Stylish first-person adventure Call of the Sea will come to PlayStation 4 and PS5 next month.

The game's Twitter confirmed the May release last night, some five months after the game first launched for PC, Xbox One and Xbox Series X/S, including via Xbox Game Pass.

A mix of 1930s action and HP Lovecraft weirdness, Call of the Sea follows adventurer Norah Everhart as she travels to a mysterious island in search of her missing husband Harry.

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Call of the Sea was one of my favourite games of 2020. Even when I think about it now, I feel warmer. Partly that's to do with the literal warmth of the tropical island setting, but I think more of it is to do with the gentle nature of the game. It's a game without combat, a game about puzzles. A game with an eerie mystery pulling you farther in. It's an adventure played at walking speed, both metaphorically and literally. And I relish that. I relish an adventure I can sink into like a comfy armchair each evening, one that doesn't rough me up and shake me around before I sleep. I wish more games were like it.

And the more I read about Call of the Sea, the more remarkable it seems. It is the debut game by a Spanish studio called Out of the Blue Games (appropriately), and it was made in only a year-and-a-half. For a game to be built so assuredly in such a short space of time, by a new studio, is very impressive. Intrigued, I tracked down studio co-founder and Call of the Sea game director, Tatiana Delgado, for a chat.

Hello! How are you? How are things over in Madrid?

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Magic. Have you ever really considered what it means? We're told what it means a lot, especially in games. We're told it means fireballs and lightning bolts and turning people into sheep. But is that really magic, or is it simply a term used to describe something we've become accustomed to? It's a thought that's been nagging at me.

It occurred reading The Tombs of Atuan recently, the second Earthsea book by Ursula K. Le Guin. It's a book about a wizard but something about the magic feels different. It feels incomprehensible. It's not defined by dice rolls or numbered values or rules, but worked out somewhere outside of explanation, just past the edge of understanding. A climactic battle happens where you can't see it: in the wizard's mind. He holds off a terrible evil but there are no explanations to lay it bare, no parameters by which to understand it. You understand it only as something extraordinary. And it feels like magic.

Or, and you'll know this one, the moment Gandalf the White rides out from Gondor to repel the Nazgul. I remember reading the book, many years ago, and thinking, 'Yeah go on Gandalf, mess them up!' And I expected a fireworks display. But all he did was produce a beam of light. At the time, I was disappointed, but now I'm delighted, because it works. It's an epic confrontation, you understand that, yet you don't really know what went on, only that Gandalf won. It's... incomprehensible.

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Editor's note: Take a breath. We're almost there. 2020's been quite the year, and it's very nearly over. Across the festive break, members of the Eurogamer team and our contributors will be running down their personal top five games of 2020, before we announce our game of the year - and before, of course, we hand over to you for the annual Reader's Top 50. Thanks for being with us this year, and see you on the other side.

I never used to be particularly outdoorsy, but the passing of years seems to have graced me with an irrepressible itch for a sweeping vista and a curiosity for distant climes. No surprise then that Flight Simulator has been my safety valve in 2020, offering a welcome escape from the waning thrills and increasingly claustrophobic over-familiarity of my immediate locale.

The joy and genius of Flight Simulator 2020 is in its wonderful accessibility, meaning it's not just a game for aviation lovers, it's a game for those that love travel and discovery too. And its breathtaking digital Earth hasn't just sated my niggling wanderlust this year, it's stirred my curiosity, encouraging hours of blissful revery among the clouds, seeking out fresh geographical wonders, and giving me a whole new appreciation for the majesty of our world.

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One game really leapt out at me during the Xbox Series X showcase earlier this year, leapt out like a big wet fish. It was Call of the Sea. I'd never heard of it and never heard of the developer. But even among all the other blockbusters it stood out. And once I'd seen it, I couldn't stop thinking about it.

It was partly the setting: a vintage, 1930s exploration mission to a dazzling tropical island, where colours burned brighter than life. Literal red sun baked the sands, literal green shone luminously from pools. It was a cartoon exaggeration of paradise.

But it was also the tone. Here was a non-violent and eerie game about a lone female on a voyage to find her husband, whose expedition hadn't returned from the island. An island that appeared to be calling to her. Who was she, Norah Everhart, and what happened to her husband? And what was waiting for her there?

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