This weekend is a big one for me. My brand new fancy shmancy ottoman bed is arriving in my new flat, after two weeks of curling up on the sofa with a weighted blanket. I'll also be topping it with my brand new ultra-thick memory foam mattress topper, raising me off the floor another crucial few inches. Think of the view I'll get from up there! To imagine there'll be any time for games! Pah!

I kid. Plenty of time for games for us all, even while reclining on gloriously beds with ungodly amounts of storage space. We love playing games here at Rock Paper Shotgun. Even Alice, who has routinely told me that actually there are no good games. Here's what we'll be clicking on this weekend.

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I love building games, but it's not that often that put one down and feel particularly tempted to get straight back into it again. Of Life And Land is one of those, but thankfully not so much so that it threatens to consume my every waking moment.

It quietly does several things in a modest little way, that are all the more impressive for its lack of fanfare. The core one though, is that it takes the kind of simulationist foundation normally reserved for the punishing Dwarf Fortress derivatives or gnarly logistics games, and builds on them an approachable, gentle, even philosophical game instead. In a word: it's lovely.

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Ghost of Tsushima: Director’s Cut is now out and about on PC, sadly with the requirement of signing into a PlayStation Network (PSN) account in order to play the samurai action-adventure’s Legends co-op mode. The same requirement, you might recall, that Helldivers 2 players recently lobbied Sony into abandoning. No such luck here, and as previously warned, the need for said PSN sign-in to happen over Windows means that Ghost of Tsushima is essentially missing a chunk of itself on the Steam Deck.

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“In one of Nero’s many manifests,” reads a books in surreal puzzle-box Lorelei And The Laser Eyes, referring to its eccentric (read: tastefully deranged) antag-artist, “there is a satirical proposal claiming that only dictators should be allowed to direct films.” Developers Simogo - of well-deserved Sayonara Wild Hearts and Device 6 acclaim - seem to agree that’s a position worth satirising. Lorelei, despite its single-solution puzzles, is not dictatorial. It’s far too interested in collaborating with you for that. It wants you to observe, consider, and interpret its many mysteries. What’s really hooked me here is how those puzzles are kept coherent and logical, despite you getting delivered a letter by dog and occasionally visiting a floppy disk bizzaro world where you converse with a magician who manifests from his own discarded hat.

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Have you played Homeworld 3 yet? I have. I thought it was *gestures at review*. I bring it up because, as is often your way, the readership commented me into thinking about something I’ve been wanting to cover: the outdated relic that is the easy/normal/hard difficulty trifecta. "Ohoho>," I warbled chuckilishly. "I shall craft a blistering manifesto, sharper than the apex of a Toblerone on the roof of your mouth when you try to eat it as god intended. I will> solve this problem." And then I thought, "Actually, no. That sounds hard." So, instead, here are some wazzock-tier ramblings.

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There are exactly one million metroidy rogueishy action platform games and that is okay>. There's no such thing as too many of an entertaining thing in a world with, god I dunno, at least thousand humans in? Maybe more? Who knows.

They are rarely my thing, though. I try more than I really want to, for you>, and games like Biomorph give me the energy to keep going through the many that leave me indifferent. This isn't one of my grudging admissions that a subgenre isn't all bad; it's a game that I can't even think of a way to complain about.

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Remember when Control came out and your mate Terry appeared out of nowhere to rant endlessly about how they’ve always loved brutalist architecture? Come on, Terry. No you haven’t. You spend weekends eating custard creams and watching Bake Off. You haven’t thought about brutalism since undergrad, be honest. Anyway, my version of that is Starship Troopers. As in, I’ve been waiting for a videogamey excuse to bang on about it in public for ages. Helldivers 2 is obviously as good an excuse as any, but really, I needn’t have waited so long. Official offerings like strategy game Starship Troopers: Terran Command and FPS Robocop: Rogue City aside, I reckon you can find Paul Verhoeven’s fingerprints all over games.

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Graham said he wanted someone to write about Little Kitty, Big City, asked if I liked cats, at which point my soul was possessed by some kind of deep animus. "I really like cats, I just hate the internet UWU nonsense about cats," I said. "God it's awful, I can't stand it, Jesus Christ it's just an empty and terrible way to talk about cats, cats don't deserve to be the internet animal-" at which point Graham managed to interrupt and said I was exactly the person who should write about Little Kitty, Big City.

I promise, I approached Little Kitty, Big City with an open heart, because I do really like cats. But given my aversion to their babification by the internet, it may be surprising that my chief complaint about Little Kitty, Big City is that the hats in it are largely not cute enough. This is a bold claim, because there are more than 40 to collect.

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Nic reckons Homeworld 3, the long-awaited spacefaring RTS, is mostly pretty good. Qualified hoorays for that, as well as for the fact that it doesn’t make especially mad demands of your hardware: besides netting a Steam Deck Playable badge from Valve, its minimum PC specs only list the likes of the Intel Core i5-6600 and Nvidia’s GTX 1060. Easily doable, for most aspiring galactic admirals.

Once a battle gets underway, however, Homeworld 3’s performance can start tanking, turning an initially smooth engagement into a more stutter-prone light show. The good news? You can more than double your framerates with a relatively small handful of graphics setting changes, even if some these (including the DLSS and FSR 2 upscalers) can be a tad inconsistent in their own right.

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Last week, I watched one of my favourite badminton players Kento Momota play his final match. As he stepped off court for the last time, I found myself welling up. He doesn't know me - of course he doesn't - and I don't know him. But for ten years I'd watch him at every opportunity and see him grow into one of the all-time greats. For me, his retirement wasn't only devastating in the sense he was a great ambassador for the sport: a positive soul, a good speaker, a hard worker. No, it also spelled the end of us being able to witness something impossible to replicate, a 'game' of badminton uniquely his. And for a magical two years, he had the best game in the world.

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