in for a photo. The photo mode is impressive too, with plenty of camera options to give you the perfect snap, and with a range of settings to play around with as well (the living room with hanging string lights is a favourite of mine) there’s a lot of scope to give yourself a year’s worth of desktop wallpapers. The soundtrack is equally spot-on, a collection of hand-crafted chill music that perfectly matches the vibe. It doesn’t demand your attention; it just sits in the background, keeping things peaceful while you decide where to place your third stone pagoda, and helps you sink into your chair and let the world disappear around you.

It’s a wonderfully serene experience, but it definitely won’t be for everyone. Because there are no objectives or quests, some players might find themselves wondering “what’s the point?” after about an hour. It’s purely about the joy of creation and relaxation; if you aren’t the type to enjoy making your own fun or want something to shoot at, you might find it a bit aimless. I also noticed a bit of clunkiness when trying to be precise. It’s only occasional, but trying to stack items or place something perfectly on a ledge can be a bit of a faff, with the controls not quite doing what you expect. It’s not a dealbreaker, but for the perfectionists out there or anyone without the patience to try a couple of times, it might cause a minor grumble.

So where does this leave a recommendation? If you’re looking for a digital escape that’s the equivalent of a warm cup of tea and a quiet room, then absolutely. It’s a beautiful, meditative sandbox that proves you don’t need high scores and explosions to have a good time. Just pull up a chair, grab your virtual rake, find some noise cancelling headphones to block out the real world, and let the stress melt away.

Reviewed on PC