A few hours into my climb, I hit the first of Cairn's seemingly insurmountable walls. The cave formation I'd descended into housed surfaces denser than anything I'd encountered on the face of the mountain. It was impossible to sink a piton into, meaning I'd have to effectively do a free solo climb to overcome it and progress.

At least, that's what I told myself. And so I threw myself at the jagged and uneven edges of that crystalline cavern. I tried and failed to find decent handholds and steady footing in the cracks of the walls. I slipped and fell a lot. Aava, Cairn's protagonist, slipped and fell a lot too, and as she did she scraped the bandaging off her digits, bloodied her feet, and screamed in frustration and contempt. Contempt at the choice I had made to stick her in this cave, and maybe even the choice that she'd made to climb Mt. Kami in the first place.

I think Aava and I are made of the same stuff, though, because we both bullishly pushed on. Eventually, we cleared that cave. We climbed its walls and came out on top. And you know what we were greeted by? An alternate path. One that appeared a whole hell of a lot easier than the path I'd made Aava take up. And you know? Deep down, I had known there must've been some other way up. I had known that Cairn threw down this gauntlet as an option and--perhaps because the game's development team understands the kind of masochistic, self-flagellating person who would play a game this demanding--they knew I'd pick it up and run with it rather than look for a way around.

I first heard about Hytale a few years ago. My son, a huge Minecraft fan, told me how the Hypixel server on Minecraft was a major landing spot for some dedicated players. He added that the team running that server, today known as Hypixel Studios, was making its own game, Hytale, and it had already spent years in development. It was to be a new Minecraft competitor, building on what players loved about the Hypixel server while establishing ways to stand out as an experience that even Minecraft diehards could not deny. In January 2026, Hytale is certainly not that. Instead, it's a Minecraft clone that rarely justifies its existence. Presumably, it's going to change a lot over the next several years, but for now, it's best left to players who are so dedicated that they're compelled to get in on the game's ground floor.

Starting out in Hytale, you'll drop into a procedurally generated world full of trees, rivers, a few villages and ruins, and mines, of course. The blocky, voxel art style is a bit less pixelated than Mojang's titan of the genre, but in most other ways, the early moments of Hytale are remarkably familiar to anyone who has played Minecraft.

You'll collect a few basic resources so you can craft a pickaxe and a hatchet, use those to chop down trees and smash small boulders, thereby crafting things like workbenches, which quickly open up the world to many more craftable items, from target dummies and beds to teleporters and various meals. It's not long before you've built yourself a humble abode, both stylish and sturdy in the face of enemy "mobs" that roam the land, like rats, skeletons, and rock golems.

Hop is a little frog with big dreams. He wants to explore life outside his forest, and his call to adventure is rewarded with the unexpected ability to leapfrog between worlds and even dimensions. Luckshot Games, the developer and publisher of Big Hops, appears to be similarly ambitious, if this game is any indication. Big Hops is a modest 3D platformer that takes on some of the biggest in the industry, on their own turf, with confidence and poise. Even when it very occasionally falls just short, you can't help but respect the pluck it took to aim so high. Big Hops is a game centered on joyous movement that should put Luckshot on players' radars going forward.

From the very start, before Hop even leaves his homey little forest dwelling, you can sense Big Hops' inspirations. Hop's movement and (ahem) hops feel reminiscent of how Mario moves in Super Mario Odyssey, even including a belly slide that you can use to keep your forward momentum going. But on top of that, it layers in a few other elements. You can wall-run like in Prince of Persia or Titanfall. You can climb any wall a la Zelda: Breath of the Wild, complete with a stamina meter that determines how long you can cling to a surface. Your stretchy frog-tongue acts as a grapple to swing on hooks and grab handles, and it also makes it easy to grab things like bugs or fruits out of trees. It all feels so immediately natural, and part of the fun of Big Hops is learning how to connect your suite of movement options together.

Before long, Hop meets Diss, a strange extradimensional imp with a snarky attitude and questionable motivations. Diss spirits Hop away to The Void, a bridge between realms where gravity is strange and twisting upon itself. I couldn't help but be reminded of the flexible gravity system of Super Mario Galaxy, as Hop made a jump and suddenly landed upside-down with a changed perspective, but by this time the natural movement felt so smooth that the shift was easy to navigate.

Lots of cartoon trends come and go, but Bluey's rise to the top of the streaming landscape has been fueled by more substance than the typical preschool kids cartoon. The phenomenon has been almost as strong among adults as kids, as the show's strong writing, imaginative play, lovable characters, and surprisingly deep emotional intelligence has moved many adults to watch it as well. It was inevitable that the popularity of Bluey would invite video game adaptations. And while Quest for the Gold Pen is simple and familiar, it's also well-made in a way that could serve as a gentle early introduction for a new generation of gamers.

It's hard to talk about Quest for the Gold Pen without inviting comparisons to the other Bluey video game release, Bluey: The Video Game. That game from Artax and Outright Games captured the look of the cartoon remarkably well, but it was a bit dull. You mostly took part in minigames around the Heeler household, loosely built around the story of finding a treasure map. It was cute, but it lacked the heart and imagination of the cartoon, and its gameplay hooks weren't all that compelling.

Bluey's Quest for the Gold Pen, from Jetpack Joyride developer Halfbrick Studios, is almost the precise opposite: a more imaginative setting, with solid game mechanics underpinning it, but also more structured. You aren't just playing around the household and making your own fun this time, and a lot of the activities are very similar. But since it's presented in a familiar framework, this feels like a proper and recognizable video game--just paced a little slower to make it approachable for youngsters.

If I could use only one word to encapsulate Terminator 2D: No Fate, it would be "authentic": Both in the way it faithfully recreates James Cameron's seminal 1991 action movie and its nostalgic love affair with the 16-bit era of video games. Movie tie-ins were mostly awful in the early '90s, but I could easily see myself renting No Fate from my local Blockbuster and blasting through its sidescrolling run-'n'-gun action in between episodes of Dragon Ball Z and WWF Smackdown.

It's a brief experience, with the credits arriving in less time than it takes to watch the entirety of Terminator 2: Judgment Day, but No Fate is a licensed video game done right, created with palpable reverence for both its source material and the era of video games it emulates.

No Fate's story mode opens with a shot of rolling tarmac, as the painted yellow lines in the middle of the road scroll past at regular intervals. If you're a fan of Terminator 2, this shot will be a familiar sight, albeit one now rendered in gorgeous pixel art, with chiptune music and Sarah Connor's monologue presented as blocks of text rather than through Linda Hamilton's hushed tones. It's also in a different place--on a desert road instead of a Los Angeles freeway--and opens the game as opposed to bookending the movie.