Well, we’re still seeing new ideas in games today, but what’s perhaps more common are promising ideas that end up flopping. Whether it’s overpromising, poor execution, or trends chasing monetization, these games prove that a great idea alone isn’t enough.

Here are 15 revolutionary gaming concepts that sounded incredible on paper but then folded like a deck of cards with its execution.

Exploring A Full-Sized Galaxy – Starfield

Everything that Todd Howard presented to us about the then-upcoming open-galaxy Bethesda RPG seemed too good to be true. Skyrim in space was enough to get most of us in pre-order lines, but the promises went much further than that. There’s the hundreds of explorable solar systems with thousands of planets, sure, but the customizable space ship and ability to fly your ship and recruit crew members excited me the most. Unfortunately, when the game released, it was apparent that Todd’s promises really were too good to be true. There were practically no memorable characters, nearly every planet was devoid of interesting content, and ship navigation was frustrating and under-utilized. The game sold well enough due to initial hype, but a 97% player drop-off after six months and the broader damage to Bethesda’s reputation paint a clear picture of Starfield’s shortcomings..

Pirate Live Service – Skull and Bones

Just about everybody wanted a large open-seas pirate game where filled to the brim with tense ship battles and sea shanties, but the developer somehow managed to screw that up completely. The biggest failing with Skull and Bones was that it was a $70 title with a predatory live service model tacked on top of that. You had to grind for what seemed like hundreds of hours obtaining the ‘pieces of eight’ just to upgrade your hard-sought pirate ship equipment. The whole experience was just so bogged down in incremental monetization that even the few fans that were left had a hard time sticking with it for long. So much for the first ever AAAA game.

Hunters vs Hunted Multiplayer – Evolve

I wasn’t exactly the biggest Left 4 Dead fan in the world and even I was pretty excited about Evolve in the 2010s. Evolve pitted a group of hunters against a horrific Godzilla-like human-controlled opponent, differentiating Valve’s team-based shooter with an asynchronized matchup. The big distinction with Evolve is the colossal prey is just one human-controlled creature, resulting in a lopsided 4 versus 1 scenario. Matches were novel and hilariously fun … for the first couple hours. Running around as a hulking horror monster in search of four helpless little humans makes it hard to frown. But the novelty wore off pretty quick. The balance issues, very thin post-game offerings, and hefty price tag for what was essentially a repetitive game loop contributed to Evolve devolving to the husk it is today.

Open World Parkour – Forspoken

I remember being pretty hyped for Forspoken right before its demo released. It was made by the Final Fantasy XV studio using their in-house engine, all of which I’d been a big fan of. And the open-world parkouring just looked absolutely mesmerizing to top it off. Well, after playing the demo, I found myself frankly appalled. The best thing I can say about Forspoken is that it looks nice and has a serviceable soundtrack. The dialogue is perhaps the biggest culprit behind it’s failure, but the repetitive enemy encounters and throwaway isekai story don’t help sell the game either.

Your Choices (Don’t) Change Everything – Mass Effect 3

A lot of gamers want a good choice-driven narrative and plenty of games have attempted it over the years. Yet, carrying over those choices for a meaningful endgame remains an elusive accomplishment for many titles. Mass Effect 3 is perhaps the best example of this. Mass Effect 2 was noteworthy for carrying over key decisions made from the first game and branching those off into even more scenarios into the third game. Yet, Mass Effect 3 ended on a whimper with originally only three endings. The worst part about the narrow endgame funnel was just how paper-thin the different endings were. It’s like all the player-driven choices throughout the three games came to the same uninspired conclusion, albeit with a different color tacked on.

Mandatory Crafting – Metal Gear Survive, Fallout 4

I’m all for looting abandoned houses in open-world games, especially when paired with a robust crafting system. Yet, some games rely a bit too much on crafting to advance the main story. In the case of Fallout 4, crafting is absolutely essential no matter what you plan on doing in the game. The game’s big draw, other than being another Fallout, was its settlement creation system. Yet, to properly build up your settlement, you had to grind for loot and craft like crazy. And then on the extreme spectrum, you have Metal Gear Survive, which made crafting the core gameplay loop, and by extension, the only loop the game had to offer. Crafting is a fun aspect of gameplay, but there’s such a thing as too much of it, as is the case with these two games.

Detective Vision – Batman: Arkham Series, The Last of Us Part 1

Batman: Arkham Asylum made many of us fall in love with detective vision gameplay. Turning on the infrared goggles and snooping the environment for clues just added so much to the setting and gameplay. But then, it seemed like every other game out there started implementing it, and the novelty didn’t quite stick. The Witcher 3 had Geralt investigating hundreds of trails using his witcher sense, but fans generally like it there because of his fun banter. But the later Arkham games and The Last of Us Part 1 tended to overuse detective vision to the point where it slowed down not just the gameplay but story as well.

Procedural “Infinite Story” Generation – No Man’s Sky Launch, Daggerfall

I remember how skeptical a majority of gamers were when Sean Murray talked up his infinite galaxy filled with procedural generation in No Man’s Sky. The game released and, well, a majority of gamers felt correct in their initial skepticism. No Man Sky’s launch lacked the touted multiplayer component that it now enjoys, but it also felt barren and void of meaningful content, something procedural generation often struggles with. An earlier example of empty fields of infinite procedural generated content was Bethesda’s Daggerfall. Daggerfall boasts a staggering 62,000 to 80,000 square miles of traversable land with well over 10,000 towns. It was simply the largest game at the time of release, dwarfing most modern open-worlds today. Yet, the dungeon design was … well, absent. And the actual content within such mammoth maps were repetitive and shallow, even if other systems were novel and fun at the time.

Memory Editing — Remember Me

On paper, Remember Me’s mix of third-person action combat, platforming, and puzzles in the form of Memory Remixing should’ve been the beginning of a new hit franchise. DontNod had the budget and concept for a longlasting series and rewriting people’s past to influence an outcome in the plot was the big selling point. And you don’t just rewrite memories in cutscenes, you actively re-arrange objects called glitches in the subject’s mind like a puzzle. It’s a truly terrifying ability, and one that would’ve rivaled the Animus from Assassin’s Creed if it was used more fully in the game. In the end, Remember Me was known for its subpar combat encounters and underbaked story. If only Remember Me could’ve remembered the Memory Remix mechanic enough for gamers to remember it.

Possess Enemies On-the-Fly — Mindjack

Who remembers the Japanese cover shooter game from the early 2010s, Mindjack? Yeah, probably not many. Besides the generic third-person shooting mechanics and forgettable sci-fi story, it had an innovative mind-hacking mechanic thrown into the mix. Being able to possess enemies and convert them to your side on-the-fly sounds pretty dang fun, until you realize the AI is awful in Mindjack. The repetitive level design and bland missions didn’t help the promising mind-jacking concept either.

Open-World Live Service Campaign — Anthem

Bioware is still chugging along today even after lukewarm releases like Dragon Age The Veilguard and Mass Effect Andromeda, but Anthem was the signal that the  studio just wasn’t the same anymore. Despite building a reputation for rich storytelling and immersive character interactions, EA made Bioware go the live service multiplayer route with Anthem. That decision didn’t go well with longtime fans or newcomers. The launch was plagued by glitches, bugs, and crashes galore. And the long-term looter-shooter loop didn’t do enough to keep players around. This is alll despite a genuinely fun jetpack system that allowed players to fly around with their mechanized soldier through the environment with ease. It’s a fun game to fly around in, but was a chore to actually do anything else.

Superhero Looter-Brawler – Marvel’s Avengers

Marvel’s Avengers was another game that cashed in on the live service looter band-wagon, with the advantage of having the Marvel IP tied to it. There was actually quite a bit of hype building up for Crystal Dynamics’ huge new AAA superhero game. It came out during a time of Avengers high and within a game industry that hadn’t capitalized on it yet. Needless to say, many gamers desperately wanted to pick their favorite Avenger and fight some baddies in a high quality action game. But the aggressive repetition within the mission design and lack of a post-game severely hindered what was supposed to be an ever-evolving game. If you’re going to make a game with the kind of structure of Marvel’s Avengers, at least build it around a compelling story and interesting gameplay.

AAA Episodic Storytelling – Telltale Games

Where’s Telltale Games been, by the way? Episodic interactive game dramas just aren’t the same since Telltale’s reign in the 2010s. Telltale’s The Walking Dead fomented a revolution in the episodic potential for smaller-scale video games. But it seems that ever since Telltale’s Game of Thrones, the formula just hasn’t seen the same kind of success. The stagnant cell-shaded art style contributed to gamers just getting tired of Telltale games, but the realization that choices were largely illusory or at least highly bottlenecked also likely played a role in the genre’s decline.

Time-Manipulation Shooter — TimeShift

Everyone loves a good bullet-time Matrix moment in movies or TV, especially so when we get to control it. TimeShift leaned into the slow-motion cool factor and then cranked it up a notch with full control over time itself. Centering a first-person shooter on time manipulation abilities just seems limitless in its potential. But despite the ability to freeze time in the middle of firefights, the game just felt lackluster to play. Like Anthem, the game had one cool thing going for it: the time-bending abilities, with nothing else to compliment that. The story, while told within a cool dieselpunk setting, was awkwardly paced and surrounded by forgettable characters. And the enemies were bullet-sponges without much thought put into their encounter design. We all love a good time-bending mechanic, but TimeShift just didn’t make a good game around it.

Cloud-Powered, Fully Destructible Cities — Crackdown 3

Gamers were surprisingly delighted by the chaotic sandbox that Crackdown 2 provided and hyped up the next game beyond what it was capable to deliver. The third game executed on the sandbox action hero concept about as well as MindEye did the GTA formula (okay, maybe not quite that bad). Where the second Crackdown delivered on laughs and mindless fun, the third drilled repetitive urban landscapes and bland mission design into our tired hands. Even the advertised cloud-powered destructible environments didn’t make the final cut into the game, except for the now-dead multiplayer mode that nobody played. Crackdown 3 failed to iterate or improve on the chaotic sandbox formula that fans loved about the second one, so much so that even Terry Crews couldn’t save it.

Here are 15 details well worth knowing about before buying Yakuza Kiwami 3 + Dark Ties on its February 11th release date.

A Ground-Up Remake of 2009’s Yakuza 3

Yakuza 3 originally released in 2009, and both the original version and its later remaster are often considered the black sheep of the franchise. Common complaints ranged from its clunky, block-heavy combat to the stilted pacing of the orphanage chapters. Kiwami 3 appears designed specifically to address those points, and then some. Built entirely within an upgraded Dragon Engine, the remake features modern HD visuals, improved animations, and entirely original modes. Cutscenes have been re-done and certain story beats have been restructured for more even pacing. On top of that, the game introduces a brand-new side story campaign in Dark Ties, which stars a fan-favorite character.

Orphanage Simulator

While the orphanage busywork was a pacing killer in the original Yakuza 3, these sections are completely overhauled to be more optional and engaging in Yakuza Kiwami 3. First, the minigames actually look feature-complete and, well, fun now. You can test Kiryu’s cooking skills in a Cooking Mama-like minigame, join the kids in a sewing battle, go fishing, and more. There’s a new bond system appropriately called ‘Daddy Rank’ too. As you complete these activities, you unlock substories for each child resulting in new cooking dishes and crafted items to sell at the market. In short, it’s a sim-like layer that contrasts the darker story to the game.

Motion Capture and Recast Voices

Helping enhance the dark tone further are some new reworked cutscenes. Now, we don’t quite know the placement of these new scenes or how the pacing will result from it all, but the overhaul signals a direct response to criticism of the original game’s uneven storytelling. Both the Japanese and English voice casts have been recast, with fresh motion capture performed by the new actors. Several characters, including Goh Hamazaki, Rikiya Shimabukuro, and Shigeru Nakahara, have been visually remodeled to resemble their new Japanese voice actors. This decision has understandably sparked some debate among longtime fans.

Bad Boy Dragon Mode

Another huge side activity that we will easily find ourselves lost in is the Bad Boy Dragon biker gang. In a similar vein as Pirate Yakuza, Kiryu leads the charge of a crew of, not pirates, but biker girls. Gameplay combines massive brawls against waves of up to 100 enemies with high-speed motorcycle segments where you capture enemy territory. You can recruit new members, upgrade bikes, and strategically organize a gang of over 20 units. The emphasis on scale and positioning should appeal especially to fans of musou-style games, adding a tactical layer to the familiar Yakuza combat loop.

Hell’s Arena

Accessible through Mine’s separate campaign, Hell’s Arena introduces multiple combat-focused modes. I’m especially intrigued by the new Survival Hell dungeon race. As the title suggests, you race through a perilous dungeon filled with traps and treasures. There’s a boss waiting for those skilled enough to survive the gauntlet, so you’ll need to pick up treasures and special survival weapons along the way to succeed against the last hurdle. Organizing a group of mercenaries helps your odds too. But the underground fight club is actually the main attraction of Hell’s Arena. These are composed of one-on-one brawls knocking out an opponent within a time limit. I’m all for a goofy tournament fighting arc, so Hell’s Arena should provide on that front.

Combat: Miyazato Dojo

Kiryu’s story unfolds primarily in sun-soaked Okinawa, And with the new territory comes new ways of fighting. Kiryu must enter the tutelage of master Miya-san at the Miyazato Dojo. It’s here where you learn the Ryukyu fighting style, which includes a whole fresh progression system and technique. Part of the journey to becoming a Ryukyu kobujutsu master is acing the exams set by Miya-san. Do this and you’ll eventually learn secret techniques that will prove useful throughout the rest of the game.

Combat: Ryukyu Style Explained

But what exactly is Ryukyu fighting? It’s essentially Kiryu’s new weapon-based fighting style for the game. There’s 8 Okinawan weapons featured in this style. These are shield (tinbe), spear (rochin), tekko (knuckledusters), tonfas, nunchaku, and even a wooden oar. These aren’t just pieces of equipment though, they’re baked into a dedicated system. Weapons can be swapped on the fly using hotkeys, allowing players to chain attacks seamlessly in a way reminiscent of Sea Dog Style. This fluidity stands in stark contrast to the slower, more defensive combat of the original Yakuza 3.

Merging of the Two Fighting Styles

You won’t just be weaving between weapon types, but fighting styles in general. The familiar Dragon of Dojima fighting style can be swapped seamlessly with the new Okinawan Ryukyu style. Dragon style has been enhanced with new finishers and loads of additional environmental destruction elements that you can use to your disposal against foes. To unleash the new finishers, you must charge up and activate Dragon Boost, a new powered-up state for Kiryu that essentially turns him Super Saiyan. Everything from ground-breaking pile drivers and long-distance throws are enhanced during a Dragon Boost.

Loads of Combat Techniques

Of course, merging between these two fleshed out combat styles brings with it a ton of variability. By combining two fully realized fighting styles, Yakuza Kiwami 3 boasts what the developer has described as the largest library of attack techniques in the franchise’s history. The sheer variety encourages experimentation and makes combat encounters far more dynamic than before.

New Minigames

Of course, not everything in the original Yakuza 3 has been preserved for the remake. A number of minigames have been removed, but in return, many more take their place. You’ve got your established minigames like karaoke, batting cages, billiards, darts, and various arcade games like UFO Catcher. The big additions are the orphanage minigames and dedicated photography quest. Mine has his own set of minigames to have fun with too. Mine’s campaign introduces Kanda’s Damage Control, where you act as Kanda’s PR agent. Kanda’s Damage Control is structured by an overarching ‘Good Deeds’ story, civilian side quests, and a checklist of accomplishments within the ‘Damage Control Challenge’.

A New Story Expansion

Dark Ties is a full story expansion centered on Yoshitaka Mine, one of Yakuza 3’s most compelling antagonists. Not only can you play as Mine, which has been a pipe dream for fans for years, but you explore his past through an even seedier underground district of the Kamurucho. It’s going to be fascinating to watch his descent into the criminal world and see from his point of view before his meeting with Kiryu in Yakuza 3 proper.

From Short Film to Game

Mine’s popularity prompted the studio to expand what was originally envisioned as a short film into a fully playable side game. The developer has been on record citing Mine as a top 5 favorite character in the series. This campaign is described as one of the darkest stories in the franchise to date, deliberately contrasting Kiryu’s more hopeful story in Yakuza 3.

Mine’s Unique Combat Style

In fact, Mine’s story is so dark that his combat style needed to be called ‘Dark Awakening’. Well, maybe there’s a different reason for the name, like high-risk/high-reward precision strikes so emblematic of Mine’s style. The swift aerial strikes stand out the most with this fighting style, but the Dark Awakening State push him into overdrive with extraordinary speed and precision. Mine’s fighting reminds me of a dragoon/ninja, and I couldn’t be more stoked to try it out.

Start Selection

Upon launching the game, you can choose whether to begin with Kiryu’s main story or jump directly into Dark Ties. This flexibility allows returning fans to experience the new content immediately, while newcomers can save it as a companion piece after completing the core narrative.

Dark Ties Spans 8-11 hours

Based on developer comments and hands-on previews, Dark Ties is expected to run between 8 and 11 hours, depending on side content engagement. Its scope is comparable to The Kaito Files and Like a Dragon Gaiden: The Man Who Erased His Name, which offered similarly focused, standalone narratives. According to a developer interview cited by Sportskeeda, Dark Ties is roughly the same length as Like a Dragon: Gaiden, positioning it as a substantial expansion rather than a brief add-on.

PC Specs

On the lower end, Yakuza Kiwami 3 remains fairly accessible for modern PCs. First, you’ll need to save up 58 GB of space for memory. The minimum requirements require an Intel Core i3-8100 or AMD Ryzen 3 2300X paired with 8 GB of RAM and a GPU of either a GTX 1650, Radeon RX 6400. Higher-end setups require the beefier Intel Core i5-8700K or AMD Ryzen 5 2600X, alongside 16 GB of RAM, and GPU of RTX 3060, Radeon RX 7600.

"As a tactical grid-based game from the ’90s, the original featured pixelated, steampunk designs that feel genuinely charming today."

If it wasn’t already clear from the mech lying despondent in some rubble on the game’s cover, Front Mission 3 has a thoroughbred industrial aesthetic that screams ’90s (if not late-’80s) anime. The visual tone is surprisingly grounded, it plays like a military technothriller, more geopolitical tension than super-robot spectacle. While mechs are the clear focal point, even they avoid overly fantastical elements, favoring believability over exaggerated spectacle.

As a tactical grid-based game from the ’90s, the original featured pixelated, steampunk designs that feel genuinely charming today. This remake builds on that foundation, and compared to the previous Switch release, several visual upgrades enhance the aesthetic. Most notably, the controversial AI-generated portraits used in the Network have been removed and replaced with original PS1 artwork. In other cases, those Network images have been reworked to look far more natural and cohesive than the AI-generated weirdness that was featured in the Switch release.

That said, the character portraits still have that ‘processed’ look, cleaner, but less textured than the original art. For old-school pixel art fans like myself, a portrait toggle, or better yet, a full graphical toggle, would have been ideal. The new 3D backgrounds are serviceable, but several side-by-side comparisons reveal that some environmental detail has been lost in the transition. Street lamps, traffic cones, and other small flourishes present in the original pixel art are occasionally omitted in the new 3D overhaul.

"While mechs are the clear focal point, even they avoid overly fantastical elements, favoring believability over exaggerated spectacle."

The upside is improved lighting and color contrast. Environments pop more vividly, and mechs often look more imposing as light reflects off their armor. Unfortunately, this comes with a trade-off: some of the mech designs lose their distinctiveness. Several Wanzers (the game’s mechs) that once leaned into cool steampunk-inspired silhouettes have been redesigned into generic industrial forms. These are designs we’ve seen countless times before compared to the unique pixel depictions of the mechs from the original. Because these 3D assets represent such a mixed bag, a graphics toggle between classic and remake visuals (similar to the music options) would have been the best solution.

Speaking of music, the Front Mission 3 soundtrack is all re-orchestrated in faithful, one-to-one arrangements. Even so, many fans will still prefer the punchy, compressed soundfont of the original PS1 release. Thankfully, both soundtracks are included and can be toggled freely in the menu, a feature I wish was available for the graphics, but we’ll take what we can get.

The music in general is pretty dang good. It’s your classic PS1 quality, but still head-bobbing and atmospheric. Some of the battle music can grow repetitive though. Short loops combined with long combat engagements don’t leave much room for variety, and the limited number of tracks becomes noticeable over time.

Unfortunately, there’s no option to revert to the original sound effects. The new effects are noticeably tinny and piercing, not to mention the imbalance in the audio mix that overpowers the music with the tinny effects. While individual volume sliders help mitigate this issue, it’s still a disappointment given how much care was taken with the music itself.

"Smaller map sizes compound visibility issues, especially in tight indoor environments."

All the audiovisual polish in the world wouldn’t matter if the core combat didn’t hold up, and thankfully, it mostly does. Front Mission 3 is a tactical RPG in the same general lineage as Final Fantasy Tactics, though it’s far less complex. Battles play out on grid-based maps with turn-based strategy, but without class systems or meaningful terrain mechanics, the tactical depth is relatively light.

Maps are noticeably smaller than in previous Front Mission titles, which reduces the number of combatants and keeps engagements more focused. While mechanics like damage types, action points, status effects, and skills are present, the true depth lies in the kind of mech customization that can be done. Each pilot’s Wanzer can be assembled from different bodies, arms, shoulders, legs, and weapons, all of which you unlock gradually over the course of the game.

Progression, however, is sluggish in the opening hours. You’ll spend a long stretch using the same limited parts before the game even introduces tutorials for more advanced customization systems. Once it finally opens up, tinkering with Wanzers becomes one of the game’s biggest strengths.

Character growth revolves around Medals, which are earned by destroying individual enemy parts or eliminating them outright. This system encourages targeted combat, one of Front Mission’s signature mechanics. Unfortunately, manual targeting options are limited, and too much relies on RNG-driven targeted attacks rather than deliberate player choice.

Battles themselves are engaging and fun for tactical fans, but their pacing can feel glacial. Sitting through the sluggish mech travel speeds and attack animations can put you to sleep pretty quick. While “Fast Battle” and “Fast Movement” options exist in the settings menu to skip these slow animations, there’s no satisfying middle ground. Fast Battle hits the skip button on everything, including the info you actually need. No animations, no mech-part or pilot damage indicators. Fast Movement skips travel animations completely, which is nice. But a simple ‘skip’ button for animations, or a fast-forward toggle would’ve been the ideal solution here.

"You need to enter a separate top-down view mode to check enemy attack squares."

Situational awareness also suffers during battles. You can’t easily check enemy movement spaces or attack ranges during standard play, instead needing to enter a separate top-down view mode. Transitioning between that view and the normal camera is a chore, making it difficult to remember which specific tiles are safe and whatnot. The game would’ve benefited by having persistent tile overlays showcasing enemy unit actions, especially given the increased button count that modern controllers provide, allowing these kinds of toggles to be possible. You also need to enter the top-down menu to see the mission objective for each map, which is just bizarre.

Smaller map sizes further compound visibility issues, especially in tight indoor environments. Awkward camera angles, wall clipping, and obstructed paths are common. While unit transparency can be toggled, there’s no universal option to make walls and environmental objects transparent.

Lastly, there’s some fairly good replay value here thanks to the game’s two branching campaigns. Early on, players choose between following Alisa, the protagonist’s sister, or Emma, a mysterious covert agent. Each route offers different dialogue, stages, and enemies, though the game does a poor job of signaling how important this choice actually is. I didn’t even realize I had made a branching decision on my first playthrough. While the two routes aren’t drastically different, the incentive to replay remains attractive.

"The plot won’t blow anyone away, but it’s a solid slice of late-’90s mecha storytelling."

But is Front Mission 3 worth playing for the story? Well, yes and no. I absolutely love the lore in this installment, but the main plot is just serviceable when you discount the cool mecha aesthetic. And outside of the Emma/Alisa split, the story is linear and delivered through brief cutscenes and textbox dialogue.

Front Mission 3 continues the series’ tradition of grounded war narratives and industrial themes. Inspired by mecha anime classics like Evangelion, it largely avoids supernatural elements in favor of political intrigue and military conspiracies. The plot won’t blow anyone away, but it’s a solid slice of late-’90s mecha storytelling that I think genre fans will appreciate. What truly elevates the narrative is the Network; an in-game simulation of the internet that functions as a massive lore database. As the story progresses, new webpages unlock offering news articles, character profiles, military reports, and hidden content tied to character interactions.

As a relative newcomer to the series, the Network impressed me more than any other aspect of the game. It’s dense, immersive, and structured like an actual web browser, complete with interconnected links and discoverable secrets.

"As the story progresses, new webpages unlock offering news articles, character profiles, military reports, and hidden content."

Navigation, however, is clunky. Manually scrolling to exit tabs and dealing with slow page transitions can be frustrating. Still, customization options like unlockable desktop backgrounds are welcome touches.

Front Mission 3 Remake is a slight improvement over the Switch version, especially in its handling of artwork and presentation. It’s also an upgrade over the original with its suite of options and modern control scheme. The inclusion of multiple soundtrack options, enhanced lighting, and general 3D overhaul leans in the remake category, while the rest of the game feels like it mostly did on the PS1. The remake still struggles with uneven pacing, awkward visibility, limited tactical depth, and a frustrating lack of toggles letting playes choose between classic and modern elements.

Despite its shortcomings, the game’s strong mech customization and distinctive tone make it easy to recommend to fans of tactical RPGs and grounded mecha fiction. It may not be the definitive version longtime fans dreamed of, but hey, it’s still a worthy way to experience one of the genre’s most interesting cult classics.

This game was reviewed on the PlayStation 5.

Where It Fits in the Lore

Who remembers the 2014 Xbox 360 tactical RPG Of Orcs and Men? Probably not many. The Styx games are more widely known, mostly because of the steep discounts and cheep point of entry. Styx: Blades of Greed ties directly into the overlooked tactical title that started it all, serving as a prequel that sets up the Great War between humans and goblins. It also explores the origins of the Black Hand, the mercenary group Styx belonged to in Of Orcs and Men. With its position bridging the older game and the more recent Styx titles, Blades of Greed feels like an ideal jumping-on point for newcomers.

Single-Player Stealth Action-Adventure

Unlike the tactical RPG gameplay from Of Orcs and Men, Styx sticks closely to the stealth-action formula fans expect from the series. This new entry notably drops the co-op mode that divided players in Styx: Shards of Darkness. This time around, the experience is entirely single-player, allowing the developers to laser-focus on tighter level design and more polished stealth mechanics.

Core Hook: Hunting Quartz

As a persecuted goblin (the only one who speaks), Styx now makes his living hunting Quartz, a powerful new energy resource. This time, he’s running the operation himself, commanding a crew aboard a zeppelin. Quartz fuels everything from towering golems to flying airships, and multiple factions are battling to control it. The conflict over Quartz isn’t just a narrative conceit though, it directly feeds into the game’s core systems and progression.

New Quartz Powers

Quartz introduces a brand-new suite of abilities that Styx can wield across his high-flying journey. In fact, fans of Dishonored might feel right at home here. You’ve got powers like Mind Control, which lets Styx briefly possess enemies, and Time Shift, which slows or accelerates time so you can slip through patrol routes. Flux Blast offers a more aggressive option, unleashing a shockwave that knocks enemies off their feet. Quartz abilities form just a half of the game’s upgrade system.

Cloning and Invisibility Return

The other half of Styx’s abilities come from the stealth-minded Amber skills. These include returning fan-favorites like invisibility and cloning, which lean more toward defensive and evasive playstyles compared to the offense-oriented Quartz abilities. Clone Decoy is a tad different compared to previous titles since you cannot directly pilot clones this time. The advantage is their upgradability.

Two-Track Progression

Skills in Blades of Greed aren’t static. The game features a branching, two-track skill tree giving you the option to invest in either Amber stealth abilities or aggressive Quartz powers. Your choices shape how Styx handles encounters. For example, clone-related upgrades allow you to deploy multiple decoys, which can be invaluable for slipping past heavily guarded patrols.

Crafting

Skills aren’t the only trick up Styx’ goblin sleeve; he’s also a cunning trapmaster who knows how to craft. Looting is something goblins are particularly good at and you’ll be doing much of that within the more open-ended environments. Collected materials can be used to craft temporary weapons, potions, and traps on the fly. These range from noise-making whistles and glass bottles to acid used to quickly dispose bodies. Crafting is fast and seamless, aided by automatic loot pickups.

Vertical Environments

Environments aren’t just bigger for the sake of loot though, they also serve to vary up the terrain. The game has a notable vertical element complimenting the stealth/action gameplay. Styx can climb structures and parkour across rooftops with leaps and slides, and performing kills from behind is more satisfying due to the multi-angle sandbox design. There’s some exciting tools that make traversal across the larger world more fun too, as we’ll get into shortly.

More Progression Details

These larger environments support a new platformer-inspired structure, which has me pretty excited. As you progress, you’ll unlock tools that open up new routes and shortcuts. To keep backtracking manageable, fast-travel points are scattered throughout the world in addition to frequent respawn points.

Glider and Grappling Hook

Traversal gets a major upgrade thanks to new tools. Styx can now glide across gaps using a hang glider, reaching new areas and striking enemies from above. A grappling hook allows him to zip instantly to ledges and rooftops, while climbing claws help scale steep, often rugged, walls.

Three Large Districts

Rather than a fully open world, Blades of Greed is divided into three open-ended districts. The Wall is an imposing borderland tower separating humans from the rest of the world and features some of the game’s most vertigo-inducing heights. Turquoise Dawn is a dense jungle homeland of the orcs, while Akenash offers a more fantastical, Tolkien-inspired aesthetic as the elven capital.

Zeppelin Hub

Aside from fast-travel points, you can access regions via Styx’s own personal zeppelin. The zeppelin serves as the mobile hub of the game, housing your delinquent crew of Quartz thieves with Styx at the helm. My favorite aspect of the zeppelin is that it acts as the place of conversation for all the party members. I’m not expecting the Normandy from Mass Effect here, but the zeppelin serves a similar purpose. My hopes weren’t let down when I heard the crew members speak. Your elf companion Djarak is voiced by the same actor who played Balthier in Final Fantasy XII, a fitting casting choice considering they’re both sky pirates in their respective games. Let’s just hope the dialogue writing matches the potential and we get some cool backstories and companion quests for Styx’s crew.

Tone

It’s perhaps worth pointing out that Styx himself is a very chatty goblin. In fact, he talks to himself more than he does to his crewmates throughout the game. Much of the game’s humor is filtered through his monologues and quippy observations. Thankfully, the developers have confirmed that the very repetitive death screens from Shards of Darkness are gone, replaced by contextual ragdoll animations. Numerous words are heard in the short demo alone, so if you’re averse to heavy swearing, steer clear, and if you want something with more of an edge, you’re in the right place.

Length

According to the developers, a casual playthrough clocks in at around 20 hours. Completionists and explorers can expect to spend significantly more time uncovering secrets and side activities scattered throughout the districts.

Price and Editions

For a semi-open-world platformer offering over 20 hours of content, the price is appealing. Styx: Blades of Greed retails for $39.99 on PC and $49.99 on consoles. Still not sure if it’s for you? Well, there’s a 30-minute demo available, and best of all, your progress carries over to the full game. For fans who want early access and extra bonuses, the Quartz Edition costs $10 more and includes 48-hour early access, skins, weapons, and some bonus talent points to spend on your Quartz thievery antics.

What’s interesting is that Code Vein didn’t just reskin the Souls formula with anime aesthetics (like 2025’s AI Limit); it actively rethought how many of the genre’s core ideas could function through an overtly narrative-driven lens. From its emphasis on party members and personal bonds to its unusually flexible build system and story-integrated mechanics, the game helps players connect with characters and the world, not just through item descriptions, but dialogue and scenes. We’re closely approaching a sequel in Code Vein II and have seen other anime adjacent soulslikes pop up. AI Limit was on my top 10 favorite games of 2025 list at number 10, but was much more traditional in its soulslike approach than Code Vein. We still haven’t seen another game quite like Code Vein in the soulslike genre, so let’s explore what makes it so special, especially for its time.

Code Vein does quite a lot of things traditional Soulslikes don’t do, but a character creator ain’t one of them. Still, upon first booting up the game, we were all bamboozled with one of the absolute most in-depth character creators in gaming at for the time. You can mold your character’s facial features through a huge selection of sliders and dress them up in a wide assortment of clothing and accessories. But it’s the ability to place these, oftentimes wild, accessories on any location of your character that sets it apart. The UI is also strikingly good, with plenty of background lighting and camera options to customize your character to. This first impression of Code Vein’s customization is more than just cosmetic though, it’s a preview of the game’s overall flexibility, which extends directly into its build system.

You might be asking why such an intricate character creator is even worth mentioning. Well, Code Vein is one of a vanishingly small number of games in its genre to feature a photo mode. And it’s a robust one at that. The photo mode is so feature-rich that it eclipses the editing software that came with my old Sony camera. You’ve got a bounty of fun and novel filters to play with, including my absolute favorite, a pixelated filter that turns any screenshot into a super Nintendo game. There’s also 37 frames and the camera features you’d typically expect like tilt, depth of field, exposure, film grain, etc. For the time, it was also the only soulslike where you could pause during combat, using photo mode to do so, of course.

Code Vein’s almost limitless sense of personalization continues directly into gameplay. You unlock passive and active abilities and techniques through Blood Codes, which function as pre-set builds. The cool thing is you can mix and abilities across blood codes after getting proficient in that particular ability. If you don’t want to craft your own build, you can just equip your preset blood code and you’re good to go, and with over 35 of them to collect, you have lots to choose from. What’s really cool is that each character in the game is represented by their own unique Blood Code. So if you want to play like one of your teammates, or even opponents including bosses, you can.

The fun thing is that Code Vein ties every gameplay mechanic into story in rather clever ways. Blood Codes, for example, are often gifted to you after reaching a certain bond level with a character, reinforcing the feeling that your power comes from shared experiences (insert power through friendship meme). Your role as a special Revenant allows you to ‘absorb’ other Revenant’s Blood Codes. And of course, blood is a vital theme within the game as a whole. Your ‘armor’ and secondary weapon is known as a blood veil, which itself is used to drain ichor using vampire-like fangs. And the game’s denizens, Revenants, each have parasites living in their heart which helps bring them back to ‘life’ upon death, also determining their signature blood code.

Yeah, the lore goes pretty deep, doesn’t it? There’s plenty of it to unpack and discover through the main story, but there’s also numerous side stories and character backstories to explore on top of that. Unlike a majority of soulslikes, Code Vein has a wide cast of characters that can be brought with you into battle as party members. They gather in a dedicated hub area, which gets expanded and added on as you play. Your companions also expand with new dialogue after key story beats. From a gameplay perspective, this allows you to approach Code Vein like a party-based RPG, or tackle it solo for an added challenge. Narratively, it opens the door to extensive backstory. Each character has a shockingly in-depth backstory that can be experienced through memory vignettes. Again, this is all tied into the rich lore of the game in a way that more or less makes sense given the rules of the setting. These memory sequences are collected through Memory Echoes and Vestiges, and there’s a crap-ton of them throughout the game, well over 100 in fact. While the slow walking can be tedious, especially on New Game+ runs, their presentation is undeniably striking.

That presentation ties directly into Code Vein’s music and art direction. Memory sequences are accompanied by elegant, emotional piano pieces and depicted in stark black-and-white scenes using claymation-like figures and animations. It’s a storytelling method unlike anything else in the genre. Code Vein’s memory sequences are a powerful narrative tool that manages to show us what the villains went through before being corrupted, humanizing them in the process. The dramatic voice acting and stirring score are the cherry on top. The story in general is presented through cutscenes, something soulslikes shy away from given their typical show-don’t-tell approach to narrative. Code Vein is different, leaning into flashy cinematics and emotional character outbursts. That anime souls approach may not be for everybody, but man did Code Vein knock it out of the park.

It’s not any single element of Code Vein that continues to impress me, but how all of these elements are synthesized into a cohesive whole. I often hear about how fun the combat in Code Vein is or how cool the anime art is, but the brilliant gameplay/story integration is often overlooked.  Gameplay and art alone wouldn’t make the game stand out in an increasingly crowded genre. What elevates Code Vein is how intentionally its systems reinforce one another, all in service of its themes.

As more Soulslikes experiment with anime aesthetics, cinematic storytelling, or companion-driven design, it’s becoming increasingly clear just how ahead of the curve Code Vein was. Not every experiment landed perfectly, and its tone won’t resonate with everyone, but its ambition is undeniable. Rather than dilute the Souls formula, Code Vein reframed it, proving that there’s room in the genre for melodrama, overt emotion, and more generous gameplay systems than the Dark Souls and Khazans of the world.

As we look toward Code Vein II, it’ll be interesting to see how the studio leans into the first game’s strengths. Not just going bigger with its spectacle or prettier with the anime aesthetic, but honing in on the gameplay/story integration and character focus.

Note: The views expressed in this article are those of the author and do not necessarily represent the views of, and should not be attributed to, GamingBolt as an organization.

Dead Space

If there’s one game that hardly needs a remake today, it’s the original Dead Space. Don’t get me wrong, the remake is awesome, but the 2008 original still holds up remarkably well. The graphics were at the top of the industry and still look amazing today. But it’s the way the atmosphere was crafted that particularly leaves a lasting impression on us. The diagetic HUD is partly to thank for the top-notch immersion, but the Necromorph designs are especially timeless in their ability to send a chill down gamers’ spines. Dead Space also doesn’t have an ounce of jank in its DNA; it feels remarkably precise and intuitive to play today. We’re still seeing tons of triple-A games use that iconic over the shoulder perspective, and we have the original Dead Space to thank for convincing us that it’s awesome.

Crysis

Back in 2007, Crysis was the rosetta stone benchmark for PC performance. Today, maybe not as much, but it can still be confused as a modern game. It was one of the games boasting advanced volumetric lighting and crazy far draw distances, and the lush jungle environments made for an attractive display piece to show off that tech. Crysis was also pretty dang modern with its gameplay systems. The campaign let players freely explore the tropical sandbox with its wide-linear design. Like the studio’s Far Cry titles, a smorgasbord of vehicles were up for the taking to accomplish missions in varying ways. If the day/cycle or gunplay didn’t impress, the visuals sure did, and continue to.

Red Dead Redemption

The year was 2010, gamers were absolutely starving for an immersive wild west game, and Rockstar was the one studio poised to do it. They already released Red Dead Revolver in 2004 and had the technology to finally meet the setting’s great potential. And that they did. Red Dead Redemption’s sprawling open world is filled with fun activities and more interesting personalities than you can fit in a stage coach. It’s Rockstar’s best pre-GTA 5 game to return to have good time without much friction. And it’s highly recommended players go back to this gem to understand Red Dead Redemption 2, as it functions as a sequel to that game. It’s not hard to fall in love with it today given the tight gunplay and solid graphics.

Max Payne 3

Max Payne 3 is the second pre-GTA 5 Rockstar game that’s easiest to return to today. The big selling point is the bullet-time mechanic from previous entries being turned up a couple notches. There’s not a single game that I can think of that does slow-mo shootouts as well as Max Payne 3. The modern third-person shooting feels great to control, and carefully lining up slow-mo dive shots is a joy. Being the Rockstar game that it is, cinematics are top-notch as well, with zero loading between cutscenes and player-controlled action sections. A port to today’s platforms would be appreciated, but the graphics actually hold up just fine without need for an upgrade.

Dying Light 1

Dying Light achieved something few games outside Assassin’s Creed were willing to do at the time, and that’s a realistic and smooth parkour system. What’s more, you can parkour across pretty much any building or object in the large open world. Besides the advanced parkouring, the game also boasted dynamic day/night lighting that still impresses today. Dying Light is the newest game on this list, but the dark atmosphere and gritty story have an edge over its sequel, Dying Light 2, making it well worth playing 10 years later, especially to see Kyle Crane’s earlier adventures.

Heavy Rain

David Cage games were always ahead of their time, but it wasn’t until Heavy Rain until they started being legitimately fun to play on top of that. You can probably thank Heavy Rain for PlayStation’s recent narrative emphasis. The game was largely an interactive choose your own adventure movie. But unlike TellTale’s string of narrative games, Heavy Rain had truly spectacular graphics that many felt were lifelike at the time. The game still holds up today, partly thanks to its simple gameplay mechanics (it’s hard to make quick time events janky) and high budget graphics and acting talent.

Ninja Gaiden Black

And then there’s rarities like Ninja Gaiden Black which boast deeply technical gameplay that still feels smooth today. For being a 20 year old game, it sure does feel fluid and intuitive to pull off combos, thanks in part to great optimization. It also holds up to current trends in game. Ninja Gaiden Black was notorious for being one of the most difficult games at the time, but it fits well beside contemporary titles like Elden Ring and Hollow Knight Silksong with its difficulty. With distinct art direction and stylishly detailed character models, it’s a game that’s still easy on the eyes.

Borderlands 2

Many were rubbing their eyes when Borderlands 4 was revealed. Accusations were thrown around that it looked like the previous Borderlands games, and they’re not too far off. Borderlands has maintained a bold cartoonish look since the first game, but it’s really the second entry that polished and solidified its identity. Just like the graphics, the gunplay holds up remarkably well today. And with memorable villains like Handsome Jack, the story remains the best the series has ever seen.

DriveClub

If you can get a hold of a rare copy of DriveClub, do yourself a favor and grab it. The PS4 exclusive was notable for its photo-realistic rain effects and grounded yet approachable driving mechanics. I regularly see racing fans comparing modern driving games’ weather effects to DriveClub. That’s how dang good the game looked. While the online component can’t be experienced today, the single player career has plenty of races and challenges to warrant the price of admission. And with a simcade handling model that’s not too intimidating to learn yet difficult to master, you’ll find yourself glued to the rainsoaked windshield for many hours even amid today’s racers.

Far Cry 2

I know, I know, it’s easy to overlook Far Cry 2 now that we have over six entries, but it does some pretty unique things. A number of playable and non-playable mercenaries can be rescued and hired to go on missions with you. These teammates can be permanently killed if they’re not rescued or healed in time, making it easy to feel attached to them. Other than the buddy system, the game just looks great, featuring a robust African open world environment. If you’re a fan of the Far Cry series, the second game is a must-play that holds up perfectly fine today.

The Elder Scrolls V: Skyrim

Ever since Skyrim’s release in 2011, players have memed it to death. One of the most popular memes, that being its constant string of re-releases, still finds itself with legs even now. It’s the game that refuses to die, whether it be because of its wealth of quests, role-playing possibilities, or extensive mod support. Even without any mods, it still looks and plays fantastic. Sure, you’ll encounter a handful of backwards-flying dragons, but even the bugs are worth experiencing in this beloved open-world RPG.

Batman Arkham City

2011 was a good time for games in general. Arkham City also came out in that year and it represents Rocksteady’s zenith. Arkham City is their most beloved game for a reason; it’s got the tightest example of their signature freeflow combat, some of the most intricate and addictive world design, and some amazing characterization. A lot of late PS3/Xbox 360 games still manage to look good today, but Arkham City looks and plays downright flawless.

Uncharted 2: Among Thieves

Speaking of timeless PS3 titles, Uncharted 2 just refuses to feel outdated. The rollercoaster pacing and attention to detail continues to be emulated and studied today. Even detractors of Uncharted 1’s gameplay love the way Uncharted 2 improved aiming and enemy encounter design. If you want to see what makes the Uncharted series so special, check out Uncharted 2, it sets up the rest of the games wonderfully and plays like a modern-day adventure title.

Metal Gear Solid 4: Guns of the Patriots

But if there’s any PS3 game that went above and beyond its contemporaries, it’s MGS 4. In true Kojima fashion, the storytelling is outfitted with a ridiculous amount of bells and whistles, perhaps even overstaying its time in the spotlight just a bit (looking at you hour-long cutscene). Motion capture was some of the most advanced for the time, and the voice talent gave Hollywood a run for their money. Many fans even say the gameplay is the best the series has ever had. It’s also the only game in the MGS series besides Peace Walker to feature the Psyche Gauge. Stealth was emphasized because killing spiked the gauge, making Snake more prone to shake while shooting. Now if only we’d finally get a remaster or port of MGS 4 so more players could experience it.

The Last of Us

The Last of Us has seen numerous remasters, a remake, and even a show, and for good reason. It represents Naughty Dog at their absolute peak. The Last of Us shocked just about everyone with its realistic graphics and mo-cap in 2013. And the brutal melee takedowns and hard-hitting story kept us hooked ever since. It’s hard to overstate just how good the original game plays all these years later, which is why all these remasters and remakes seem somewhat redundant to many fans. The original holds up so well today, and with a story so iconic and gripping, we won’t see the last of The Last of Us anytime soon.

With so much landing at once, finding the true must-plays can feel overwhelming. But after digging through everything 2025 has to offer, these 15 titles rose above the rest.

The nominees for the best Xbox games of 2025 are:

The Outer Worlds 2

If you liked The Outer Worlds 1, you’ll absolutely adore the sequel. The Outer Worlds 2 triples down on what makes the setting work so well by translating a lot of that directly into gameplay. The Shrink Ray is a great example of that, and so are the many guns, among plenty of other oddities. Beyond the expanded gameplay suite, the quests now offer more varied routing and decision-making than before, placing you firmly in the driver’s seat as you navigate the corporate dystopia within the colony of Arcadia. And thanks to Game Pass, you don’t even have to pay full retail price, giving Xbox a clear leg up over other platforms.

Keeper

Keeper is an indie game that absolutely deserves more attention. Its blend of genres—base-building, mystery, and survival—is executed with smart quality-of-life features and genuinely fun mechanics. Keeper is also a visual standout. The painterly art style and atmospheric music elevate an already addictive gameplay loop, making it easy to lose entire evenings to it. Even with all the AAA blockbusters dropping in 2025, Keeper keeps pulling us right back in.

Battlefield 6

Well, DICE has finally done it—they’ve knocked a Battlefield out of the park for the first time in what feels like ages. This large-scale objective-based FPS recaptures everything players loved about Battlefield 4, with improved squad play, and smartly designed maps that reward coordinated tactics. Paired with phenomenal graphics and impressive performance, Battlefield 6 represents a true return to the glory days of this tactical warfare genre.

Clair Obscur: Expedition

Expedition does just about everything you could ask for in a video game. Its art direction is striking and original, the turn-based timing mechanics add an addictive twist to the classic formula, and the story and characters deliver all the emotional punch RPG fans crave. It’s a masterful consolidation of what makes games unforgettable, making it an obvious frontrunner for multiple game awards.

Kingdom Come: Deliverance 2

I can’t say enough good things about this game, so I’ll be brief. Kingdom Come: Deliverance 2 is simply the most impressive open-world RPG released in recent memory. It sets a new benchmark for main storylines in open-world games, and its side quests are absolutely worth seeking out. You again play as Henry, the down-on-his-luck everyman trying to survive in medieval Europe, and the grounded role-playing systems make this feel like a true immersive-sim experience. From herb brewing to blacksmithing and countless other mechanics, it’s a dense, reactive world. It’s also a visual powerhouse that shines on the Xbox Series X.

Ninja Gaiden 4

You’ve gotta appreciate how unapologetically “video gamey” Ninja Gaiden 4 is. It’s a full-throttle return to the hardcore character-action games of the 2000s, and we wouldn’t want it any other way. The standout highlight, of course, is its buttery-smooth, lightning-fast combat. Few games in 2025 were as rewarding to master as Ninja Gaiden 4’s combo-heavy battle system. Add a story that respects the series’ lore and a crisp graphics/performance package, and you’ve got an easy fan favorite.

Atomfall

In a year with many RPGs, it’s somehow a lower-scale release from the Sniper Elite studio that stands out. This retro-futuristic RPG benefits from Rebellion’s reliably strong gunplay, while its crafting and survival systems create an engaging gameplay loop that encourages all the looting you could want. But it’s the clever environmental storytelling and branching narrative that make this one warrant multiple playthroughs. If you like Fallout in any capacity, you owe it to yourself to give Atomfall a shot.

Elden Ring: Nightreign

Nightreign may not be what the purely single-player crowd hoped for, but it proves that FromSoftware is more than capable of branching out from their usual formula. Yes, the game still takes place in a familiar though dramatically rearranged Lands Between, but its wild new bosses and fast-paced co-op structure make it hard to put down once you start.

Dynasty Warriors: Origins

If you’ve never played a Musou game before, this is the place to start. It’s a reboot that refines and enhances everything about the series while telling the Three Kingdoms narrative from a fresh cinematic angle. Battles are as massive as ever, with hundreds of enemies on-screen posing a threat to your larger-than-life warrior. Seeing all the familiar Three Kingdoms characters fully voice-acted with lengthy scripts is a genuine delight; this is some of the strongest character work the franchise has ever seen.

Assassin’s Creed: Shadows

It’s been a long time coming, but a feudal Japan Assassin’s Creed has been finally delivered. Classic AC stealth is represented through the shinobi Naoe, while Yasuke the samurai offers a more arcade-y brawler playstyle. The dual-protagonist structure broadens the narrative while executing the most robust gameplay suite the series has ever featured. But the true star is the setting. Sixteenth-century Japan looks spectacular thanks to the dynamic weather, day/night cycle, and diverse biomes.

DOOM: The Dark Ages

I don’t know how, but id Software continues to reinvent Doom’s gameplay with every installment. This time, the Doom Slayer arms himself with medieval armor and a brutal flail, turning the familiar demon-slaying chaos into something both fresh and ferocious. Between the heavy metal soundtrack and the medieval enemies, Doom: The Dark Ages feels new while still preserving everything fans love about the genre.

Borderlands 4

Borderlands 4 may largely stick to the established formula, but it refines its looter-shooter DNA in meaningful ways. The standout improvement is the loot system: drop rates feel more balanced and quality-of-life upgrades like a dedicated legendary icon finally make sorting your haul painless. Meanwhile, combat remains as sharp satisfying as ever. With its biggest open world yet and the strongest gameplay in the series, Borderlands 4 is the 2025’s best looter-shooter.

Black Myth: Wukong

Xbox players can finally enjoy what many considered 2024’s Game of the Year. Nailing the FromSoftware-inspired formula while maintaining a wholly unique identity is no easy task, yet Game Science managed to exceed expectations. The animation work surrounding the protagonist’s transformations and abilities is exceptional, and the setting is truly enchanting. It’s easy to lose track of time battling a tough boss, but the lean, focused level design respects that time without adding any unnecessary bloat.

Helldivers 2

Helldivers 2 is another smash hit from 2024 arriving on Xbox platforms, and it’s an absolute treat. Servers have been smooth and reliable, and frequent updates keep missions, objectives, and enemy factions feeling fresh. Few squad-based games are as funny, chaotic, and endlessly replayable as Helldivers 2. If you’re on Xbox, now is the perfect time to dive in.

The Elder Scrolls IV: Oblivion Remastered

What an absolute delight it was to see Bethesda shadow-drop a remake of one of their most influential titles back in April. The best part is how faithful the remaster remains to the original while still looking fantastic on modern hardware. Many longtime fans may miss the old bloom-heavy aesthetic, but this remaster nails the lighting and texture work on a technical level. Quality-of-life additions—like a sprint toggle and new combat animations—make this the ideal way to experience Oblivion. Best of all, it releases at a reasonable price and includes all DLC and expansions.

And the Best Xbox Game of 2025 Goes to:

Clair Obscur: Expedition

Expedition is tailor-made for those who cherish the artistic and interactive potential of video games. Its gripping, gut-wrenching story and deep yet familiar battle system keep you hooked from start to finish. It’s a complete experience in every sense. More importantly, it embraces its identity wholeheartedly. The enemies are unlike anything else in modern gaming; you don’t see masked  many nightmare inspired creatures in any other RPGs, for example.

Its exploration of themes like fate and sacrifice may sound derivative on paper, but in execution it feels like a classic story reimagined through a unique lens. Only video games can convey this blend of style, timing-based combat, and narrative impact so cohesively. And so, Expedition rises to the top as our favorite Xbox game of 2025. It fires on all cylinders, and does so with a voice that is distinctly its own.

2026 and possibly, 2027 are situated to be absolutely massive in terms of AAA game releases. Need I say more than GTA 6? Splinter Cell Remake has some murky waters to navigate, but if there’s one thing that’s certain, it’s that it’s alive and preparing for the spotlight. So, why is Splinter Cell Remake taking so long and what do we currently know about the elusive project?

The developer officially unveiled the Splinter Cell Remake on December 15, 2021, positioning the studio behind Splinter Cell: Blacklist and Far Cry 6 (Toronto) as the head team. As of late 2025, that hasn’t changed. And as far as we know, it’s still being built “from the ground up” like other heavy-hitter remakes of the modern era. The Snowdrop engine is powering the remake, but little is known about project details other than some developer comments and recent leadership changes.

The most recent movement involves the return of the original project director, David Grivel. Grivel was the lead developer of the remake before leaving the developer in 2022. During his absence, the game was led by Andrea Schmoll, who departed in late 2025. The discourse around her departure was that the remake was yet another dead dev hell project under turmoil…until Grivel announced via LinkedIn about his return to the project lead chair. The developer has a history of rebooting troubled projects internally when they lose direction, so the worries aren’t unfounded, but the return of the original project lead is at least a good sign going forward.

Another potential bright spot for the remake is the use of the Snowdrop engine. The engine has its detractors, most notably aimed towards Star Wars Outlaws and how glitch-prone that game was at launch, but it seems tailor-made for Splinter Cell and it’s more linear nature. Snowdrop is known for its dense volumetric lighting, high-fidelity environments, and dynamic shadow systems. These are elements that can really make those dark oil refineries and embassy infiltrations pop. Sam Fisher’s world has always depended on darkness, contrast, and light manipulation, and Snowdrop’s real-time global illumination and shadow rendering should allow for reactive stealth and more gradual transitions between light levels. Series staples like shooting out lights or using night-vision goggles stand to gain significantly from Snowdrop’s lighting model.

Although the developer has never publicly confirmed a release window, insiders have repeatedly suggested 2026 as the earliest possibility, and that still seems likely given recent projections by Insider Gaming’s Tom Henderson. The developer’s pipeline for 2026 and 2027 have been outlined through a report and Splinter Cell Remake is on there along with a Rayman Remake, Assassin’s Creed Hexe, and new Far Cry and Ghost Recon games.

Though, let’s be realistic here. 2025 is nearing its end and the remake still has no gameplay reveal. A 2026 launch is optimistic at best. However, scarce marketing leading to an imminent release aren’t unprecedented. After all, Oblivion Remastered shadow dropped with no lead-up earlier in the year. Sure, it wasn’t a full-on remake, but wasn’t exactly insubstantial with its additions and overhauls either. Still, with little to no development updates, no gameplay, and not a peep of marketing, 2026 still seems like a stretch for Splinter Cell Remake.

Speaking of the gameplay, what do we know? Well, since the initial announcement video in 2021, the developer has shown no gameplay whatsoever, not even a brief in-engine demonstration. As we revealed previously, as part of Splinter Cell’s 20 year anniversary in 2022, some concept art images were shown, but that’s it. The absence is increasingly unusual given how long the project has been in development, though not unprecedented for remakes that undergo leadership changes.

One persistent rumor early in development suggested the game might shift toward an open-world structure similar to Halo Infinite, something we originally reported. Thankfully, this rumor has been shut down by Producer Matt West who stated that it will be linear. The Splinter Cell Remake will be linear, not open world, preserving the deliberate pacing and stealth-focused mission design of the original.

The creative team has assured fans that the cat-and-mouse slow burn gameplay is a alive and well, and actually improved thanks to advancements in AI enemy behaviors. The feel of those early Splinter Cell titles is intentionally being kept, with strength coming not from might but Sam’s gadgets and cunning planning. What I’m excited about is the delightful dark humor characteristic with the many interrogations Sam Fisher engages in. The facial expressions will be leaps and bounds above what the original could do. I’m just hoping that Michael Ironside voices Sam, although that’s not guaranteed.

On the narrative front, there has been no updates. As previously reported, the developer has been quiet since 2022 when a scriptwriter job posting revealed the first meaningful update. The job posting revealed that the first Splinter Cell is being used as a ‘foundation’ and that rewrites and updates are happening to the story. Further fanning the flames are remarks that Splinter Cell Remake’s story is being updated for ‘a modern-day audience’. These comments were posted years ago, but without further clarification, we can assume that vision remains today.

The 2022 posting also assures fans that, “We want to keep the spirit and themes of the original game while exploring our characters and the world to make them more authentic and believable.”

This implies that the Georgia-focused plot and Sam Fisher’s search for missing operatives are staying in some form, but the script will likely adjust the context and realism a tad. I wouldn’t be surprised to see drone warfare and contemporary surveillance tech being used as a reinterpretation of the original’s espionage setup. I just hope the characters aren’t modernized in a self-insert kind of manner.

Unlike remasters, fully modern remakes take time, for example, Final Fantasy VII Remake took 5 years. Like that, Splinter Cell Remake is being crafted from the ground-up using a new engine and modern techniques. This means all the environments, lighting systems, AI, gadgets, animations, and cinematics have to be built from scratch. No prior assets or foundation (like Oblivion Remastered had with its underlying 2006 engine).

And then there’s the company itself. Their corporate environment has shifted dramatically over the past year. The company’s restructuring and its broad partnership with Tencent in 2025 led to numerous cancellations, team reallocations, and internal game of musical chairs. Projects across Montreal, Toronto (the team behind Splinter Cell), and Massive were affected. Leadership shifts on Splinter Cell likely caused resets or reworks to multiple systems.

As 2025 winds down, the Splinter Cell Remake remains hidden out of sight. It’s a quietly active project with a returning team lead, but still has no marketing push at all. Despite leadership turnover and long silences, the project continues to move forward inside Toronto, supported by an engine that seems perfectly suited for the espionage fans have come to expect from the series.

If the 2026 to 2027 release projections are to be believed, perhaps we’ll see Splinter Cell Remake at a Forward event or a summer showcase. Until then, Splinter Cell exists exactly where Sam Fisher is most comfortable: in the dark, waiting for the right moment to strike.

Note: The views expressed in this article are those of the author and do not necessarily represent the views of, and should not be attributed to, GamingBolt as an organization.

Sequels and remakes are tricky to get right. It can be hard to preserve the charm and quality of the original in a follow-up. It can be even tougher to surpass and iterate on what the first game did so well. Some games are just absolutely begging to be expanded upon with a new entry, and it’s those that we’ll be highlighting here. Each of these titles represents a ‘what if’ that gamers are hungry to see happen one day, but whether due to corporate meddling or cancellations, they still seem so far away.

So with that, here are the ten games whose surprise trailers would make the community absolutely lose it.

Days Gone 2

While the odds of a Days Gone sequel remains unlikely, Sony Bend has managed to stir hype thanks to the game’s April 2025 remaster. with its remaster. Days Gone Remaster finally smooths out the original’s rough framerate while enhancing its visuals with better shadows and 4K resolution. That release reignited hope for a sequel, but those hopes were eventually crushed when Sony Bend posted a job listing seeking someone with “experience with multiplayer game development and design.” The studio has a history of outright dismissing any possibility of a sequel in the past as well, but demand remains high, and where there’s demand, there’s money. Knowing Sony, it wouldn’t be completely implausible to eventually see a Days Gone 2 in the future, especially if fans remain vocal about it.

The Saboteur 2

Remember Pandemic? No, not the 2020 one, the studio that brought us Destroy All Humans and Mercenaries Playground of Destruction. The Saboteur was their last game before being dissolved into the rest of EA, and it had a lot of unique things going for it. Sure, it followed the Ubisoft open-world design ethos, but the WWII France setting and the mechanic of restoring color to liberated districts stood out. Now imagine how cool a sequel with top-notch voice talent and an actually compelling story would be. With EA’s enormous budget and the creative potential of that setting, a Saboteur 2 could finally give us a GTA-style game set in WWII Europe, but it’s a long shot at best.

Uncharted 5

The last time we ventured into the world of Uncharted was 2017’s spin-off starring Chloe and Nadine. Lost Legacy seemed to be paving the way for the next generation of Uncharted with its more open-ended exploration and, well, lack of Nathan Drake. Of course, Nathan’s story isn’t necessarily over following the ending of Uncharted 4. Like Indy coming out of retirement in the latest Indiana Jones films, Nathan can be called for one last globe-trotting adventure. Uncharted 5 is rather likely to happen at some point. Naughty Dog has been working on a project led by Uncharted writer Shaun Escayg for years now, and it’s not Intergalactic. It’s unlikely we’ll see Uncharted 5 before Intergalactic releases, but we sure hope to see it at some point.

Bloodborne 2

Is there any video game sequel more craved than Bloodborne 2? Bloodborne is the one gigantic Sony-owned IP that somehow just keeps getting overlooked. The Last of Us got numerous remasters and even Days Gone just received one. What is Sony waiting for? Well, one thing’s certain: if Bloodborne 2 were announced, it would be the only game capable of rivaling GTA 6 in sheer hype. Here’s hoping it avoids the multiplayer-heavy direction of FromSoftware’s recent projects and instead doubles down on the slow-burn, atmospheric exploration that made the original Bloodborne unforgettable.

Titanfall 3

Titanfall 3 occupies the same heartbreaking territory as Bloodborne 2: everyone wants it, yet EA refuses to greenlight it. The first cancellation came in 2019, when EA halted development in favor of Apex Legends, chasing the booming hero-shooter market and its lucrative ongoing revenue. Then, earlier in 2025, The developer had to shutter their planned Titanfall extraction shooter due to layoffs. What made Titanfall 2 so special was its well-paced and wildly inventive single-player campaign. It’s probably the last significant FPS campaign that I can think of that wasn’t a Doom title. It’s still not an impossibility that the developer gets a legitimate opportunity to make Titanfall 3, but a major shift in EA’s priorities needs to happen first.

Sleeping Dogs 2

This one’s more of a pipe dream than others on this list. Sleeping Dogs is a very popular cult classic for a reason; it oozed personality and was a genuine counterpart to GTA. Unfortunately, the development studio, United Front Games, shut down in 2016. The main developer still holds the rights to the Sleeping Dogs IP, though, so maybe there is a snowball’s chance in Southtown for it to happen. The studio’s MMO spin-off, Triad Wars, took place within the universe of Sleeping Dogs. launched briefly in open beta but was quickly shut down after poor reception. But imagine a thoroughbred sequel to Sleeping Dogs, one that wasn’t a sloppy MMO, but a single-player game with a more intricate Hong Kong map filled with fully realized martial-arts combat propelled by modern processing power. A proper Sleeping Dogs 2 could be incredible.

Metal Gear 1 Remake

“I FEEL ASLEEP!!” Imagine that iconic line from the 1988 NES version of the original Metal Gear (first released in 1987) being fully voiced in a modern, high-fidelity remake. Unlike polished and cleaned up script of the Final Fantasy 7 Remake, I’d want Konami to preserve the hilarious botched translation of the original. It would both honor Kojima and provide some charm to the game. Of course, the fully blown HD graphics and character renderings would probably make those lines extra awkward, but hey, that’s what makes the series so lovable, right? The good news is a remake of the original Metal Gear isn’t impossible. Konami has shown a willingness to remake classic Metal Gear Solid titles faithfully. And what better candidates than the very first games from the ’80s?

New Dino Crisis

Forget a new Dino Crisis—I’d settle for a remaster or a full remake of the first game. Oh, who am I kidding, I want a new Dino Crisis, sigh. The developer sits on the most beloved dormant IP, barely acknowledging series that fans have begged to see return. Who doesn’t want a new Mega Man (especially Legends), Breath of Fire, or of course, Dino Crisis? Dino Crisis—a 90s survival-horror game —never grew past its more action-oriented 2003 third entry. But fans still swear by the first game, which followed the classic Resident Evil formula in a Jurassic Park-inspired setting. A modern-day game firing on all cylinders would do justice to the original Dino Crisis if RE 2 and RE 3 Remakes are anything to go by. But just imagine what they could do with a completely new entry with the mature horror and first-person perspective of, say, Resident Evil 7.

A New inFamous

Continuing the trend of studios sitting on a golden goose is Sucker Punch and their dormant inFamous series. There was a time when a new InFamous game was the talk of the gaming town. It was a series about open world parkouring around realistic city-scapes. But one element that sets inFamous apart is its Karma system. You can choose your morality in these games, something that shows itself in the powers you unlock as well as key story decisions. With today’s more advanced processing and capabilities, the potential of that system is enormous. Imagine branching storylines, deeper morality-driven powers, and immersive-sim-style world reactions. Heck, just adding more customization elements based on morality would be awesome. But Sucker Punch will need to step away from Ghost to make it happen—and it’s unclear when that day will come.

Sekiro 2

Finally, we have another FromSoftware juggernaut that’s been left alone since its release. Unlike Bloodborne, Sekiro never even received any DLC. None. We all kinda applauded their restraint at the time, but after some years away, it’s hard not to wish the game had gotten an expansion or two. Out of all the Fromsoft games, Sekiro takes the cake for having the most awesome combat. Its very focused and specialized, leading to more intricate and precise controls. Sure, Sekiro didn’t have a lot of playstyles to choose from, but that focus is what made the limited style so polished. A sequel could expand your playstyle selection pretty significantly, and without sacrificing the original’s polish. The core combat system is already built—they’d just need to expand the build options a bit. Fans would love to see it, but as many know, Hidetaka Miyazaki isn’t fond of sequels. So while Sekiro 2 would be a dream come true, we shouldn’t expect it anytime soon.

Metal Gear Solid 2: Sons of Liberty

Metal Gear Solid 2’s first mission aboard the tanker firmly establishes Solid Snake as the ongoing hero of the series, coaxing players into a sense of familiarity. But an hour into the game, things change. There’s a fast-forward of two years and Snake is presumed dead. The rest of the game is played through the lens of Raiden, a newer recruit who, though lacks the expertise and wit of Snake, demonstrates greater agility and a good amount of skill. The biggest gameplay difference between Raiden and Snake is the quick roll between cover that can be pulled off when controlling Raiden. Besides his agility in combat, he lacks the charismatic banter and iconic gravelly voice of Snake, resulting in many frustrated and disappointed players at the time of MGS2’s release. Imagine your favorite character getting sidelined for an entire game with little confidence in his return. In hindsight, we appreciate Raiden for his future, and badass, appearance in MGS Rising Revengeance but in 2001, there was no surefire guarantee Solid Snake would take the spotlight again.

Prey (2017)

Prey’s opening is a masterclass on how to build intrigue while completely immersing the player in the game world. Arkane’s Prey builds off of 2006’s Prey with a similar slice of life intro that gets upended and warped into a sci-fi nightmare, though the two titles aren’t connected. Morgan wakes up to get ready for work in a highrise apartment in what looks like a futuristic San Francisco. The game’s physics engine allows any object to be picked up and thrown, and there’s a slew of emails and notes to read around the apartment, providing some context and lore. Players can’t be blamed for spending some time admiring the highrise views and exploring the interactable elements. After a nice helicopter ride to Morgan’s job site, a horrific Typhon creature attacks one of the scientists and Morgan blacks out. What comes next flips the status quo completely on its head. Morgan wakes up more or less like nothing ever happened, to an alarm in the same apartment building as before, but things aren’t quite right. After some exploration, it’s revealed the entire building is just a simulation aboard a space station. Nothing was as it seemed and the remainder of the game is spent trying to survive onboard the isolated and dangerous Talos I station.

The Last of Us Part 1

The core of The Last of Us’ gameplay doesn’t emerge until an hour into the game. And it’s not due to clumsy tutorials wasting the player’s time. No, the first hour is spent setting up the world state that would characterize the award-winning series. You don’t start the game busting zombies’ heads open as a hardened badass, but instead wake up in the shoes of Joel’s daughter, Sarah. The game lets the player explore Joel’s house, which contains a fair amount of mementos and bits of backstory into who these characters were before the zombie outbreak. An evacuation and car crash later and we’re playing as Joel, carrying Sarah in a desperate attempt to outrun the infected hordes. After one of the more tragic scenes in gaming, there’s a pretty substantial time skip as we finally control the hardened Joel that encapsulates the rest of the game. It’s the perfect intro to a zombie game and it didn’t even need to give the player a weapon to feel the tension and anxiety of the setting.

Red Dead Redemption 2

Rockstar Games typically lets players loose in their game world pretty early on. That’s not at all the case with Red Dead Redemption 2. It takes around an hour or so for the on-rails story missions to ease up. Players who just want to live out their wild west fantasies in an immersive open world have to wait it out and experience the story set-up first. Of course, that isn’t to say the opening hours aren’t action-packed or interesting in their own right. The game introduces the over-the-shoulder shooting mechanics and melee combat with some battles against a rival gang. But it’s true that a majority of the game’s opening hours involve slowly riding horseback along some snowy mountains listening to character banter. RDR2 has even more open-world freedom than the first game, but it takes a bit longer to reach that point this time around.

The Legend of Zelda: Twilight Princess

Speaking of slow burns, there’s perhaps no better example than 2006’s The Legend of Zelda: Twilight Princess. The game starts out with a Harvest Moon-esque sequence of Link talking to villagers and doing a series of chores on the farm. Ordon is a peaceful village and all is idyllic during these moments. Sure, you get a slingshot tutorial, but there’s pretty much no need for combat when things are this peaceful. Obviously, Link gets thrust onto the hero’s journey eventually, but it takes a good bit of time to reach. Twilight Princess is one of the darkest games in the series, featuring some horror elements with the villain, Zant, and the eerie ghosts within the Twilight realm. It’s also one of the more fast-paced and action-packed games in the series, but the idyllic opener wouldn’t give that impression. The greatness of Twilight Princess’s opening is just how effective it sets up the stakes at play. It establishes that a peaceful and idyllic village like Ordon can be erased at the hands of evil. In a way, Ordon fulfills a similar role as The Shire from Lord of the Rings.

Death Stranding

While Death Stranding’s opening does a good job giving players a taste of what the game’s about, nothing could prepare people for the craziness that occurs in the middle and end of the game. The game begins like a vague dream, with tons of bizarre terms and lore that still make our head spin today. The exposition-heavy prologue features roughly 40 minutes of cinematics and 20 minutes of gameplay. The precious few moments that you are given some control, you’re tasked with picking up some dropped cargo and transporting it through some mountainous terrain in the rain before getting sidelined by the threat of some BDs. It’s a nice tutorial of what you’ll be doing in the core game but with none of the open-ended freedom. It would be another hour or so until the game’s core features open up. Much of Death Stranding’s charm is in its bizarrely beautiful open-world, touting varied terrain to overcome and breathtaking vistas to admire. Players don’t truly get to experience the core ‘strand-like’ gameplay until the ability to build infrastructure such as bridges and walkways for other real-life players becomes available later. And while there’s plenty of protracted cinematics throughout the rest of the game, there’s usually large swaths of open-ended delivery gameplay to offset it, unlike the exposition-heavy opening.

Kingdom Hearts 2

Kingdom Hearts 2 really threw fans for a loop with the opening’s focus on Roxas rather than Sora. What’s more, the location of this game’s intro wasn’t explored in past games, making the whole sequence feel like some Twilight Zone episode. Roxas’ summer vacation with his friends in Twilight Town functioned more or less as a gameplay tutorial as well, though the magic system and gummi ship stuff doesn’t come into play until Sora finally enters the picture. Millions of players asked the same questions during KH2’s opening hours: “Where is Sora, Donald, and Goofy? And who the heck is Roxas?” Part of the brilliance of KH2 is how those questions get explored throughout the course of the game.

The Stanley Parable

There’s not many games that sell based on intrigue alone, but The Stanley Parable is one of them. It’s very much an experiment on what it means to be a game. As soon as players boot it up from the start menu, a charming narrator describes a typical day at the office for Stanley. This is where player agency comes into question. Should I continue following the narrator’s ques, or do I completely avert expectations? And so, one of thousands of different routes begins. The first hour of The Stanley Parable is much different from the rest of the game because of how branching the choices are. Not to mention how much more of the narrator’s own personality gets exposed the more the player disobeys.

Control

Control is another game on this list that subverts expectations with its bizarre setting and story. The entire game takes place within a fluidly changing skyscraper called ‘The Oldest House’. The interior of this building is labyrinthine, boasting an ever shifting space that is much larger than its exterior would suggest. The first hour of the game is strange enough, with its introduction of the The Oldest House and some of the abilities you’ll be engaging with. But the game doesn’t reveal its true structure until later on after you gain more supernatural abilities and unravel more of the bizarre story.

Firewatch

Firewatch is one of the more fascinating narrative games I’ve played. It follows the daily life of a fire lookout worker over the course of a month. You’d think this would get boring, but it only gets more interesting as the days progress. This is because Firewatch is a slowly unraveling mystery with little bread crumbs hinting that something isn’t quite right. From a gameplay perspective, things don’t really progress too much past the first hour. You’re walking around and doing basic tasks like using a flashlight and walkie-talkie to communicate with your distant partner Delilah from beginning to end. But where the game ends is such a change from where it began that it warrants a place on this list.