Xbox, PC (version tested); The Coalition/Xbox Game Studios
E-Day boasts the best combat in 20 years of Gears games – but everything surrounding it is disappointing

Every Gears of War game released in the last 20 years has made reverent reference to Emergence Day, when alien creatures emerged from the earth, single-minded in their savagery. In E-Day, you’re there to witness it: the police lights, flipped cars, ground tremors, civilians running, aliens pouring out of fissures in the earth and ripping faces off. You’re at ground zero in a squad of four soldiers called Gears – Marcus Fenix, the leader; Dom, who wants to retire; Lucas, a green cadet with a buzzcut; and the dishonourably discharged Mags. Only this dysfunctional quartet can turn the tide. With guns. Lots of ’em.

Instead of answering questions raised by the ending of 2019’s Gears 5, we’re back to the start to find out why Marcus has a scar on his lip and why these soldiers started strapping chainsaws on to their assault rifles. Anything that was left to the imagination is here, for you to point at and say: “I understood that reference. This is a thing that I have seen.”

As FromSoftware’s new multiplayer game The Duskbloods nears release, the legendary game director behind Dark Souls talks connection, pessimism and of course, feet

Since 2009’s Demon’s Souls, Japanese video game director Hidetaka Miyazaki has shown the world a different way to think about game design. His games defy convention with punishing fights, obscure rules, and unknowable, inhospitable worlds. The “Soulslike” genre – named after Demon’s Souls and its sequel Dark Souls – is now ubiquitous, influencing multimillion-sellers from God of War and Star Wars: Jedi to Hollow Knight. Miyazaki’s most recent success, 2022’s Elden Ring, which credited Game of Thrones author George RR Martin as a co-creator, sold over 30m copies and inspired Alex Garland to adapt it for the big screen at A24. It earned Miyazaki a spot on Time magazine’s “most influential” list, an accolade he shares with just one other game developer: Mario creator Shigeru Miyamoto.

Miyazaki is now 51 and has been FromSoftware’s president since 2014, elevated from game designer to CEO after the success of the Souls series. He has a cherubic face that could pass for 35. He rarely speaks publicly, and never on camera. When he does speak, he answers questions like one of his characters – softly, sadly, his head bowed, making eye-contact only when I am speaking. Outside the studio where we speak is the sprawl of Tokyo’s Shinjuku, an ever-changing maze where tourists get lost and pop-up stores appear and vanish without a trace. Today, a J-pop band performs in the square as the cicadas scream from the trees. A gilded statue of Malania, one of Elden Ring’s toughest bosses, looms over this dimly lit conference room inside From’s headquarters, a bonfire checkpoint away from the chaos.

The Elden Ring creator is known for epic single-player RPGs, but its new action game is all about multiplayer interactions: fighting, chasing, befriending, even … proposing?

Lowanro City’s skyline is dominated by an oppressive clock tower, silhouetted against a moody red sky and an impossibly large, ominous moon. A retractable bridge splits the map in two, and a network of slimy sewers runs beneath the city streets, offering flanking routes for crafty players. This layered and multi-tiered map bears all the hallmarks of the team behind some of the most memorable stomping grounds in video games.

But The Duskbloods, which I recently spent two days playing in Tokyo, is a strange departure from developer FromSoftware’s usual offerings. These have included massive single-player RPGs with light, experimental multiplayer components such as Elden Ring and Bloodborne. Those games have always attracted duellists – players who love to invade other people’s games to fight them to the death – but this Nintendo Switch 2 exclusive is a different proposition entirely.

Human by day, vampire by night, Coen has difficult choices to make – beginning here in the 1300s, his adventure could span centuries in upcoming sequels

The Blood of Dawnwalker could be the start of an epic saga. Created by some of the talent behind The Witcher 3, this dark fantasy role-playing game takes place in the 14th century in the fictional land of Vale Sangora, a Carpathian valley of wetlands, mountains and forests cut off from the rest of the world and under the rule of a vicious vampire clan.

The developers envisage Dawnwalker as a trilogy. And because protagonist Coen is half vampire himself, that trilogy can skip across time, culminating in the modern day.

PlayStation 5, Xbox Series X/S; EA Vancouver/Electronic Arts
Micromanaging your fighter is a little tedious, but the action is thrilling in this authentically detailed sporting simulation

Becoming a professional fighter takes years of repetition, drilling techniques and training footwork until everything is instinctual. Your body needs an automatic answer for every limb, from every angle. In MMA, which encompasses every martial art, it’s even harder.

EA Sports’ UFC 6 realistically captures the grind of this brutal discipline. Throw on Career Mode and you spend most of your time working on combos and techniques. It’s all about making the complex controls feel second nature, increasing the effectiveness of every strike thrown by your fighter. With simulated six-week-long training camps between bouts, you can sometimes spar 12 times before a fight that could be over in a matter of seconds.

PlayStation 5; Housemarque/Sony
As a fast-firing spaceman, one minute you’re invincible, the next you’re dead – with every battle like watching a firework show through a kaleidoscope

On the planet Carcosa, mangled, blackened trees and crimson flowers take root next to the ruins of some ancient alien civilisation, flanked by statues contorted in pain, tearing at their marble skin. There are metallic tunnels deep underground, chasms of impossible size snaked with cables, so you feel as though you’re exploring the intestines of some giant machine. There’s a House of Leaves quality to these spaces, which shift and change and clearly weren’t built for humans.

You are Arjun Devraj (played by Rahul Kohli), a space security guy who’s on a mission to find missing colonists on an alien world before it all goes a bit Event Horizon and you become the next lost expedition. Classic. There’s some unethical space capitalism happening out here, and Devraj himself is a bit of a traumanaut who brought way too much mental carry-on luggage for this extremely long-haul flight. But it’s nothing that shooting some aliens won’t fix, right?