Matt Wales

Matt Wales covers games for Eurogamer with a wide, critical lens, treating blockbuster releases, overlooked curios, classics and hardware as part of the same ongoing conversation about how people play. He is a regular member of the masthead’s writing team, contributing news, reviews, and essays across day-to-day reporting and longer-form coverage. His work on topics such as generative AI in game development shows a focus on how industry decisions and new tools reshape what studios can make and how audiences experience those changes.

Big releases, classics and hidden gems

Wales is tasked with writing about “a little bit of everything” on the site, from the biggest games of the moment to hidden gems and fondly remembered classics, and he approaches that spread through a critical lens rather than simple cheerleading. His byline appears on retrospectives and celebratory pieces such as Eurogamer’s “Games of the Decade: Our favourite moments,” where he contributes to collective reflections on key titles and why they mattered to players over time. He also writes conventional news stories around notable releases like Journey, keeping readers current on important milestones while still situating them within a longer history of games.

Regular participation in “What we’ve been playing” round-ups shows him shifting from formal news to more conversational notes on what is occupying his time, which reinforces that he follows the day’s big talking points while retaining room for personal picks and smaller curios.

Industry trends, platforms and hardware

Beyond individual games, Wales reports on broader industry and platform stories, where the emphasis is on how technology and strategy affect everyday players. His coverage of an EA executive’s views on generative AI and creativity sits alongside reporting and analysis on Valve’s hardware plans around Steam Deck 2 and the launch of Steam Frame, connecting executive rhetoric, component supply issues and the practical realities of new devices.

In the Steam Frame coverage, his review comments are quoted directly, characterising the headset as not aimed at high-end enthusiasts and noting that, in practice, it offers an experience similar to more affordable, intuitive alternatives like Quest 3. That mix of hardware evaluation, pricing context and comparisons to established platforms shows that when Wales writes about technology he focuses on what a product actually means for players rather than on specifications alone.

His work referenced in aggregation around topics such as Bluesky’s moderation decisions further indicates that he will follow platform and community stories when they intersect with games and the wider online environment.

Interactive drama, point-and-click and queer favourites

Wales spends notable time with narrative-driven and indie projects, particularly those gathered under Eurogamer’s interactive drama and point-and-click coverage. On the interactive drama genre page his work encompasses titles like Citizen Sleeper 2, highlighting tabletop-inspired RPG structures and how their dice systems support storytelling and player choice. In the point-and-click area his byline appears on coverage of classic and contemporary adventure games, reflecting an interest in slower-paced, puzzle-led experiences that rely on atmosphere and writing as much as mechanics. He has also contributed to “My Queer Favourite Game 2024,” selecting Midnight Scenes: From the Woods on PC and framing it as a standout queer horror experience, which underscores his attention to smaller, mood-heavy titles and to representation within games.

Taken together, those choices show that when Wales has room to champion specific games he gravitates toward story-rich, often indie works that might otherwise sit on the margins of mainstream coverage.

Round-ups, lists and collaborative features

Alongside straight reporting, Wales regularly contributes to collaborative features that ask writers to curate or reflect on games rather than simply announce them. In the “Games of the Decade” series he joins colleagues in picking favourite moments and articulating why certain scenes or mechanics stayed with them, a format that prioritises clear memories and concise argument over exhaustive chronology.

His role in “What we’ve been playing” pieces is to add short, focused accounts of current obsessions, providing a sense of what someone embedded in day-to-day coverage actually chooses to play in their own time.

With “My Queer Favourite Game 2024,” he again functions as a curator, selecting one title and explaining its particular significance, which adds a more personal but still sharply framed perspective to the masthead’s thematic coverage. Across these formats, Wales writes in plain, direct prose, keeping emphasis on what a game does, how it feels to play, and why it matters now, which makes his contributions useful when looking for clear, contextualised takes rather than broad hype.