2025 Games of the Year

Welcome to SUPERJUMP's annual Games of the Year celebration.As always, I like to introduce these awards by expressing gratitude for the year gone by.

Thank you game developers.
You are creating marvels of art and science - important cultural artifacts - under increasingly difficult circumstances. Whether you work for a large studio or you're a solo developer: thank you. We continue to live in an increasingly turbulent and intolerant world; your creative talents not only give many of us a brief escape from this reality, but importantly, you remind us of the importance of human creativity and connection.

Thank you SUPERJUMP team.
It is truly the honour of my life to work with so many extremely talented people who, aside from being brilliant creative minds, are also truly outstanding human beings. Our organisation is fuelled by talent, passion, and love: love for video games, love for the people who make them, and love for each other as friends and colleagues.

Thank you special guests.
We are joined every year by special guests from across the games industry - whether game development/publishing or media - who give up their time to craft GOTY reflections to share with our audience.

Thank you to our Backers.
Our ability to create that authors' coop environment is heavily influenced by our incredible Backers. Thanks to you, we are able to pay authors every single month. And thanks to you, we have avoided any need to gate our work behind pesky paywalls. On behalf of the entire team, I want to thank you for believing in us and supporting our hard work.

Thank you to our Editors.
Without our brilliant Editors, I couldn't keep this publication humming so smoothly. They also contribute an enormous amount of their time to edit this unbelievably large Games of the Year feature every single year. Thank you to Bryan, Rachel, Briana, and Cat. You are true superstars!

Finally, I'd like to make one final point, just in case there is any doubt: at SUPERJUMP, we believe video games are for everyone. Everyone. Everybody deserves dignity, respect, and - above all - safety. No exceptions. Nobody left behind.

And now, on with the show. Please enjoy this extraordinary and comprehensive celebration of 2025's best video games. And if you like what we're doing, how about buying us a coffee?

James Burns
Founder and Editor in Chief

2025 GAMES OF THE YEAR

We have very deliberately titled this feature 2025 Games of the Year. The plural matters. As per our tradition, SUPERJUMP does not award an overall “Game of the Year” trophy to any single game.

Rather, each contributor can select up to three of their favourite games released in 2025 to discuss. Naturally, some games have more contributions than others (so, if you like, you could deduce a “winner” on that basis).

In order for a game to be considered for this piece, it must have been released in 2025. This is a slightly rubbery criterion that also includes:

• Games as a service experiences that have seen substantial updates in 2025.
• Games that originally released in a previous year but were ported to a new platform this year or saw some form of new release.

SPECIAL GUESTS

This is our fifth Games of the Year feature, and as has become tradition, we've invited several special guests to join us. As always, our guests are people we love and admire from around the games industry. We're honoured that they took the time to join us in celebrating the best games of 2025.

Daryl Baxter

Naomi Jackson

James O'Connor

Amy Potter-Jarman

Nate Shearer

Daryl Baxter is a writer, author, and podcaster. He is the author of three books (The Making of Tomb Raider, 50 Years of Boss Fights, and The Making of Tomb Raider: 1997 - 2000), and is a prolific tech and gaming journalist.

Naomi Jackson is a video editor and online presenter/community builder. In addition to editing national and international stories for the ABC Australia network desk, Naomi is a producer/podcast host at SIFTER and a video editor here at SUPERJUMP.

James O'Connor is a multi-award-winning author and narrative designer. His contributions to video game journalism are extensive (including a wide range of print publications from Edge and Hyper to IGN, GameSpot, and Game Informer among many others). James has also contributed to multiple video games as script editor, narrative lead, and narrative designer (including Power Rangers Mighty Force, Ava's Manor, and Kulebra and the Souls of Limbo). James' latest book project is about the making of Untitled Goose Game (check it out here).

Amy Potter-Jarman is the Director of Marketing at Synty Studios. She is the creative force behind Frosty Games Fest (a digital showcase of games made in Australia and Aotearoa, NZ), buzzbang.co (a boutique marketing service supporting ANZ indie game makers), and Pixel Explorers Club (a digital community for curious, short indie game lovers).

Nate Shearer is a video game journalist. He is a regular contributor to Qualbert (specialising in a wide range of game reviews) and NextPlay (crafting diverse stories from news and interviews to reviews and special features).

THE GAMES

Presented in alphabetical order (this is not a ranking).

"9 Kings isn’t merely a good example of a burgeoning sub-genre —it’s something much closer to Slay the Spire, pushing out into brand new territory."

9 Kings

By Sad Socket

Andrew Johnston

On a personal level, I’ll say this about 9 Kings: This is the first time I've followed a game throughout its Early Access period, putting each individual update through its paces. It was worth the effort.

9 Kings is a simple concept at heart, but one that provides a diverse wealth of content. With its hour-long, city builder meets turn-based tactics mechanics, it’s a game riding the quick strategy trend. However, while most of those games are rigidly recreating 4X gameplay in a smaller package, 9 Kings offers a gameplay loop designed from the ground up with the busy strategy fan in mind. As such, it outmaneuvers its competition and stands out by a clear mile.

9 Kings isn’t merely a good example of a burgeoning sub-genre —it’s something much closer to Slay the Spire, pushing out into brand new territory. It’s an ever-evolving game full of little surprises and details, and a must-have for anyone with an interest in strategy.

"The game's sense of grief feels very real, and its cartoony rendering of Jakarta is lovely."

Afterlove EP

By Pikselnesia

James O'Connor

I've decided to use my submissions in this list to point towards some games that have, in my mind, been underrepresented on end-of-year round-up lists, and Afterlove EP is a game that I have a deep fondness for. It follows a young man, Rama, who lost his girlfriend Cinta a year ago.

As the game opens, he starts to figure out how to pick up the pieces of his life and carry on. He needs to reunite with his band, attend therapy sessions, and decide whether or not he's ready to date again. How the game ends will depend on your actions and choices. It's a lovely and heartfelt experience that was created in the wake of the team's own loss: creative director Mohammad Fahmi died in the middle of development.

The game's sense of grief feels very real, and its cartoony rendering of Jakarta is lovely. It's not a perfectly tight experience, but in some ways that makes it more endearing.

"But for what it's worth, I feel like I'm part of an active, living community, something I haven't felt since Elden Ring."

ARC Raiders

by Embark Studios

Ignas Vieversys

I know my populist choice for 2025 GOTY might send me straight into SUPERJUMP's purgatory (where game writers like myself are strapped in for the video game equivalent of Clockwork Orange's chair sequence, with footage of Indie Game: The Movie beamed right into our retinas), but I have to go for Arc Raiders, AI-related discourse be damned.

This is an extraction shooter that has my favorite bits of Hunt: Showdown, including sound design, that crunchy gun feeling, and an infinite pool of adrenaline. It shares the post-apocalyptic horror/tension of The Last of Us (played out in real-time, no script!), with enough No Country for Old Men bullets-whizzing-past-your-head moments (while being chased for dear life) to sustain Coen-heads like myself through this cold winter.

However, no matter how good the mechanics and those ray-traced sunsets in Buried City are, the real star of Arc Raiders is the proximity chat. You can talk your way out of being turned into Swiss cheese or thank a random stranger for deciding to revive you after shooting you from a mile away (and turning you into their pet monkey). You can trash-talk a team of three when being cornered while knowing the chances of survival are Prosciutto-slice slim.

Listen, I played a lot of great games in 2025 – Silksong, Total Chaos, Clair Obscur, Baby Steps – but none of them felt as refreshing as this cyberpunk-dystopian extraction shooter where people either team up against deadly robots or shoot each other Wild West style for a lemon or two and a dog leash. Sure, Arc Raiders doesn't exactly shovel a great deal of matter into the tube marked "Evidence for Video Games’ Potential as capital-A art." But for what it's worth, I feel like I'm part of an active, living community, something I haven't felt since Elden Ring. And for that alone, this game gets my GOTY lemon.

"And Roger is an unmissable example of the power of video games."

And Roger

by TearyHand Studio

Amy Potter-Jarman

One thing about me is I love a one-sitting game experience. This is a game I strongly believe is best played with as little prior knowledge as possible, so I will keep this brief. If you’re interested in an emotionally resonant game, with a beautiful two-tone, hand-drawn aesthetic, that packs an enormous narrative punch into its short 1 hour runtime, And Roger is an unmissable example of the power of video games.

"I became absolutely addicted..."

Balatro

By LocalThunk

Cat Webling

Though the game came out in 2024, the community has absolutely exploded in 2025, unveiling collaborations with other popular titles like Don't Starve, Among Us, Stardew Valley, and even The Witcher 3! I became absolutely addicted; I now have the game on three different platforms, and I wouldn't have it any other way.

"BallisticNG feels like both a love letter and a fully realised game in its own right."

BallisticNG (1.4 Update)

By Neognosis

Ben Rowan

In 2025, BallisticNG finally hit “feature complete” with its last major update, version 1.4. The update delivered a rebuilt physics mode, new ships and tracks, refreshed menus and UI, plus a stack of quality-of-life improvements including stronger modding tools and plenty of under-the-hood polish. More importantly, it marked the game’s final form and cemented it as one of 2025’s standout indies.

Boiled down, BallisticNG is the closest thing we have to a modern re-imagining of the classic PS1-era Wipeout series. It’s an anti-gravity racer that understands what made those original games so special: bold iconography, angular ship design, ridiculous speed, intense combat, razor-thin racing lines, and super satisfying airbrakes that let you carve through twisting hairpins and chicanes.

I still love Wipeout 3: Special Edition on the PS1, and I’ll drop back in anytime I need that hit of nostalgia and adrenaline. BallisticNG is the modern, fan-made follow-up to those late-90s classics that defined the genre. It nails the floaty rhythm that feels like surfing on magnets, where every mistake gets punished and you’ll lap a track so many times your left thumb starts to hurt.

First released in 2018 and refined over the past seven years, there’s a huge amount of accumulated content on offer too. Most ridiculous is the sheer number of tracks, with the quality matching the quantity. They’re gorgeous and varied, packed with smart lines, cheeky shortcuts and weapon placement that keeps every lap feeling fresh.

And when the speed classes get truly unhinged, the game stays smooth and responsive, letting you lock into the music and hit that tunnel-vision flow state. With the 2025 update putting the final polish on the whole package, BallisticNG feels like both a love letter and a fully realised game in its own right. It is easily one of this year’s best racers.

"The game is a nesting doll of mysteries. You think you figure things out, at first, and then something surprises you on the next run."

Blue Prince

By Dogubomb

Naomi Jackson

The subtle double meaning behind the name of this game captures its charm perfectly. In 2025 this game had me intrigued, entranced and utterly, hopelessly absorbed.

The simple controls, muted colours and faint, elegant music rightfully allow Blue Prince's spectacular story to take precedence as the mystery of Mt Holly and its previous inhabitants worms its way into my brain where it re-emerges long after I step away, beckoning me back to explore its halls once more.

Nate Shearer

After raving about this incredible puzzle game I was reviewing early last year, I somehow managed to convince my partner to play it. After sitting down next to her and talking her through the basics of the game, I went completely hands off, not wanting to spoil the experience. It was magical to see the things that sparked so much joy in me a month prior were also beginning to electrify her mind in the same exact way.

The game is so subtly moreish and well designed that I don’t share a love of video games with Chloe, so to see her get home from work each day and practically jump right back into my world was so important to me. For weeks on end, I got to share the thing I love most in the world with the person I love most in the world. Blue Prince was my GOTY for 2025 not only because of what the game was, but what it gave me.

Rachel Alm

I used to love puzzle game growing up. Nancy Drew was my go-to, and recently I've taken a keener interest in low-key games that I can play in a few sessions or generally just pick up and put down.

Blue Prince is not that game. I found myself up far too late or playing for far too many hours trying to unlock all of the mysteries of the darned maze-like manor house.

Blue Prince does not, typically, test my patience, as some puzzle games might (and certainly have). It is curious enough in its slipping of secrets to you that I felt like a cat pawing at a new toy. All I wanted to do was figure it out. I've taken a great deal longer to do that than expected, because my tendency to rush the game meant I didn't linger in its many rooms or search for any deeper clues; but as I played, I realized I had to play more thoughtfully.

The game is a nesting doll of mysteries. You think you figure things out, at first, and then something surprises you on the next run. It is a rogue-like, a genre I've only really experienced through Hades, but it is delightfully different in how "just one more" feels too much like I'm in a gambling house.

The number of times I'd say that to myself – "just one more day" – and I'd inevitably wind up playing through 4 more. Each new potential door feels like it might be the one you need, and I don't know how it manages it, but Blue Prince's randomization mechanics and execution of item dispersal and acquisition (being that they reset everyday) makes it more compelling to play.

"Clair Obscur is, to put it simply, a very important game."

Clair Obscur: Expedition 33

By Sandfall Interactive

Rachel Alm

Enough will be said about this game this year by many people, but it really is that fantastic. I'm usually story-aspected when it comes to games, but Clair Obscur's gameplay was one of the reasons I kept coming back. The entire system of timing parries, dodges, and jumps combined elements of action and turn-based gameplay that I, personally, hadn't seen before. I'm often lazy when it comes to games that require "grinding", something I tend to more so associate with turn-based RPGs, but Clair's combat cycle and enemy variation make its battles addictively repayable.

Clair Obscur excels, likewise, in its art direction; its expansive world and general commitment to its core aesthetics create a beautiful, cohesive visual narrative that really is unlike anything out today. Maybe Bioshock? It fills rich, florid environments with sketchpad creations against a haunting backdrop of pseudo-Victorian/Regency iconography. It is breathlessly artful throughout the entire run. There are some levels, such as the musical desert of Sirene, that are so achingly lovely I spent the entire time immersed in the music and the setting to the point of not wanting to progress past it. Sirene, siren: it certainly became its name.

The story, usually my make-or-break when it comes to enjoyment of a game, is lovingly melancholic. The color scheme betrays its mood – dark black, bright gold, deep red – and we are left to start the game on an opening scene that treats tragedy as a surety, nonetheless worth celebration. We play in the beginning as a character – however briefly, just a walk down a crowded, flower-strewn street – who is dead by the end of its opening scene. Clair Obscur is, to put it simply, a very important game.

"Since finishing it, I’ve found myself enjoying this hobby of gaming again."

Consume Me

by Jenny Jiao Hsia, AP Thomson, Jie En Lee, Violet W-P, Ken "coda" Snyder

Nate Shearer

Finishing Consume Me has been one of the most important gaming experiences I’ve had in a long time. Outside of the game’s clever, gamified design of everyday tasks and quirky art, I fell in love with the message of Consume Me. As someone that constantly puts too much on their plate, the game’s depictions of anxiety, societal pressures, and growing into oneself resonated with me on such a deep level.

Consume Me made me introspect more than I had done with any other piece of media last year, smacking me in the face with an ending that had me pondering the futility of stretching myself thin to the point of collapse. Since finishing it, I’ve found myself enjoying this hobby of gaming again. When I find myself beginning to slip, I know I can always revisit that tear-welling ending and reground myself.

"I adore the gorgeous 2D animation."

Contract Rush DX

By Team Ficus

Priya Sridhar

It was a delight to play Contract Rush DX this year. You get the joy of a shooting game with a fun story and boss battles that keep you on your toes. Or on the ledge, depending on which contract you have decided to complete. I do wonder how we can be discreet when at least one target has a huge ceremony to attend on television. But discreet we have to be, or our characters don't get paid.

Contract Rush's premise is simple. Times are hard; how do you pay bills when the coffee shop has so few customers? Simple: you assassinate! Use coffee and other cafe items to keep you energized. And you'll need the firepower – portals to hell open up at the wrong time, or you might fail to get the right power-up just when the boss has appeared. Time to load up, hope for the best, and try again if needed. Just watch out for monsters and unwanted witnesses.

Contract Rush DX makes sure to balance a high difficulty level with plenty of alternative strategies and ample ways to practice in the tutorial. It helps that you get multiple lives and checkpoints, so you don't have to go all the way back to the beginning each time a bad fall ends in spikes. Not being penalized makes a huge difference in the fun factor of the play experience.

I adore the gorgeous 2D animation. The game is hand-drawn, and the developers show a unique style that lends well to the gameplay. I fell in love with this world - even through the tutorial level - which decides to get demonic while showing us the ropes.

"Death Stranding 2 asserts its divisive and impressive storytelling regiment, reminding us that creativity is still possible in gaming's most expensive spaces."

Death Stranding 2: On the Beach

By Kojima Productions

Brandon Chinn

There was a particular moment in Death Stranding 2, as I directed Sam Porter Bridges up a slope in Mexico. The overlarge moon was hanging like a luminescent disc over my destination, my sight artistically directed toward an unfamiliar bunker perched at the top of the ridge. The star-speckled sky oppressed the mountain ridge while Dancing Ghosts by Hania Rani played, and I thought, 'I'm home again.'

Death Stranding 2 accomplished what often seems artistically and mechanically impossible: Death Stranding is an incomparable experience, and somehow the sequel feels both immediately familiar and foreign, a tribute to both technical and creative expertise. Between the forest fires and the monorails and the endless trek through Australia, Death Stranding 2 asserts its divisive and impressive storytelling regiment, reminding us that creativity is still possible in gaming's most expensive spaces. Death Stranding, as a series, continues to not only be an outlet for Kojima's self-indulgence, but irrefutable proof that creative design and cohesive team-oriented development create spectacular experiences that cannot be replicated in any other form of media. Keep on keepin' on.

Daryl Baxter

I never understood the first Death Stranding, despite it being a perfect fit during COVID, due to its delivery system and isolation. But with On the Beach, Kojima sprinkled some action into the mix, complete with a bunch of MGS references, especially at the end. Having become a dad in 2023, several moments hit me hard, which made me understand Sam Porter Bridges' motivations far more than the previous game. It's also a great showcase of the PS5's power, with fantastic landscapes and moments.

James Burns

Why aren't more big budget games set in Australia? Sure, Death Stranding 2 isn't exactly an accurate depiction of my home country (although to be fair, it's set in a post-apocalyptic future, so it's not attempting any contemporary accuracy), but nevertheless, I think it does capture something about what makes this continent so magical and unique. From the vivid red soil of the outback to the strange liminality of massive pieces of infrastructure ferrying industrial cargo through empty deserts; there's something truly awe-inspiring about Death Stranding 2's depiction of Australia.

But even more importantly - and as Brandon said above - Death Stranding 2 really accomplishes something I didn't think possible: it brings back so many loveable elements from the first game while still ambitiously crafting its own identity that is truly compelling on its own terms. Yes, the emphasis has shifted: Death Stranding 2 assumes you've played the first game, resulting in a gameplay baseline that provides a platform for further expansion. This means there's less emphasis on finding your footing from moment to moment. Now you're delving into far more complex logistics management with much larger payloads and a significantly greater inclusion of combat (which feels so engaging and rewarding in and of itself).

In a world so focused on nostalgia, sequels, and risk aversion, Death Stranding 2 feels like something that really shouldn't exist in the current era (a big budget experience that is unapologetically weird on almost every level and doesn't rely on frequent callbacks from decades ago). But I'm so very glad it does exist. The art form of video games is all the better thanks to this series.

"I finished the game and immediately wanted to dive in again and see how my choices might play out differently for every character, which really made Dispatch a standout of the year for me."

Dispatch

By AdHoc Studio

Amy Potter-Jarman

This game reminded me how much I love the interactive narrative genre, as a worthy spiritual successor to the Telltale Games.

Half the game is dialogue-led story, and half is management style gameplay where you’re assigning a team of superhero misfits to a variety of jobs across an LA-like city. I found myself equally invested in the narrative cut scenes as I was in the management gameplay. I can’t believe how invested I was in playing what was ultimately call center work, but I really had a blast clocking gleefully in for each episode and learning the quirks of each character. And what a cast of ethically questionable super hero characters they are, thanks to the brilliant writing and incredible voice acting!

I’ve been burned by “choices matter” games in the past where decisions that should have been impactful were made to feel inconsequential, and vice versa. But in Dispatch I truly felt like I was building my own version of the protagonist. My choices were clearly played out in crucial narrative arcs, but also in minor interactions. I finished the game and immediately wanted to dive in again and see how my choices might play out differently for every character, which really made Dispatch a standout of the year for me.

CJ Wilson

As someone who loves games with branching stories that provide choices which can affect your relationships with other characters, I was cautiously optimistic about Dispatch. While I was confident in AdHoc Studio based on their seasoned pedigree, where many of the developers used to work at Telltale, I didn’t know what to expect from the story and gameplay. The idea of a superhero workplace comedy was intriguing to me, even though I wasn’t sure how I felt about the management-sim mechanics, where you choose which hero can compete a given task, like saving people's life's from a natural disaster or stopping a villain.

I was genuinely surprised by how much I enjoyed playing through Dispatch. It even ran well on my Steam Deck with no issues. This game had some of the funniest dialogue that I have heard in a video game, which made me burst out laughing multiple times. The voice cast was outstanding, with each performer given the chance to shine through compelling delivery. Playing as Robert, a disgraced superhero who had to manage a team of former supervillains, was interesting to see. Many of the choices I made felt like I was bonding with my team, as they became friends in my eyes, while I tried to steer them toward heroism and having fun with them as well.

While I have yet to replay Dispatch, I can’t wait to start a new playthrough and see what new decisions I make that could get me to a new ending.

"If you haven't played Donkey Kong Bananza and you have even a passing interest in 3D platformers, you are absolutely missing out. It's a must-play experience."

Donkey Kong Bananza

By Nintendo

James Burns

As much as I love me some nostalgia, I'm a firm believer that we're currently living through Nintendo's most bold and creative era. The Switch/Switch 2 period has been remarkable in terms of Nintendo's willingness to innovate and push its core franchises much further than ever before.

Donkey Kong Bananza is the latest - and perhaps the best - example of Nintendo's unflinching boldness at the moment. Although nowhere near as commercially successful as Mario in the modern era, Donkey Kong remains Nintendo's original breakout mascot. And with Donkey Kong Bananza, Nintendo didn't just give him a shiny 2020s facelift; they cast aside much of his gameplay history in order to unleash entirely new possibilities. The result is an experience that doesn't feel like an iteration on past Donkey Kong games. It is, rather, a surprising and clever new 3D platformer that dramatically reinterprets the entire genre. Its simple core premise (the ability to almost completely destroy entire levels with DK's fists) is the anchor for an array of cohesive and lovingly-crafted systems that intuitively stack on top of each other in ways that will keep a smile permanently plastered on your face.

If you haven't played Donkey Kong Bananza and you have even a passing interest in 3D platformers, you are absolutely missing out. It's a must-play experience. Donkey Kong - and Pauline in her vibrant and loveable new form - is far from a call to nostalgia here. These characters are now, again, ambassadors of the truly cutting edge as befits their legendary status.

"Flaws aside, Doom: The Dark Ages’ combat experiment largely succeeds, with the defensive shield confidently rewriting the rules of engagement in a 30-year-old franchise."

Doom: The Dark Ages

By id Software

Antony Terence

This year’s Doom keeps its kills bloody and its firearms ultra-violent. While rapid movement has been a pillar of its predecessors, there’s a different rhythm at play in Doom: The Dark Ages.

One key addition shifts its pacing: the Shield Saw. While Doom: Eternal had you evade enemy projectiles, you now block and parry them. The shield isn’t just a defensive tool; you can throw it to pin large enemies or tear through small ones.

A shield slam lets aggressive players zip toward enemies at incredible speeds. At this distance, crunchy melee weapons tempt you to go Whac-A-Mole on some poor demons. The slower combat loop works remarkably well in The Dark Ages’ larger battlegrounds, which are packed with environmental puzzles and high-density hordes.

Having a shield means you’re pelted with even more bullets, but with a well-timed parry, green projectiles are returned to their senders. Parrying in quick succession felt like boxing bouts more than cross-dimensional demon hunting.

Stepping out of combat is when The Dark Ages’ power fantasy cracks. Tame fistfights with a 30-foot-tall mech and hovering on a dragon to dodge fire from stationary turrets made for dull digressions. Flaws aside, Doom: The Dark Ages’ combat experiment largely succeeds, with the defensive shield confidently rewriting the rules of engagement in a 30-year-old franchise.

"Gaming studios should be reminded that interesting multiplayer experiences can continue to happen, should companies be brave enough to create something new."

Elden Ring Nightreign

By FromSoftware Inc.

Brandon Chinn

Multiplayer gaming experiences feel fewer and farther between these days for gamers who are not interested in firing a motley of guns or building temporary structures. While FromSoftware has proven itself again and again, there was momentary doubt that the Elden Ring format could be so easily transferred over to a multiplayer, rogue-lite experience.

Endless hiccups and continual updates have marginally improved an experience that, while flawed, has become more than a bonding ritual for my siblings and I throughout 2025. Frustrating, difficult, and sometimes confusing, Nightreign might be a strange pick for Game of the Year, but after spending 200 hours in the game and playing it nearly every evening for months, the ritual has grown into something precious, the sort of experience that we have been woefully unable to find for nearly a decade. Gaming studios should be reminded that interesting multiplayer experiences can continue to happen, should companies be brave enough to create something new.

What do we think? Just one more run?

"There are a lot of games built on good and evil, but not many on naughtiness in the way Expelled! is. It's a real delight."

Expelled! An Overboard Game

By Inkle Studios

James O'Connor

There is perhaps no cooler narrative game studio than Inkle – in terms of both the games they make and the tools they've made available so that other people can also create narrative games. Expelled! is both a continuation and expansion of their previous "Overboard" concept, a reverse who-dunnit where each play session is focused on shifting blame and hiding your actions. It has a series of wicked, extremely fun twists hidden within, and the clockwork nature of the world they've built is truly a joy to poke at. There are a lot of games built on good and evil, but not many on naughtiness in the way Expelled! is. It's a real delight.

"The performances delivered within are continuously impressive, and made me feel like I was experiencing this well-trodden road for the first time again."

Final Fantasy Tactics: The Ivalice Chronicles

By Square Enix

Brandon Chinn

Does a thirty-year-old game deserve a spot on anyone's Game of the Year list? After seeing Final Fantasy Tactics make NPR's list of best games in 2025, it cemented for me what FFT has been for decades: the defining game of its genre.

It would be somewhat strange in any other genre for one game to completely dominate and dictate the good and bad for three decades, but Final Fantasy Tactics has continued to do just that, and with the many impeccable quality of life updates brought upon by the Ivalice Chronicles, it will be the defining version of the game from here on out. Not only is FFT: TIC responsible for bringing new players to this immaculate role-playing game, but it has again reminded gamers young and old that the life of a game is not beholden to launch cycles and updates and popularity contests. Final Fantasy Tactics has something to say, and as Yasumi Matsuno reminded us: "The will to resist is in our hands."

PJ Walerysiak

I imagine there existed a rather large club of Final Fantasy fans who trudged through less-than-ideal ways to play Final Fantasy Tactics over the years simply because we love that game. Playing it on an original PlayStation is great, but its aged complexion becomes noticeable, as we’ve grown accustomed to certain quality-of-life standards over time. The mobile version is fine. It works, it’s portable, but my hands and eyes would ache. It works well on a PlayStation 1 emulator, allowing for save states and the ability to fast-forward, but still, a void lingered.

Enter Final Fantasy Tactics: The Ivalice Chronicles, its final Pokemon-esque evolution. The wait was worth it. This game, existing somewhere between a remaster and remake, is just SO damn good. Within its hearty stew of improvements, one ingredient rises to the top: the addition of voice acting. This new creative avenue adds incredible depth to every character, and thus enhances the game's overall storytelling. All the voice actors absolutely crushed their performances. I’ve played FFT a dozen or more times over the years, but only now do I find myself reevaluating characters, including ones I previously wrote off as one-dimensional assholes. I can even empathize with their positions, and more deeply care about characters that I felt were ancillary to the story.

I could sing the praises of the many other improvements all day. It all blends together to create an experience that feels and plays great. Yet I cannot say enough about the voice acting. So many elements contribute towards a game’s narrative design, and the original Final Fantasy Tactics already did a wonderful job with what it had. The performances delivered within are continuously impressive, and made me feel like I was experiencing this well-trodden road for the first time again.

"I love everything I’ve played from Supergiant Games. You can feel their dedication, passion, and joy for the craft come through in their games."

Hades 2

By Supergiant Games

PJ Walerysiak

Back in the original Hades days, I thoroughly devoured every bit of content the game had to offer. Months later I started anew and did it all over again. I wanted more Hades, even though it already provided a veritable smorgasbord of content and replayability. Thankfully, Supergiant felt the same!

There was zero doubt in my mind that Hades 2 would be an incredible game. Supergiant Games knows what they’re doing, and simply does not miss. As I expected, Hades 2 consumed a majority of my gaming hours from the moment of release to the moment I rolled credits.

Hades 2 gives you more, the flavor never fading over the many accrued hours and runs. Instead, it changes and develops as you continue to enjoy it. It makes me think of the everlasting gobstopper from Willy Wonka and the Chocolate Factory; You can likely enjoy this game for just as long! Each run feels unique thanks to the mindbogglingly intricate web of reactive dialogue, and the creative weapons, aspects, and customizations you can give Melinoe. One run can make you laugh, while another may stoke grim determination. One can frustrate you, while another results in you finishing triumphant and glowing with satisfaction.

The writing is phenomenal (of course), and so is the soundtrack (of course). I can give the same exact praise to every single aspect of this game, each with their own “(of course)”. I love everything I’ve played from Supergiant Games. You can feel their dedication, passion, and joy for the craft come through in their games. Some arcane spellwork of ethereal osmosis transmits that love and passion for their games into us, the players.

"...I feel it to be worthy of a mention here due to how uniquely special it set out to be."

Hell Is Us

By Rogue Factor

Charlotte Huston

There were a few games that had the unfortunate fate of releasing within the same window as Hollow Knight: Silksong. Hell Is Us was one of them, though as a AA game, it fared better than others. Nonetheless, while I believe there were better games in 2025, I feel it to be worthy of a mention here due to how uniquely special it set out to be.

Hell Is Us does not live in one genre alone. At heart, it is an immersive sim. There's no hand-holding in its semi-open world. You are thrown into the fictional nation of Hadea, a war-torn country based on Balkan culture. The atmosphere is bleak, the soundtrack liminal, the energy brooding like a constantly brewing storm on a hot summer day. It is held up by combat that is Souls-ish in style, though it refrains from falling into too many of the Souls genre's pitfalls. There are no RPG systems, really; it uses combat as a means to an end, keeping the game rather well-paced.

At times, it is also a puzzle game. Never a truly difficult one, mind you, but with puzzles along the lines of "comfortable" if nothing else. This works into my biggest lasting memory of Hell Is Us – the tone. The game is gritty and does not avoid the horrors of war when you're exploring. Some towns you'll visit are still burning, while another is still occupied, its civilians hauntingly gone as if vanished into thin air. Creative Director Jonathan Jacques-Belletête was a former Art Director on the Deus Ex series and that influence shines across the board here in what is one of the biggest hidden gems of 2025.

"Silksong is my top game of 2025."

Hollow Knight: Silksong

By Team Cherry

Naomi Jackson

A fantastically challenging, frame-perfect test of technique, this Aussie-made sequel to the popular Hollow Knight has the polish you would expect from a game seven years in the making.

The springy, fast-paced yet methodical nature of the combat will delight and entice you to give it 'just one more try'. This game weaves a web in more ways than one — the intelligent way areas of the deceptive map are hidden adds to the fun of untangling this game's story as if it were a really tight silk knot, while tools and map resources can only be purchased with hard-to-come-by currency that is easy to lose, cleverly forcing hoarders like me to accept and surrender.

My love/hate relationship with this haunted kingdom that's a dream to unlock, but a nightmare as I try to unlock it, grows more and more affectionate every day I dare to play it.

PJ Walerysiak

Silksong is my top game of 2025. There’s little I can write that I haven’t already written about its game design. Instead, I offer my experience within the realm of Pharloom, and what it made me feel.

Hope: For breaking free of imprisonment to discover a new world. For seeing a respected game studio deliver on an ancient promise, and having fun doing it.

Sorrow and anger: For the countless lives churned through in service to a flailing would-be god. For those downtrodden and brainwashed masses serving in pursuit of an artificial enlightenment that demands complete servitude. And seeing the real world reflected therein.

Wonder and an adventurous spirit: For the map that continued to grow in size and magic beyond all expectations. It turns out that repeatedly finding whole new biomes through hidden walls is one of my love languages.

Grief: For relationships, both budding and blossomed, that were suddenly demolished by brutal turns in a story, and for knowing that loss intimately.

Admiration and empathy: For the rebellion of community amidst despair, and persisting in a world rife with danger, religious manipulation, and disguised cruelty. And for those with a unique song in their hearts, shared only when a welcoming tune is played.

Silksong’s story is divided into acts, but the story I experienced felt like movements in a symphony. Slow and somber beats mingle with playful, curious notes peeking throughout the measures. Rapid blasts of danger and excitement. A steady, building rhythm leading to an emotional crescendo. Pace and feeling tied together, pulling the listener into adventure, summoned from string and wind. I can tell you what beats happened in each act, but those alone are hollow when compared against what they came together to create.

"It makes me appreciate the art that can only be told through a medium such as video games."

How To Walk Out The Door

by amptomp

Nate Shearer

Stumbling upon this right before the end of last year was a gift. How To Walk Out The Door delivers a succinct and poignant narrative in a game that lasts less than half a minute; one of love lost and how those bonds break easier every time we try and walk away.

It’s a testament to the beauty of the creative mind and what it can achieve despite the limitations that can be placed on it. It makes me appreciate the art that can only be told through a medium such as video games.

"Overall, Hyrule Warriors: Age of Imprisonment is my game of the year because it surprised me as a musou game, having an endearing story with peaceful undertones, charming characters, and satisfying combat."

Hyrule Warriors: Age of Imprisonment

By Koei Tecmo

Philip Adrian

I often identify with the character designs, personalities, stories, and powers of supporting characters in media. This even includes designated damsels of distress like Zelda and their ironically elusive magical powers. Hyrule Warriors: Age of Imprisonment shines a light on the supporting characters within the Zelda: Breath of the Wild world. Kicking ass with a Korok, Zora Warriors, Zelda, and more, never felt so refreshing.

Zelda is woken up in a field by Rauru and Sonia, the king and queen of Hyrule. The group is then attacked, and Zelda holds her own using her explosive light magic. That alone got an astounding "YES, THIS IS WHAT I WANT" from me. The kingdom takes her in and teaches her how to hone her powers to help find her way back home.

Hyrule is later attacked by Ganon, creating a war throughout the continent. Zelda and company make allies from multiple tribes who have lost important people in their lives during battle. Rauru's approach to fighting for peace is to be cordial with other factions, even if there was recent tension. I found this premise to be quite inspirational, considering real-world current events.

Age of Imprisonment includes a cast of diverse and stylish characters. Raphica is a Rico who attacks with airborne spinning kicks and volleys of arrows, and his pompadour is amazing! Lago is a Zora warrior whose swift sword slashes kind of reminded me of fencing, and he mixes in whirlpools with his combos. Characters can even perform flashy team-up attacks to inflict more damage.

Overall, Hyrule Warriors: Age of Imprisonment is my game of the year because it surprised me as a musou game, having an endearing story with peaceful undertones, charming characters, and satisfying combat.

"Into the Emberlands becomes empowering when dealing with a darkness that you can face and survive while helping those who have been lost for so long."

Into the Emberlands

By Tiny Roar

Priya Sridhar

Into the Emberlands asks an allegorical question and makes it literal: how do we guide those who are lost out of the darkness? The answer: With a lot of patience, memory, and careful resource management.

When Miasma invaded the Emberlands, they deprived the Lightbringers of their magic and villages of their residents. Those lost in the Miasma fell to the darkness, unable to return home or travel to find others. When you enter a village in need of renovations, you are the first Lightbringer who hasn't gotten lost in ages. That means you can find everyone who wandered past the boundary and slowly rebuild people's homes and businesses. The trick is to know when your lantern will go out, or you will become lost as well. You also have an incomplete map (so, no pressure) as the Miasma lurks around you. With the right navigation, you can find tools to extend your lantern's light and carve paths back to the village.

A game about finding those struck by disaster and getting them to safety sure feels familiar. No one could predict the Miasma in Emberlands or the sheer cruelty in ours. It hits close to home to those suffering from similar nonsense, where you can't blame the evil on a purple fog. And yet, in here, you don't have to let it overwhelm you.

Into the Emberlands becomes empowering when dealing with a darkness that you can face and survive while helping those who have been lost for so long. The way back feels warm and comforting, while the way forward is mysterious and foreboding. Still, you have to go forward, or you will be mired in safety without knowing who else needs you.

"I love the cute little-shape characters and the simple yet challenging organization, as well as the convenience of being able to play it on my Switch 2 wherever I go."

Is This Seat Taken?

By Poti Poti Studio

Cat Webling

This cute and quirky puzzle game is exactly the kind of relaxing, thoughtful, but not overthinking experience that people look for when the world is too stressful, and we need to feel in control of something. I love the cute little-shape characters and the simple yet challenging organization, as well as the convenience of being able to play it on my Switch 2 wherever I go.

"...the point here is that there's a certain beauty to what Keeper provides, and how it speaks to why gaming as a medium is so meaningful."

Keeper

By Double Fine

Charlotte Huston

When it comes to artistic vision in gaming, one of the games that I felt was most representative of that in 2025 was Keeper, a little game from the studio Double Fine. It was released in an awkward spot, between major releases from other members of the Big Three – Sony's Ghost of Yōtei and Pokémon Legends Z-A. Unfortunately, this caused Keeper to get brushed under the rug to a certain extent, and I was shocked to find it wasn't even nominated for Best Art Direction at The Game Awards. Though, the point here is that there's a certain beauty to what Keeper provides, and how it speaks to why gaming as a medium is so meaningful. Keeper is so blatantly different than those aforementioned games, yet they all coexist within the same medium.

Keeper is essentially a walking sim mixed with a puzzler. Though there are some light platforming segments, a majority of the gameplay involves the player in control of a living lighthouse, with a bird companion sitting atop it. There is no dialogue whatsoever, and any semblance of story must be assumed or taken from the player's own perspective. Lee Petty is the Creative Director, and he was an Art Director for games such as Broken Age. They use a Tim Burton-like art style here that strums the line of Grimbright and Noblebright in tone. At times it is dark and melancholic, while at others it is bright and hopeful. I'd love to delve into it further, but out of respect for Lee Petty's artistic vision, I would rather you experience Keeper for yourself. Petty himself even said as much, intending for players to preserve "some of the mystery for others wherever possible." May you always experience art on your own volition and terms.

"Star-Crossed World contains a multitude of beautiful additions to the already lovely levels contained in this forgotten land."

Kirby and the Forgotten Land + Star-Crossed World DLC

by Nintendo

Naomi Jackson

A stunning, sparkling wonderland awaits in this 2025 DLC. Star-Crossed World contains a multitude of beautiful additions to the already lovely levels contained in this forgotten land.

I inhaled the new small details and lore clues as if I were the pink blob himself and thoroughly enjoyed his new forms and the mechanics that came with them.

"The unmistakable sights and sounds of coastal Australia fill this cozy, beautiful world which invites you to explore and become part of the community."

Letters to Arralla

by Little Pink Clouds

Amy Potter-Jarman

I’m being very self indulgent with my list of titles submitted for this, so there was no way I couldn’t include the cutest, coziest, juiciest ANZ-made game of 2025 (in my humble opinion).

On the surface, sure, this is a game about delivering mail in a new-to-you city, but on a deeper level this is a game about the impact one person can have if they are just the right amount of nosy… I mean curious. As you deliver (and open) the mail and meet the vegetable townsfolk, you learn what makes Arralla special, and you become a force for connection.

The unmistakable sights and sounds of coastal Australia fill this cozy, beautiful world which invites you to explore and become part of the community. ‘Letters to Arralla’ is a snack-size, wholesome experience which delivers many moments of humour, whimsy, and calm. Plus, you can take photos, which is what really matters to me in a game, let's be honest!

"My daughter and I love a good Vs Grand Prix, and it's safe to say I don't go easy on her, but I can see she enjoys the challenge. Either way, my daughter is obsessed with the game, and she especially loves playing with me and the time we spend together."

Mario Kart World

By Nintendo

Mike Wilson

2025 was not the best year of gaming for me. I spent most of my time playing catch-up with my already large backlog, but there is one shining light for me from this past year.

Christmas of 2024 saw my daughter get her very own Switch Lite, and since then, she's been hooked. Her playing time was mostly dominated by Pokémon. A few months later, Nintendo unveiled the Switch 2, and the very thing that caught her eye was Mario Kart World. Instantly, she told me she wanted to play Mario Kart. She was already hooked on Mario Kart 8, but she would not stop begging. After every advert she'd see for it, there'd be a "Dad, can we get Mario Kart World?!"

Safe to say that June 5th was quite the wait. Eventually, the Switch 2 and the game launched, and for the first time, I had to share my new console with someone else.

Now I'm not saying Mario Kart World is a perfect game; in fact, it's far from it. It's made some serious changes over the insanely popular Mario Kart 8, and sadly, most changes have brought their detractors; I still haven’t gotten used to the wall jumps yet. But they tried something new, something different, and that’s sometimes all you can ask for.

My daughter and I love a good Vs Grand Prix, and it's safe to say I don't go easy on her, but I can see she enjoys the challenge. Either way, my daughter is obsessed with the game, and she especially loves playing with me and the time we spend together.

Gaming was always my thing, now it’s ours.

"A true classic."

Metal Gear Solid Delta: Snake Eater

By Virtuous

Daryl Baxter

MGS returns, but as a way of reintroducing itself in 2025. Instead of reinventing the wheel, it was remaking it, with incredible graphics and a UI that helped cut down on that rare monotony of changing stolen gear and weapons. The crucial scenes still hit as they did when MGS3 came out in 2004, complete with the original voices. A true classic.

"Combat is fluid and punchy, and the open world is gorgeous to explore."

Monster Hunter Wilds

By Capcom

Lawrence Adkins

Looking through my Backloggd, it's easy to see that while I did a fair amount of gaming throughout the year, I didn't play very much that actually released this year. Observing everything new that I played, very few of those games compelled me to sink my teeth into them until the very end. One of those games was Monster Hunter Wilds.

I was bitten by the Monster Hunter bug ages ago, starting with Monster Hunter 3 Ultimate on the Wii U, then diving deep into 4 Ultimate on my Nintendo 3DS. Since then, I've enjoyed a little bit of everything the series has had to offer, and Wilds sits as a near-favorite entry in the series, right behind Rise. While design decisions have pushed Monster Hunter to become more about getting to hunt large monsters as opposed to the slower emphasis on Man vs Nature those earlier entries highlight, I can't help but sing its praises when talking about Wilds. The character customization Capcom continues to offer ever since Street Fighter VI is robust, amplified only further by the riddance of gender-locked cosmetics. Combat is fluid and punchy, and the open world is gorgeous to explore. I often find myself thinking about the developer showcases where one of the developers was fishing and birding instead of joining in on the hunt.

It's been a while since I booted up the game, admittedly. Once I rolled credits, I explored some of the Artian weapons and postgame hunts, but never took the time to explore all the subsequent updates. With the announcement that the final update to the base game will arrive in February, I'm stoked to go back and revisit the game to see all the content that's been piling up.

"The dungeon-crawling, shopkeeping-sim mashup formula is back, but the pixel-art graphics have been replaced with a gorgeous 3D glow-up, and the experience is so much better for it."

Moonlighter 2: The Endless Vault

By Digital Sun Games

Bryan Finck

Seven years on from the original, getting Moonlighter 2 in Early Access was a wonderful treat as 2025 came to a close. The dungeon-crawling, shopkeeping-sim mashup formula is back, but the pixel-art graphics have been replaced with a gorgeous 3D glow-up, and the experience is so much better for it.

The switch to 3D allows for the existence of stages with multiple levels, and the sheer amount of stuff going on immediately elevates it above the flat design of the original’s dungeons. The second biome, known as The Gallery, features a background of moving cubes filled with artifacts, some of them living creatures. And the third biome, a Grecian-inspired level of floating islands, sees you zip-lining up and across the area to reach the next piece of land, where you’ll battle your foes.

The graphical glow-up extends to the characters and enemies themselves. You can see Will’s backpack bounce along as he swings his sword, watch the expressions on the faces of your enemies as they attack and perish, and see the grass waving lazily in the breeze as sparks and explosions cascade across the screen. It’s a level of detail simply not possible with sprites, and it gives the sequel a level of personality that was sorely missing from the original.

More interesting levels and enemies help make the combat more interesting, too, and the devs have done a great job of taking advantage of the extra dimension this time around. Rolling away from one attack to immediately execute a lunging attack on a ground enemy, then firing off your pistol to take out an airborne enemy, all while avoiding fireballs and lobbed grenades, makes for a smooth and exhilarating gameplay loop. I’m extremely excited to get my hands on the rest of the game once Moonlighter 2 leaves Early Access.

"Everything has changed since the first build of OFF hit the web, but the tale of the Batter is as impactful as it ever was — maybe even more so."

OFF

By Mortis Ghost

Andrew Johnston

The debt of gratitude that both indie developers and indie fans owe to people like Mortis Ghost is hard to wrap your head around.

OFF is, at its core, a very simple game, yet without simple games like this one, we wouldn’t have the landscape of games currently available. So yes, nearly every indie RPG is in the lineage of OFF, but with its formal release onto Steam, we can see that it’s also a brilliant little game. Where most RPG Maker titles of this era have aged in the worst of ways, OFF is every bit as elemental and engaging as it ever was.

Many developers have tried to imitate this cryptic, intentionally opaque style and fallen short, but the strange mystery at the heart of OFF is truly evergreen. Everything has changed since the first build of OFF hit the web, but the tale of the Batter is as impactful as it ever was — maybe even more so.

"I have a simple rule: if Wadjet Eye Games makes a new game, I play it."

Old Skies

By Wadjet Eye Games

James O'Connor

I have a simple rule: if Wadjet Eye Games makes a new game, I play it. Old Skies is the latest title from director Dave Gilbert, and follows time-travelling agent Fia Quinn as she escorts wealthy clients to different eras as an agent of the ChronoZen agency. All the while, unbeknownst to most of the population, the present radically shifts based on their actions. Wadjet Eye Games has always celebrated and streamlined the classic point-and-click experience, and Old Skies is perhaps their most celebratory take on the medium yet. It's not just a lovely story in and of itself, but an ode to the kind of lovely stories you can tell within this genre space.

"Pac-Man on Atari 2600 is still a fascinating artefact and surprisingly still fun and playable, while the newly commissioned Atari 7800 port is a fine piece of retro engineering that captures the magic of Pac-Mania."

Pac-Man: Double Feature

By Atari & Namco

Jahan Khan

The Atari x Namco collaboration in 2025 has just been a real dream-come-true for retro gamers. It gave fans more than just cool merchandise; it created an excellent Namco DLC pack for Atari 50, Pac-Man-themed Atari consoles, and an exclusive new Pac-Man release for Atari + platforms.

Pac-Man: Double Feature feels like an ultimate collector's edition for any retro and Pac-Man enthusiast. It brings together the highly controversial Atari 2600 port of Pac-Man with an all-new Atari 7800 port, all in one tasty cartridge featuring throwback 80s artwork. Pac-Man on Atari 2600 is still a fascinating artefact and surprisingly still fun and playable, while the newly commissioned Atari 7800 port is a fine piece of retro engineering that captures the magic of Pac-Mania.

"It has that same goofy yet uplifting vibe that the most recent Like A Dragon games have, and that's the kind of wholesome-ish gaming I can get behind."

Promise Mascot Agency

by Kaizen Game Works

Lucas Di Quinzio

It’s a great credit to Promise Mascot Agency developer Kaizen Game Works that not only have they managed to create one of the year’s most memorable characters, but that character is a mascot shaped like a dismembered pinky finger. Pinky is the fiercely loyal and fiercely funny sidekick to Michi, a disgraced Yakuza member sent away to a dying town, tasked with resurrecting a failing mascot agency. As you can see, this game is quite a big mishmash of things. It’s part management game, part open-world game, part vehicle-based platformer, with a story that’s full of humour and heart and political commentary.

It all comes together as a cohesive whole, with a compelling gameplay loop of upgrades to your agency or your trusty, beat-up truck, which allows you to uncover a new story beat, meet a new mascot, or get more jobs from a local business. Then there are the constant problems arising during jobs that are a constant source of gags – your perpetually crying tofu black is stuck in a door, your goth jelly baby is getting attacked by teenagers, Pinky is running for Mayor and keeps threatening violence.

It has that same goofy yet uplifting vibe that the most recent Like A Dragon games have, and that's the kind of wholesome-ish gaming I can get behind.

"Ratatan isn’t the game I spent the most time with in 2025, but it’s the one I’ll remember in years and maybe decades to come."

Ratatan

By Ratata Arts

Andrew Johnston

Before Ratatan was announced, I really thought that the world had forgotten the rhythm/strategy hybrid game Patapon — an absolute shame, as it’s one of the most charming video games ever made. I wouldn’t have even dreamed that such a strange, wild, beautiful, innovative title would come back.

Yet here we are, looking at the independent successor that Patapon always deserved. I’ve shown you a lot of music-focused games, but with Ratatan, we have a game where the mechanics and the sound can’t be separated. What you hear, what you see, what you do — it’s all one free-flowing current that doesn’t resemble anything on the market, including its predecessor.

Ratatan isn’t the game I spent the most time with in 2025, but it’s the one I’ll remember in years and maybe decades to come. Like Patapon before it, it’s about the art and emotion of the package, and nothing else felt the same way.

"Rogue Craft DX is a deceptively simple yet addictive roguelike RPG, using an isometric viewpoint to make its chess-like exploration engaging right from the get-go."

Roguecraft DX (Evercade)

By badger punch games

Jahan Khan

In 2025, Evercade went from compiling lost IPs to scoring major exclusives, and Rogue Craft DX was an enhanced edition of a homebrew Amiga game. The Amiga, as a vintage PC platform, continues to be a fascination for the British gaming scene. There's still a dedicated print magazine for it, while the Evercade platform itself captures the very vibe of retro gaming in the UK.

Rogue Craft DX is a deceptively simple yet addictive roguelike RPG, using an isometric viewpoint to make its chess-like exploration engaging right from the get-go. Plus, it has the meanest chickens ever seen in a video game since The Legend of Zelda: Link's Awakening.

"They had an artistic vision when creating Silent Hill f, and it deserves to be experienced firsthand."

SILENT HILL f

By NeoBards Entertainment

Charlotte Huston

The return of the Silent Hill series arrived in the form of Silent Hill f, a brand-new mainline entry. It was one of the most unexpected surprises of the year in terms of storytelling. There are not enough games that dare to be different, to be so potently resonant with their themes that they have a lasting impact months later upon their player. Silent Hill f strives to bring the identity of the series back to something very imbued with Japanese culture, shunning the more Americanized approach. It does not pull its punches, and it shows that the concept of "Silent Hill" is much more than a town alone – it is a phenomenon, an occurrence that can happen anywhere.

While that is a great implication on its own, it is the psychological aspect of Silent Hill f that cuts so deeply. This is a game that is unafraid to tackle the themes the industry seems so afraid to handle in its storytelling. Going against the grain to this extent is very valuable to women, who the themes of this game represent in their entirety.

Spelling out what these themes are would be an absolute disservice to the creators of this game. They had an artistic vision when creating Silent Hill f, and it deserves to be experienced firsthand. In terms of 2025 releases, I believe Silent Hill f is the most important of them all, for how bold it intends to be, and for how willing it is to make its players uncomfortable.

"It has this great lo-fi, psychedelic aesthetic that still manages to be very readable, and a soundtrack to match."

Skate Story

By Sam Eng

Lucas Di Quinzio

I’m glad SUPERJUMP’s GOTY piece is published in January, because there is no fallow period for good games these days. December releases probably get the short shrift among the end-of-year lists and awards, so in a year where a bunch of great indie titles were competing for my top three, I’ve decided to give some props for the best game released this December.

Skate Story has a hell of an elevator pitch, figuratively and otherwise. You play as a demon who has one goal: they want to eat the Moon. The Devil gives you a skateboard to help you reach the Moon, but in exchange, turns you into a glass. You are going to skate through the underworld, and you are going to eat the Moon. If I was giving out specific awards, I would give this the Absolute Coolest Shit In A Game award. It has this great lo-fi, psychedelic aesthetic that still manages to be very readable, and a soundtrack to match. And there’s a streak of dry, absurdist humour throughout the game.

This is not to mention the skating itself, which is rock-solid. Well, not really, because your character shatters in a million pieces when you wipe out – but even that lends itself to the overwhelming style of Skate Story.

"I love how the music flows throughout the game, crescendoing into vocal songs that explain the various bosses’ backstories, one of the many things that makes the game so engaging to play."

South of Midnight

By Complulsion Games

CJ Wilson

I feel like South of Midnight is a game that’s going to be overlooked by many people. I always enjoy a good story-driven adventure game with smooth platforming sections and a compelling narrative, but I didn’t think I was going to embrace the Southern Gothic aesthetic that this game gives out in spades. I love the handcrafted nature that the developers at Compulsion Games created, which makes South of Midnight one of the most visually appealing games of 2025. While I would have wanted an expansive combat system with multiple branching trees to spend my skill points on, I’m glad that the gameplay didn’t become overly complex, as I wanted to find collectibles that could improve the abilities that were present to me.

I love how the music flows throughout the game, crescendoing into vocal songs that explain the various bosses’ backstories, one of the many things that makes the game so engaging to play. I found it fascinating that you use your weaver powers to unravel enemies to heal the world instead of killing them outright. I’m glad I got to play it via Xbox Game Pass, as I would easily recommend it to someone who wants to play something that isn’t a traditional single-player adventure game.

"The entire game is a testament to that wonder of creation – kernels of greatness nestled in half-finished ideas, some stories that might benefit from a rewrite, or old lullabies we sort of just sing to ourselves."

Split Fiction

By Hazelight Studios

Rachel Alm

My fiancé and I eagerly played Split Fiction together, pretty quickly after release. We'd blown through It Takes Two, and Split Fiction was more of the same couch co-op we'd loved.

It also starred two authors, and as an aspiring one – and one existing in the world of AI – the game's themes of corporate and computational thievery rang unfortunately close to home. But beyond that tagline – the idea that our core memories manifest and help us build the stories we tell – Split Fiction's true shining achievement is in the tremendous variety of its level design. It has fantastic gameplay, requiring you to flip-flop through two very different genre trappings: science fiction and fantasy. Both are speculative arts, but drawing from often different foundational tones.

Our two protagonists have their own inner battles that unfold through the narrative, and they're well-done stories that take time to tell themselves. One story, or "chapter", might tackle identity, another loss. There are even side stories that you encounter throughout the game, which boil down to racing, platforming, or snowboarding mini-games, and they are all executed (and mapped on the controllers) wonderfully. None of these swaps of gameplay styles feels jarring. There was one particular level involving magic and general witchery, where you could transform yourself into yarn and fly on broomsticks. It was as joyful as opening a toy box. The entire game is a testament to that wonder of creation – kernels of greatness nestled in half-finished ideas, some stories that might benefit from a rewrite, or old lullabies we sort of just sing to ourselves. Split Fiction is a paean to creatives, and it's a damn fun time.

CJ Wilson

This game easily provided me with one of the most enjoyable co-op experiences that I've had in a long time. Each new level was creative and exciting to play through, where I never knew what would happen next. While I would have preferred to play with another player by my side in person, I enjoyed my time with my fellow SUPERJUMP editor, Bryan Finck, who was along for the ride as we constantly commented on what we saw on our screens, making jokes and helping each other out along the way. One moment, I was riding a futuristic bike in a cyberpunk city, and the next, I was playing as a yeti in a fantasy world.

It constantly switched between the fantasy and science fiction genres to mix up the gameplay, which I greatly appreciated. Even some of the side missions that I found gave me some laugh-out-loud moments that I still think about to this day. I became attached to the stories of Mio and Zoe as aspiring writers who needed to process their issues by helping each other as the narrative progressed. Split Fiction is easily one of the most beautiful games that I played this year, running on Unreal Engine 5, where I didn’t notice any slowdown or glitches whatsoever. I knew that Hazelight was going to put out another excellent game after It Takes Two, but I never expected to have such a fantastic time with Split Fiction.

Lucas Di Quinzio

Split Fiction can be described in many ways – bold, endlessly creative, bursting with brilliant set pieces; a best-in-class co-operative experience. What the game, and its developer Hazelight Studios, can’t be called is subtle. The studio is led by Josef Fares, perhaps best known for shouting ‘fuck the Oscars’ at The Game Awards, among other outlandish quotes (my favourite is telling a journalist they can break his legs if they don’t like A Way Out), but he can keep saying goofy stuff if he and Hazelight can keep walking the walk so emphatically.

Split Fiction is a game that you have to play with another person, about a tech magnate trying to suck up all the story ideas from authors' minds, under the guise of testing out supposedly revolutionary new technology. The villain of the piece may as well be called Sham Shaltman from ShenAI. Not subtle, but maybe this is not the time for subtlety.

The hook of the game, in which the imagined worlds of a fantasy and a sci-fi author intertwine, allows for a constant stream of new ideas. Every level provides something new and impressive, whether it be a fresh twist on the central puzzle-platforming, a fun, breezy side-level, or an impressive boss fight (or all of the above). And it all feels so carefully crafted, by people who have, you know, spent years honing their skills by working on this particular kind of game. Skills and experience you cannot generate out of thin air, or rather, ones you cannot generate from litres of water evaporated into thin air to cool a room full of pointless computers.

Bryan Finck

Split Fiction was a truly sublime experience and is easily my favorite of 2025. Hazelight Studios was already well-known for its co-op formula, following the excellent It Takes Two, but their latest title quickly became their most acclaimed and best-selling release.

Every level brings a new delight from a gameplay standpoint, with different perspectives, mechanics, mini-games, and hidden side-stories around every corner. With the game itself so good, the story didn't need to be the star of the show, but I found it to be my favorite part of the experience. Protagonists Mio and Zoe grow together as they work to escape their predicament, from a pair of feuding individuals into a true team that supports each other. Some truly excellent moments bring emotional weight to the story, elevating the entire game.

By the time you've worked your way through each incredible level, especially the final act where things get turned up to 11, you feel like you've been part of a true AAA title. Hazelight may not be the biggest studio, but they continue to punch well above their weight and have legions of fans, myself included, waiting impatiently for their next amazing adventure.

"With its broader console release this year, it’s easy to recommend to basically anyone who likes action roguelites, shmups, or anything that rewards clean movement and smart builds, and it’s absolutely worth a nod on any end-of-year tier list."

Star of Providence

By Team D-13

Ben Rowan

In 2025, Star of Providence (originally called Monolith) finally broke out of its PC cult-classic bubble with a proper console release, including on Switch, and this gem absolutely deserves a place in the spotlight. The premise is simple: you’re a tiny ship climbing a mysterious tower, floor by floor, trying to reach the top. It’s twin-stick shooting meets bullet hell in a roguelite package, so you’re constantly moving, dodging, and threading the needle through dense patterns of enemy fire.

The movement feels great, and it’s backed up by a surprisingly deep loot and build system. Your starter weapon is fine, but you’ll quickly start finding guns with different firing styles, bullet sizes, ammo limits, and other quirks. On top of that, weapons can roll random modifiers that change their behaviour even more, so two runs with the same gun can feel completely different. Because secondary weapons have limited ammo and break when they’re empty, you’re constantly making decisions about what to carry and when to use it. Between floors, you’ll grab passive upgrades, stumble onto random modifiers, and choose buffs that slowly turn your tiny ship into something ridiculous. Then you hit the boss at the end of the floor, and that’s where this bullet hell really shows its teeth.

Since landing in 2017, Star of Providence has steadily grown into a much bigger beast, adding new enemies, room layouts, weapons, meaner endgame content, and an ascension-style difficulty ladder for anyone who wants the challenge to keep escalating. With its broader console release this year, it’s easy to recommend to basically anyone who likes action roguelites, shmups, or anything that rewards clean movement and smart builds, and it’s absolutely worth a nod on any end-of-year tier list.

"It’s super fun and impressively polished for an indie release, both in how it plays and how it looks."

Star Racer

By Whatnot Games

Ben Rowan

Some games you buy after rewatching the trailer, reading a couple of reviews, and letting them sit on your wishlist for a while. Star Racer wasn’t one of those. I saw a few seconds of it pop up on YouTube, loved the retro sci-fi vibe and pixelated look, and thought, “Yep, this’ll be mine.” Five minutes later, it was downloading on Steam.

Even better, the game lived up to those first impressions. It’s super fun and impressively polished for an indie release, both in how it plays and how it looks. During races, you’ve got a mix of SNES-style 16-bit sprites, with environments leaning into a chunkier 3D look that feels very much like Star Fox 64. On top of that, the comic-book art style really brings the characters and cut scenes to life.

The gameplay itself is really fun too. Air brakes on the shoulder buttons let you strafe through corners, and the whole combat-racing loop is built on continual trade-offs. You can burn shield energy to boost and hold the lead, or play it safe and risk getting nailed by the pack. Every lap is high stakes, with even the best races coming unstuck at the final bend.

It’s not just pure racing either. You’ve got weapons, including the ability to bash rivals into walls, and even fire lasers during flying sections. There are airborne segments that crank up the Star Fox vibe even more, and they’re not just for show either. Flying drains your shields, so if you run dry mid-air, that’s it. Race over. You’re constantly balancing speed, aggression, and survival.

Plus, there are unlockable vehicles, a track editor for tinkerers, and four-player local split-screen, which is always a win. I still reckon it would be perfect on Switch, but even on Steam, it's firmly earned its place on my Top-Of-2025 list.

"In what may be the most ambitious visual novel of all time, Kodaka and his co-authors have created a game with 100 different endings."

The Hundred Line: Last Defense Academy

By TooKyo games

Benjamin Macready

The Hundred Line comes straight from the twisted imagination of Kazutaka Kodaka, the writer of the despair-inducing Danganronpa franchise. In what may be the most ambitious visual novel of all time, Kodaka and his co-authors have created a game with 100 different endings. Some of these endings are comedic, some are tragic, and some are downright disturbing. It just wouldn’t be a Kodaka game if it didn’t make you feel deeply uncomfortable by some of its twists.

Whatever else this sprawling hydra of a story might be, it’s upheld by its lovably flawed cast and its ability to masterfully flip between the grim and the absurd.

"Tiger-Heli is a tough shooter with thrilling progression and great use of contrasting colours."

Tiger-Heli 40th Anniversary Edition

By TATSUJIN Co.

Jahan Khan

A brand new exclusive port for the Atari 7800 by a Japanese developer? Crazier things have happened in gaming, but for Toaplan to commission a new port for its seminal Tiger-Heli shoot 'em up in 2025 to commemorate its 40-year anniversary, it doesn't get crazier than this.

It's a marvelous release too; the arcade shooting classic translates perfectly to the Atari 7800's hardware specifications, and the experience is completely different from the NES port from way back. Tiger-Heli is a tough shooter with thrilling progression and great use of contrasting colours. The World War II energy here is like Capcom's 1942 turned up to 11.

"But of course, the standout here is Angel of Darkness..."

Tomb Raider IV-VI: Remastered

By Aspyr

Daryl Baxter

It's no secret that Tomb Raider IV-V were made under pressure, and by a (mostly) new team. But of course, the standout here is Angel of Darkness, a game that floundered at its foundations, due to huge bugs, a strange RPG system that's now a meme, and mostly away from Tombs.

It's my GOTY because the collection is an example of how a series strays away from what made it so good in the first place, despite good intentions from the team.

"The mechanics were simple to follow, and the map was fun to explore; though there were a few moments of confusion, I never felt frustrated enough to put the game down."

Winter Burrow

By Pine Creek Games

Cat Webling

This game blew me away with how adorably deep and thoroughly cozy it was! It was a relatively short experience, but I never felt rushed; beautiful scenery, sweet characters, and charming music made me comfortable vibing for long play sessions.

The mechanics were simple to follow, and the map was fun to explore; though there were a few moments of confusion, I never felt frustrated enough to put the game down. I was thrilled to be able to play shortly after launch, and even moreso for the chance to chat with the devs directly!