After the beef-and-cheese skewer, Skybound Games and Quarter Up have invented the sashimi burger. Invincible VS ticks all the boxes of a true *kusoge*—a glorious trash game—featuring 3v3 matches, bizarre physics, broken mechanics, and a roster of characters that make absolutely no sense. Almost against your better judgment, you find yourself enjoying the experience—mashing your controller in every direction to take flight and obliterate your opponent's health bar through sheer chaotic button-mashing—all while sensing that even if you *did* master the mechanics in depth, the end result wouldn't be much more coherent. While I certainly wouldn't recommend pursuing an esports career in this title, it remains a solid choice if you’re a fan of *Invincible*, or if you simply enjoy chaotic, generous fighting games that deliver plenty of bang for just a few button presses.

More than a reductive slot machine, Vampire Crawlers is a true roguelike deckbuilder and requires wits, reflexes, game knowledge and a taste for taking calculated risks. Building the perfect deck to wipe out skeletons by the dozen in a single turn is an absolute delight. The endless onslaught of colors, garish visual effects, loud noises and unlockables has all the pros and cons of an all-you-can-eat buffet, leaving the player satisfied and ready to burst at the seams for a very sharp price, yet also slightly nauseous after long sessions. Won't keep you from coming back for seconds, though.

According to Aphelion, it all comes down to hope. If that were truly the case, Don’t Nod’s latest title would undoubtedly reach soaring heights. But much like its characters, the game must confront the harsh reality. It is not always an easy feat to reconcile narrative intensity with video game mechanics. On the narrative front, it delivers—despite a certain lack of originality. Yet, in many other respects, Aphelion lacks the precision that would have allowed the title to leave a lasting imprint on players' memories—and not just those of narrative game enthusiasts. It is thanks to its realism and its handling of emotions that it nonetheless succeeds in offering a rewarding journey through its own vision of space. It is an enjoyable space vacation, featuring a few particularly memorable moments—though the memory of it will surely eventually fade with time, much like the silhouette of a planet on the horizon.

Will Saros appeal to everyone? Probably not—and if you didn’t enjoy the gameplay of Returnal, this one won’t hook you any more, as it relies on the same core foundation. That said, Housemarque has done such a thorough job with difficulty tuning that one can only commend such a precise response to the criticisms previously aimed at the studio. In terms of gameplay, Saros holds up admirably despite its tiny flaws, and the whole experience feels perfectly cohesive—whether in its enemies, its biomes and their variations, or the many mechanics and weapons that keep enriching the experience throughout the adventure. Add to that a gripping story, with an allegory that is far less cryptic—and therefore far more engaging—and you’re looking at the very top tier of the PlayStation 5. As far as I’m concerned, it’s the console’s best exclusive, and it’s never leaving my system.

Does Sol Cesto frustrate me? A little bit—since despite all the tweaks one might make to the probabilities, the luck factor remains absolutely paramount, and—unluckily for me—I have none whatsoever. Does that make Sol Cesto a bad game, though? Absolutely not. The gameplay loop is still very cleverly designed to be addictive, and the art direction has a charm of its own, featuring a well-executed blend of the zany and the macabre. Moreover, the very fact that the game puts us through the wringer is precisely what makes it so captivating, compelling us to experiment and uncover its secrets.

Even reviewed under punishing conditions and burdened with a technical performance that H. P. Lovecraft would probably have described as “indescribable” at least a dozen times in the same chapter, something still compels us to focus on the strengths that emerge from Cthulhu: The Cosmic Abyss. A diligent and conscientious student of an enduring literary mythos, the game by Big Bad Wolf skillfully lines up its references, but is unlikely to sweep connoisseurs off their feet with a narrative that—even when set in the future—lacks a bit of madness and surprise. It nonetheless remains an investigative game with a gripping atmosphere and rewarding mechanics, and deserves credit for the bold choice of placing its full trust in the player’s powers of deduction.

More "cinematic" than "platformer", Replaced is visually scrumptious but simply feels bad to control. Ultimately, it does feel like the gameplay was conceived backwards from the visuals. As mean as it sounds (and I don't like beating on indies), the experience might genuinely be best enjoyed on YouTube for less jank-tolerant folks.

Pragmata truly shines through its gameplay, and that is undoubtedly what matters most. Not only does its blend of TPS and puzzles work very well, but the game also features a finely tuned progression curve and constantly renews itself, keeping us engaged from start to finish without difficulty. Faced with such mastery, its few flaws—such as level design that can sometimes feel a bit conventional, or a very predictable story despite the touching relationship between Hugh and Diana—are entirely forgivable. Pragmata is, above all, a game from the school of gameplay, and it stands among the top of the class.

Life is Strange: Reunion manages to sidestep the fan service that Max and Chloe’s return could have leaned into, delivering a story that holds up well—and, above all, a rather satisfying conclusion for both heroines. Deck Nine still struggles to fix some pacing issues in its storytelling, and Max’s time-rewinding powers feel somewhat underused, but the overall experience remains a positive note on which to say goodbye to this universe. Let’s just hope no one gets the bad idea of giving it a sequel.

Super Meat Boy 3D has strong bones, but gets lost in the three-dimensional sauce. You will die 'n retry often, for sure, with a bunch of tight levels and clever secrets to conquer for true old-school masochists, but too many deaths - and so, too many retries - stem from perspective issues which create artificial difficulty. Sluggerfly's game feel shines when the studio actually focuses on delivering a clever 3D experience rather than translating 2D ideas into a game space with depth, which induces an excessive margin of error in every movement. Do try the demo version before buying.

Somewhat like a cuter Little Nightmares, Darwin's Paradox takes the player through a series of charming vignettes. But this adventure has teeth. Imperfect controls and pixel-perfect jumps sometimes create unnecessary friction. Still, the fluid animation style and diversity of dioramas make this title worth a try.

Make no mistake: Screamer is anything but an accessible game. Its unique, meaty gameplay demands a significant amount of time to master; its difficulty spikes—at times unfair, with visibility issues in certain overly cluttered stages—put players to the test; its progression mechanics are also rather shallow, and its stunning cinematics are few and far between. Nevertheless, it remains a racing title that dares to be different—one that frequently succeeds in hooking, thrilling, and intoxicating the player through the unique stylistic exercise it offers. It is a game of drifting and vehicular combat situated at the crossroads of a ruthless *Ridge Racer* and a brute-force *Burnout*—generous in both dialogue and tracks, and punctuated by an excellent soundtrack and art direction. Lacking any currency system or car upgrade mechanics, Screamer still falls short on structural depth to truly ascend to the ranks of the genre's greats; perhaps future updates will make the difference. In the meantime, Milestone’s offering is more than laudable, proving that the Italian studio can—and should—break free from the perpetual confines of pure simulation: flirting with arcade-style gameplay, science fiction, and Japanese animation really does pay off.

Crimson Desert is the absolute definition of a massive disappointment. It’s a Ferrari body with a lawnmower engine under the hood. Pearl Abyss tried to please everyone and ended up pleasing no one: Elden Ring fans will be driven mad by the clunky combat, Witcher fans will be bored to tears by the lack of depth, those looking for a world as organic as Breath of the Wild are in for a rude awakening, and the general public will struggle with the abysmal UI and unwarranted difficulty spikes. Riddled with technical issues unacceptable for a blockbuster of this scale, and weighed down by dated writing, Crimson Desert is on the verge of a total systemic failure. The hype train has well and truly derailed. See you in a year, after 150 patches and a mountain of DLC, which, of course, are already in the works.

Although 1348 Ex Voto appears to be the labor of love of enthusiasts seeking to toy with history, it proves to be as tedious as a lecture delivered in a monotone voice. Quite simply—and sadly—Sedleo’s title is nothing more than a bad game. Whether in terms of gameplay or narrative, it suffers from a relentless string of minor flaws, nasty bugs, and deeper structural issues. Unlike many indie games of this ilk—which can rely on a compelling story to make up for mediocre gameplay, or vice versa—*1348 Ex Voto* cannot lean on either of these crutches. The result is a spectacular failure; it may indeed go down in legend, but in the worst possible way.

Despite some great ideas and undeniable skill in creating a coherent and engaging world, Greedfall: The Dying World will struggle to be the saving grace for Spiders and Nacon. It never truly escapes its major structural shortcomings (which have only worsened since Greedfall). Its utterly forgettable combat (due in large part to its disconcerting simplicity) fails to generate any real enjoyment. The worst part is that it's hard not to see in this sequel (which isn't really one) the skeleton of a good game. There's soul there, at least. But because of its fragmented structure, outdated design choices, and overall flawed presentation, the title chosen for Spiders' latest release might very well end up being sadly prophetic.

Marathon makes excellent use of Bungie's strengths, whether in its narrative, visuals, or gameplay. But despite this polished presentation, it remains a relatively conventional extraction shooter, and the few attempts to differentiate it—particularly the fast-paced and challenging combat and the hero system—fail to truly convince. There's no doubt the game will find the dedicated community it deserves for its undeniable qualities, but following the vibrant Arc Raiders unfortunately makes Marathon somewhat bland for the average player.

Not a revolution, either in terms of plot or mechanics, but simply an evolution of the "narrative RPG" à la Disco Elysium, which has thoroughly absorbed the rules—and especially the possibilities—of Dungeons & Dragons to deliver a profoundly fun adventure. Following the Cleric on his journey is a real treat (provided you're a fluent English speaker), and the scenario gradually unveils the infinite complexity of this deceptively familiar universe, where a roll of the dice can whisk us away into a gigantic, multi-hour interlude, reveal a metaphysical secret, or allow us to skip ahead in the investigation in the name of good gameplay and freedom of action. For a game written solo, it's a real tour de force, suffering only from bugs to fix and some fairly minor writing issues. Given the post-credits scene, a sequel is definitely possible, and it would be a real pleasure to return to Norvik for a second investigation.

For all the beautiful moments of art direction and atmosphere it offers, the charm of Fatal Frame 2: Crimson Butterfly Remake is too often broken by combat hampered by arbitrary new mechanics that drag on and make the experience frustrating and tedious, without the player's skill being able to do anything about it. Aside from the less-than-optimal fluidity (we'd forgotten what 30 frames per second was like), Koei Tecmo has clearly spared no effort in modernizing this installment in both substance and style, giving it a new depth that is reflected in its genuinely solid length. The side quests and new exploration mechanics are among these worthwhile additions that tip the scales in its favor. But despite its 25 years of existence, Fatal Frame still seems to have some work to do before finding the balance that will allow it to join the ranks of the great names in horror games.

Despite a story lacking cohesion (due to its more scattered structure), Monster Hunter Stories 3: Twisted Reflection easily holds the player's interest throughout its adventure. Its key strengths—generous exploration that encourages discovering every nook and cranny of the various areas, deep, strategic, and challenging combat that avoids feeling unfair, and visual quality far superior to that usually seen in these spin-offs—deliver an engaging experience from beginning to end. There's absolutely no doubt that, despite the stubbornness of some players perhaps blinded by nostalgia, this is one of the very best monster-taming games of recent years.

With its consistently sublime art direction, Wishfully needed to focus primarily on its gameplay. And so it did; the studio delivers greater variety and depth in its gameplay, and we even wished for more sequences in this vein, as they effectively break up the very linear structure of the first game. The story greatly enriches a universe that was still quite cryptic, but the ending, which takes the form of a "to be continued," leaves players wanting more and even a little frustrated.

Pokémon Pokopia met our expectations, even if it's not perfect. It does have a repetitive aspect inherent to the genre, which won't appeal to everyone, and some technical issues that can become annoying over time. However, if you enjoy relaxing atmospheres and don't want to overthink things, there's a good chance this game will satisfy you if you're willing to pay the price, because in terms of playtime, you'll definitely get your money's worth.

For the very last (?) ride in Raccoon City, Resident Evil Requiem delivers a healthy blend of survival-horror tropes and references from almost every main episode of the franchise. Alas, this does also mean its edge is sometimes dulled by an avalanche of cameos, winks at the camera, and even more ridiculous twists than usual. While the Rhodes Hill center is one of the best Resident Evil locations ever put to screen with gorgeously detailed zombies and a tried-and-true approach to level design, the game does suffer from "Resident Evil syndrome" as quality, care and precision start waning as the adventure progresses. Still an essential buy for survival-horror enthusiasts.

Neither sacrilegious nor godly, God of War: Sons of Sparta is a pretty decent metroidvania romp. Mega Cat Studios wears its Blasphemous influence on its sleeve with enchanting pixel art landscapes, crunchy combat and secrets galore, yet, at launch, the game is brought down by bugs and performance issues. Wait for a few patches.

Styx: Blades of Greed is a real moral dilemma. It’s the quintessential example of a game you desperately want to love, yet it constantly gives you reasons to hate it. On one hand, Cyanide is making the most of a fantastic character and a "pure stealth" philosophy that we want to support with all our heart. On the other, the finished product feels rushed and unpolished, riddled with game-breaking bugs and technical performance that is simply unacceptable for 2026…We’d love to be lenient with this AA budget title, but when a game physically prevents the player from progressing, love just isn't enough. Styx deserved better than such a technical train wreck. So, can we recommend it? No. Can we suggest you wait for a massive amount of polishing before diving in? Probably.

We very easily forgive High on Life 2 its few flaws. The combat remains dynamic enough and the levels well designed enough for its weaknesses to feel secondary when set against the festival of stupidity it delivers. The game draws us in above all for its comedic proposition, and on that front it is a great success. Whether in the writing of its characters, the dialogue, or in certain offbeat situations—both in terms of gameplay and visually—the studio has spared no effort in bringing to life the wildest and most ridiculous ideas that crossed their minds. How can one not respect such dedication in elevating stupidity to the status of a true art form?

Despite a scuffed and unbalanced story, repetitive solo "open world" missions and numerous gameplay issues, My Hero Academia : All's Justice remains a pretty fun romp for anime fans when played with friends. Buy on sale?

“A mature work” is probably a phrase you’re tired of hearing. Yet, Reanimal certainly gives that impression at first glance. Despite its characters, the game isn’t childish at all. With its monstrously disturbing atmosphere, deeply meta gameplay, and art direction worthy of the most terrifying nightmares, Reanimal has something special and does exactly what you’d expect. That said, it remains a game that hasn’t quite matured in terms of its execution. Conventional and rarely transcendent, Reanimal’s gameplay lacks that little something extra to elevate it to the top. So, while it’s certainly a game that’s mature for its age, it still has a few things to learn to truly join the ranks of the greats.

Code Vein 2 is a textbook example. It's a testament to a glaring lack of inspiration, revealing, if any further proof were needed, the utter emptiness of a work that merely copies without ever daring to be original. Uninspired assemblage is the hallmark of a creative who doesn't know how to create. And one is led to wonder how Code Vein 2 even exists: limited in its narrative (as abstruse as can be), in its gameplay (completely devoid of any real feeling), in its structure (why open up a world only to close it off in its possibilities?), and even in its art direction (all the clichés are there), it's nothing more than a collection of ideas that sound good but struggle to generate interest from the very first minutes. And this continues right up to its inevitable conclusion, which, in the context of this review, proved to offer a far greater sense of liberation than that of having defeated a challenging enemy.

Playing Romeo is a Dead Man feels like seeing an aging rockstar on stage : you respect them and you see the vision, but the execution isn't quite there anymore. Suda51 and Grasshopper Manufacture's latest adventure is a hodge-podge fusion of visual styles and ideas, which never coalesce into a coherent experience. The action gameplay starts off strong, but stagnates, as frequent framerate drops and damage-sponge enemies turn the highest difficulties into a real slog. Romeo is a Dead Man even concedes defeat in the final stretch as the story is clarified through a bunch of written notes. Ultimately feels like a borderline self-parody in its worst moments.

If Yakuza 3 Remastered was kept readily accessible, then Yakuza Kiwami 3's mistakes wouldn't be such a big issue. But RGG Studio has decided to erase the original version in favor of a weaker, less inspired remake, with an outright stupid twist ending and watered-down gameplay (despite a few enjoyable side activities along the way). The Dark Ties gaiden game offers an interesting look into Mine's backstory and would be enjoyable as a budget title on its own, but the overall package is found lacking, to say nothing of Teruyuki Kagawa's involvement and RGG Studio's silence on that matter. Yakuza feels like a headless cash cow now. Let's hope Stranger Than Heaven strikes gold.

Mewgenics is the definitive coming of age title for McMillen and Glaiel. It is a monstrous piece of work - at times repulsive due to its punishing difficulty or its imagery - but it possesses a level of game design intelligence that commands respect. By fusing the controlled randomness of a roguelite, the depth of a tactical RPG, and the obsessive management of a life sim, the duo has birthed an absolute must-play, even if it suffers from some infuriating flaws (seriously, that pathfinding). Why? Because once again, McMillen and Glaiel prove one essential point: regardless of the subject matter, the tone, or the presence of humor, when you pour your guts into a game and refuse to treat players like idiots, greatness happens. It’s filthy, it’s long, it’s hard, and it’s essential for anyone still looking for a game that actually bites back. It is already one of the standout titles of 2026...But be warned: all ye who enter here, go buy some hemorrhoid cream.

You don’t change a winning team, as they say. Except that you absolutely can replace a winning team with an even stronger one. These 60 hours spent with Nioh 3 have done more than dispel our doubts—they’ve shown us that every change introduced by Koei Tecmo was conceived with exceptional care and relevance. Nioh 3 has become an exploration game, and it feels like this was its calling from the very beginning…Smartly reconfigured around the complementarity between samurai and ninja, enhanced by well-judged new mechanics, and boasting unshakeable nervousness, versatility, and depth, Nioh 3’s combat system reaches remarkable heights of intensity and enjoyment. The few flaws that can be pointed out—such as a weak story and recycled enemies—won’t prevent Team Ninja’s game from taking its crown.

City Tales: Medieval Era is likely a pleasant proposition for newcomers to the city-builder genre—but that also turns out to be its biggest flaw. By removing any form of penalties or constraints in the expansion of our city, the entire game can be played on autopilot without the slightest concern. This is all the more regrettable since some of its gameplay mechanics, such as companions, are actually quite enjoyable.

In its eagerness to move beyond meritocracy, Dragon Quest VII Reimagined forgets the value of hard work. Absolutely charming in its polished and highly successful graphics and its writing, which remains relevant despite its age, this remake-that-isn't-quite-a-remake suffers from an excess of leniency, to the point of neglecting game balance, which is fundamental to the enjoyment of the game. The challenges of modernization are sometimes difficult to overcome, and while we commend the work done on the combat and job systems for this return to the spotlight, the iconic DQ7 would have benefited from retaining at least some of its original rough edges.

Cairn is a good game that masters its subject matter and mechanics, as well as its raw emotions and the authenticity of its narrative. For some, it will even certainly serve as a pretext for self-reflection. But there's a catch that leaves a bitter taste: it could have been excellent. The Game Bakers had all the ingredients to cook up an exceptional dish, but the whole thing is undercooked, and a few clunky bugs and other missteps spoil the mountain adventure. This is the strange feeling that Cairn leaves you with. After this exhausting climb on every level, it gives the impression of being both on top of the world and utterly defeated. And to think we were just a pickaxe swing away from becoming one with the mountain.

If reading this review gives you hives, it's no coincidence: that's exactly the feeling the author experienced for much of the time spent playing Trails Beyond The Horizon. It's high time for Falcom to have a wake-up call regarding its flagship series: by constantly offering the same structure (whether narrative, gameplay, or even exploration), even the most dedicated players will inevitably sigh at the inherent redundancy of this new installment, which simply rehashes an already worn-out formula. Boredom prevails over excitement, at least during the first long half of the game, and the multitude of characters paraded for the sake of fan service won't be enough (even for seasoned fans) to maintain interest in the long run. If you manage to get past the thirty-hour mark, a good game is hidden somewhere within. But this is a recurring issue that we wish we didn't have to point out anymore: once again, yet again, another Trails game only truly takes off after dozens of hours of gameplay. Perhaps it's time to return to the fundamentals: streamline this world and refocus the plot, and you'll have something worthwhile. As it stands, however, on the horizon of the Trails series, this is once again a bit of a slog, despite a story that is far more satisfying than that of its predecessor.

With its rock-solid controls, DeadCore Redux refreshes the original game and enhances its art direction without reinventing the wheel – a compliment and a welcome display of restraint, especially considering that other studios might have been tempted to alter the gameplay in the name of a perceived need for novelty. It's up to you to decide whether an extra level and a fresh coat of paint are enough to justify another purchase, of course, but the final result is very successful, warranting a slightly higher score. If you've never played the original, even better: a little gem of a speedrun-oriented platformer awaits you.

Despite a small-ish roster of characters at launch, 2XKO already offers a rich fighting game experience with deep systems, a sharp art direction and an extremely fun "coop mode". There's no doubt Riot Games will keep build on these strong fundamentals and 2XKO deserves to be supported as a strong alternative to more established fighting franchises.

With its strong art direction, cohesive world, and well-balanced difficulty, MIO: Memories in Orbit proves to be a very satisfying experience. Its deliberately slow gameplay won't appeal to everyone, especially the combat, but it's justified and becomes quite engaging, making you want to invest the ten or so hours needed to complete it. It's a solid little Metroidvania that has a lot to offer, despite a few flaws and a finale that we had hoped would be more spectacular.

Dogpile fulfills its purpose wonderfully: providing us with a small, addictive game that cleverly blends Suika Game with roguelite elements. Plus, it features cute dogs and charming art direction, so what more could you ask for? Perhaps some meta-progression to take the concept even further, but the game already works very well as is.

Terminator 2D : No Fate is a splendid 16/32-bits throwback, no doubt, but the very short runtime and lack of T-800 sequences are baffling while advertised modes and alternate scenarios end up very limited in scope. As a result, the 29,99€ price tag is tough to swallow in this economy and roster of regular releases.

It's difficult to adequately rate Skate Story, as the game constantly oscillates between wonderful musical moments and incredibly generic, open-world sections, creating a yo-yo effect on the overall quality graph. But since a rating is necessary, 7/10 seems to reasonably reflect my overall impression. Sam Eng offers controls that are both simple and comprehensive, with a well-designed tutorial system that constantly introduces new moves to master, allowing you to skip the less engaging moments and focus on the best parts. It's a visually striking game that's worth checking out.

No words can accurately transcribe the primal terror I felt during Routine's short runtime. Many players will bounce away because of the purposefully heavy and slow gameplay, yet the journey is unforgettable and oh so special. Floored.

Far from being the pointless rehabilitation of a gacha game lost in the chaotic mess of mobile app stores that any discerning observer might have expected, Octopath Traveler 0 actually stands out as the most accomplished entry in the series to date. By unifying its narrative, expanding its storylines, and embracing even more poignant thematic ambitions than those explored in Octopath Traveler II, this prequel distinguishes itself through the (admittedly belated) realization by the team behind the OT series that an RPG is, above all, the art of storytelling. Unfortunately, its combat system remains imperfect, its balancing questionable, and the lack of a French translation will undoubtedly be a source of frustration (and rightly so). However, while these flaws are real, they fail to overshadow the fact that this is a truly unexpected success.

It’s obvious: Metroid Prime 4: Beyond is the weakest entry in the Prime series. Is the full restart from scratch to blame? We will probably never know, but this central desert that impoverishes the overall level design is a major flaw one simply cannot overlook, as its harmful influence can be felt throughout the entire game. Add to that an omnipresent and irritating hand-holding, a story that handles its antagonist and secondary characters very clumsily — not outright terrible, but of questionable interest — and we end up with an experience that does not live up to our high expectations… Even so, it’s hard not to enjoy a proposal that is technically very solid, with a dynamism and freedom in combat that feel genuinely pleasant and are supported by plenty of good little ideas.

Marvel Cosmic Invasion is far from a bad game, but it’s a major missed opportunity. It’s a technically flawless beat ’em up that chose the safety of past success over the cosmic daring its premise deserved. It suffers from Marvel’s current timidity and ends up feeling noticeably unbalanced when played solo. Its final score reflects only the raw quality of the pixel art and the sheer fun of its multiplayer mode. For anyone expecting a soft revolution, or even just a small step forward after Shredder’s Revenge, the disappointment hits hard. The talent is there, but the inspiration clearly took a holiday. Unless you’re a die-hard Marvel comics fan, it’s hard to recommend opening your wallet.

Going through Fort Oasis' ruins feels like revisiting a lost 2000's horror game in the best (and sometimes worst) ways. Well-designed maps with clever secrets are offset by a few unbalanced fights. Total Chaos feels overall like a good nostalgic experience, leaving a positive mark in DOOM's extended family tree.

Constance remains a modest game, yet manages to deliver a lovely experience with the means it has — and you can feel the heart behind it. Still, we would have liked its core progression to be less linear, and for it to fully embrace its original gameplay mechanics to give its combat a bit more flavour. But thanks to its superb art direction, the themes it tackles, and its precision in platforming, it remains an adventure well worth experiencing.

With its many customization options and the simply fun nature of its gameplay, Kirby Air Riders makes a strong impression from the very first sessions. Beneath a deceptive feeling of simplicity lies a surprising amount of depth, one that takes hours and hours to fully master. Still, the experience may start to feel a bit repetitive after a while: unfortunately, the generous shots of dopamine the game delivers struggle to keep the player engaged past the ten-hour mark. There’s no doubt, however, that competitive players in search of yet another frantic, fluorescent, borderline-epileptic thrill ride will find exactly what they’re looking for.

With Anno 117: Pax Romana, Ubisoft Mainz manages to push the series to a new height, bringing in small yet meaningful innovations and a duality between its two regions that works well — both in their aesthetics and in their gameplay. The military component remains as uninteresting as ever compared to the city-building aspect, which is, without a doubt, some of the very best the genre has to offer.

Call of Duty : Black Ops 7 walked into Battlefield 6's release like Sideshow Bob walking into a comically big rake. From a disastrous coop campaign to an overly-complex zombie mode, this is probably the worst main episode ever released, feeling like a 2010's parody of Call of Duty.

Dispatch now stands as the benchmark episodic narrative game — a new reference point for what the genre can do best. A superb art direction, dynamic staging, and a strong cast elevate the experience, delivering a superhero story that may be fairly classic, but is filled with heart. What truly stands out, however, is its ability to add a management gameplay layer that blends seamlessly and meaningfully into the adventure.

Torn between puzzle mechanics and rigorous martial arts brawls, Forestrike doesn't always find the right balance - but when lightning strikes, it strikes right on target. Finding the true worth of Forestrike requires training, dedication, and a good capacity to handle frustration.

Possessor(s) betrays Heart Machine's experience with amateurish flaws, ranging from unpleasant controls to a very unremarkable metroidvania level structure. Ultimately feels like a first draft with good intentions and absolutely stellar artworks interspersed throughout.

Arc Raiders is an excellent game and a new benchmark for the extraction shooter genre. Its few flaws, particularly its somewhat conventional art direction, won't diminish its appeal. More than the gameplay itself, it's the interactions with other players, both hostile and peaceful, that linger in the memory, making Arc Raiders a truly memorable game.

With Goodnight Universe, Nice Dream takes the concept explored in Before Your Eyes to new heights. A more refined and nuanced use of the camera complements a denser, well-crafted storyline that captivates us thanks to an effective cast. It's a shame that some ideas are still explored a little too tentatively, and that the game is released on some platforms without the option to play with a camera, which significantly diminishes its appeal.

Freed from its big brother's technical issues, Hyrule Warriors : Age of Imprisonment is a polished muso experience that remains a tad too easy. Also, while the Switch 2's power is certainly put to good use, reading the action in portable mode is sometimes difficult due to an overload of visual effects and UI elements.

Despite its highly effective formula and undeniable qualities, Slots & Daggers is difficult to praise highly. While one can accept that the project's modest scale might hinder the high replayability normally inherent to roguelites, it remains problematic to note that the progression curve is somewhat unbalanced, shifting very quickly from extreme weakness to overwhelming power. It's certainly a good offering that deserved more depth to truly reach its full potential.

Let’s just say we didn’t set out with high hopes after the somewhat lackluster experience of Dragon Quest III HD-2D Remake. However, in a welcome burst of clarity, Square Enix has this time taken the task of remaking the game seriously, paying due tribute to the original content while also enriching it with a wealth of new features that make the experience both enjoyable and surprising for newcomers and veterans alike. As it stands, this attempt proves far more satisfying than last year’s predecessor and can easily be recommended to any budding archaeologist eager to explore the origins of a genre and a legendary franchise, without suffering the main pitfalls of the era.

Far from the polished Streets of Rage 4, Double Dragon Revive stumbles over its balancing and rushes its finishing touches. Yet behind all the clumsiness of this brawler lies a small heart that beats to the rhythm of fluid combos and punks sent flying into dumpsters, windows, and electric panels. These environmental finishers add both soul and impact to a beat ’em up that takes a little longer than usual to reveal its strengths over its flaws. While waiting for some much-needed patches, Double Dragon Revive doesn’t deserve to appear in your favorite YouTuber’s “Top 5 Worst Double Dragon Games,” and that’s already something. But it does show just how far this franchise still has to go as it searches for a better future without tarnishing its past.

Funny, cruel, and painfully perceptive, The Outer Worlds 2 marks Obsidian’s triumphant return to the top of the RPG genre. Beneath a few minor technical blemishes lies a work of remarkable coherence and freedom, where every choice matters and every laugh stings. A brilliant, deeply humanist, and unmissable RPG that constantly reminds us why we love video games. And once it’s over, there’s only one thing you want to do: start all over again. Isn’t that the mark of a truly great game?

It's hard to find a single real flaw in PowerWash Simulator 2's shining armor. It's the perfect lo-fi game to chill out after a hard day's work. While new mechanics are sparsely used, post-launch content will continue to bring on the good times, to be sure.

Is Ninja Gaiden 4 bad ? No. Yakumo advances the saga's gameplay in a modern fashion, but the new gameplay mechanics introduce a few means to easily cheese through encounters, partially undercutting the fighting game roots brought by the late Tomonobu Itagaki. And the level design is not good either, with recycled environments galore. But PlatinumGames' new, inexperienced team still brings in action game goodness with instant lightning-fast battles, gory executions and a few great bosses to make you try a new run in Master Ninja mode or complete the post-game trials. Ninja Gaiden 4 also probably is a good onboarding experience for series newcomers.

Keeper effortlessly stands out as one of the most visually striking artistic directions of the year. We can only applaud Double Fine’s work for delivering something both captivating and sublime, as well as for its storytelling — subtle yet effective — and its surprising ability to humanize a lighthouse. While we’ll keep the surprises awaiting within the lighthouse to ourselves — as those twists do refresh the experience nicely — it’s hard not to feel a hint of disappointment at how simple the game remains in terms of overall challenge.

It took six years, multiple studios, countless reboots, and a trail of broken promises to finally deliver Bloodlines 2. The result is utterly schizophrenic : a game too ambitious for its budget, yet too timid for its own universe. What was meant to reinvent the vampire RPG ends up merely mimicking its conventions. Bled dry by compromise, Bloodlines 2 has lost what little vitality it had left. Beneath layers of code and the scars of its tortured development, you can still glimpse what it might have been: a gothic tragedy about duality, a nocturnal political fresco, a mirror held up to our own thirst for power. But that dream didn’t survive the daylight.

While the Pokémon Legends series may at first seem eager to break free from the limitations of the mainline episodes, it still falls short of the long-awaited reinvention fans have been hoping for. Z-A shows plenty of good ideas and offers the most engaging battle system the franchise has seen in a long time, but it struggles to make up for its eternal shortcomings: dull and underwhelming visuals for the modern era, a still overly childish narrative, a glaring lack of personality, and gameplay inconsistencies that gradually erode the experience over time. Though die-hard fans of the series will no doubt overlook these flaws, the average player (who only hunts monsters from time to time) will find Pokémon Legends: Z-A to be a pleasant attempt, but far from essential.

Do not play Ball x Pit expecting a solid roguelite experience — because you won’t find one. What you will find, however, is an interesting reinterpretation of Vampire Survivors in a brick-breaker format: dynamic enough, with a generous arsenal and a small town-management mechanic that adds a bit of freshness to the formula. Despite the gameplay variations introduced by certain characters, it doesn’t take long before a sense of repetitiveness settles in, as you start chaining runs without thinking too much about it.

Battlefield 6 is, above all, a game of reconquest — an attempt to win back its historical community and to atone for BF2042. Under those conditions, the mission to deliver a classic “made in Battlefield” experience is fulfilled, and whether it’s in terms of gameplay, feel, or weapon balancing in multiplayer, it’s a solid overall success. In this context, it’s hard to see the franchise revolutionizing or even shaking up its formula, but the multiplayer aspect holds up well — and that’s what matters most right now. The few attempts at innovation, starting with the campaign, feel more like a desire to mimic Call of Duty than anything else, complete with that tiresome brand of Americanism — and we’re still angry about that story conclusion, which recalls the darkest hours of CoD. If you’re going to copy Activision, at least don’t take the bad stuff — though to be fair, we’ve already avoided the overabundance of ugly skins, and that’s already a pretty big victory.

In an already crowded 2025, Absolum still manages to climb onto the podium as an obvious standout. Guard Crush Games, Dotemu, and Supamonks deliver a masterful experience where missteps are few and far between. From the sublime soundtrack to the perfectly handled visuals, from the finely tuned roguelite loop to the premium quality of the combat mechanics, only the narrative feels somewhat left aside — which, in the end, is hardly an issue in a beat ’em up. Suffice to say, we really had to struggle to find flaws worth mentioning. After Streets of Rage 4, Dotemu raises the bar even higher, pulling off with rare brilliance the launch of its very first in-house franchise. Will this spark a new resurgence for the genre? If so, the next five years are going to be absolutely wild — in the best possible way.

The trauma inflicted by Baby Steps makes me want to give it a 1/10 to get revenge for what it did to me. Luckily for him, I'm a very pragmatic person and behind this continuous torture, this hostility and hatred towards its player, it remains an extremely funny proposition in many ways, with gameplay that is nevertheless mastered. There you go, take your 8/10 and leave me alone, I never want to hear from you again.

While its effective art direction and rich gameplay are undeniable, Henry Halfhead is an experience that hesitates too much to exploit its ideas, preferring to multiply influences without going there frankly. The result is a nice game, but one that lacks this strong structure both in its rhythm and the use of its mechanics and in terms of story, because of a dispersion that is too noticeable and which prevents it from being truly memorable.

As for the gameplay breakdown, even if I were able to give you an analysis as in-depth as those once delivered by King Puyo, what would be the point given that patches will inevitably transform the game during the season? What's the point of thinking about what the "right rating" is for a product over which the press has no influence whatsoever? So many questions and so few answers. Only one certainty remains: football sucks, but we can't live without it. And as for the rating, wait and see, I'll roll the dice... it's 7!

Based on Swery65's resume, we expected Hotel Barcelona to have a lot of kinks to work through, but we still weren't prepared for the god-awful controls, the poorly-implemented invasion mechanic or the wacky, zany plot. A waste of great artworks.

CloverPit is a roguelite that is conceptually solid, with an instantly addictive loop, but it runs up against modest ambitions that limit the richness of its possibilities. While having a narrative thread helps to structure the adventure, it also gives the impression that the whole thing has been too heavily built around it. What we have here is a small but efficient roguelite that will keep us busy for a while, but whose limits in depth become clear once its short story has been wrapped up.

With Hades 2, the studio didn’t just meet expectations, they absolutely obliterated them. Bigger in scope, sharper in writing, and deeper in its mechanics, the game surpasses its predecessor on every level. Where many sequels merely pile on content, this one completely reshuffles the roguelite formula with fearless ambition, while remaining incredibly accessible. It’s a rare tour de force, a masterclass in game design that proves excellence can be pushed even further, run after run. Hades 2 isn’t just a successful sequel. It’s a lesson in design, a celebration of the roguelite genre, and a living hymn to mythology. By managing to elevate a formula already considered perfect, Supergiant has delivered one of the most brilliant sequels in video game history. It’s also a powerful reminder that a game can be demanding, generous, and profoundly human all at once. You don’t come out of it unscathed, and more importantly, you never want to leave.

After having explored every corner of the galaxy and played the card of excess, the Borderlands saga re-centers its story on a single planet, meant to be the franchise’s first true open world. By returning to less grandiose foundations, but also to less fiery writing, Gearbox clearly intends to offer an experience that doesn’t scatter itself, in order to better master its fundamentals: excellent gameplay with real depth, paired with humor that is better handled and less overblown. That said, it’s also regrettable that the density of its universe relies on exploration and environments that are, all in all, very conventional, along with a certain lack of boldness. Borderlands 4 is efficient, but it won’t send shivers through the industry—showing off muscles we already know all too well.

Ghost of Yotei has clearly refined its formula on quite a few points, exploration and the construction of its open world being foremost, delivering a far greater sense of discovery than the previous installment. Stealth has been sharpened and combat gets a few small tweaks, but the game also neglects other aspects that should have been addressed. It is still a visually stunning game to wander through, but the story struggles to stand out and to offer us something as strong, narratively speaking, as Ghost of Tsushima.

What can I say? Final Fantasy Tactics: The Ivalice Chronicles remains, in essence, Final Fantasy Tactics. In that sense, the game is, by its mere existence, still one of the most striking adventures of the medium. There are indeed some substantial additions here in the interface, in quality of life, and even in the gameplay, but can these really justify a purchase at this price? We’ll let you answer that question, but know that, while in some respects this re-release proves particularly respectful of the source material, it also shows some baffling shortcomings. Where is the re-orchestration of the soundtrack? Where are the content additions from the War of the Lions version? Where are the adjustments for better camera angles? Certainly, The Ivalice Chronicles is without a doubt the most pleasant version of the game to play in 2025, but it also could (and should) have been much more.

Towa and the Guardians of the Sacred Tree really does have some strong arguments at the end of its staff. Its duo system allows it to offer both engaging gameplay and enjoyable stories. On top of that, the woodblock print style gives it undeniable charm. And we have to add the developers’ great generosity. On paper, then, there’s no reason to be bored with the new game from Brownies and Bandai Namco. But between theory and practice, there is sometimes a gulf. The beauty of Towa and the Guardians of the Sacred Tree unfortunately fades as the hours go by. It scatters, sometimes loses itself, and leaves us with the impression of gorging on content without managing to fully appreciate it. By trying too hard to be on all fronts, Towa and the Guardians of the Sacred Tree gradually drifts away from the innovative and delightful experience it could have been. The game certainly has potential, but it lacks the guardians to raise it among the sacred games.

Incredible but true, Konami managed to come back with an actual new Silent Hill game - and it's good ! Ryukishi07 weaves a toxic web of intrigue between mysoginistic social practices, religious hallucinations and disturbing allegories. Kera honors Masahiro Ito's legacy as the resident monster master. While gameplay still falters here and there with boring puzzles and so-so level design in the first half, the atmosphere really comes together and keeps increasing the pressure until a suffocating finale.

Dying Light : The Beast is all bark and no bite. Techland had the right ideas and tools to deliver a tight action-adventure package, but stumbles on bad level design, a flimsy plot and repetitive slugfests against roided-out zombies.

Hollow Knight: Silksong is quite the thorny case, because you can easily be disappointed in the face of its numerous hardships. By shipping a much more difficult experience, Team Cherry may lose some players. A daring choice we could praise if it was more slickly executed. Team Cherry had a real treasure but lost pearls along the way. But Silksong is no bad game. It remains a singular poetic experience, different from 8 years ago. Sceptics will need to accept the game has real qualities, from its univers to its improved combat mechanics. So then, we remember Silksong was born as a DLC. And it could have been an excellent DLC.

Between early access and this definitive release, it's night and day for The Rogue Prince of Persia. We have here an enjoyable game, which relies heavily on the studio's strengths acquired on Dead Cells, but with an artistic direction and gameplay specificities that do honor to the Prince of Persia. If the overall result is perhaps a little too easy and fast, it's not unpleasant to have a roguelite capable of offering a contained experience, notably thanks to an effective story system.

This is a high-quality artistic and visual offering that has been made possible by flawless technical execution. It's hard not to be fascinated by our first transformation of the desert into a lush oasis teeming with fish, and when you add to that easy-to-learn and instantly rewarding surfing mechanics, you get a little gem that you'll forgive for its minor flaws.

While it's hard to ignore some of its flaws, Cronos: The New Dawn is a game that was made with love, and that love is contagious. The plot and time travel elements fit together coherently to offer us an enjoyable story and universe in a setting that is relatively atypical for Western Europeans like us. While the level design is a little too predictable to serve as a solid horror springboard, the same goes for the good idea of merging monsters, which remains too far in the background to be decisive. In reality, it is mainly the balancing act of resource management that will be the real source of anxiety and fear, where every missed shot can cost us dearly.

The idea of guiding a herd of supernatural creatures to their place of life was fascinating on paper. If the studio does a good job of building its universe and making these critters endearing, the conventional gameplay offered in the name of a calm and contemplative atmosphere makes the game in the end a little boring, and it would have gained much more by making us experience more situations of danger for our beasts, which we will stroll on autopilot for a large part of the time.

Hell is Us still stands as a genuine piece of boldness, a gamble that Rogue Factor has mastered from start to finish. A cry of love for those who no longer wish to let their instincts be numbed on the altar of autopilot offered by most action-adventure games, Hell is Us empowers the player without mistreating them. It rekindles the taste for exploration, observation, and deduction, without ever tipping into elitism. Between those games that hold our hand without ever letting go and those that abandon us at the bottom of the pit, Rogue Factor has found a remarkable middle ground—both rewarding and accessible. Supported by a production quality well above the AA average and, above all, by writing that shines just as much when depicting human tragedies in times of war as when exploring the historical subtleties of a fictional country, Hell is Us has far too much merit for its combat limitations to be held against it.

Time Flies is the kind of game with an absolutely absurd pitch that you start for fun, and which turns out to be much deeper than it appears. The game accurately deals with the passing of time, with our desire to accomplish a certain number of things before our death. It's not enough to go to bed at night with insomnia wondering what we're doing with our lives, but this little fly has the merit of making us laugh about the fleeting nature of life and, as its first trailer so aptly put it: "Make the most of the time you have because we're all going to die."

There are games that more than deserve their "timeless classic" label: Gears of War probably falls into this category, as it has aged so well. Sure, The Coalition's rework has something to do with it, but we're talking about an action title that, at its core, is solid enough to grab the hearts of even those who never got their hands on it. In itself, there's nothing truly new on the horizon, especially since the title already benefited from a remaster in 2016: the experience remains imperfect, it's sometimes a little bland and thin, but it's brutal, enjoyable, and surprisingly timeless. And that's not bad, especially for a first installment released almost twenty years ago.

For their first solo outing, Lizardcube delivers a slick comeback for Joe Musashi, with sharp attacks and ninja techniques, somewhat brought down by inconsistent level design and a few technical issues. The studio's unbeatable visual flair beautifully enhances the adventure. A sequel would certainly improve on these excellent core features to really soar above the competition.

Metal Gear Solid Delta doesn’t change the game; it rather does the bare minimum to bring itself up to date. Fortunately for it, MGS 3 is a fantastic game, with undeniable charm and rich creativity, even today. It’s an adventure you finish with pleasure and enjoy replaying over and over to master every aspect of it, making it a worthwhile investment. On the other hand, one can’t help but feel that Metal Gear Solid 3 deserved better. The result here is that MGS 3 is still a highly effective soldier, strong as ever, but trapped in a body whose only youth lies in its aesthetics. It’s up to you to decide what you truly expect from it.

Yeah, yeah, another review that could have been summed up as "it's the first episode, but better." Buying a CyberConnect2 disc is like going back to Grandma's at the first sign of frost: you know she's going to whip out the old-fashioned tartiflette, and it's not particularly clever when you think about it, but good god, it fills your stomach and brings back good memories. The Hinokami Chronicles 2 has the good taste to deliver slightly more interesting boss fights and a more extensive cast, which is enough to reach the sacrosanct bar of seven out of ten; but the online mode with shaky servers, the finger-licking balance, and the basic single-player content still prevent the franchise from passing the "it's really cool if you've seen the anime" threshold. Come on, there's no harm in treating yourself.

Mafia: The Old Country tells a superb story with a colorful cast of mafiosos. Even though the plot is classic, we can’t help but get drawn in, as the atmosphere is perfectly set and the Sicilian scenery is sublime. The immersion is such that we’re even willing to forgive gameplay which, without being fundamentally bad, remains stuck two decades in the past in its design and archaic AI. Even if we can still feel that the game is aimed at an already convinced audience of the franchise, it remains a very pleasant narrative experience.

Are you willing to tolerate a blatant lack of resources, very 2014 mechanics, and a relatively esoteric narrative? If so, then Dead Take might appeal to you. Surgent Studios doesn't break any new ground, but it does craft a nice little plot by using a few directorial levers wisely, without relying on horrible, hackneyed chase sequences, as is often the case with these types of projects. There's no low-brow monster to get around to prolong the ride. The fact remains that the ending collapses a little on itself, and our benevolence then reaches its limits.

Sharp as a katana and pointed as a kunai, Ninja Gaiden: Ragebound is a delightful butchery that will definitely appeal to fans of old-school 16-bit action, somewhere between the agility of Shinobi III and the explosiveness of Contra: Hard Corps. While it's possible to finish it at full speed and get a poor time-to-value ratio, the savvy player will understand that it's all about achieving the best score and pushing your limits, even if it means hurting yourself to feel better.

It's impossible to remain indifferent to Shadow Labyrinth. Behind a modest package and a slightly (very) outlandish promise, it's a work that's both respectful and subversive, tender and metaphysical, ingenious and technically imperfect. We're dealing here with a radical author's game stuck in the tight-fitting costume of a forty-year-old license, a gamer's manifesto for gamers, and a profound homage to an entire history of Japanese video games. It's not a classic, nor a blockbuster, but it's certainly a sincere and dense experience that more than deserves its favorite label.

Good copy from the Leenzee studio, which certainly offers us a game that fully assumes shamelessly copying the work of FromSoftware, but which also manages to add a more personal layer to give us excellent handling and very enjoyable gameplay systems. Add to that solid technical performance on console and a well-crafted and captivating Chinese setting, and we have here an excellent surprise, undoubtedly one of the most effective and enjoyable Souls-likes of recent years. A real favorite.

Is Hunter x Hunter: Nen x Impact fun? Yes, definitely. Is it reasonable to sell it for 60 euros when online matches are practically unplayable unless you live in a Google data center? No. Indexing the final score on the sale price is not always relevant, but in this case, the comparison with the competition - on similar price ranges - really stings the bank account and makes you feel like a big sucker. Buy full price if you are truly a fan, if you intend to grind the disc locally for hundreds of hours, or if you want to get angry with your spouse.