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Taking control of a lighthouse wasn't on my video game bingo card for 2025, but that’s the thrust of Keeper, a puzzle adventure game from Double Fine Productions, with an emphasis on strange style and atmosphere over mind-warping challenges and obstacles.

Inspired by Creative Director Lee Petty’s musings during the COVID-19 pandemic, Keeper imagines a post-human island where metamorphosis has run riot with unusual lifeforms now occupying structures and environments, all built around a central mountain.

Review info

Platform reviewed: Xbox Series X
Available on: Xbox Series X, Series S, Xbox Cloud Gaming, PC, Steam
Release date: October 17, 2025

There’s a surrealist feeling here, as if Double Fine reached into the minds of artists Salvador Dali and Max Ernst, while drawing inspiration from some of the odder music videos from Radiohead and Gorillaz; this vibe is only given more weight from music that blends soft uplifting tracks with glitchy, darker tunes that wouldn’t be out place on an album like Kid A.

(Image credit: Future / Roland Moore-Colyer)

Petty describes the game style of Keeper as “weird, but chill” and I can’t disagree. There’s a sense of discovery and wonder as the adventure progresses, yet without the angst to constantly press on at speed.

Lighthouse leanings

(Image credit: Future / Roland Moore-Colyer)

This journey begins in a suitably bizarre manner: a run-down, dormant lighthouse suddenly erupts with light to rescue a seabird, who you soon discover is called Twig, from a cloud of dark and malevolent bat-like creatures.

Flipping to the player’s control, the lighthouse shakes awake, crumbles to the ground, and then sprouts a quartet of legs to shakily stumble down a rock outcrop and begin a journey to the top of the mountain, with Twig in tow.

And that’s about as much as Keeper reveals in its opening chapters.

There’s no narration, no spoken or written dialogue, or any other text to give voice to the characters or setting. Rather, the world react to the lighthouse and Twig's squawks, while an authored camera acts as your guide, being fixed in place from scene to scene, which ensures your attention is directed to important parts of the environment without being overtly obvious.

(Image credit: Future / Roland Moore-Colyer)

While I would have liked a bit more movement to better peer at some of the weirder and wonderful details of the island and its inhabitants, this approach works well and meant I never really got lost or turned around in what can be a visually bombastic setting.

Keeper also drip-feeds abilities and ways to interact with the environment, initially starting with the simple move to shine the lighthouse’s light independent of its direction of momentum, which has the satisfying effect of prompting some plants and fungi to bloom and sprout.

(Image credit: Future / Roland Moore-Colyer)Best bit

(Image credit: Future / Roland Moore-Colyer)

The game’s strong and striking art style and its gorgeous world, which you’ll traverse in increasingly creative ways, are the true highlights of Keeper. This is accompanied by a trippy but compelling soundtrack, evolving with each new area.

This quickly evolved into the ability to focus an intense beam of light onto surfaces, which melts away some obstacles and prompts reactions from onlooking critters. It scratches a very innate human itch to try things, and had me blasting light at all sorts of objects and outcroppings to see how the game would react.

The lighthouse then gains the albeit to dash, helping it traverse obstacles. And as the game progresses, there’ll be new ways to navigate the world; I don’t want to spoil any surprises, but it kept Keeper feeling fresh over some 39 chapters.

In general, the light is the main way the lighthouse can interact with the world, but Twig is not merely here for the ride and effectively serves as the lighthouse’s hands. When a little blue star emits from an object, be it mechanical or natural, Twig can be sent to interact with it, which switches the player into using a button, key, or joystick to have the seabird peck, pull, or turn the object.

(Image credit: Future / Roland Moore-Colyer)

It’s the combination of the lightbeam and Twig that holds the key to most of the Keeper’s puzzles. Starting off as simple one-stage puzzles, such as shining a light on an organic growth to get it to react, then sending Twig out to pull it out of the way, building to ones with multiple stages and interactions at once.

One of the more complex puzzles involved jumping between three points in time, in a rather creative and satisfying way to bring back life to a machine; oddly enough, it reminded me of the brilliant Effect and Cause mission in Titanfall 2.

(Image credit: Future / Roland Moore-Colyer)

None of these puzzles were particularly challenging. And I only had a couple of moments of head-scratching where the tight camera angles meant I missed a path to an object or interaction I needed to complete a puzzle.

There was one area where I had to get past a blocked tunnel, where I could see the solution, having followed previous interactions, but the game’s logic wasn’t playing out here. With mounting frustration, I’d hit my head, and indeed the lighthouse’s, against it multiple times, thinking I needed to perfectly time a suite of moments to blow away the blockage. Instead, I simply had to first take another path, which, given the camera angle and the color palette of the area, seemed more part of a wall than a navigable route.

Ultimately, I was expecting more complexity to some of these puzzles, so I would overthink potential solutions, rather than poke around in a few more corners, which, to Keeper’s credit, is exactly what I was supposed to do.

While I lack the patience to ponder really tricky puzzles, I do wish there were a little more challenge to the ones Keeper throws up.

Some are so simple that they almost feel like busywork, such as needing to rotate a thumbstick to crank a wheel rather than just pressing a button and having it done. Keeper just about keeps to the right side of this, but there are times when interactions can feel there just for the sake of it, rather than leading to interesting discoveries.

The world is enough

(Image credit: Future / Roland Moore-Colyer)

The absence of brain-wracking puzzles, or indeed any failstate for Keeper, is intentional, with Double Fine wanting the journey through the world to be front and center.

And what a world it is.

You start out crunching through a ruined and near-fully obscured seaside town – you can just make out a tarmac road now lost to eons of passing time – to traversing seaside paths, caves, forests, mini archipelagos, and towns and structures that wouldn’t look out of place in a Zelda game.

Adopting a cartoon-like aesthetic that reminds me of Disney Pixar movies, these areas are all gorgeous and richly detailed despite using the soft, painterly-esque textures. There’s a vibrant color palette here, too, which just begs Keeper to be played on an OLED display, such as those you’ll find on some of the best 4K TVs.

Naturally, light plays a big part here, with the beam of the lighthouse cutting through right shadows and intermingling with volumetric fog. But it's the way the light triggers a reaction from the flora and fauna that makes the environment feel alive.

(Image credit: Future / Roland Moore-Colyer)

There’s nearly always some creature on screen, be it Twig quietly chirping as the lighthouse enters a foreboding cave, to flocks of birds soaring across a blue sky, jellyfish floating in technicolour plateau, and hulkling beshelled creatures walking, flying, or swimming in the background.

Animation is also top-notch, from the scuttling of tiny creatures to Twig’s wonderfully expressive movements. I can’t help but be impressed at how Double Fine manages to inject so much character into the lighthouse, blending its scuttling insectoid legs with the jaunty wobble of its broken body and metal roof, which serves as at pseudo hat that shields the light-holding structure, itself able to convey a surprising amount of emotion in cutscenes.

Add in some detailed soundwork that even has the quiet clicks of gears moving as the lighthouse ‘looks’ around, and deft use of cinematic camera angles, and Keeper presents a an absorbing world I could just sit and stare at; there are some platforms and outcrops in the journey that exist solely for this with the camera pulling back and giving you a surreal landscape to drink in.

Surreal feel, Pixar plot

(Image credit: Future / Roland Moore-Colyer)

Keeper’s artistic presentation and aesthetic wear the theme of metamorphosis very much on its sleeve. The idea of how nature could evolve without human interference, then taken to a surreal level, isn’t subtle but is certainly eye-catching.

Yet for all the weirdness Double Fine touts, including one set piece where it felt like pseudo-70s psychedelia was being forced into my eyes, I found the core narrative of Keeper to be fairly normal. The story of an unexpected journey to reach a destination with a newfound companion, while avoiding an unknowable malevolent force and encountering strange but companionable characters on the way, could be picked from a Disney movie.

While there were some really fun and captivating set pieces across Keeper’s adventure, I could see the direction of the story and its beats from miles away. This isn’t necessarily a bad thing, as Keeper is more about the vibe of the world than an unfurling plot.

(Image credit: Future / Roland Moore-Colyer)

However, with inspiration from Dali and mycelial networks, I was hoping for a story that embraces bizarreness below the surface or had a more thought-provoking story than one that could be boiled down to being a buddy adventure.

There are some neat storytelling flairs, such as having details and context layered in achievement text; for example, you only find out that the antagonistic force that’s threatening the island is called The Wither via the first achievement and chapter titles – the latter you’ll only see in the chapter select menu.

But these don’t really go deep enough for my liking, and I was left wanting to know more about the island, the societies that inhabit it, and The Wither.

Hidden objects in Keeper unlock achievements that sprinkle in detail to the story. (Image credit: Future / Roland Moore-Colyer)

It could be argued that any deeper elements of the story are open for interpretation, but I don’t think there’s enough environmental storytelling here for that to play out. I’m all for games being considered art, but I don’t think they work as vehicles for abstract interpretation in the same way as paintings.

None of this would matter if Keeper lent more into its puzzles and systems of interaction to present more of a challenge and depth to its world. Take Astro’s Playroom as a prime example: it hardly has a plot, but it throws up a bounty of puzzles and system-led interactions all wrapped up in an oddball world.

(Image credit: Future / Roland Moore-Colyer)

But Keeper eschews the puzzles for a more absorbing adventure, yet I feel it needs more of a story to hold that up.

A great example of this can be seen in 2012’s Journey, which tells its emotional story through its environment, music, and exploration, without the need for any text or puzzles.

None of this is to say Keeper fails at what it set out to do, especially as I enjoyed my time with it and happily jumped back into chapters to drink in its visual splendour.

(Image credit: Future / Roland Moore-Colyer)

Were this a decade ago, I’d have happily applauded a Pixar-style narrative and aesthetic in an adventure game.

But it's 2025, and my expectations from artistically focused games are higher than what Keeper delivers.

Ultimately, with all the turmoil at Xbox right now, I’m pleased to see Double Fine have the chance to create something esoteric and original, rather than a remaster of an existing game. And for that reason and more, Keeper is worth experiencing over a weekend to immerse yourself in its art, world, and creativity.

Should you play Keeper?Play it if...

You want a gorgeous, weird world to explore
Keeper’s art style is undeniably special, awash with colors and surreal flair that’s worth taking the time to take in. If you have an OLED TV, then it's a feast for the eyes.

You want an atmospheric game for the weekend Around seven hours long, Keeper is a game you can play over a weekend, yet not feel like you’ve been short-changed on the experience thanks to its solid pacing.

You have Xbox Game Pass
Keeper is a day-one release on Game Pass, so if you have a subscription to the service, it’s well worth checking out, especially as oddball creative games coming from a Microsoft-owned studio deserve to be experienced.

Don't play it if...

You want a thought-provoking story
Keeper’s main story has a lot of heart and emotion, but ultimately it feels a bit too Disney-esque despite the surreal setting. You’ll enjoy the story, just don’t expect it to stay with you.

You want a challenge
There’s absolutely no failstate in Keeper, and its puzzles are very straightforward. So if you’re looking for an adventure game that’ll work out your grey matter, you might want to look elsewhere.

Accessibility

Keeper has a selection of accessibility options that you can adjust to suit your needs. UI text size can be adjusted, and screen narration is also on offer. There’s also the option to adjust how frequently prompts pop up. There’s a standard option to tweak different volume settings, such as turning down the music but keeping the main sound up. At launch, Keeper will feature 26 interface languages.

Most importantly, there are fully remappable controls and the ability to accept alternative inputs, along with the standard options to tune aim sensitivity and vibration feedback.

Keeper can have a lot going on screen at once, which can be a challenge for people like me with somewhat compromised sight. There's not much that can be done here, but the pacing of the game means you have time to take in the details and spot areas of interest at your leisure.

(Image credit: Future / Roland Moore-Colyer)How I reviewed Keeper

I played Keeper to completion, over around seven hours, which involved poking around in corners for secret paths and achievements. As a fairly linear game, there aren’t any extra modes or features to tap into, with Keeper all being about its main story experience.

I reviewed Keeper on an Xbox Series X connected to an LG C1 OLED TV running in its gaming mode, playing with a standard Xbox Wireless Controller. There are no performance or graphics settings to choose from, and I simply ran Keeper on my setup as it came, with no adjustments, and got a rather smooth experience.

On the audio side, I played Keeper using a Bang & Olufsen Beoplay Portal Xbox headset for the course of the game, which worked well with the soundscape and music the game pumped out.

First reviewed October 2025

Anno 117: Pax Romana serves up a well-done but familiar formula and has pulled me back into the series, hard.

Keeper is awash with style but lacks a little in deeper substance to captivate me through some seven hours of exploration.

There's been something of a narrative that new Prime Video movie Hedda is simply a Saltburn-style retelling of Henrik Ibsen's classic play Hedda Gabler, but that doesn't remotely do it justice. Those who think the gender-swapped characters and LGBTQIA+ romance are the most interesting things about it aren't digging deeply enough.

If there's anyone that knows a thing or 35 about sapphic movies, it's me. I report on them every chance I get, and if I'm not doing that, I've likely worked Carol, Ammonite or Bound into conversation. I'll confess that Hedda caught my interested because of Nina Hoss – who played Cate Blanchett's fictional wife in Tár – but little did I know what a treat I was in for.

Of course this film isn't perfect. Considering how messy Hedda is as a character alone, it was never going to be. But there's no doubt that this is the strongest entry in director Nia DaCosta's body of work to date. She received an unjustified amount of flack for The Marvels and the 2021 version of Candyman, and I hope the same doesn't happen here.

We almost need to read between the lines to fully see the brilliance of what Hedda has to offer, and that's half the fun. A friend described it to me as a whodunnit mystery where you already know who the killer is (instead you're searching for the motive), and I think that's a fair assessment.

It's sexy, scandalous and as wild as you'd hope it to be, but it's also controlled, pulling back when it needs to. When it comes to creating a memorable dinner party, that's exactly the balance of tension that you're looking for.

Hedda is more than simply sex and scandal – it's a moving mirror

If you're unfamiliar with Ibsen's original story, this is what we're dealing with: Hedda (Tessa Thompson) is an unhappy newlywed, feeling like she's being stopped from being her true self. When her husband George (Tom Bateman) wants a new position at work, Hedda decides to throw an extravagant party so George can invite boss Professor Greenwood (Finbar Lynch) and try to seal the deal.

During the evening, George's rival Eileen (Hoss) arrives to poach Professor Greenwood for the same role, prompting the party to fall into chaotic disarray. Eileen's writing partner and lover Thea (Imogen Poots) tries to keep her on the straight and narrow, but Hedda takes her meddling too far.

The most satisfying part of Hedda is how effortlessly DaCosta pulls off dangerous power play dynamics between women, with the man's world around them becoming peripheral in the process. Thompson's Hedda isn't a woman that you'll like, or who even seems to consciously know what she wants.

She's acting on impulse, and everyone around her feels the consequences of the decisions she makes. This means a hell of a dinner party for us, bringing long-buried tension and trauma to the surface, where they explode onto whoever is nearby. That's usually Eileen and Thea, and boy is their romantic triangle a complex one.

Where the structure falters, the cast hold it up

Tessa Thompson, Nina Hoss and Imogen Poots in Hedda. (Image credit: Prime Video)

The core structure of Hedda isn't playing to shock factor like Saltburn, and it arguably could have deepened and ultilized the intimacy and pure romance between the three women a lot further. But even with these small faults, our cast deliver something to be in awe of.

While Thompson's accent is… interesting in the Prime Video film, her conviction and gumption can't be faulted. It's not easy to make us completely devoid of empathy for a character while still making them likeable, and she maintains the balance at all times. Poots plays an effective counterpart as anxious Thea, calling out Hedda's manipulation like she's shouting into the wind.

For me, it's Hoss who gives the performance of the movie. There's an exceptional scene after Eileen gets drunk and swims in the lake, entering the drawing room to talk to her male rivals while her dress is wet and see-through. She tells explicit stories on top form, and by the time she has them metaphorically eating out of her hand, the dress is dry.

This is the level of detail that's worth paying attention to, making the overall effect of Hedda as filling as a sumptuous cake, caressing every possible details of humanity to serve up an ugly truth worth devouring. It's tough to make odious people appealing, but we love to watch when it works (that's why reality TV is so popular).

Without spoiling anything, DaCosta also changes the ending of Ibsen's play. With one simple tweak, she removes sapphic media stereotyping that Hedda could have easily fallen prey to, and that alone is a fantastic way to sum up what she has achieved.

We've all had enough of classics being adapted, but when they hold a mirror up to who we've become and what we're capable of so deftly, who are we to look away?

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Hedda is more than the original play or a Saltburn wannabe, and Nia DaCosta's craft makes all the difference

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