Digital Eclipse and Atari today announced Barbie™ Rewind, a game that intertwines a brand-new Barbie DreamHouse™ design game with 16 classic Barbie games from the Y2K era. Barbie™ Rewind will launch later this year on PlayStation 5, PlayStation 4, Xbox Series X|S, Xbox One, PC, Nintendo Switch and Nintendo Switch 2. A Standard edition physical version will release for PlayStation 5 and Nintendo Switch, and Deluxe Physical Edition will release for Nintendo Switch. Pre-Order Ba

Chicken Run: Eggstraction is exactly the kind of game you get when someone at Aardman says, “What if we made Metal Gear Solid, but everyone’s made of felt and panic?” And as someone who grew up playing the PSone Chicken Run game, yes, the one where you sneak around like a poultry‑based Solid Snake while the Tweedys loom over you like Yorkshire terminators, this new entry feels like coming home for Christmas. Which is fitting, because the movie is Christmas. If it’s on TV, the

RoadOut is one of those games that feels like it shouldn’t work on paper. It’s a top‑down action RPG welded to car combat, dungeon crawling, faction politics, and a post‑apocalyptic cyberpunk world that looks like a lost 16‑bit cartridge someone dug out of a bunker. And yet, somehow, it mostly comes together into a scrappy, ambitious, occasionally frustrating, but undeniably compelling wasteland trek. On Xbox, RoadOut runs smoothly and looks sharp, its pixel art popping nicel

ChainStaff doesn’t bother with subtlety. It opens by killing you, resurrecting you with a parasitic alien, and then shoving you straight into a world that looks like a stack of 70s metal album covers melted together. It’s loud, grotesque, stylish, and proudly strange and it's the kind of game that feels like it crawled out of a sketchbook full of riffs and nightmares. The art direction is the first thing that grabs you. Every environment feels like it was illustrated by someo

R-Type Dimensions III is more than a modernised port, it’s a preservation effort for one of the most distinct, demanding, and fiercely uncompromising entries in the entire shmup canon. For fans of the genre, R-Type III has always held a special place. Released originally on the Super Famicom/SNES in 1993, it marked a shift in tone and ambition for the series. It pushed the hardware to its limits with Mode 7 effects, grotesque biomechanical bosses, and a level of environmental

Slots & Daggers is what happens when a slot machine, a goblin, and a crunchy hip‑hop drum loop walk into a bar and decide to make a roguelike. It’s weird, scrappy, charming, and absolutely committed to its own bit and that bit is “what if gambling and goblin‑stabbing were the same action?” Created solo by Friedemann (the developer behind SUMMERHOUSE), this is a tiny, tightly wound arcade‑RPG hybrid that knows exactly what it wants to be: fast, noisy, and delightfully odd. It’

Atomic Owl announces its intentions before you even touch the controller. The moment Hidalgo Bladewing strolls back into his favourite ramen shop after a dangerous mission, only to be ambushed by the void crow Omega Wing, you know you’re in for something knowingly absurd, proudly dramatic, and deeply committed to its own pixel‑feathered mythology. Two years pass, Hidalgo’s friends are brainwashed, and the only thing standing between him and total defeat is a chaotic, loudmout

There’s a special kind of horror game that doesn’t just want to scare you, it wants to infect you. The Order of the Snake Scale is one of those. It’s grimy, surreal, and constantly muttering something unsettling under its breath, like a stranger on a night bus you can’t quite escape. You step into a town that feels abandoned by sanity long before you arrived, and every clue you uncover only tightens the noose. It’s messy, ambitious, and absolutely committed to its own madness

Tavern Manager Simulator on Xbox doesn’t arrive with a sweeping cinematic or a dramatic hook; instead, it hands you a derelict tavern that looks like it’s been abandoned since the last plague and quietly asks you to make something of it. The opening hours are slow, almost intentionally mundane, as you sweep floors, repair broken furniture, and drag debris out of corners that haven’t seen daylight in years. Yet there’s a strange charm in this simplicity. The game wants you to

Avenue Escape is a tiny, tidy traffic‑untangling puzzler that feels like it’s wandered onto Xbox wearing its best shirt, ready to prove that even the smallest games can earn a spot on the big screen. At £4.19, it’s a compact, low‑pressure logic toy built around one deceptively simple idea: tap a car, watch it move, and hope you haven’t just created a miniature motorway disaster. What makes it work is how cleanly that idea unfolds across 50 single‑screen puzzles, each one a li

King of Ping Pong: MEGAMIX is exactly the kind of oddball, low‑stakes arcade experiment I love stumbling across on Xbox: a game that takes a familiar sport, throws the rulebook into a blender, and serves it back as a neon‑lit boss rush where every opponent feels like they’ve wandered in from a different genre entirely. It’s cheap, it’s cheerful, and it’s got just enough mechanical bite to keep you locked in for “one more match” longer than you’d expect. The pitch is simple bu

Pawbay drops you into a sun‑washed coastal town and immediately hands you the keys to chaos. You’re not saving the world, solving a mystery, or embarking on a grand quest, you’re a cat, and your job is to be a cat. That means climbing onto roofs you shouldn’t reach, knocking over objects that definitely weren’t meant to be knocked over, and slipping into shops to “rearrange” their merchandise with your paws. The loop is basically: Wander into a new area Spot something temptin

Jimmy and the Pulsating Mass arrives on Xbox as one of those rare indie RPGs that looks like a quirky EarthBound homage but reveals itself to be something far stranger, deeper, and more emotionally charged. It’s a game that invites you in with bright pixel art and playful humour, then slowly, almost imperceptibly, begins to peel back layers of childhood fear, insecurity, and imagination until you realise you’re not just playing an RPG, you’re wandering through the interior wo

Booting up Myst on Xbox Series X/S feels like stepping back into a place I half‑remembered from childhood — the strange machines, the quiet docks, the sense that everything meant something, even if I couldn’t decode it at the time. As a kid, I wandered around clicking levers with no idea what I was doing. Now, the rebuilt environments feel like the version of Myst my imagination tried to fill in back then. The lighting, the textures, the way the island hums with quiet mystery

The Confinement on Xbox is a cold, clinical pressure chamber of precision platforming, where every second is a test and every mistake is a lesson carved into your reflexes. It’s the kind of game that studies you, adapts to you, and dares you to keep pushing deeper into its hostile simulation. What begins as a simple sprint through sterile corridors quickly becomes a full‑body rhythm game of timing, momentum, and nerve. You awaken inside a stark, brutalist complex controlled b

Skautfold: Moonless Knight feels like a curious artefact from another era. It's part gothic action‑RPG, part experimental Metroidvania, and unmistakably rooted in the eccentric, lore‑dense universe that the Skautfold series has been quietly building for years. Developed by Pugware and originally released on PC before making its way to consoles, this chapter shifts the series into a top‑down perspective and leans heavily on its signature blend of cosmic horror, alternate‑histo

There’s a particular thrill that only a good survivors‑like can deliver. That moment when the screen is so full of enemies, particles, and chaos that you’re not entirely sure how you’re still alive. Let Them Come: Onslaught understands that thrill better than most. It doesn’t try to reinvent the genre or disguise its inspirations; instead, it focuses on refining the feeling of being outnumbered, outgunned, and somehow still pushing forward. What Tuatara has built is a lean, a

Saint Slayer: Spear of Sacrilege opens like a lost relic from a parallel‑universe NES, one where developers in the late ’80s were allowed to be far stranger, darker, and more unhinged than history remembers. On Xbox, the game feels like a lovingly cursed artefact: a medieval fever dream rendered in chunky pixels, dripping with gothic mood and unapologetic brutality. You play as Rudiger, a retired soldier turned farmer who gets dragged back into the Holy Roman Empire’s worst w

If you’ve ever thought Overcooked needed more animals, more disasters, and more opportunities for everything to go wrong at once, Party Club is exactly that flavour of chaos. Developed by Lucid11 Interactive, the game drops you into a top‑down restaurant full of anthropomorphic customers, each with their own quirks, temperaments, and explosive potential for trouble. The loop is simple: seat customers, serve drinks, keep the peace, and survive the day. But the simplicity ends

Go! Go! Mister Chickums is the kind of game that feels like it was discovered behind a stack of dusty arcade boards in someone’s garage, the sort of thing you’d plug into a CRT, smack the side of the cabinet, and immediately lose three lives to a rogue bouncing enemy. It’s a single‑screen platformer in the purest, most unapologetic sense: tight arenas, strict timers, enemies with suspiciously cheerful faces, and a protagonist who looks like he’s one bad day away from becoming