Though it’s only been five years since its predecessor, roguelite game Hades 2 feels long-awaited. The weight of expectation on developer Supergiant to surpass the massive success of Hades must have loomed more dauntingly than the sword of Damocles itself. So, how do you build on a game ranking among the best roguelites in modern history?

With a refreshed cast of Grecian heroes and gods, Hades 2 carves its own take on mythos, making for a game that feels both familiar and wildly different to Zagreus’ tale.

For one thing, gameplay mechanics have been boldly reinvented, and there’s a whole lot more variety in each run. In Hades 2, range and placement can make or break your strategy; the addition of Magick gives Melinoë an entirely different moveset to Zagreus, and with less mobility than her brother, it’s all to play for on the battlefield.

The stakes are immediately high, and nothing encapsulates the shift in priorities better than the art and world-building Supergiant is so famed for. An inventive array of new foes, friends, and plenty of frenemies make for a captivating narrative that rarely strays into “wall-of-text” territory, and it’s a breathtaking journey from start to finish.

With war brewing at the home front in Tartarus and on Olympus, a war of the gods has begun once again, but will the Princess of the Underworld be able to defeat Time itself?

Generational trauma

The game begins at a crossroads – the crossroads, in fact, between the surface and the road to Tartarus. Readying for battle in this liminal space between life and death, Melinoë, daughter of Hades and Persephone, prepares to battle primordial powers to rescue her family.

Your foe is Chronos, the Titan of Time and father of Zeus, Poseidon, and Hades – for the nerds, yes, that’s an amalgamation of Chronos, the primordial concept of time itself, and Kronos, the leader of the Titans; two different figures from mythos. It’s fine, I’m not mad about it.

Before the events of the game, Chronos captured his chthonic son, along with Persephone, Zagreus, and a host of other underworld dwellers. Thankfully, Melinoë was whisked away just beforehand and into the care of Hecate, Witch of the Crossroads, to be trained in the art of witchcraft and, hopefully, rescue her relatives – and thus the story begins, and the generational trauma continues.

For your first few runs, you’ll venture towards Tartarus through Erebus (and Oceanus, if you can trounce the first guardian), but after these first two more linear levels, there’s a lot more diversity in chambers and encounters.

However, you’ll also quickly unlock access to the Surface, where Chronos’ goons are mounting an attack on Olympus. Having two options to venture keeps the game feeling fresh, removing the frustrating feeling of repeatedly falling at the same hurdle, and it’s a welcome change to the formula.

There’s a lot of ebb and flow to the game’s two pathways, and each region offers dynamic maps with plenty of ways to progress by gathering resources, meeting with allies, and finding familiars to recruit. Some regions can feel a little gruelling; Tartarus’ Fields of Mourning, in particular, forces you into repetitive waves of enemies to cash in on multiple rewards per encounter, but you often only really want one of them.

However, other levels like the City of Ephyra play on the level design to push you to think harder about your build’s foundations, choosing six of ten possible rewards; both examples dismantle the classic two-door choice convention and keep the game varied.

Along the way, various gods from Hades – plus some new faces – will appear to deliver Boons: powerful upgrades to your attacks, movement, weaponry, chance modifiers, and beyond. These feel improved on Hades’ strong foundations; there’s a great variety on offer, and it’s rare that I really need a re-roll to find something useful.

Another noticeable difference is the increased focus on resource gathering. Doing away with the trade mechanics makes for much more rewarding progression materials, and there’s a lot more to find within each region. Your familiars can help you here, with each specializing in a different resource (spirits, seeds, fish, and foliage) as well as helping out during combat.

Which witch is which?!

Oft characterized in non-game lore as the goddess of ghosts, spirits, and sometimes nightmares, Melinoë is a wildly different protagonist from her brother Zagreus. She bears a glowing, enhanced arm capable of wielding various Arcana card power-ups, and can use Magick to charge and cast enhanced abilities through Omega spells.

Like your regular abilities, Omega spells have a further set of Boons, allowing you to build around your powerful charged attacks instead of just amping up your base damage. Alternatively, you can pretty much ignore your spells altogether if you prefer button-mashing your standard attack, special, and cast; the game rewards you for playing well, not for playing every feature.

Now, the cast has switched to an area of effect (AoE) crowd control move; you can sit in it to slash at enemies on the border or build it up to be a damage-dealing trap for your enemies. This is vital, and certainly the most significant change to combat at a base level. Using it well, and often, is key to surviving with enough strength for bigger battles, especially in later levels where you’re contending with hordes of the undead or fiddly ranged attackers.

There’s a great, gradual progression arc to power up throughout the game, and I found myself genuinely surprised on multiple occasions that there was still more to unlock.

Once again, there are keepsakes, weapon unlocks, and enhancements you can build into your runs to make your attacks hit even harder.

From an enormous, badass battle-axe to skulls that land with a “BOOM!”, Melinoë uses a mix of ranged and melee weapons to tackle her foes, but with way less mobility than her older brother. There’s no more double dash, but you can always use the new infinite sprint to zoom away from danger. Still, combat feels satisfyingly snappy, just with a greater emphasis on positioning.

Mel also swaps God Calls for Hexes, gifts from Selune that can be upgraded via a skill tree as you journey onwards. Personally, I’m a fan of the health regen Hex, which can be leveled to stack across regions and deliver huge amounts of health; particularly useful when you’re running with a squishier Mel build.

Each of these changes feels meaningful, and not just to differentiate Hades 2 from its successful predecessor. Plus, there’s so much variety and depth to each run that there’s no point in banking on specific builds; your Keepsakes can help pave the way for specific Boons, but you’re up against greater odds than in Hades.

That’s doubly true when you contend with the great variety of enemies, mini-bosses, and bosses. There’s no one way to play Mel, and the combatants want you to remember that; some punish you for an over-reliance on dashing, some for sitting too still or getting too close; others, you just have to hope you’ve built around strongly enough to kill before they can get you first (Prometheus, I’m looking at you. I’m judging you, in fact. Relentlessly.)

On the road again

Calling the crossroads a liminal space feels at odds with the teeming life, love, and emotion housed in the battle camp Mel and her associates call home, but perhaps that’s exactly the point. Here, in a space designed for passage, a band of heroes, villains, and gods alike from mythos find refuge and comfort from a world in a perpetual state of pre-apocalypse. Of course, that’s all tinged by the undertones of the dysfunctional Olympian family tree, but if you can look past the bickering siblings, Mel and Hecate’s mommy issues, and, of course, the many mortals left in the wreckage of godly pettiness, there are some beautiful bonds formed at the crossroads.

From shopping to decorating and even gardening, there’s a lot to do between runs. Hecate's cauldron offers permanent upgrades both in and out of runs, and there are more interactive spaces like the salt baths and the fishing pier. There’s a huge amount of unlockable content and interactions here; characters react to the outcome of the previous run and even the items Mel takes with her to the field, making it genuinely rewarding to sit through dialogue.

Eris, Nemesis, Moros, and Icarus are the romancable options (at least, the only ones I’ve encountered), but I’d really encourage forming bonds with all of the main cast. Deep secrets and connections to other figures in mythos mean characters like Dora expand the universe even further and teach you more about Mel’s history and identity. Greg Kasavin was not messing around when he put pen to paper for Hades 2, though I do share some fans’ criticisms of the slightly rushed ending.

The world is, of course, more than its writing. Darren Korb’s tremendous musical talents are once again in full force, providing a dramatic underscore to the on-screen action with even greater zeal. Jen Zee also delivered with some excellent refreshed character designs, each with subtle hints to the more militant themes in the game.

Even Aphrodite now bears arms (though clothing still appears to be optional), and Zeus is armored up in preparation for the great battles on the horizon. New animations for character cards breathe life into the designs, aided of course by another stellar cast of talented voice actors.

Rolling credits for the first time is only the beginning; there’s a lot more you’ll want to eke out of these relationships on your road to the ‘true’ ending, and that’s the real magic of the Hades 2 formula. It takes repetition and makes it a thematic driver, pulling you deeper into the world of the Gods and their follies.

Hades 2 absolutely surpasses its predecessor in almost every way, building on its success reservedly but meaningfully, and it’s a must-play game for all to enjoy. It’s a masterpiece in its own right, though Mel’s story is inseparable from Zagreus’ successes in more ways than one.

Should Supergiant choose to revisit the land of the gods with a sequel, I’m once again left wondering how it could withstand its legacy, but with a fresh confidence that they can once again go the distance.

Should you play Hades 2?

Play it if...

Don't play it if...

Accessibility

Within the settings, you have the option to toggle ‘God Mode’ under the Gameplay tab, which reduces the difficulty in the game, offering more damage resistance the more often you die. Alternatively, you can customize features like Auto-Fire/Auto-Sprint, Aim Assist, Dead Zones, and more to make gameplay more accessible. There are subtitles for both speech and song, as well as changeable vibration settings and visual effect settings.

How I reviewed Hades 2

I got 50 hours of the game, unlocking both the main ending and rolling credits on the ‘true’ ending of Hades 2 using a Nintendo Switch 2. I played it in both docked and undocked mode to see if legibility or performance is impacted by the screen size, comparing my experience against other roguelites, including Dead Cells, The Binding of Isaac, Towa and the Guardians of the Sacred Tree, and, of course, the original Hades.

I tried different settings, including God Mode, to see the impact on the game’s accessibility and performance, and tried playing both with a Corsair Void Max Wireless v2 headset and through the Switch 2 speakers.

First reviewed September 2025

This party platformer serves up a steady stream of challenges with buckets of content to unlock, ranging all the way from a robust roster of weapons to neat cosmetics that help you run wild in the excellent character creator.

Personalization and customization are consistent highlights in King of Meat, and when you’re not tackling its wide selection of community-made levels, the expansive dungeon maker gives you a powerful but approachable set of tools for crafting your own.

It’s a meaty package given the modest $29.99 / £24.99 asking price, but there are some rough edges to bear in mind before you dive in. Its copious animated cutscenes are gorgeous, but the constant parody humor can sometimes grate. It’s perfectly serviceable if you’re willing to regard it with some degree of irony, but hardly entertaining material. The platforming can also be a drag, as it's quite slow and precise - the opposite of what you would usually expect from a colorful multiplayer party game like this.

Pair this with a difficulty level that ranges all the way from a complete cakewalk to unbelievably punishing, depending on the design of your current dungeon, and the experience can often frustrate.

Meat your maker

Set in the fantasy kingdom of Loregok, everything in King of Meat is centered around the titular in-universe TV show.

Although online play is the focus, there’s a surprising amount of story here and heaps of voiced dialogue. The handful of vendors in its small hub world frequently dispense world-building lines, and there’s even a pretty solid single-player mode that has you traversing through a series of developer-crafted dungeons as little narrative segments play out.

Despite the reliance on rather passé parody humor, it’s certainly entertaining enough and offers a nice little diversion if you’re waiting for your friends to hop on for a multiplayer session. Reaching new high scores in these levels unlocks loads of neat goodies too, including in-game currency and some nifty cosmetics, giving you a good reason to replay each of them a handful of times.

The star of the show is the multiplayer, though, divided into three distinct leagues that can be tackled with up to three other players. The league tryouts are your beginner levels, intended to be immediately approachable to low-level players. Populated by basic skeleton enemies or simplistic puzzles, they’re not particularly thrilling, leading to a rather weak first few matches, but soon give way to the much more exciting Global League playlist and the super challenging Imperial League.

Global League is where I routinely have the most fun, but enjoyment does hinge heavily on the design of the level that you’re playing. Although there is a fairly large selection of developer-made stages (which comprised the bulk of my early testing time), the community also has the power to create new levels that feed into the mix.

Sizzle reel

When you’re playing a well-designed level, everything just clicks.

One particularly memorable example had me completing quite complex spike-based puzzles with a team of randoms, all of us communicating through the in-game chat wheel (populated by barks like ‘nice’ or ‘sorry’) and the quick ping feature.

Carefully timing my position on pressure plates to disable traps so the other players could progress and do the same for me was immensely satisfying and had us all frictionlessly working like a hive mind despite the lack of detailed communication.

Going head-to-head with just the right mix of enemies in more wave-based challenges also helps the shockingly deep combat shine. Chaining different combos together to fill up the on-screen audience excitement meter is immediately rewarding, with more elaborate streaks resulting in louder cheers and higher points.

There are loads of weapons to try too, with both a primary and secondary slot. Primaries range from your average medieval fare like swords and hammers to magical knuckle dusters and electric guitars, while secondaries include a bomb launcher and, my personal favorite, a literal gun. Completing challenges with each weapon feeds into a large set of skill trees, with unlocks increasing key stats and improving the efficiency of attacks.

Powerful Glory Moves are charged like an ultimate ability as your brawl, unleashing powerful effects, including healing for your team and an amusing burp that sends enemies flying. It’s all very strong on paper, but the issues start to come to the fore when you’re playing a less well-designed stage.

One random choice dumped me in a long, straight corridor that was just overflowing with super powerful enemies - a wildly unfair slog that saw me losing all five of my lives in a matter of seconds.

Platforming is rather slow and cumbersome, too, which makes some of the more parkour-oriented stages feel unfair. Your maximum running speed is a snail's pace, and your jump is floaty and inaccurate. Throw in some consistent issues with hit direction thanks to server latency, and you have a recipe for annoyance when you’re trying to navigate everything from spike pits to moving platforms - which unfortunately are practically omnipresent.

I’m not exactly sure why developer Glowmade didn’t go for a lighter, faster style of platforming here, as it would easily make everything so much more exciting.

Dungeon master

Those with a creative streak will likely be able to forgive this, though, as King of Meat doesn’t fall short when it comes to customization.

The character creator is excellent, giving you loads of control over your armored competitor with a variety of outfit parts, plus decals and accessories that you can place anywhere. The unique, almost-modern-but-still-medieval look is cute too, and means that traffic cones and tracksuit bottoms don’t look at all out of place next to suits of armor.

There’s also the superb dungeon creator. It’s not quite as expensive as something like the level builder in Super Mario Maker, as it fundamentally relies on placing pre-set rooms, but you can achieve an awful lot with it. There are loads of decor items to place freely, tons of enemies, special effects, and a robust logic system for those keen to create more adventurous contraptions and puzzles.

The ability to quickly play your dungeon from the start or your current room in order to spot any sore spots is a blessing and makes creation fun and easy. Uploading your tracks for others to try is simple too, and I personally can’t wait to discover what kind of things players will come up with.

All of this leaves me a bit conflicted about King of Meat. The groundwork is all here for a fantastic experience, and the team behind the game has clearly put a huge amount of care and attention into almost all of its core elements - I just wish the platforming and comedy weren't quite so tedious.

Should I play King of Meat?

Play it if…

Don’t play it if…

Accessibility features

There are loads of accessibility options in King of Meat. This includes a range of speech-to-text options, including narration of the in-game menus and chat box. Subtitles are enabled by default, and you’re free and customize the size, color, and background opacity of them. The controls can also be customized with a huge range of input options that remove the need to hit buttons.

Photosensitive users can remove the screen flash that occurs when you take damage, or disable a selection of other in-game effects.

How I reviewed King of Meat

I played more than ten hours of King of Meat on PlayStation 5 ahead of the game’s launch. During that time, I played a heap of levels both alone and with other players online.

I also had a lengthy co-op session with a colleague in order to assess the game’s potential when you’re playing with friends. I unlocked the bulk of the game’s content, including most of its weapons, and played with all of the ones that were available to me. I became global number one in a handful of the daily challenge levels and also spent some time as the level creator, experimenting with the tools on offer.

Throughout my time with the game, I played it with the standard DualSense Wireless Controller and an Astro A20 X gaming headset for audio.

First reviewed September 2025

I have caught myself reliving riding my horse across Ghost of Yotei’s landscape of 17th-century Japan almost every time I’ve put the game down since starting it.

From the simplest of jogs between locations, or the longest of horse rides across sweeping lands, through fields, and over rivers, there’s just something truly beautiful about it that has consumed me.

And while the world of Ghost of Yotei is one of the best I’ve played in years, and one of the most spectacular things about the game, it’s only one of a number of highlights in the PS5 exclusive.

The worldbuilding and sense of place the lands offer is supported by an epic tale that twists and turns, an interesting protagonist who develops as the story goes, multi-faceted, immense, and bloody, moreish combat, and a smattering of enjoyable open-world and role-playing game (RPG) staples. Which, even though they can be repetitive sometimes, also bring much value and meat to the experience.

It wears the influence of its predecessor on its sleeve prominently, but Ghost of Yotei has been more than worth the wait.

A tale for the ages

Set a few hundred years after Ghost of Tsushima, you are Atsu an outlaw making a return to her homeland of Ezo with revenge on the mind. Be prepared to hear the phrase “The Yotei Six” an awful lot in the first half of the main story in particular, as that is who Atsu is chasing down: six masked-up baddies who inflicted great pain on her and her family when she was a child.

Complemented by intriguing flashbacks that give greater context to that original pain, the story of Atsu chasing after these six almost-mythical enemies is an epic one. It has twists and turns and is deeply cinematic and gripping, and Atsu and the change she experiences along the way make her a compelling protagonist. You can feel the anger and deliberation in her encounters, in her visceral combat actions; and you can see how her relentless pursuit of justice changes her outlook along the way, too.

And while the premise of hunting down the six masked big bads is similar to Assassin’s Creed: Shadows, a linear revenge tale, and checking off an assassination hitlist, this is not. There are more layers to the story and to each of the narratives around the enemies to get stuck into.

Experiencing the beauty of nature

That stylish way that the story is delivered is indicative of the lands that it takes place in, too - as well as how you explore it.

Firstly, the scenery and sense of place in the game’s landscapes and environments are wonderful. From expansive, sweeping fields of grasses and flowers bathed in sunshine, to the icy mountainsides of an arctic, wintry region. And from the spring-like, verdant, and lush fluvial landscapes either side of meandering waterways to the gorgeous and blinding oranges and golds of hundreds of trees in their autumn form, all four seasons are draped over the landscapes of Ghost of Yotei beautifully.

As well as offering sheer beauty, everything seems truly part of the environment; each location does seem purposefully placed, sprouting from the ground or perched on it intentionally.

There’s also a wider use of the landscape to create ‘landscape moments’ as I call them; using the wind for guidance is a sheer joy once again, throwing up thousands of flower petals as you bound across plains is a thrill, and there’s a few moments where your ride across the countryside or along winding tracks is accompanied by wonderful and haunting songs.

Mapping an adventure

Taking the importance of the landscape and environment further is Atsu’s in-game map, the way objectives are presented, and also how exploration and discovery work.

In short, the map is outstanding. Its art style is gorgeous, and the way icons and your travel route appear on it like paintings is great. Additionally, cartographers’ maps can be bought and placed over areas on your own map to reveal locations in an incredibly satisfying way that brings the map to life as opposed to being a static resource. This is echoed by other locations on the map being slightly animated, rather than just quest markers on a static background.

The details are excellent here, too. For example, if it's raining in the world, you’ll see a pitter-patter of raindrops fall on your map. Teaming this map with your spyglass makes for satisfying exploration that nails the ‘see that over there, mark it, and go there’ incentive, which is key to a well-done RPG world.

Additionally, there isn’t a smattering of side quest markers on the map or a list of text in your menu - there’s a superb card system instead, which is stylish and artsy - and you can stumble across simple side encounters naturally through exploration. It’s a world that demands to be explored, and its slowly revealing open zones in the open world are filled with things to see and do, and are more densely filled than massive, open, and empty.

Put them to the sword

However, it’s not just style and aesthetics and a stacked world; there’s plenty of substance elsewhere in Ghost of Yotei, and at the forefront of that is Atsu’s violent, bloody, and super-slick combat.

With access to five melee weapons when fully kitted out, Atsu can cut through hosts of enemies with ease and grace; it really can be like a dance, almost, and chaining together parries, strikes, weapon swaps, and dodges to seamlessly work between enemies and cut them down is almost poetic.

The violence and bloodshed are incredibly graphic - something that I’ve greatly enjoyed upping the ante on by playing in the game’s Miike mode - but also arty and make for extremely reactive visuals to this dance too.

At the core of the combat is, of course, the weapons and toolset open to Atsu. Yotei does away with the different stances to combat different enemies and weapon types, and instead gives you an arsenal of different weapons to use.

Each will work against anybody, but it pays to know your katana from your Kusarigama and who best to fight with each, for example - however, each weapon is excellent, dynamic, and exciting to use and master. I greatly enjoyed the process of acquiring these weapons through quests, too. Each expert you find for the weapons feels organic and feeds into Atsu's learning and developing skills to be best equipped to fulfill her revenge mission.

The bows in Yotei are once again satisfying to use, and while the rifle is an option, I barely used it - though finishing a stand off with a quick, hip fire shot of the pistol is dead cool. Complementing this are some ranged throwables you can use, such as firebombs to wreak havoc on groups of enemies, and quickfire kunai knives.

Armor always plays a part by offering perks that can be boons to different play styles. You can gain new sets to obtain with mysterious side quests or tasks, and they can be upgraded - but your main Ghost one is upgraded through the main story.

Style *and* substance

There’s plenty of opportunity to customize Atsu’s gear, too, and there’s clearly an emphasis on this. You can work to find resources for weapon and armor upgrades, and a whole raft of charms - themselves upgradeable through in-game tasks or actions - can give you edges in certain play styles. However, you can also enjoy a whole host of cosmetic upgrades to give Atsu the perfect look.

There are loads of skill trees and options to explore and acquire to enhance Atsu along your journey too. Each weapon has its own tree; there are some skills relating to Atsu’s survivor background (reducing fall damage, etc), and even some that relate to help you can sometimes get from a wolf companion.

You’ll unlock these abilities by bowing in front of altars. These can be found out in the wild on their own, or be tied to clearing camps of badmen. I appreciate the simplicity of this, but to mirror the location-specific skills of those who can teach Atsu skills, it could have added a further layer by tying certain abilities to certain altars or locations to give some geography-based nuance - i.e., certain skills can only be acquired at specific altars, for example.

Putting all of that to practical application is fantastic. Whether you’re absorbing the main quest line, or going off the beaten track to hunt down challenging or intriguing bounties, exploring myths and legends, or simply clearing out bandit camps to rid the land of baddies, utilizing Atsu’s wealth of combat approaches - either stealthily or head-on - is a joy.

On the whole, I have found myself preferring head-on combat. There is a good balance between stealth and combat - but I prefer the stealth found in Assassin’s Creed Shadows. Charging in and beating goons of all types and sizes, and bosses, with Atsu’s beastly weapons is so moreish.

Either way, whatever you choose, there’s excellence and mileage in both approaches, I’ve found. Utilizing tall grass to sneak around camps and pick off guards with a bow or with distant assassinations with the Kusarigama - a personal favorite - is brilliant. However, nothing quite hits like taking out a few pesky ranged enemies before engaging in a standoff to dispatch a host of guards. Throw in Atsu’s Onryo's Howl skill - a banshee-like scream you can blast toward your enemies, causing them to cower in fear.

A near-perfect cut

Are there creases in all this bloody brilliance, though? Of course, but only a few that I found that impacted my enjoyment. While I’m always one to sink dozens of hours into an open world, checking activities off a list, I did feel a bit of fatigue when stumbling across a vast number of the same activities such as bamboo cuts, hot springs, and altars.

The number of which also impacted the sense of exploration and discovery that the world is generally so good at. Elsewhere, the conversation options you get don’t seem to make a huge impact on encounters or quests I’ve found, which is a shame, and there are some strange moves later in the story that reintroduce tutorial-like sections that affect pacing.

However, one thing that is a fierce double-edged sword for Yotei is the game that came before it, as it wears the influence of Ghost of Tsushima and all that made that game excellent proudly on its sleeve. As a result, in a similar way to Horizon Forbidden West, there’s a lot of iteration on established features and facets.

Golden birds and foxes are present again, breaking guards in combat with heavy attacks is key again, and acquiring charms from shrines up broken pathways are back, to name a couple of examples. This might disappoint some, but it also offers ‘more of the same’ of one of the most memorable and enjoyable games of the last five years.

Technically, however, Ghost of Yotei does a lot to make itself feel like the PS5 exclusive we’ve been waiting for. The Ray Tracing Pro mode available on the PS5 Pro is superb and has offered a fault-free and technically excellent experience for my entire 55+ hours, but it’s the DualSense integration that is a real highlight.

Those raindrops I mentioned earlier falling on your map? You can feel those on the controller, along with rain on Atsu in the world; the balance of your instrument’s music coming from the main speakers with that of the DualSense’s speaker is a delight, painting sumi-e with flicks across the touchpad is superb, and you can even blow in the microphone to help light your campfires.

If there was any other indication needed to show what I think of Ghost of Yotei, then it’s the fact that I have kept playing the game, long after finishing the story and almost all of the quests, and am committed to going for the platinum trophy.

Yes, those few slight gripes hold it back from true generational greatness, but I’m already planning my way mentally across the map, strategizing weapon swaps and attack combos in my mind, and this is simply a world worth committing dozens of hours to, and I'm going to drink it all up.

Should you play Ghost of Yotei?

Play it if...

Don't play it if...

Accessibility

Ghost of Yotei's accessibility features are a little lighter than some of its PS5 first-party contemporaries. There are no colorblind options, which is a shame, for example.

Elsewhere, you do have options for subtitle size and color, you can increase gameplay clues and visibility, and simplify control schemes for things like campfires and forging, and also get some assistance for combat, such as projectile indicators.

How I reviewed Ghost of Yotei

Totalling more than 55 hours of testing, I reviewed Ghost of Yotei on a PS5 Pro teamed with a Samsung Q6F 55-inch 4K QLED TV and Samsung soundbar, and carried out some brief testing on a PS5 Slim combined with an Acer X32QFS gaming monitor and a Yamaha SR-C20A soundbar. On both machines, I used a standard DualSense Wireless controller, and I also spent many hours playing the game on my PlayStation Portal. When using a headset, I used a Drop + EPOS PC38X wired gaming headset combined with a Creative Sound BlasterX G6 on my PS5 Pro, and a SteelSeries Arctis Nova 7 wireless gaming headset on the PS5 Slim.

I tested the game thoroughly in all its graphics modes and found its Ray Tracing Pro mode on PS5 Pro to be the best way to play on Sony’s premium console. I also played chunks of the game on several of the difficulty levels to explore and experience the different challenges in the combat, and tried out the different filmic modes too, with my favorite being the Miike mode by far.

First reviewed September 2025

Silent Hill f is one of the most imaginative, compelling, and striking experiences I’ve had this year. Neobards has also made one of the most tedious, infuriating, and badly designed survival horror games I’ve ever played. We’ve all seen fascinating ideas mired by flawed mechanics countless times in the past, but it’s been a long time since I’ve wanted to completely walk away from a game just as much as I want to press on to see what revelations it has for me.

It’s this back-and-forth that I’m struggling to reconcile when settling on what I really think about Silent Hill f. Some will despise it for its dire combat, inconsistent atmosphere, and poor execution. To others, this will be a game of the year contender, with its beguiling mythology, gorgeous cinematic direction, and audacious design choices. I support the argument from both sides.

We play as Hinako, a young adult in 1960s Japan. She’s dealing with an abusive alcoholic father, a despondent mother, and a previously tight-knit friendship group that’s starting to show some cracks as emotions and hormones run high. The game’s themes are heavy, with gender, puberty, marriage, motherhood, family, friendship, and maturity just some of the topics that cult-favorite writer Ryukishi07 engages with throughout the story. I don’t have enough praise for the daring and uncompromising ways it engages with these big ideas.

Beautiful nightmare

It helps that the outstanding performances, stellar cinematic presentation, and moody music elevate many of the game’s biggest story beats and give them the weight they deserve. Silent Hill f may sometimes look a bit plain, but it certainly knows how to frame some grotesque and gorgeous imagery or give a performance the time and attention it needs to shine, especially in the game’s original Japanese dub.

It’s a shame the same can’t be said for all of the game’s environments, which swing from the signature foggy alleyways and disgusting visera-covered hallways of the series, to places that are too bright, too mundane, and too, well, clean.

There were brief moments where I was creeped out by the atmosphere (those scarecrows are pure nightmare fuel), but mostly I felt like a tourist taking a casual stroll through a town or temple in some inclement weather. That's a shame for a series that has mastered creating a feeling of dread with every step so many times in the past.

Silent Hill f also mixes up the exploration with a smattering of puzzles that we’ve come to expect from these games. These range from neat little brainteasers to cryptic nonsense, sometimes actually making less sense than what’s supposed to be the easier puzzle difficulty.

What also doesn’t help with the pacing is the way the game jumps between what is ostensibly the real world and a mystical otherworld throughout. Naturally, the two are intrinsically linked, but the transitions between the two are often contrived or completely unexplained, giving the game an inelegant and disjointed structure.

But these disappointing missteps are nothing in comparison to the one element that Silent Hill f gets severely wrong: the combat.

Lost in the fog

The majority of Silent Hill protagonists have (intentionally) never been adept at fighting, which has led to a series of awkward and cumbersome combat systems. Most of them, though, are serviceable. Silent Hill f’s is one of the worst I’ve experienced.

It’s all melee-based and a basic light and heavy attack affair, but it layers on unnecessary system after unnecessary system to try and stretch out of its terrible combat mechanics. There’s stamina, there’s a sanity bar, there are focus attacks, there’s weapon durability, there’s perfect dodges, and counterattacks. All of this mess just to try and bolster the simple act of whacking a horrific manifestation with a lead pipe.

None of it helps. It’s painfully slow and frustratingly sludgy, like Hinako is always trying to swing through mud. Hits have no satisfying impact unless you charge up attacks every time, which you will have to do continuously, because it's the only consistent way to stun and kill enemies with any speed.

Enemies, meanwhile, are such jittery and erratic nightmares that it’s impossible to read them, and the dodge is so janky or the window to counter so small that by the time you realise an attack is coming in, it’s too late, you’ve already been slashed or spat on or lunged at. The dodge is the most hilarious and out-of-place choice, which sees Hinako dart about six feet in a straight line in any direction in a split second, like she’s borrowed powers from Goku.

Some sections thankfully make the combat far more trivial in some unique and utterly bonkers ways that I won’t spoil. Ultimately, that’s still not much better, as it’s just as unsatisfying as it’s always been; it just requires less thought to get through it.

Every time I had to deal with the game’s combat, I thought it would be better just to let the Silent Hill fog take me. It wouldn’t be quite as bad if you could simply run past all enemies, but the game regularly forces you to engage with it, with creatures that block your path, walls that only drop once certain enemies are killed, and entire combat gauntlets that are thematically interesting but mechanically horrid.

And that brings me back to the dichotomy that makes Silent Hill f a curiosity that’s so hard to judge. There will be staunch defenders of this game for all of the incredible work it does with characters, story, and presentation. Others will be quick to trash it as a clunky, poorly designed, and maddening experience.

As is always the case with these things, I feel that the truth is somewhere in the middle. At times, it filled me with rage, but I’d be lying if I didn’t admit that it captivated me in equal measure.

Should you play Silent Hill f?

Play it if…

Don’t play it if…

Accessibility

Silent Hill f doesn't have an extensive list of accessibility options. There are three filters for green, red, and blue color blindness, as well as subtitle customisation options to change the font, size, and color. There are also three different controller layouts to choose from on console, but you cannot create your own custom layout or edit specific button bindings.

The game has separate difficulty settings for the combat and puzzles, ranging from a standard 'Story' option, a more difficult 'Hard' mode, and the most challenging 'Lost in the Fog' setting. These cannot be changed once you begin the game.

How I reviewed Silent Hill f

I played Silent Hill f for around 14 hours on a PlayStation 5 Pro on a Samsung S90C OLED TV using a DualSense Wireless Controller and playing audio through a Samsung HW-Q930C soundbar. In that time, I completed the game twice, with my first playthrough clocking in at a little over eight hours.

The game does not have different graphics modes to choose from, but performance was excellent throughout, although I got the impression that cutscenes were disappointingly locked to 30 frames per second (fps).