PC; Inkle
The UK game developer’s latest is a database mystery constructed from an archive of fictional books. Their combined contents threaten to crack the code of reality

Bletchley Park: famed home of the Enigma codebreakers using the Colossus computer, and, according to the premise of TR-49, an altogether stranger piece of tech. Two engineers created a machine that feeds on the most esoteric books: treatises on quantum computing, meditations on dark matter, pulp sci-fi novels and more. In the mid-2010s, when the game is set, Britain finds itself again engulfed by war, this time with itself. The arcane tool may hold the key to victory.

You play as budding codebreaker Abbi, a straight-talking northerner who is sifting through the machine now moved to a crypt beneath Manchester Cathedral. She has no idea how it works and neither do you. So you start tinkering. You input a four-digit code – two letters followed by two numbers. What do these correspond to? The initials of people and the year of a particular book’s publication. Input a code correctly and you are whisked away to the corresponding page, as if using a particularly speedy microfiche reader. These pages – say, by famed fictional physicist, Joshua Silverton – are filled with clues and, should you get lucky, further codes and even the titles of particular works. Your primary goal is to match codes with the corresponding book title in a bid to find the most crucial text of all, Endpeace, the key to understanding the erudite ghosts of this machine.

Embark Studios’ multiplayer extraction shooter game has already sold 12m copies in just three months. Will it capture you too?

Released last October Arc Raiders has swiftly become one of the most successful online shooters in the world, shifting 12m copies in barely three months and attracting as many players as established mega hits such as Counter-Strike 2 and Apex Legends. So what is it about this sci-fi blaster that’s captured so many people – and how can you get involved?

So what is Arc Raiders?

The team behind Baby Steps discuss why they made a whiny, unprepared manbaby the protagonist – and how players have grown to love Nate as he struggles up a mountain

“I don’t know why he is in a onesie and has a big ass,” shrugs game developer Gabe Cuzzillo. “Bennett just came in with that at some point.”

“I thought it would be cute,” replies Bennett Foddy, who was formerly Cuzzillo’s professor at New York University’s Game Center and is now his collaborator. “Working on character design and animation brings you over to liking big butts. I could give you an enormous amount of evidence for this.”

PlayStation 4/5, Nintendo Switch/Switch 2, Xbox, PC; Square-Enix
This landmark role-playing game remains a revolutionary tour de force

At first glance, Final Fantasy Tactics: The Ivalice Chronicles, first released in 1997 and now available in newly remastered guise, does little to separate itself from other boilerplate fantasy fiction. There is a hero, Ramza – an idealistic nobleman with luscious blond hair who cavorts about the medieval-inspired realm of Ivalice in search of high adventure. But quickly, and with narrative elegance, the picture complicates: peasant revolutionaries duke it out with gilded monarchists; machiavellian plots plunge the kingdom into chaos. Ramza must navigate this knotty political matrix, all while experiencing his own ideological awakening.

There is a strong case to be made that Final Fantasy Tactics tells a better story than the landmark Final Fantasy VII (which saw Cloud Strife and a ragtag bunch of eco-terrorist pals taking on the shady megacorporation Shinra). And with our real-world political focus shifting from the looming threat of the climate crisis to the more pressing rise of fascism (though the two are inextricably linked), one can make the argument that Tactics is now also the more timely game.

As 007 makes his gaming return, you can climb a mountain in Cairn, play a scaredy-cat in Resident Evil, and play a criminal couple in GTA VI

Live your mountaineering fantasies and brave the elements in a wonderfully illustrated climbing game. You must carefully place climber Aava’s hands and feet to make your way up a forbidding mountain, camping on ledges and bandaging her fingers as you go. Like real climbing, it is challenging and somewhat brutal.
• PC, PlayStation 5; 29 January

PC, Xbox, PlayStation 5; Embark Studios
The breakout hit, which has players coming together (or turning on each other) to battle intimidating robots in an apocalyptic future, is worth the hype

Arc Raiders is an extraction shooter from Embark Studios – so, a game where you deploy into a map full of other players and do as much shooting and looting as you can before making an escape. This is my first real go at the genre, and it’s excellent. It has smooth, only occasionally cumbersome combat, sound design that scratches the brain just right and robotic enemies that genuinely terrify. And it satisfies my constant need to sift through my inventory and rifle through every drawer.

But I have to keep my head on a swivel: Arc Raider’s player v player element means I can get jumped for my precious cargo by a malicious rival at any moment. And also, the knowledge that this game was made with the help of generative AI voice acting makes me slightly ashamed of how much I enjoy it. I play every game sheepishly looking over my shoulder (and my character’s) in case someone in-game takes my sought-after blueprint, or someone in real life kicks down my door to call me a hypocrite.

PC, Nintendo Switch/Switch 2, PlayStation 4/5, Xbox; Bitmap Bureau/Reef Entertainment
Arcade specialists Bitmap Bureau ply their craft in this retro remake of James Cameron’s action film. But Terminator 2D is at its strongest when colouring outside the director’s lines

Like Arnie’s pulverised cyborg at the end of T2, the Terminator franchise has lumbered on long past the point of being properly functional. Every film since Judgment Day has been a disappointment or an outright disaster, and its video game spinoffs haven’t fared much better. While some half-decent ones have emerged, such as 2019’s Terminator: Resistance, there hasn’t been a great Terminator game in about 30 years.

So it makes perfect sense for Terminator 2D: No Fate to attempt to fix our broken future by travelling back to the past. Developer Bitmap Bureau appeals to the series’ heyday by retelling the story of Judgment Day through a medley of retro 80s and 90s playstyles. The result is a charming and frequently thrilling action throwback, though ironically it is at its strongest when it strays furthest from James Cameron’s film.

A family classic reborn in a wide open world, a satirical adventure through teenage life and a mystery puzzler for the ages – our critics on the year’s best fun
• More on the best culture of 2025

Ivy Road/Annapurna Interactive; PC, PS5, Xbox
An arena warrior on a losing streak takes refuge in a vast forest where she discovers the joy of working in a cosy teashop. From this simple premise comes a joyful game of mindfulness and social interaction, as Alta learns how to serve up witty conversation and decent hot drinks. Colourful and highly stylised, it is a thoughtful study of burnout and recovery.

Whether your household is in the mood for singing, driving, quizzing or shouting, here are our top choices for homely holiday fun

Multiplayer hand-to-hand combat games are ridiculously good fun and there are plenty to choose from, including the rather similar Gang Beasts and Party Animals. I’ve gone for this one, however, which lets everyone pick a cake to play as before competing in food fights and taking on mini-games such as roasting marshmallows and lobbing fruit into a pie. If you ever wished that the Great British Bake Off was ever-so-slightly more gladitorial, this is the game for you.

Clair Obscur: Expedition 33 won nine awards, including game of the year, while newly announced games at the show include the next project from Baldur’s Gate 3 developer Larian Studios

• The Game Awards 2025: the full list of winners

At the Los Angeles’ Peacock theater last night, The Game Awards broadcast its annual mix of prize presentations and expensive video game advertisements. New titles were announced, celebrities appeared, and at one point, screaming people were suspended from the ceiling in an extravagant promotion for a new role-playing game.

Acclaimed French adventure Clair Obscur: Expedition 33 began the night with 12 nominations – the most in the event’s history – and ended it with nine awards. The Gallic favourite took game of the year, as well as awards for best game direction, best art direction, best narrative and best performance (for actor Jennifer English).

An all-new Croft adventure, Tomb Raider Catalyst, will be released in 2027 – and a remake of the action heroine’s first adventure arrives next year

After a long break for Lara Croft, a couple of fresh Tomb Raider adventures are on their way. They will be the first new games in the series since 2018, and both will be published by Amazon.

Announced at the Game Awards in LA, Tomb Raider Catalyst stars the “charismatic, self-assured, formidable Lara Croft” from the original 1990s games, says game director Will Kerslake. It’s set in the markets, mountains, and naturally the ancient buildings of northern India, where Lara is racing with other treasure hunters to track down potentially cataclysmic artefacts. It will be out in 2027.

What started as Guillaume Broche’s personal project has been nominated for 12 Game awards, sold more than 2m copies and been praised by Emmanuel Macron as a ‘shining example of French audacity’

The record-breaking 12 nominations at the Game awards this year was beyond the wildest dreams of Guillaume Broche when he first began inking out Clair Obscur: Expedition 33 as a personal project while working at Ubisoft.

Before selling more than 2m copies, the narrative-driven roleplaying game with “a unique world, challenging combat and great writing” was a technical demo called We Lost. It was Broche’s appetite for risk and a few hopeful Reddit posts that would create the game’s world of Lumiere and its struggle against the Paintress.

PC, PS5, Switch 2; Sam Eng/Devolver Digital
An exquisitely fluid game of tricks, grinds and manuals is framed by a story that uncovers the poignancy of the infamously painful pastime

Skateboarding video games live and die by their vibe. The original Tony Hawk’s Pro Skater titles were anarchic, arcade fun while the recent return of EA’s beloved Skate franchise offered competent yet jarringly corporate realism. Skate Story, which is mostly the work of solo developer Sam Eng, offers a more impressionistic interpretation while capturing something of the sport’s essential spirit. It transposes the boarding action to a demonic underworld where the aesthetic is less fire and brimstone than glittering, 2010s-era vaporwave. It is also the most emotionally real a skateboarding game has ever felt.

The premise is ingenious: you are a demon made out of “pain and glass”. Skate to the moon and swallow it, says the devil, and you shall be freed. So that is exactly what you do. You learn to ollie first, a “delicate, precise trick” according to the artfully written in-game text. Then come the pop shuvit, kickflip, heelflip and more.

Activision; PlayStation 4/5, Xbox, PC
With a deafening onslaught of massive shootout set-pieces in exotic locations, an evolving campaign mode and excellent multiplayer offerings, this maximalist instalment of crazed carnage is a hoot

It seems like an anachronism now, in this age of live service “forever games”, that the annual release of a new Call of Duty title is still considered a major event. But here is Black Ops 7, a year after its direct predecessor, and another breathless bombard of military shooting action. This time it is set in a dystopian 2035 where a global arms manufacturer named the Guild claims to be the only answer to an apocalyptic new terrorist threat – but are things as clearcut as they seem?

The answer, of course, is a loudly yelled “noooo!” Black Ops is the paranoid, conspiracy-obsessed cousin to the Modern Warfare strand of Call of Duty games, a series inspired by 70s thrillers such as The Parallax View and The China Syndrome, and infused with ’Nam era concerns about rogue CIA agents and bizarre psy-ops. The campaign mode, which represents just a quarter of the offering this year, is a hallucinogenic romp through socio-political talking points such as psychopathic corporations, hybrid warfare, robotics and tech oligarchies. The result is a deafening onslaught of massive shootout set-pieces in exotic locations, as the four lead characters – members of a supercharged spec-ops outfit – are exposed to a psychotropic drug that makes them relive their worst nightmares. Luckily, they do so with advanced weaponry, cool gadgets and enough buddy banter to destabilise a medium-sized rogue nation. It is chaotic, relentless and stupidly pleasurable, especially if you play in co-operative mode with three equally irresponsible pals.

It may look like an unnecessary sequel, but even as someone who played the original cleaning game for a record-setting 24 hours straight, I’m hooked all over again

Does the world really need another PowerWash Simulator game? No, some will say. Probably people who have never played the original and don’t understand the appeal, but like to tilt their head with a mixture of bemusement and condescension and say: “So what do you do in the game? Just wash things?”

(It feels unfair that other pastimes don’t have to justify themselves like this. No one ever says, “Wait, you just run around the park in a circle for five kilometres?” Or, “So you just kick the ball with your foot?”)