Liquid Static Studio; PC
You take on the role of flight attendant in this clever and absorbing retro-style game that veers from daft horror spoof to genuinely disturbing

There was always something creepy about the job-simulator genre. All those mindless automatons queueing up to use your bus, bar or bed store, or whatever workplace you are trapped in for the duration of the game. The endless repetitive tasks. The emptiness of the world beyond your corporate existence. Together, these elements scream existential terror … which is perhaps why we are now seeing a new indie sub-genre of job sim horror games, including Home Safety Hotline, Dredge and more recently, Grease Trap ’99, a Lovecraftian mystery set in a Scottish chip shop.

Now, we have Night Plane, in which you take on the role of a flight attendant on a jumbo jet to hell. It all starts kind of normally. You turn up for the first day of your new job, meet your colleagues, then take your spot at the departure gate, checking in customers and being careful to root out anyone with invalid tickets. Once on the plane, you roll your trolley down the aisle, serving booze and inedible meals, and occasionally dealing with passenger complaints. Then the plane crashes and, frankly, it all goes downhill from there.

Whether you favour spooky fairtales, satanic card games or infernal hijinks at the chip shop there are all manner of fresh top scarers at large this witching season

Tis almost All Hallows’ Eve and naturally, the thoughts of all good video game players are turning to horror. 2026 has already been a bloody good year for the genre with Resident Evil Requiem and Silent Hill: Townfall leading the rabble. But this autumn sees a festering surge of indie horror releases, featuring everything from cursed card games to Nazi-hunting penguins. Here are eight terrifying titles we think you should sample while jack-o-lanterns burn and spirits walk the moonlit streets.

Allogloom (PC)

Activision; PC, PS5, Switch 2, Xbox
From parkour over Manhattan rooftops and car chases in Paris to the climactic battle at a North Korean air base, the developers have thrown absolutely everything at the game

And so we return perhaps one final time to Call of Duty’s Modern Warfare strand, with stories, “ripped from the newspaper headlines”, featuring shady terror organisations, nefarious rogue states and the brutally capable, monosyllabic war fighters who stand between us and Armageddon. Last year’s Black Ops 7 instalment was a sales disappointment for Activision, and that has no doubt put extra pressure on Infinity Ward, the studio leading Modern Warfare 4 development. Fortunately, this developer – like series heroes Price, Gaz and Ghost – seems to thrive on pressure.

As you may have read, this year’s campaign is based around a fictitious North Korean ruling family that has seized an opportunity to invade its southern neighbour. Amid the chaos, a small group of Korean and American marines must help lead the fightback, while in the shadows, SAS hard man John Price makes an unlikely new comrade in his own morally ambiguous quest to put the world to rights. Mads Mikkelsen pops up as evil mastermind The Archer, but like Kiernan Shipka in Black Ops 7 he’s rather wasted, with very little screen time.

PC; Origame Digital
This odd but absorbing adventure sends you waddling across Antarctica in search of an eldritch entity – uncovering a world far stranger than it first appears

A Nazi kneels down on frozen snow, staring at an endless Antarctic horizon. Another holds a gun to his head, ready to end his own life. I direct a small waddling penguin up to them, trying to imagine what it could be thinking. Dismay, perhaps. Likely bewilderment. But then a faint smile seems to break out across its beaky face, as if amused by these silly humans and their misguided belief that they could ever best this howling, harsh landscape.

For most games, the idea of playing as a penguin observing Nazis losing the plot near the south pole would be weird enough. But Penguin Colony, developed by Origame Digital, pushes further. This is an audacious, frequently brilliant retelling of HP Lovecraft’s 1936 novella At the Mountains of Madness, in which eldritch horrors are just as common as Nazis. Further weirdness abounds: the many collectibles scattered about this place are not shiny gold objects à la Super Mario or Sonic. Rather, they are words. So tottering about as a semiaquatic bird, you have a unique mission: collect human language.

The studio is swapping the Mushroom Kingdom’s vivid palette for the blood-soaked grit of military action series

Where do you go after Mario? It’s a question the team at Ubisoft Paris found itself pondering three years ago after wrapping up work on the charming turn-based tactics adventure, Mario + Rabbids: Sparks of Hope, sequel to its unexpected crossover hit, Mario + Rabbids: Kingdom Battle. By melding a rather specialist genre with video gaming’s biggest household name, the developer introduced chin-stroking strategic play to a whole new audience. “Having the opportunity to work with the Mario franchise was a privilege, and it’s still something I’m very proud of,” says level designer director, Julien Vial. “I still remember seeing the first prototype and being blown away by all the possibilities.”

Now, Ubisoft Paris has returned with a new project, but this time the studio is swapping the Mushroom Kingdom’s vivid palette for the blood-soaked grit of military action series Rainbow Six. Where Mario and Rabbids saw squishy creatures bounce harmlessly across levels as Mario encased foes in honey, Rainbow Six Tactics, a turn-based tactical spin-off from Rainbow Six Siege, sees balaclava-clad insurgents take shrapnel rounds to the chest. A seamless tonal shift, then.

PC, PS5, Switch 2; Wych Elm Games, Team 17
Abandoned shops, ruined apartment buildings and rotting sewer networks make up a dark landscape in which you play a private eye searching for a missing singer-songwriter

In a weird deserted town miles from anywhere, a troubled detective searches for a missing musician and the girl he may or may not have murdered. It could be a Silent Hill game or a lost David Lynch movie from the 1990s – in fact, it’s neither. And also both. If that whets your appetite, stick around, there’s plenty more to come.

Developed by Scandinavian studio Wych Elm Games, Silver Pines is a dark Metroidvania-style adventure, where you play as shambling private eye, Red Walker, exploring a 2D universe of abandoned shops, ruined apartment buildings and rotting sewer networks. Officially, everyone has left because of an incoming storm, but very quickly you learn that something much darker is afoot. Someone has hired you to find singer-songwriter Eddie Velvet, but you don’t know why; your only contact with your client is via the payphones dotted around town, where you can also save your progress – as long as you have a dollar to pay for the call. Each location is filled with clues and puzzles – a weird newspaper story pinned to the wall, a strange statue that needs a missing piece – and through these artefacts you unlock new rooms and descend further into the mystery.

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.”

PC, Nintendo Switch, PlayStation 4/5, Xbox; Arbitrary Metric
The latest work from the team behind Paratopic is part compulsive time-loop management sim, part eerie subterranean adventure

Fetch the chair from storage. Deliver a message that causes disgust. Clean vomit in the afternoon and pour another glass in the evening. In Roman Sands RE:Build, you provide concierge service to delirious, broken people who couldn’t care less about the sweat on your forehead and the bags under your eyes.

In this reimagining of the 2019 visual novel Roman Sands, crafted by the team behind the Americana horror road trip Paratopic, you’re trapped in a beach resort and tethered in a time loop. The task is deceivingly simple: fulfil menial directives from four gluttonous individuals, unlock tools and items to open more rooms and then do it all over again.

PlayStation 5, Xbox Series S/X, PC; Bit Reactor
Split priorities between scripted and emergent story moments hamper an otherwise brilliant Star Wars-themed successor to XCOM

Even if you’re unfamiliar with the term “emergent storytelling”, you’ve likely experienced some of the unscripted tales that can bubble up out of a game’s systems. Perhaps you’ve led a scheming dynasty in Crusader Kings, or watched a favourite hero succumb to madness in Darkest Dungeon. Maybe you’ve surrendered yourself to the infinite yarn-spinner that is Dwarf Fortress – or read about it from the mid-00s forums where users helped popularise the term “Let’s Play” by chronicling their games in descriptive posts. Or perhaps you’ve played Firaxis’ XCOM, the alien invasion tactics hit that several key members of Zero Company studio Bit Reactor had a hand in.

Zero Company hinges on a concept as simple as it is perfect: take the complementary class abilities, tough dice rolls, and permanent character deaths of XCOM, and house them in a sci-fi setting known for spaghetti western blaster duels, last stands and heroic sacrifices. As creative director Greg Foertsch puts it, “Star Wars is about loss.” Which losses you end up mourning in Zero Company depends on you.

Before The Witcher 4 arrives in 2028, CD Projekt Red is returning us to the world of The Witcher 3 for one last foray. Looks like wind’s still howlin’

The game that graced us with Bathtub Geralt, The Witcher 3: Wild Hunt, arrived more than a decade ago. So it was a touch surprising this summer when developers CD Projekt Red announced a new expansion to the venerable adventure, titled Songs of the Past, for next year. It will release alongside a full remaster of the original game, which will be free for anyone who bought it back in 2015. (The studio is also working on a sequel, The Witcher 4, but that’s not due until 2028.)

As it turns out, this is all possible thanks to a partnership with Fool’s Theory, a studio founded by CD Projekt Red veterans, which took on the brunt of the development work. “We’ve had this story in a drawer for many years,” explains Marcin Blacha, VP story director at CD Projekt Red. “Of course, we moved on to Cyberpunk 2077 and now The Witcher 4, as well as our other projects. But because we knew The Witcher 4 would take time, we saw a gap in our release calendar where Songs of the Past could go. Thankfully, we were able to find the right partner to help execute it.”

PlayStation 5, Xbox Series S/X, PC; Asobo Studio
The medieval franchise is transplanted to Crete, conjuring action-adventure magic from familiar ingredients

The path in Resonance: A Plague Tale Legacy is a familiar one. Amid ancient ruins and sun-dappled gorges, a young woman, Sophia, dutifully treads the same footsteps as a Minoan warrior from millennia ago, one with whom she seems to share a visionary connection. The “resonance” between these two characters is made clear by their echoing actions – a crank pushed in the bronze age that still works in the medieval present, for example. Through these spliced timelines, it becomes clear that Sophia, compelled by her supernatural gift, possesses little agency. Destiny beckons her forwards.

This is a smart meta concept for a game that, at its most basic level, boils down to keeping your left thumb planted firmly on the analogue stick, always pushing Sophia onwards in linear fashion. You jostle her through ornate corridors rendered as higgledy-piggledy pirate camps and cobbled Venetian streets. For the greater part of the game, you propel her through the Minoan remains of Crete, which harbour a dark and terrible secret. It is classic third-person action-adventure fare, building on the template laid down by the likes of Tomb Raider and then refined and complicated by titles such as The Last of Us. Little, from an interactive perspective, surprises: you dash, vault and swing between teetering podiums, squeeze through tiny gaps in rock and crouch behind conveniently placed walls to avoid enemies.

The flat routines of a dead end railway job screen out an approaching menace in a quietly intriguing game from the indie developer of Cat Lady and Lorelai

Lonely jobs have provided excellent material for independent video games over the years. From Papers, Please to Firewatch to The Stanley Parable, players have been happy to spend hours dwelling in depressing cubicles or rural hideaways, usually because there is an intriguingly hidden point to it all.

In Trainwatch, a character named Troy has taken a seemingly godforsaken job as a railway worker in an unnamed desolate backwater. His main task over the course of a single month is to manage a level crossing, closing the gate whenever a train comes, while also carrying out daily chores such as cooking and washing. It sounds serene, but Troy is also running away from something. The other stipulations are that he stays sober and calls his wife every night. And there is something lurking in the fog at the edges of the fields – one day he must face it.

PC; Nathan Grange, Léonard Lemaitre, Niels Tiercelin, IronEqual
Race across impossible dystopian cityscapes in this exhilarating game of wall-runs, death-chancing leaps and split-second improvisation

At first, Vholume seems like a quick rush through some smartly selected references. Has this breathless yet austere parkour game been designed or ingeniously curated? The urban gymnast moveset comes from Mirror’s Edge. Level names use terms like conapt, first coined by Philip K Dick. And the environments themselves are dystopian and surreal, Half-Life 2’s City 17 colliding with the blasted avenues and mute archways of de Chirico. Many games have influences. Vholume has actual taste.

All the surface stuff fades away when the game is in motion, however. Vholume’s an on-foot racing game in which you hoof it through spectacularly odd environments, moving from one beam of concrete to the next. You’re clipping your wall-runs and power-slides together to bridge seemingly impossible gaps between buildings, forever in search of the next stretch of track, the next turn, the next jump that gets you to the level’s exit and the worldwide leaderboards. And once that’s done, you have a choice: onwards to another gauntlet, or back to the start of this one again to slice a few microseconds off your score? Or maybe you’d rather head over to multiplayer to race against the ghosts of others?

Developer Patrick Grant was born in Australia and lives in New Zealand, but a childhood of British TV inspired him to set a comedy game in a bleak vision of the north

Something is amiss in the dingy town of Slagford, and curious scamp Pip Bunting is the only one who can find out what. So quit your mithering, it’s time to discover just how grim it truly is up north.

A Pocket Full of Slagford is an upcoming retro-styled 3D puzzle adventure game set in a surreal alternative-reality near-future northern England that never escaped the clutches of Thatcherism. The story follows the misadventures of a young local lad from the eponymous Slagford after he takes ownership of a mysterious relic that lets him wreak havoc on reality.

Developers who met through Australia’s improv scene and publishers of comedic party games have united for this slithering challenge in which you play as one extended limb

Most stealth games cast you as a spy, an assassin or a master thief. My Arms Are Longer Now dispenses with most of the criminal person, to send in just one spectacularly badly behaved limb. It slithers across floors, winds around furniture, steals things and slaps anyone within reach – finally answering the question nobody asked: what if your own arm turned to crime?

As Toot Games co-founder Matthew Jackson puts it: “You are the bad thing that happens to the people.”

PC, Nintendo Switch/Switch 2, PS5, Xbox Series X/S; Konami
This second collection remasters another three titles from the illustrious stealth espionage series, but their world has changed little since the original releases

‘War has changed,” claims Old Snake in Metal Gear Solid 4: Guns of the Patriots. Back in 2008, the team at Kojima Productions waxed poetic about people recruited to fight in proxy wars they have no political or ideological stake in. As these mercenaries follow their orders, traders get rich out of the so-called war economy. The more disastrous the conflict in a specific area, the higher the bidding price.

I expected my time with Metal Gear Solid: Master Collection Vol 2 to be nostalgic and, in good old MGS fashion, abundant with fictional events that sound eerily familiar to our current reality. Twenty minutes in, I was having an existential crisis.

Free from a big brand’s audience expectations, new studio GPTrack50 has created a wacky action-packed romp through a monster-filled world for its first game

Love is blind. In Stupid Never Dies, it is also frozen solid and technically dead as Davy, the weakest zombie in monster society, discovers Julia’s body in a shopping centre and falls in love at first sight. He wants to bring her back to life and take her on a date. Unfortunately, that means defeating the King of Monsters (KOM) and accidentally saving humanity along the way.

This is the gloriously ridiculous setup for this forthcoming action RPG from GPTrack50, a new studio founded by former Capcom producer Hiroyuki Kobayashi. Its world looks much like ours, except that monsters have always been part of everyday life: whereas we might find a bear in the mountains or a stray dog in the woods, residents here encounter werewolves and zombies.

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 S/X, PC; Frogwares
Frogwares’ Lovecraftian action-horror is full of grim tenacity and pulp paperback charm, despite a few frayed edges

I’m standing in the prosthetics lab of a campy horror hospital, hunting for a preacher’s flayed face to wear so I can trick the world’s grisliest smart doorbell. Pinned to a board in the corner of the room are a dozen X-rays: shattered bones and metal splints in sepia negative, each with a note attached. It’s a stark, clinical intrusion on the theatrical gore elsewhere. It takes a beat to realise that I’m reading the stories of injuries sustained by soldiers fighting for Frogwares’ native Ukraine. Fingers amputated after severe burns. Limbs lost in mine explosions. Toes torn off by shell fire.

Like so many of my favourite PS3-era seven-out-of-tens, The Sinking City 2 is a pulpy action horror. It’s fuelled by scrappy ambition, Lovecraft fan fiction and wonderfully unhinged scenario design. A puzzle that has you determine which talking jarred brain is telling porkies. A scavenger hunt to fix a crane to move a rotting whale carcass. A gunfight amid the grisly results of a siren pop star’s fan meet-up turned battle royale.

PC; Replicant D6
This GoldenEye 007-styled retro shooter is an agreeable set of straightahead shooting missions that hark back to a simpler time, with simpler controls

With 007 First Light, 2026 has already given us the best James Bond game in more than three decades, since the release of Rare’s N64 classic GoldenEye 007. But what about those players whose loyalties lie not with the super-spy himself but the particulars of that 90s interpretation of his adventures?

Enter Agent 64: Spies Never Die. Made almost entirely by a single developer (who goes by the very cloak-and-dagger alias Replicant D6), its production values couldn’t be much further from the blockbuster First Light. There’s no voice acting, with all dialogue instead delivered via subtitles, while each location on your globe-trotting adventure is depicted by a repeating texture wallpapered over scenery so blocky you can count the individual polygons.