Taking control of a lighthouse wasn't on my video game bingo card for 2025, but that’s the thrust of Keeper, a puzzle adventure game from Double Fine Productions, with an emphasis on strange style and atmosphere over mind-warping challenges and obstacles.

Inspired by Creative Director Lee Petty’s musings during the COVID-19 pandemic, Keeper imagines a post-human island where metamorphosis has run riot with unusual lifeforms now occupying structures and environments, all built around a central mountain.

There’s a surrealist feeling here, as if Double Fine reached into the minds of artists Salvador Dali and Max Ernst, while drawing inspiration from some of the odder music videos from Radiohead and Gorillaz; this vibe is only given more weight from music that blends soft uplifting tracks with glitchy, darker tunes that wouldn’t be out place on an album like Kid A.

Petty describes the game style of Keeper as “weird, but chill” and I can’t disagree. There’s a sense of discovery and wonder as the adventure progresses, yet without the angst to constantly press on at speed.

Lighthouse leanings

This journey begins in a suitably bizarre manner: a run-down, dormant lighthouse suddenly erupts with light to rescue a seabird, who you soon discover is called Twig, from a cloud of dark and malevolent bat-like creatures.

Flipping to the player’s control, the lighthouse shakes awake, crumbles to the ground, and then sprouts a quartet of legs to shakily stumble down a rock outcrop and begin a journey to the top of the mountain, with Twig in tow.

And that’s about as much as Keeper reveals in its opening chapters.

There’s no narration, no spoken or written dialogue, or any other text to give voice to the characters or setting. Rather, the world react to the lighthouse and Twig's squawks, while an authored camera acts as your guide, being fixed in place from scene to scene, which ensures your attention is directed to important parts of the environment without being overtly obvious.

While I would have liked a bit more movement to better peer at some of the weirder and wonderful details of the island and its inhabitants, this approach works well and meant I never really got lost or turned around in what can be a visually bombastic setting.

Keeper also drip-feeds abilities and ways to interact with the environment, initially starting with the simple move to shine the lighthouse’s light independent of its direction of momentum, which has the satisfying effect of prompting some plants and fungi to bloom and sprout.

This quickly evolved into the ability to focus an intense beam of light onto surfaces, which melts away some obstacles and prompts reactions from onlooking critters. It scratches a very innate human itch to try things, and had me blasting light at all sorts of objects and outcroppings to see how the game would react.

The lighthouse then gains the albeit to dash, helping it traverse obstacles. And as the game progresses, there’ll be new ways to navigate the world; I don’t want to spoil any surprises, but it kept Keeper feeling fresh over some 39 chapters.

In general, the light is the main way the lighthouse can interact with the world, but Twig is not merely here for the ride and effectively serves as the lighthouse’s hands. When a little blue star emits from an object, be it mechanical or natural, Twig can be sent to interact with it, which switches the player into using a button, key, or joystick to have the seabird peck, pull, or turn the object.

It’s the combination of the lightbeam and Twig that holds the key to most of the Keeper’s puzzles. Starting off as simple one-stage puzzles, such as shining a light on an organic growth to get it to react, then sending Twig out to pull it out of the way, building to ones with multiple stages and interactions at once.

One of the more complex puzzles involved jumping between three points in time, in a rather creative and satisfying way to bring back life to a machine; oddly enough, it reminded me of the brilliant Effect and Cause mission in Titanfall 2.

None of these puzzles were particularly challenging. And I only had a couple of moments of head-scratching where the tight camera angles meant I missed a path to an object or interaction I needed to complete a puzzle.

There was one area where I had to get past a blocked tunnel, where I could see the solution, having followed previous interactions, but the game’s logic wasn’t playing out here. With mounting frustration, I’d hit my head, and indeed the lighthouse’s, against it multiple times, thinking I needed to perfectly time a suite of moments to blow away the blockage. Instead, I simply had to first take another path, which, given the camera angle and the color palette of the area, seemed more part of a wall than a navigable route.

Ultimately, I was expecting more complexity to some of these puzzles, so I would overthink potential solutions, rather than poke around in a few more corners, which, to Keeper’s credit, is exactly what I was supposed to do.

While I lack the patience to ponder really tricky puzzles, I do wish there were a little more challenge to the ones Keeper throws up.

Some are so simple that they almost feel like busywork, such as needing to rotate a thumbstick to crank a wheel rather than just pressing a button and having it done. Keeper just about keeps to the right side of this, but there are times when interactions can feel there just for the sake of it, rather than leading to interesting discoveries.

The world is enough

The absence of brain-wracking puzzles, or indeed any failstate for Keeper, is intentional, with Double Fine wanting the journey through the world to be front and center.

And what a world it is.

You start out crunching through a ruined and near-fully obscured seaside town – you can just make out a tarmac road now lost to eons of passing time – to traversing seaside paths, caves, forests, mini archipelagos, and towns and structures that wouldn’t look out of place in a Zelda game.

Adopting a cartoon-like aesthetic that reminds me of Disney Pixar movies, these areas are all gorgeous and richly detailed despite using the soft, painterly-esque textures. There’s a vibrant color palette here, too, which just begs Keeper to be played on an OLED display, such as those you’ll find on some of the best 4K TVs.

Naturally, light plays a big part here, with the beam of the lighthouse cutting through right shadows and intermingling with volumetric fog. But it's the way the light triggers a reaction from the flora and fauna that makes the environment feel alive.

There’s nearly always some creature on screen, be it Twig quietly chirping as the lighthouse enters a foreboding cave, to flocks of birds soaring across a blue sky, jellyfish floating in technicolour plateau, and hulkling beshelled creatures walking, flying, or swimming in the background.

Animation is also top-notch, from the scuttling of tiny creatures to Twig’s wonderfully expressive movements. I can’t help but be impressed at how Double Fine manages to inject so much character into the lighthouse, blending its scuttling insectoid legs with the jaunty wobble of its broken body and metal roof, which serves as at pseudo hat that shields the light-holding structure, itself able to convey a surprising amount of emotion in cutscenes.

Add in some detailed soundwork that even has the quiet clicks of gears moving as the lighthouse ‘looks’ around, and deft use of cinematic camera angles, and Keeper presents a an absorbing world I could just sit and stare at; there are some platforms and outcrops in the journey that exist solely for this with the camera pulling back and giving you a surreal landscape to drink in.

Surreal feel, Pixar plot

Keeper’s artistic presentation and aesthetic wear the theme of metamorphosis very much on its sleeve. The idea of how nature could evolve without human interference, then taken to a surreal level, isn’t subtle but is certainly eye-catching.

Yet for all the weirdness Double Fine touts, including one set piece where it felt like pseudo-70s psychedelia was being forced into my eyes, I found the core narrative of Keeper to be fairly normal. The story of an unexpected journey to reach a destination with a newfound companion, while avoiding an unknowable malevolent force and encountering strange but companionable characters on the way, could be picked from a Disney movie.

While there were some really fun and captivating set pieces across Keeper’s adventure, I could see the direction of the story and its beats from miles away. This isn’t necessarily a bad thing, as Keeper is more about the vibe of the world than an unfurling plot.

However, with inspiration from Dali and mycelial networks, I was hoping for a story that embraces bizarreness below the surface or had a more thought-provoking story than one that could be boiled down to being a buddy adventure.

There are some neat storytelling flairs, such as having details and context layered in achievement text; for example, you only find out that the antagonistic force that’s threatening the island is called The Wither via the first achievement and chapter titles – the latter you’ll only see in the chapter select menu.

But these don’t really go deep enough for my liking, and I was left wanting to know more about the island, the societies that inhabit it, and The Wither.

It could be argued that any deeper elements of the story are open for interpretation, but I don’t think there’s enough environmental storytelling here for that to play out. I’m all for games being considered art, but I don’t think they work as vehicles for abstract interpretation in the same way as paintings.

None of this would matter if Keeper lent more into its puzzles and systems of interaction to present more of a challenge and depth to its world. Take Astro’s Playroom as a prime example: it hardly has a plot, but it throws up a bounty of puzzles and system-led interactions all wrapped up in an oddball world.

But Keeper eschews the puzzles for a more absorbing adventure, yet I feel it needs more of a story to hold that up.

A great example of this can be seen in 2012’s Journey, which tells its emotional story through its environment, music, and exploration, without the need for any text or puzzles.

None of this is to say Keeper fails at what it set out to do, especially as I enjoyed my time with it and happily jumped back into chapters to drink in its visual splendour.

Were this a decade ago, I’d have happily applauded a Pixar-style narrative and aesthetic in an adventure game.

But it's 2025, and my expectations from artistically focused games are higher than what Keeper delivers.

Ultimately, with all the turmoil at Xbox right now, I’m pleased to see Double Fine have the chance to create something esoteric and original, rather than a remaster of an existing game. And for that reason and more, Keeper is worth experiencing over a weekend to immerse yourself in its art, world, and creativity.

Should you play Keeper?

Play it if...

Don't play it if...

Accessibility

Keeper has a selection of accessibility options that you can adjust to suit your needs. UI text size can be adjusted, and screen narration is also on offer. There’s also the option to adjust how frequently prompts pop up. There’s a standard option to tweak different volume settings, such as turning down the music but keeping the main sound up. At launch, Keeper will feature 26 interface languages.

Most importantly, there are fully remappable controls and the ability to accept alternative inputs, along with the standard options to tune aim sensitivity and vibration feedback.

Keeper can have a lot going on screen at once, which can be a challenge for people like me with somewhat compromised sight. There's not much that can be done here, but the pacing of the game means you have time to take in the details and spot areas of interest at your leisure.

How I reviewed Keeper

I played Keeper to completion, over around seven hours, which involved poking around in corners for secret paths and achievements. As a fairly linear game, there aren’t any extra modes or features to tap into, with Keeper all being about its main story experience.

I reviewed Keeper on an Xbox Series X connected to an LG C1 OLED TV running in its gaming mode, playing with a standard Xbox Wireless Controller. There are no performance or graphics settings to choose from, and I simply ran Keeper on my setup as it came, with no adjustments, and got a rather smooth experience.

On the audio side, I played Keeper using a Bang & Olufsen Beoplay Portal Xbox headset for the course of the game, which worked well with the soundscape and music the game pumped out.

First reviewed October 2025

Trails in the Sky 1st Chapter is a remake of the classic Japanese role-playing game (JRPG), The Legend of Heroes: Trails in the Sky, which was first released 21 years ago. Developer Nihon Falcom has modernized its 2004 title with full English voice acting, an overhauled combat system, and multiple quality of life improvements, bringing it to just about every modern platform you can imagine.

Now, I’ll put my cards on the table. I’m totally new to the Trails series. Sure, I predominantly play role-playing games (RPGs), but I simply hadn’t found the time to sink my teeth into it. But Trails in the Sky 1st Chapter appeared to be the ultimate entry point. Why? Firstly, it’s a remake of the very first part of the Trails story – but it's also got a smooth, up-to-date UI and graphics, making it very easy to get into for new players like me.

And after hours and hours exploring the Liberl Kingdom, I have to say, I’m so happy that I got the opportunity to dive into a Trails game. Yes, Trails in the Sky 1st Chapter is a very apt remake, with addictive combat, an engaging plot, and brilliant visuals. Here’s a rundown of my experience with the game, and why I think it's among the best RPGs of 2025.

Brace yourself for an epic journey

Trails in the Sky 1st Chapter follows the journey of Estelle Bright and her adopted brother, Joshua Bright, as they aim to track down their missing father and become Senior Bracers – essentially protectors of the peace.

As the tale unfolds, Estelle and Joshua find themselves embroiled in something much deeper than a simple search and rescue. I won’t spoil what’s to come, of course, but the game isn’t short on twists and turns. Although things take a while to get going – the opening is pretty lengthy – the narrative remains intriguing throughout. Cutscenes never feel overlong or convoluted, either, so rest assured, you’re in for an engaging adventure.

Estelle and Joshua make for interesting dual protagonists – Estelle is the explosive, fiery, energetic type, who’s all action. Meanwhile, Joshua appears more measured and introverted, resulting in some humorous conflicts, especially earlier on.

I will say that a few characters – Estelle included – do have that stereotypical over-the-top anime energy. This can be a little intense in moments, and may wear some players down, but it rarely bothered me, personally.

And the English voice acting is delivered to a high standard – every character’s personality is communicated with genuine passion and care. This adds so much texture to the various individuals you meet throughout the game, and it's a very welcome improvement from the 2004 original.

However, there are some segments – even in the main story – where scenes aren’t voice-acted, or bizarrely, only partially voice-acted. For instance, I encountered a non-player character (NPC) whose lines were voiced entirely, while those of Estelle, Joshua, and company were not. This resulted in a kind of awkward viewing experience, slightly reducing my immersion in the scene.

A Liberl dose of upgrades

It's not only voice acting that elevates the Trails in the Sky experience, though. Just about every other area has been significantly upgraded, making the game a lot more appealing than its original counterpart.

Perhaps the most obvious thing is that the visuals have received a major revamp. And I’m a huge fan of this new look.

Character models looked fantastic on the PS5 version of the game, environments are bursting with color, and elements such as shadows appear natural. That’s not to mention the fact that the game ran just about flawlessly for me, with a smooth frame rate and short loading screens throughout my playtime, even when fast-traveling or playing in the handy high-speed mode.

I massively appreciated the graphical quality here – especially when you consider that the original game used chibi-style sprites in combat and cutscenes, rather than fully fledged 3D models.

Something else I loved about this remake was its revamped original soundtrack. The music in Trails 1st Chapter is a beautiful mixture of funky, emotive, and invigorating, with almost every track complementing your battles or exploration down to a T. I also adore the fact that you can cycle between standard, arranged, or original background music – that sort of optionality is seriously commendable.

One more thing I want to shout out is the improved UI. I found the various menus in the game to be extremely easy to navigate through, whether I was equipping new gear, cooking up a new dish, or viewing my status. Everything about this game is silky smooth; it really is a joy to play.

The only aspect that I’d argue could’ve been improved would be the localization. There are some grammatical and translation errors littered throughout the text displayed throughout the game. I’ll admit that this is a small issue, especially as the voice acting is ultra-clean and the story has been faithfully re-created.

Chain…follow-up…I just can’t stop

I’ve been excited to discuss this game’s combat because it seriously impressed me. There are two ways to battle through Trails in the Sky 1st Chapter: quick battle, real-time action-based combat; and command battle, a turn-based, more slow-paced approach.

It’s great fun to dive headfirst into scuffs via quick battle. I had a blast slashing up my opponents, charging up almighty crafts, and weaving around incoming attacks. If you stun an enemy, you can even switch into command battle and fight with an advantage over your foes, making it easier to clean up normal encounters quickly and load up on exp.

Command battle is the default for boss and mini-boss encounters. Turn order is displayed on the side of the screen, and on each turn you can decide whether to: cast an art, like a healing or attack magic; leather your opponent with a craft – a strong physical attack; use an item, shield, or flee. You’ll also get the chance to follow up or chain attack your enemies for huge damage. It took me a while to get used to this system, but when I nailed down the right arts, I was able to withstand harsh strings of enemy attacks and then launch a deadly counter-offensive.

You’ll need to get used to the orbment and quartz system if you want to stand a chance against some bosses, too – there are some difficulty spikes that are punishing to say the least.

The orbment system essentially requires you to string a range of gems together in a specific pattern in order to unlock new arts. Some, like Earth Guard, proved almost necessary for me to get through some tough battles in the early game – if you’re struggling, I’d suggest re-evaluating your build-out in this department, as well as purchasing better gear at an in-game shop.

If you’re still struggling after re-stratagizing, don’t fear! You can simply turn down the difficulty, which ranges from Very Easy all the way up to Nightmare. As an experienced RPG player, I went with Normal – but this was by no means without its challenges.

Yep, I got my fair share of kickings during my playthrough. Sometimes, I was left dumbfounded as to how I could possibly survive such high-damage attacks and whittle down some imposing health bars. But the orbment system really does encourage experimentation, and when you finally nail down the right strategy, victory is oh so satisfying.

Sure, the game is going to ask some tough questions of you – but it’s also going to give you the tools to find the right answers. And in the end? That makes for exceptionally satisfying gameplay.

As someone who was experiencing a Trails game for the first time, I wasn’t entirely sure what to expect from this title. But truly, it blew my expectations out of the water. With a mixture of gorgeous graphics, addictive combat, a whimsical world, and a gripping plot, Trails in the Sky 1st Chapter is a top-class JRPG.

But not only that, it's also a top-class remake. There are just so many improvements – a new UI, battle mechanics, visual style…I could go on. And it rarely feels like Nihon Falcom takes any half-measures. There are some small localization errors and some offbeat partially-voiced segments, sure. And some may find the difficulty spikes to be intimidating.

Still, Trails in the Sky 1st Chapter is one of the best remakes of 2025, and one of the best JRPGs I’ve played this year, no question. If you’re a fan of the genre, this is an easy recommendation, and if you’ve ever wanted to get into the Trails series, now is the time to do it!

Should you play Trails in the Sky 1st Chapter?

Play it if...

Don't play it if...

Accessibility features

You can adjust the subtitle language to English, German, French, or Spanish, and select either English or Japanese voice acting. There are a number of ways to customize the camera’s behavior, too, such as normal or inverted configurations, camera movement speed, and camera distance.

On top of this, there are difficulty options, including a Very Easy mode if you just want to focus on the game’s story. Unfortunately, there is no colorblind mode.

How I reviewed Trails in the Sky 1st Chapter:

I spent more than 30 hours playing Trails in the Sky 1st Chapter, predominantly focusing on the main story, but also picking up a few side quests here and there. I played the game on Normal difficulty throughout my time with it.

When playing Trails in the Sky 1st Chapter on PS5, I had my console connected up to the Sky Glass Gen 2 TV and used the Samsung HW-Q800D soundbar. On occasion, I also dipped into the game via remote play on my Samsung Galaxy S24 FE, but this was pretty rare.

On a personal note, I’ve reviewed a variety of games here at TechRadar, including recent releases like Raidou Remastered: The Mystery of the Soulless Army and Final Fantasy Tactics: The Ivalice Chronicles. I'm also a life-long fan of JRPGs, with some of my favorite games including Shin Megami Tensei III: Nocturne, Persona 3 Reload, and Final Fantasy VII (the original, of course).

First reviewed September-October 2025

I can't think of the last time an entry in any long-running first-person shooter series was as safe as Battlefield 6. It seems as though the lackluster reception to Battlefield 2042 has left developer Battlefield Studios terrified of taking any kind of creative risks, which is a real double-edged sword.

It delivers almost everything you would expect from a Battlefield game - often to a fault. While a generic campaign and strong multiplayer offering will undoubtedly be more than enough to satiate some fans, and I can't say that I haven't enjoyed much of my time with it so far, others will surely be disappointed that it's not anything we haven't seen before.

Boots on the ground

This lack of risk-taking is most evident in the single-player campaign, which is easily one of the least memorable that I've played in years. It does a good job of preparing you for online multiplayer by introducing the controls and basic mechanics, but it's not something you'll be eager to dive back into once the credits roll.

Set in 2028, it takes us to a near-future world in which NATO is on the brink of collapse. A private military force, Pax Armata, has stepped up to replace it, funded by former NATO states. The opening mission takes place in Georgia, with US Marine Dylan Murphy and his squad tasked with pulling out with the rest of NATO’s army as Pax moves in.

The supposedly peaceful handover quickly spirals into an all-out war when Pax attacks without warning, with Murphy's squad cornered in a downed helicopter. The sole survivor, Murphy, is assigned a new team and then becomes the central part of NATO's effort to take down this sinister force.

The nine missions are set in a range of global locations and have you alternating between different members of Murphy's squad. Playing as the likes of Gecko, the team's sniper, adds a decent amount of variety, but none of the activities are particularly original.

There are the obligatory night time stealth sections, a handful of tank driving segments, and a few more open areas that have you taking out enemy squads with long-range weaponry and a spotter. The most interesting stages are the ones that take place in a war torn New York, including a townhouse assault similar to the iconic Clean House mission from 2019’s Call of Duty: Modern Warfare and an enjoyable section that has you chasing a train down abandoned subway tunnels in an armored vehicle.

The underlying narrative that ties them all together is perfectly serviceable, but entirely predictable right down to its final twist. There was still plenty of enjoyable shooting throughout, but it's a notable step down from the much stronger, cinematic single-player action of Battlefield 1 and Battlefield 5. There are plenty of challenges and hidden collectibles to discover that unlock some rather nifty skins in multiplayer, which is a nice touch, though, and might draw me back in for another run a few months down the line.

It certainly doesn’t help that the visuals are distractingly rough at times. This is the first Battlefield game to launch exclusively for modern consoles, but it doesn’t show in the slightest. The visual fidelity is nowhere near even previous titles, with muddy textures, a low overall render distance, and fuzzy artifacts around objects on PlayStation 5 - even with the optional high resolution textures installed. The frame rate is impressively stable at least, even in the more explosive moments of destruction.

On the front lines

Battlefield 6 fares much better when you jump into its multiplayer modes. The minute-to-minute action is some of the best in the series to date, with no hint of the frustrating balance issues that plagued 2042 on day one. You get a total of nine maps at launch, including the return of the popular Operation Firestorm from Battlefield 3.

Most of my time in multiplayer so far has been spent in the new maps, which all seem refreshingly well-designed. The huge Liberation Peak and Mirak Valley, both perfect for the massive flagship Conquest and Breakthrough modes, are strong combat environments, with tumultuous, uneven terrain that’s filled with nooks and crannies for infantry to explore. This lends them a fantastic pacing, with short bursts of intense combat as you discover entrenched enemies, and importantly, helps level the playing field against powerful vehicles and snipers by giving you places to hide.

This contrasts nicely with the more open Operation Firestorm. Those who love racking up long-range headshots will feel right at home here, but the smart addition of some new cover means that this never becomes too annoying for infantry players. The new Escalation mode, which decreases the play area as the two teams capture objectives, is thrilling - gradually ramping up the intensity of each match as you hurtle towards a dramatic final confrontation.

Urban warfare is well represented in the smaller Gibraltar and New York maps, both filled with winding streets and an impressive number of building interiors to explore. These maps do highlight the limits of the tactical destruction system, though, which is quite inconsistent at times. It’s hard to tell what can and can’t be destroyed at a glance, leading to occasional frustration. While the brick wall of a house crumbles like a cookie at the slightest provocation, an almost identical wall elsewhere will be totally impervious to even direct tank fire.

On a handful of occasions, I’ve found myself unable to flank groups of enemies thanks to the odd indestructible barrier, or hunkered down in a corner to regenerate health, only to watch all of my cover evaporate before my eyes. I also found that the maps looked quite similar aesthetically. Aside from New York, everywhere has a brown, flat look that runs the risk of all blending into one.

Although they were significantly less enjoyable to actually play, I miss the striking map themes of Battlefield 2042. There’s nothing anywhere near as engaging as that bright and colorful high-tech Korean city block or the eerie automated lightshow of a half-buried Doha.

Play your part

The return to a proper class system is at least a dramatic upgrade compared to its predecessor’s cartoon-like heroes, really helping to sell the large-scale combat fantasy. Split into Assault, Engineer, Support, and Recon, the four classes all play well and offer more than enough unique abilities and equipment to set each of them apart.

Assault benefits from the option of bringing a portable ladder to fights, quickly scaling buildings to find vantage points and create ambushes. You can also pack a third weapon instead of one of your usual gadgets, giving you quick access to a shotgun or marksman rifle in a pinch. It’s perfect for some of the larger maps that still have dense interior areas, and is evened out by the fact that your third weapon has extremely limited ammunition.

Engineer is more designed for vehicle players, with gear that helps you repair or destroy them more easily, while Recon focuses on stealthy long-range sniping. They all complement each other well, though I do wish that there was a separate medic class, as some Support players are clearly more interested in handing out ammo than reviving fallen comrades. This is far from a major complaint, however, and does little to harm the otherwise successful balancing.

Battlefield 6 also ships with a revamped Battlefield Portal, a suite of creation tools designed to let the community create their own maps and modes. It’s only available on PC, but is basically a whole game engine with practically limitless possibilities for those willing to put in the work to learn it. Anything that the community builds can be made accessible in the game, and I’m already seeing loads of enjoyable creations pop up from a remake of the famous Call of Duty shipment map to a full-on Counter-Strike style game mode.

Unfortunately, browsing Portal maps is a lot trickier than it should be, thanks to the dodgy home screen UI. Designed in a similar way to a video streaming service, it arranges everything in little rectangular boxes, leaving loads of unused screen space and forcing you to really dig through the different options in order to find what you want.

Still, this doesn’t detract from the experience when you’re actually playing multiplayer or Portal, and with loads of seasonal content and the Firestorm battle royale mode still on the way, Battlefield 6 is a fantastic foundation for what’s to come

Should I play Battlefield 6?

Don't play it if...

Accessibility features

Battlefield 6 offers a decent set of accessibility options.
This includes the ability to enable subtitles and adjust the font size. It also offers the ability to fully customize the colors of on-screen icons and remap the controls. The game features some text to speech options too, plus a setting to disable controller vibration.

How I reviewed Battlefield 6

As TechRadar’s resident FPS expert, I played almost 20 hours of Battlefield 6 on PS5 using a copy provided by EA, plus an additional five or so hours on PC during closed preview sessions.

During this time, I completed the entire single-player campaign and spent a significant portion of time in the multiplayer both before and after the public launch. I relied on the standard DualSense Wireless Controller throughout my time with the game and a Logitech G522 Lightspeed gaming headset for my audio.

I compared my playing experience with that of previous Battlefield games, most significantly Battlefield 2042, but also 1, 5, and 4, plus other first-person shooter series such as Call of Duty.

Nintendo Switch 2 Camera: Review

If you’re looking to make the most of GameChat for online multiplayer, the Nintendo Switch 2 Camera is a decent way to go about it. Its basic design may lack the charm of the Hori Piranha Plant Camera, but rest assured that the official Switch 2 Camera is a significantly better product, even if I wouldn’t classify it as one of the best webcams out there.

I’m a believer that contemporary webcams should be aiming for at least 720p picture quality, with 1080p being the ideal. The Switch 2 Camera clears Hori’s product on this front, boasting 1080p picture quality over the Piranha Plant’s disappointing 480p. As a result, your face will come through crisply on GameChat, as well as on PC for work meetings or chats with friends.

Price will definitely be a bit of a sticking point, though. At $54.99 / £49.99 / AU$, it costs less than the Hori Piranha Plant Camera in the US, but a good deal more than it does in the UK. You’re basically paying for the official branding here, really, especially as you can pick up 720p and 1080p webcams that perform just as well for much less.

While the Switch 2 Camera can be used when you’re playing in handheld mode, its rigid design (not to mention the lack of a clip or mount) makes it best suited for when your console is docked. The tall stem upon which the camera sits is likely the way it is for this reason, so it can still reasonably capture your face while you sit back on the couch.

It’s likely also designed to support its wide field of view, which is around 110 degrees. That’s a good deal more than most PC webcams, but it does make sense given Nintendo’s family-friendly approach. If you have a few folk sitting in the room while playing with GameChat, that wider viewing angle does a decent job of capturing everyone in the same frame.

You can also adjust the vertical angle of the camera itself by a total of around 30-40 degrees or so. That’s fairly acceptable when you take into account its otherwise unmoving design. And when you want to hide yourself, a privacy shutter is included via a circular dial around the camera. You can also manually turn off the camera feed in GameChat’s settings by hitting your controller’s ‘C’ button during play.

As for performance, the camera’s 1080p output is decent, if a little soft around the edges. While you’re using GameChat, the Switch 2 attempts to crop you out of the background and place you onto a blank one that takes on the color of your profile picture. That’s a nice touch, and also means you don’t have to fiddle around with blur settings.

One major problem I had, though, had to do with the space between myself and the blank background. I have a blank wall behind me in my office space, and the surroundings were still noticeably fuzzy. I also had moments during a Mario Kart World play session where I appeared to phase in and out of existence on the screen, so it’s not a perfect implementation by any means. To be fair, your mileage may vary here depending on your background and lighting conditions.

Thankfully, the Nintendo Switch 2 Camera is blissfully simple to set up. Being an officially licensed product, simply plugging it into the console via USB-C caused it to be registered immediately. That was the same case on PC, too, when using it as a webcam. There’s no fussing with drivers or installs. Just plug it in and you’re good to go. It also works with a USB-A adapter on both Switch 2 and PC, if you prefer that.

Nintendo Switch 2 Camera: Price & Specs

Should you buy the Nintendo Switch 2 Camera?

Buy it if...

Don't buy it if...

Nintendo Switch 2 Camera: Also consider

How I tested the Nintendo Switch 2 Camera

• Tested for one month
• Used for Switch 2 GameChat multiplayer and as an office webcam
• Largely tested with Mario Kart World and chat apps like Discord

I’ve been using the Nintendo Switch 2 Camera for a little over a month now, as both a Nintendo Switch 2 GameChat device and as a webcam for work and social gaming sessions over Discord. On Switch 2, I primarily played in docked mode while using the camera with an AOC Gaming 24G2SP 1080p gaming monitor.

While gaming, I tested the camera’s functionality with sessions of Mario Kart World with my TechRadar Gaming colleague Dash Wood. While here, I also made sure to test out GameChat’s various settings, including screen size and in-game face capture options.

• Read more about how we test
• First reviewed: October 2025