The 25 Best Video Games of 2025

For horror game fans, the name Silent Hill holds weight. One of the seminal survival games of the first two PlayStation eras, the series got its luster back following last year’s remake of crown jewel Silent Hill 2. But now is the time for publisher Konami to keep the ball rolling, and the latest all-new entry in the franchise, Silent Hill f, delivers the frights in spades.Unlike previous installments that have contemporary, middle-American settings, Silent Hill f transports players back to 1960s Japan to the fictional rural town of Ebisugaoka. The story follows a teenage girl named Shimizu Hinako, who is reeling from an argument with her parents right when the infamous fog rolls in — the series’ hallmark that indicates a psychological and body horror nightmare is about to begin. Channeling the trauma of her familial abuse, Shimizu has the tragic backstory and fragile psyche of a true Silent Hill protagonist, but her feminine adolescence offers a singular perspective for the franchise. The combat can be rough around the edges, but Silent Hill f is easily the most harrowing horror game of the year.

In a year packed with so many high-visibility sequels and (especially) all-new games, it can be easy to gloss over the remakes and remasters that really deserve a second glance. And while updated versions of titles like Metal Gear Solid 3 did a serviceable job at reminding folks why the original worked so well, one remake brought back a game at a time when its story and themes are timelier than ever: Final Fantasy Tactics: The Ivalice Chronicles.Long heralded as one of the best strategy-RPGs ever, Final Fantasy Tactics swapped out the traditional turn-based battles and sweeping romanticism of many of the genre’s Nineties-era games for something more tactile and headier. The story follows two young men, friends from an early age, who through the discordant politics and classism of their world end up on opposing sides of a revolution. The Ivalice Chronicles brings some improvements, primarily in streamlining some clunkier systems and giving everything a fresh coat of paint (and newly recorded dialogue), but it really serves as a clean reintroduction to one of gaming’s most intriguing and affecting social allegories. It didn’t necessarily need updating, but we collectively needed this game.

Dedicated sports sims remain as popular as ever these days, with annual iterations of Madden, NBA 2K, and EA Sports FC (formerly FIFA) dominating livings rooms and esports spaces alike. But there’s something special about a good old-fashioned arcade-y sport game. Back in the day, series like NFL Blitz and NBA Jam turned professional ball into bona fide cage matches, and Sloclap’s new streamlined soccer game, Rematch, brings that feeling back.Rather than controlling a full 11-person team, Rematch narrows the scope to 3v3, 4v4, or 5v5 at most, with players controlling the athletes from a third-person perspective instead of an eagle-eyed view. The gameplay is aggressive, eschewing niceties like fouls, penalties, or offside calls — with all the action taking place in an enclosed virtual arena (meaning you can blast the ball off the invisible walls as a strategy!). Sloclap cut their teeth with complex martial arts games like Absolver (2017) and Sifu (2022), and that experience carries over to Rematch, which feels like a sports-based fighting game as much as it does straight soccer.

It’s just a fact that cyberpunk settings make for great RPG storytelling. Early graphic adventures like Hideo Kojima’s Snatcher (1988) and of course, the tabletop game Cyberpunk (which inspired the modern video game darling Cyberpunk 2077), are obvious examples — and the Citizen Sleeper series now runs with the torch. But unlike the actual Cyberpunk game, this indie duology leans harder into TTRPG design than all-out action.Set in a far future where humanity has colonized the stars, Citizen Sleeper 2 positions players as a person whose mind has been digitized inside a synthetic body. As part of the lower class, Sleepers primarily do manual labor for corporate overlords; in this case, it’s on a station positioned amid an asteroid belt. After running afoul of a gang, the Sleeper is severely damaged, and it’s up to the player to escape and discover if freedom is more than a pipe dream. The game is mostly a visual novel, where players choose actions that play out in text and the theater of the mind, accompanied by dice rolls to determine success or failure. It’s a deeply affecting solo tabletop journey that goes down easy with its synthy cyberpunk vibes.

This was a stellar year for couch co-op games, with a bevy of 2D beat ‘em ups, two-player puzzlers, and even an entire Call of Duty campaign that really only worked with friends. But the most anticipated cooperative experience of the year was Split Fiction — an action-adventure romp from Hazelight Studios, the team behind 2021’s award-winning game It Takes Two. Like its predecessor, Split Fiction forces players to work together to make it through harrowing platforming challenges and team-oriented puzzles, weaving an emotionally riveting tale along the way.The story focuses on two authors, Mio and Zoe, who meet at Rader Publishing for an experimental simulation that could change the trajectory of their careers. Unfortunately, circumstances lead to a major error, and the two are trapped inside the program which becomes much more real than either would like to believe. Each level of Split Fiction is thematically based on each author’s writing (Zoe’s being fantasy; Mio’s is sci-fi) and bounces between genre settings and tropes and the duo learn to work together and grow closer as they fight their way back home. The mandatory co-op play can be a litmus test for the strength of your relationship, but if everyone can just get on the same page, Split Fiction ends up being satisfying exercise in teambuilding.

Few things will make you feel as smart (or stupid) as a hardboiled mystery, and The Séance of Blake Manor will instill that thought repeatedly throughout its runtime. Set on Halloween of 1897, players take on the role of Detective Declan Ward, an outlier invited to a meeting of eclectic mystics who have gathered at a mansion in western Ireland to commune with the dead. Two days prior to the event, a woman by the name of Evelyn Deane disappears, and now it’s Ward’s job to unravel the yarn and ascertain what happened.Although it’s set in an eerie mansion, the game’s visuals are inviting, with a comic book-like aesthetic where its illustrated characters exist as 2D images within the explorable 3D world. With only 48 hours to crack the case, players will need to manage their time as each action expends a minute from the clock, meaning that every decision is crucial. By interrogating guests and gathering clues through observation, the many overlapping threads create a virtual corkboard rife with conspiracy. The Séance of Blake Manor paints a world where nothing is as it seems, and rewards multiple playthroughs — which will be essential to unearthing every twist it has in store.

The inherent beauty of game design is the ability to craft any kind of experience one can imagine. What if you wanted to relive your childhood memories from the perspective of your eight-year-old self? It might sound like expensive therapy, but the intimate storytelling of Despelote offers players a chance to put themselves in someone else’s shoes for the formative moments of their life.Taking place in Quito, Ecuador, during the country’s bid for the 2002 FIFA World Cup, Despelote is a first-person walking simulator that recounts the autobiographical experience of co-developer Julián Cordero. The dreamlike visuals recreate the city via scanned photographs while its people all resemble paper sketches cut from a notepad. There’s no real objective beyond kicking a soccer ball around and taking in this cultural time capsule; sitting at the dinner table with Julián’s parents arguing as the TV blares loudly with the sounds of the match. By the end, reality begins to creep through in a meta way, giving the whole experience a documentary vibe by way of plugging directly into someone else’s mind.

This was a big year for the retro revival experts at Dotemu. The French studio known for creating modern sequels to classic series like Streets of Rage 4 rolled out a whole slate of top-tier 2D throwbacks this year, but one in particular stands apart. Absolum is the publisher’s first fully original IP, although its fantasy inspirations will be familiar to anyone who knows D&D (or basically any derivative media thereof). Co-developed by Guard Crush Games, who also worked on Streets of Rage 4, the side-scrolling action game has combat systems that feel like a natural evolution of the genre and a gorgeously illustrated aesthetic to boot.Absolum is set in the world of Talamh, where sorcery has been outlawed. Developed for either one or two players, you can take on characters that combine fantasy races like elves and dwarves with traditional classes like wizard and rogue. At its heart, it’s a coin-up style arcade game where punching, kicking, and air juggling enemies is a joy unto itself, but Absolum takes things deeper with a roguelike structure that forces players to complete the whole game in a single run, with selectable branching paths and randomized encounters cropping up. You could say it’s like Hades meets Streets of Rage, but that doesn’t quite do justice to one of the best beat ‘em ups of the modern era.

The last few years have had the fighting game community eating good with a full-on renaissance for the genre. Fresh entries of Street Fighter and Tekken arrived to cheers in 2023 and 2024, respectively, and 2025’s new challenger is a deep cut for the SNK faithful. Fatal Fury: City of the Wolves is the first new installment in the classic fighting game series in 26 years, and brings Street Fighter’s sister series back into the zeitgeist in explosive fashion.Anyone who’s played a 2D fighter in the last 30 years will be able to pick up City of the Wolves; like most modern releases, it has a decent suite of streamlining options that make pulling off crazy combos and special attacks a cinch. The game’s comic book-inspired art pops in way that’s sure to be timeless, with a colorful flare that makes all the action look intensively over-the-top without breaking pace. There’s been a lot of (justified) criticism for the inclusion of controversial soccer star Cristiano Ronaldo as a playable character, but outside of the odd immersion-breaking choice, it’s just good to see an underdog series like Fatal Fury get the red carpet treatment it deserves.

Sometimes, it’s just nice to play something truly dumb. That’s Ninja Gaiden 4’s to a tee. One of three Ninja Gaiden games to grace us this year, the latest 3D installment ups the already garishly violent ante with increased speed and aggression courtesy of co-developers Team Ninja and PlatinumGames.The story follows newcomer Yakumo, a member of the Raven Clan, whose mission to free the Sky City of Tokyo from the endless poisonous rain stemming from the husk of now-slain Dark Dragon. His quest locks Yakumo into a collision course with the series’ main hero, Ryu Hayabusa, who is playable for a sadly brief stint later in the game. But while that regrettable decision mostly chalks up to a marketing misstep, the rest of Ninja Gaiden 4 is a wild, blood-soaked ride in excess. While recent action games have trended toward methodical swordplay, the once-gold standard for the genre is here to remind players that too much is never enough, especially when it comes to power drill-punching your way through a dragon’s stomach.

We’ve reached a breaking point where all pretenses of realism have fallen to the wayside in online shooters; a large contingent of players are yearning for something at least slightly more grounded than Inception-style sci-fi and LARPing as The Simpsons. That’s where EA’s Battlefield 6 comes in to bring competitive gaming somewhat back to a more grounded state. Once a series competitor to Activision’s annual shooter-turned-live service ecosystem, the Battlefield franchise always focuses more on teamwork and role specialization that encourage more ways to contribute to the cause than simply racking up the most kills.Players must choose from classes including Assault, Recon, Engineer, and Support, each with its own designated abilities. While other games let you call an aerial strike as a little treat for the most executions, Battlefield 6 pushes players to get behind the wheel of the vehicles to rain fire — or one better, dangle feverishly from the backseat with a blowtorch trying desperately to keep the bird in the sky. While its story mode is a borderline braindead slice of politically neutral jingoism, the thrills afforded by its 64-player online mode are second to none in its field.

In this, the year of the ninja, there’s been plenty of options for fans who want shuriken-throwing action and relentless acrobatics, but the best of the revival trend must be Sega’s Shinobi: Art of Vengeance. Developed by Lizardcube, the studio behind Streets of Rage 4, the first entry in the franchise for home consoles in over twenty years reimagines the 2D side-scroller as a beautifully rendered painting sprung to life.Unlike the original games, which were more straightforward platforming titles, Art of Vengeance leans further into the Metroidvania style, with mazelike levels to explore and tons of secrets to find in between sweaty bouts of combo-heavy combat. Arcade Mode ups the pacing with a time-attack styled race to the finish, which isn’t easy given the game’s emphasis on heated battles. Like its peer, Ninja Gaiden: Ragebound, Art of Vengeance relishes in a silly story filled with paramilitary forces and supernatural entities that feels ripped from an Eighties b-movie. But with fighting game-caliber depth, it has the edge on the competition for its surprising complexity.

Nintendo didn’t really need to do much to ensure that their next Mario Kart game was a hit. Customers have been gobbling up the last entry, 2017’s Mario Kart 8 Deluxe, with nearly half of all Switch owners worldwide picking up a copy. A little iteration could’ve made bank, but they decided to one-up their game just the same. Mario Kart World is the biggest installment of the franchise ever, introducing a fully interconnected world to explore and 24-player races that add a Fury Road-like urgency to each chaotic chase.At its heart, it’s basic Mario Kart; just pick any number of Nintendo mascots, customize your favorite vehicle, and hit the track. The free-roam mode adds a nice touch to time-killing in between online matchups, and gives curious drivers secrets to find in their offline downtime. The biggest and best addition is Knockout Tour, which links together multiple courses for one extended cross-region race with a battle royale twist, as lowest placing competitors are eliminated at each checkered flag. Some would argue that Mario Kart World plays it a little safe, especially compared to the more ludicrous gameplay of Kirby Air Riders, but it’s the perfect middle ground between accessibility and endless replayability that its more confounding peer just can’t quite crack.

Formally announced back in 2019, Hollow Knight: Silksong has taken so long to arrive, fans began to fear it had become vaporware. But the game was very real and arrived this September to a rapturous reception, crashing digital storefronts as everyone who’d even heard the name rushed to download their copy. However, what many found — especially newcomers — was a blindingly difficult exercise in self-flagellation that catered more toward experts of the first game than entertaining any amount of handholding.Does that make it any worse? Not really. The first Hollow Knight was no picnic, but its sequel aims to force players to think outside the norm on how to tackle its many traversal-based puzzles and deadly boss duels. Everything can (and will) kill you in this game and making it all the way through its extended three acts will demand only the best from its audience. It’s not exactly revolutionary; Silksong began as a downloadable expansion for the original and plays more like a double-sized direct continuation than a meaningful leap forward. But when the foundation is one of the greatest games ever made, getting a second helping isn’t exactly an issue.

In our risk-averse capitalist culture, it can be hard to push through any kind of thought-provoking ideas, especially at a company as big as Microsoft. But Xbox Game Studios has been surprisingly great at publishing unexpectedly fantastic projects — perhaps the best of which is Compulsion’s South of Midnight. An action-adventure title set in the Deep South, its Gothic fantasy roots blend with Black culture by way of the bayou in this folklore-heavy tale.The story centers on Hazel, a young woman desperately trying to prepare for an impending hurricane that will ultimately wipe out her home, taking her mother along with it. To pick up the pieces, players will explore a fantastical vision of the Deep South, filled with rich characters like a massive catfish and a litany of Pan’s Labyrinth-like creatures that will make your skin crawl. The game’s narrative explores many cultural and societal issues that face the real-world residents of the American South, and never shies away from uncomfortable truths. With a jittery stop-motion style, it’s aesthetically unlike anything else out there — a fully realized vision of artistry that celebrates those who are often ostracized by pop media and the gaming industry at large.

Although many have tried to make the “extraction shooter” subgenre work on a casual scale, only a select few have succeeded. PlayStation found success last year with the fascist satire Helldivers 2 but floundered on their second attempt with the currently shelved Marathon. Nobody really knew how Embark Studios’ ARC Raiders would do; its trailers looked great and strong word of mouth seemed hopeful, but chatter doesn’t make a hit.But once it arrived in late October, ARC Raiders proved to be everything the scene needed to thrive. Its post-apocalyptic world (set in Italy rather than the recycled wasteland of North America) feels different enough, and its robotic enemies feel like a refreshing change of pace from endlessly waves of zombies and monsters. But what surprised everyone the most was the game’s unexpectedly kind community; as a PvPvE game, it’s intended to be played with squads all gunning to steal each other’s resources, but players quickly found that they could all band together to thrive as a collective. It didn’t last long (how could it), but the friendlier aspects of the game made it a popular with streamers and empowered players who might otherwise skip this type of game to give a go.

Sometimes, a game comes along whose title says it all. Ball x Pit is one such game. Players are dropped into a subterranean gorge on a high-powered lift and left to shoot balls at waves of marching enemies. Part-Arkanoid, part-roguelike, it’s a game whose simplicity belies its deeply addictive nature.Players get to choose between an increasing number of characters, all of whom have their own pros and cons. Some shoot balls faster than others, or two at a time in divergent directions, or straight through enemies to catch them with hits on the bounce back. While it seems straightforward enough — you don’t even have to manually fire, just aim and move — there’s layers of strategy to it. Hitting enemies on the sides or the back is key to critical hits (an RPG-like element), and choosing the right upgrades and plotting a course for powering up and combining abilities gives the game true roguelike credentials. There’s even an entire town-building sim aspect that helps move progression along, but really, it’s as simple as ball-meets-pit. Have fun trying to explain why a game with that name kept you up until the wee hours on a weekday.

When it comes to cinematic experiences in gaming, few names have as much draw as Hideo Kojima. The creator of the Metal Gear franchise helped pioneer the idea that interactive media could tell stories at the level of films, and since departing Konami in 2015, he’s made it his personal mission to hybridize the art form, one A-list actor scan at a time. In 2019, Death Stranding became his first big foray into a more singular vision, featuring an all-star cast including Norman Reedus, Mads Mikkelsen, Margaret Qualley, and even his directorial peers Guillermo del Toro and Nicolas Winding Refn.The sequel goes even bigger — and frankly, more pretentious. But that’s what people expect from the gaming auteur who somehow convinced PlayStation that a 70-hour walking simulator with FedEx delivery elements was going to be a blockbuster (and he was right). Death Stranding 2 picks up the threads of the first game with protagonist Sam Porter Bridges (Reedus) opting for one last job to reconnect the scattered remnants of humanity to a shared terminal network. What follows is impossible to summarize in a few sentences, but there’s interdimensional spirits, mental possessions, time-jumping apparitions — just all kinds of crazy shit. It’s an experience that demands to be played rather than recapped on YouTube, and to its credit actually makes the video game part much more engaging than the first go around.

Occasionally there’s a game whose eclectic mix of genres shouldn’t really make sense, but in practice just kind of works despite itself. The Hundred Line: Last Defense Academy blends visual novel storytelling with tactical role-playing combat, social simulation elements, and deadly board game mechanics — and it’s fantastic. The plot is grim. Players embody Takumi Sumino, a Tokyo-based high school student who resides in an underground dome that’s frequently hit with emergency sirens. Monsters are perpetually invading, with humanity forced to hunker down in shelters, but most of the context — the what and why — remain a mystery. One ill-fated day, Takumi gets caught in the open and is transported to secluded complex that he’s told (by a mouthy stuffed animal) is the last line of defense for society. It’s up to him and a group of misfits to learn to work together and save everyone.Little makes sense at first, but over the course of 100 in-game days, the various threads become increasingly twisty to an almost dizzying degree. You see, there’s 100 different ways the story can pan out, and it’s up to the player to take the journey to exhaustive lengths to find out how things can shake out. It’s quite an investment, but The Hundred Line packs in an entire series worth of anime lore and excitement into a single package worth wringing dry.

Each year like clockwork, there’s that one indie game that hits and causes an uproar. This is the game of the year, no question. Sometimes it’s hyperbole, other times you end up with decade-definer like Balatro, but in 2025 the early shoo-in for the most talked about indie was Blue Prince — a first-person puzzle game that had people enraptured.The premise seems simple: a man named Simon must explore the various chambers of his grandfather’s 45-room estate in search of a mysterious 46th room. The catch is that players themselves will be charting the path, determining which room comes next in the blueprint based on a limited number of options. It’s a choice-driven puzzle that unfurls in real-time, and leads to many dead ends, but once the code is cracked there’s more to find than you can fathom. It’s the sort of game where the end is just the beginning, and the mysteries of Mt. Holly Estate just keep coming. It’s befuddling at first, but once Blue Prince’s bones are laid bare, it’s a riveting puzzle adventure that’s so much more than it seems on the surface.

Nobody quite does the cinematic single-player game experience quite at the scope of Sony Interactive Entertainment. Series like God of War, The Last of Us, and Horizon all utilize best-in-class motion capture technology and high-quality graphics to bridge the uncanny valley with deeply realistic picturesque acting. Ghost of Tsushima (2020) was a solid example of this, leaning heavily on the foundation of samurai cinema — specifically the work of director Akira Kurosawa — to elevate a decent enough open-world action-adventure into something more.Its sequel, Ghost of Yōtei, picks up the banner and runs with it; it’s even more visually arresting, more cinematic — pulling from a deeper pool of film references, both Japanese and Western. The story of Atsu (played by Erika Ishii) is sharper and more tragic than her predecessor Jin’s; it’s a bloody tale of vengeance in line with Lady Snowblood and Kill Bill, but doesn’t feel so reductive as to merely ape from the best. But the real improvements lie in the gameplay, which is much more varied than Tsushima’s. Atsu’s role as a mercenary means she isn’t bound to rigid samurai structure, and it makes for a more diverse set of skills to employ in an even more dynamic world.

Plenty have tried their hand at making interactive TV. From Netflix’s Bandersnatch to the text-to-vote gimmick of American Idol, companies have tried all kinds of ways to give audiences agency over their stories — and guarantee their engagement along with it. In gaming, that sense of authorship over the narrative has been done best in playable graphic adventures of Telltale Games, but even at their peak with series like The Walking Dead, there’s an inherent disconnect between the forced interactions of the game’s world and the story.AdHoc Studios’ Dispatch aims to do things just a little differently. Comprised of industry veterans, including many from Telltale, the developers’ vision for hybridizing gameplay and passive viewing threads the needle by designing an experience that looks much closer to an animated series than before and gutting all the most boring parts of point-and-click games (i.e. controlling the characters). As superhero workplace sitcom, Dispatch is deftly written; it’s funny, heartwarming, and pokes just enough fun at itself without falling into lazy recycled parody. By adhering closer to the cadence of a TV show rather than game, it finds the magic spot between giving players just enough control while still keeping the plot on rails. It’s the first game of its kind to really justify an episodic release — one the creators could actually stick to, doled out over the course of four weeks rather than years.

A new generation of Nintendo hardware demands a top-class platformer. And while one might assume that means Mario, for the first time in decades, it’s Donkey Kong who’s here to answer the call. Donkey Kong Bananza surprised many as the first big 3D action game the great ape has starred in since 1999’s Donkey Kong 64, and Nintendo’s pulled out all the stops to ensure that the king’s comeback is cause for alarm.Like Super Mario Odyssey and games of its ilk, Bananza is basically an open-ended collectathon, wherein players run, jump, and punch (big emphasis there) through various sandbox areas to find all kinds of banana-themed loot. The big differentiator is the complex physics system that lets DK literally tear apart the earth beneath him with each big-knuckled swing. It’s possible to spend hours disintegrating boulders, ice, and hardened magma to dust — somehow, it just never gets old. The many verbs employed in Bananza feel incredible in action; even with minimal plot or impetus to move forward, just being DK warrants the time investment to play. It’s the prettiest a Nintendo game has ever looked and sets a new standard for what 3D mascot platformers can be.

It might seem unfair to give a game like Hades II this high a spot on the ranking given that it also appeared on last year’s best of 2024 list while still in early access. But that just means you haven’t played Hades II. The sequel to Supergiant Games’ all-timer action roguelike indie (now in its full release version), it’s an evolution and iteration so staggering in scope and ambition, it’s practically two sequels in one.Set some time after the events of the first game, Hades II follows the daughter of the titular lord of the Underworld, named Melinoë, a witch trained by Hecate for a singular mission: kill the titan Chronos and free the gods and lesser beings of Olympus and below from his maniacal grasp. Oh, and he also happens to be grandfather. Like Hades, the sequel explores the familial relations, friendships, and rivalries between all the characters in Greek mythology. The goal is for Melinoë to fight her way down to Tartarus, and later up to Olympus’ summit, to quell the war that’s ripping the world apart chamber by chamber, fight by fight.Once again, Supergiants knack for subtle storytelling shines through in a seemingly endless stream of conversations that slowly unravel each character, and they grow closer and more open with Melinoë. As fun as the actual gameplay is, it’s more of a means to an end — the reward is learning more about this world and its denizens, making each cycle endlessly rich with consequence.