After nearly a decade off the courts, the Mario Tennis series returns on the Nintendo Switch 2 with a different approach and it's disapointing. Unlike previous entries, which balanced solid tennis gameplay with fun, arcade-style elements, Mario Tennis Fever isn’t really about precision or timing anymore. It’s immediate, flashy, and chaotic, with frenzied rackets and over-the-top effects designed to get laughs (or frustration) rather than reward skill.The downside is that this focus on spectacle comes at the expense of balance. Some powers feel overpowered, defense is limited, and the depth that made Mario Tennis Aces satisfying is largely gone. Online matches can quickly feel repetitive, even frustrating. The Adventure mode doesn’t help: short, overly wordy, and heavy on tutorials, it feels more like a drawn-out lesson than a proper solo campaign.Fortunately, the game’s overall content softens the blow. A generous roster, dozens of rackets, mini-games, and multiple modes keep the experience lively—but after eight years of waiting, it still feels a little light.

Metroid Prime 4 Beyond feels torn between old and new. After nearly twenty years of waiting, you’d expect a bold comeback, but the game never fully commits to its ideas. It tries to modernize (more action, more dialogue, a wider world), yet keeps clinging to old habits, resulting in something unsure of itself. The empty desert hub, the awkward motorbike, and the constant over-explaining don’t help. There are good moments, and you can see the potential, but they get buried under technical compromises and repetitive design. In the end, it’s not a bad game, just a disappointing one ; fine for newcomers, but far from the glorious return fans hoped for.

It’s not the first time Link and Zelda step into Musou territory, but it’s the first time the whole thing actually feels good to play. The Switch 2 finally gives the genre the power it needed: big battles, smooth framerate, and that guilty pleasure of slicing through hordes of enemies without the game falling apart. Add a story that fills in gaps between Breath of the Wild and Tears of the Kingdom, and the experience is surprisingly engaging. The downside is that the game sticks a bit too tightly to the Musou formula. Missions repeat themselves, objectives feel predictable, and the RPG layer barely adds anything. A few fun ideas (team attacks, character swapping, shoot’em-up moments) don’t fully break the routine. And visually, it’s uneven: the game runs great, but flat textures, aliasing, and blurry 720p cutscenes make it look more like a late Switch 1 title than a true Switch 2 showcase. In the end, Hyrule Warriors: Chronicles of the Sceal is a solid, enjoyable Musou with plenty of Zelda lore, but it’s still a conservative entry. Fun as a stress-reliever and nice for fans, just not essential.

Call of Duty Black Ops 7 sadly highlights the limits of a franchise that once defined multiplayer FPS excellence but now feels exhausted by its relentless annual cycle. Rushed production is obvious: the single-player campaign, once the series’ emotional core, is chaotic, blending robots, zombies, mutant plants, and hallucinogenic gas, with no checkpoints, no pause, and mandatory online connection. It’s less a true solo campaign than a co-op multiplayer dressed up with a few cutscenes...The endgame is equally disappointing: flat maps, weak enemy AI, and powers that quickly lose appeal make it feel shallow compared to ARC Raiders or Battlefield 6. Multiplayer is uneven, innovations like wall-jumping and omni-movement can be fun, but cramped maps, frantic action, and unbalanced mechanics drag the experience down. Some modes, like Surcharge, bring strategy, and removing SBMM helps, but they can’t mask the lack of real evolution...Zombies mode expands combat and maps but remains forgettable, while Dead Ops Arcade 4 is just a fleeting diversion. Black Ops 7 isn’t unplayable, but it’s rushed and uninspired. Die-hard fans may enjoy a few sessions with friends, but most players will likely turn to more polished competitors like Battlefield 6 or ARC Raiders.

Pokémon Legends Z-A is a game that tries to shake up the franchise with some interesting ambitions, but unfortunately, the technical and artistic resources don’t keep up. Between a fresh urban setting that is poorly utilized, a struggling graphics engine, and archaic level design, the open-world experience is disappointing and fails to convince. The streets are empty, the buildings are rudimentarily cloned, flat textures and constant clipping make the city of Illumis feel like a cardboard movie set.Yet, not everything is bad. The real highlight of this episode is the real-time combat. Abandoning the classic turn-based system is a risky move, but here the gameplay gains pace and tension. Positioning, timing, and strategy take center stage, while the variety of attacks and the reintroduction of Mega Evolutions add tactical depth.On the other hand, all other aspects of the game fall short: the story is somewhat flat, side quests are repetitive and uninspired, and the overall art direction suffers from a glaring lack of personality. In the end, the game feels like an ambitious prototype, limited by an outdated graphics engine and insufficient resources. Younger players and long-time fans of the franchise will find enjoyment here, but for adult or more demanding players, the experience remains frustrating. It’s clear the franchise has potential to evolve, but Game Freak needs to seriously invest in its tools and design to deliver a truly modern Pokémon open-world game.

Expectations were sky-high for Silent Hill f, a true new entry in a series that’s been dormant far too long. Konami trusted Taiwanese studio Neobards Entertainment, and the result is stunning visually and technically, with bold choices like 1960s Japan and more action. The writing is subtle and sharp, making the game feel unique and ambitious. But the gameplay lets it down. It’s clunky, slow, and frustrating, with too many tedious fights, a poorly designed stamina system, and puzzles that feel overcomplicated. The potential is huge, yet the execution keeps you from fully enjoying it. In the end, it’s a polarizing game: impressive and daring in style, but clumsy to play. One step forward, two steps back. Silent Hill deserves better than a beautiful shell hiding rusty mechanics.

Metal Gear Solid Delta Snake Eater isn’t the bold reimagining some fans might have hoped for. Instead, it’s a visually stunning update that preserves the 2004 classic almost to the letter : story, voice acting, cinematics, and gameplay included, with all their dated quirks. Unreal Engine 5 delivers impressive character models, environments, and lighting, but the clunky mechanics, outdated AI, and stiff animations remind you of the game’s age. For newcomers, it’s still a fantastic gateway into Snake’s world of stealth and espionage. For veterans, it’s a nostalgic return, faithful, polished, but not revolutionary.

With Cobra Space Adventure, Microids adds yet another stain to an already troubled track record. One might have hoped that passion and love for Buichi Terasawa’s work could transcend a shoestring budget, but the reality is brutally clear: Cobra marks a botched comeback, bland and lifeless. Outdated graphics, shameful animations, clunky gameplay, nonexistent staging… nothing manages to lift the game out of mediocrity, aside from a handful of decent ideas tied to the Psychogun. What makes it all the more depressing is that Cobra deserved so much better. Its rich, timeless universe had the potential for a bold adaptation, one that could have captivated both nostalgic fans of the ’80s and a brand-new audience. Instead, what we get is a soulless production that honors neither its source material nor the player. In 2025, it’s unacceptable to charge $40 for a game that looks and plays like a free mobile title you’d stumble upon on the AppStore or Google Play.

Mafia The Old Country was meant to revive the franchise after the failure of Mafia 3. Its strengths lie in a gripping story, charismatic characters, and a beautifully realized Sicilian setting. The cinematic presentation and soundtrack add real flair. But the gameplay falls flat: gunfights lack punch, stealth feels dated, knife duels repeat themselves, and stiff animations break immersion. The game also over-assists the player, undermining its own realism. In the end, it’s a visually stunning but mechanically outdated entry, worth it for the story but disappointing for anyone seeking engaging gameplay.

Despite its promising concept, Blades of Fire is ultimately just a shot in the dark. We would have liked the opportunity to test the forge system, to push the center of gravity management of our spear to its limits to tackle a specific problem. But MercurySteam lacks radicality in its proposal and we quickly tire of the overly quirky castles, the overly redundant enemies, and the overly simple weapons. Enough to give up due to disinterest after a few hours.

Twenty-six years after its initial release, L’Amerzone returns in a modernized, ambitious, and respectful version of Benoît Sokal’s original work. Microids Studio Paris delivers a remake that, despite technical limitations and dated gameplay, manages to preserve the soul of the original game. This 2025 version is primarily aimed at nostalgic players and fans of contemplative adventure, but it may leave those seeking modernity or a faster pace feeling unmoved. The respect for the source material, the quality of the art direction, and the unique atmosphere of the world make The Explorer’s Testament a valuable, almost museum-like offering—one whose strength lies in its fidelity and melancholic tone. It’s unfortunate, however, that the gameplay didn’t receive a proper overhaul to match the visual ambitions, and that the illusion of freedom promised by the trailers is shattered within the game’s opening moments. Still, L’Amerzone remains a beautiful journey to experience—provided you’re willing to slow down, observe, and immerse yourself.

Artistically, it is certain that Compulsion Games offers us its finest copy, with a game that constantly flirts with the beautiful and sometimes the sublime, all cradled by a soundtrack as captivating as it is enriching. But if the coating is more than successful, the gameplay proposition is much less so, since South of Midnight languishes in a rather staggering classicism. With its limited and repetitive gameplay loop, the structure of its levels that is far too linear and conventional, disappointing bosses and a bestiary of distressing poverty (there are 6 different enemies during the 15 hours of adventure), we realize that Compulsion Games has favored form over substance. Be careful, it is far from being catastrophic, but there is nothing exciting either, and it is all the more regrettable that certain mechanics, although conventional, manage to work at times. South of Midnight is clearly a game built for Game Pass: it plays well when it's part of the subscription.

In the absence of a new episode of Skyrim, or even an opportunistic remaster, Avowed immediately positioned itself as a perfect replacement candidate. It must be said that for years, the Obsidian Entertainment studio has shown its appetite for old-school RPGs, with a strongly assumed Bethesda-style coating and formula. But from Skyrim, Avowed doesn't borrow much, except for its old school, so 2011 side, which could be likened to a comforting feeling for the most nostalgic players. Because despite appearances and an intriguing first part of the adventure, Avowed subsequently reveals its true face, that of being an RPG for dummies, or a chatty and more complex than average action-adventure game. It is somewhere between the two and a bit nowhere, since it tries to hit both categories at once. The result is a game that displays some pretty blatant game design inconsistencies, with on one hand more flexibility in its class and progression systems, and on the other a completely frozen world where interactions have been reduced to next to nothing and NPCs reduced to inert and uninteresting green plants. We still manage to have fun with its more open combat system, but we have to get past the ultra-rigid animations that take us back to another time. The lack of staging and the slightly too rainbow artistic direction also contributed to spoiling the party and it's a shame because Avowed had a great story to tell us. An adventure that will find a nostalgic or unobservant audience, but a game that will not go down in history, that's for sure.

On paper, the Horizon and LEGO association could have made sparks, but Guerrilla Games and Studio Gobo would have needed more production time to follow through with their ideas, and especially a real LEGO game. Apart from its devastating visuals that make it the most beautiful LEGO game ever created to date, LEGO Horizon Adventures disappoints in its overly linear structure, its limited and much too academic gameplay, not to mention its unfortunately insufficient content. Not only does the adventure lack challenge, but it also folds up between 7 and 9 hours of play, depending on how you play. There is cooperation that helps to increase interest, but it is a feature that is basic in a LEGO game anyway. And what about the combat system, which is far too limited and never evolves during progression, making the game monotonous and devoid of interest. By trying to please both young and old players, LEGO Horizon Adventures unfortunately appeals to no one. It's a shame, because there were some good ideas to explore.

Canceled, postponed, stunned by the COVID crisis, then paralyzed by the war in Ukraine, STALKER 2 is, we can say, a miracle. However, despite this good news, and like all these Arlesiennes who arrive in pain after so many years, there are inevitably cracks, even fractures. And a few minutes are enough to see the handicaps that are dragging the GSC Game World title down. Technically first of all, STALKER 2 is lagging behind, with a 3D engine completely overtaken by events. Everything seems frozen, as if we were finding the STALKER of the 2007s, whether in its still life, its static NPCs or its creatures animated with a trowel. The artificial intelligence of the enemies is unfortunately not spared by a lack of know-how, with soldiers who are able to spot us from miles around at the slightest crack of a branch, but are unable to move properly. The open world is certainly gigantic and makes us experience the life of a true survivalist in wartime on a minefield of anomalies as painful as they are invisible, but the progression is marred by a slow, painful and above all unexciting pace. We tried to cling to this story of supernatural elements and a Skif at bay, but the countless bugs and the game system stiffened by this rigid handling and this mediocre interface will have finished off the little enthusiasm we had left. That said, if you are patient, conciliatory with a game whose development was not helped by extraordinary circumstances, and above all totally addicted to the great atomic-Soviet thrill, you might enjoy traveling in the shadow of Chernobyl…

To tell the truth, we don't know what's sadder in this Suicide Squad Kill the Justice League. The desire at all costs for Warner to have his Fortnite with the DC overlay? That Rocksteady hasn't been able to transcend the experience despite its pedigree? That the story of this game is set in the same universe as Batman Arkham? No matter, this Suicide Squad Kill the Justice League is, whatever happens, a huge waste, because in everything it tries to do, it never manages to convince. Probably because no one believed in this project, because many changes were made during its production and because this game was made under duress, and not from the heart.

We were convinced by the proposition of this Silent Hill The Short Message, which takes up the concept of the P.T. by integrating it into a modern story, a mirror of our society. Everything is not perfect, far from it and we would have liked to have more gameplay mechanics, puzzles, some more concrete moments of freak out, but as a party game, it does the job well. And let's not forget that it's free.

No need to debate further, this Asterix & Obelix Baffez les Tous 2 does not keep its promises. The marketing announced to us a “bigger better stronger” sequel when it is the opposite that we are receiving, namely the first episode much worse. Not only has the element of surprise disappeared, but nothing has changed or evolved. We therefore have the impression of playing the same game as in 2021 with many elements that have been removed.

We thought that Tintin was going to return to video games successfully, but the game is failing badly. With its complicated launch, Tintin Reporter Cigars of the Pharaoh is a game that can be forgotten. And it's not just the technical problems, but also its shaky, poorly chosen and totally childish gameplay. The rare moments of action in the 10/12 hours of adventures are undoubtedly the least successful, with a graphics engine which is unfortunately not adapted to the situations. The inertia of Tintin (but also of Snowy) is completely lacking, the animations are cut to pieces and the game is sorely lacking in dynamism. It's soft, it's boring and it becomes problematic, especially the infiltration phases coming from another time, at least 20 years ago. Here too, Pendulo Studios proves to us that apart from point & click gameplay, the studio seriously lacks the expertise to render epic sequences.

The desire was there, the passion of the developers too, but the Grendizer site was far too important for Microids and the Enroad studio. We do not know the real budget that was injected for the game, but if there is one thing that is certain, it is that the game lacked financial resources. Technically weak, and graphically ugly, this Goldorak unfortunately cannot hide these technological shortcomings under its cartoon D.A. The semi open world is obsolete and not up to par for a 2023 game. It's empty, it's bland, nothing happens, and the game is also riddled with collision bugs. Added to this are also numerous frame-rate problems which spoil the experience a little more, while problems with proportion and scale value ruin the feeling of being at the controls of a giant 33-meter robot made of metal.

Made with good intentions, The Smurfs 2 The Prisoner of the Green Stone unfortunately does not manage to do as well as its predecessor released in 2021. However, the decision to take inspiration from Ratchet & Clank in its gameplay was a good idea in itself, but OSome Studio did not go through with the adaptation. Between a limited gameplay loop which is never renewed, the restricted use of SmurfoMix, the hallucinating - and incomprehensible - poverty of the bestiary (5 types of enemies in total), only 3 different worlds to travel through (and which last far too long). for a long time), portals that are completely underused but also an inconsistent level design, we get bored quite quickly because of this repetition in the gameplay. It's a shame because the game is well made, the gameplay is mastered and the graphics are attractive.

Marketed as a remake with its new graphics engine, Like a Dragon Ishin is actually just a remaster to which its cutscenes have been boosted. After the improved cutscenes, the game reveals its technical problems (rigid animations), bugs and imbalance. With a game released almost 10 years ago, it was inevitable. But the strength of Yakuza games is also its immersion, its many activities and its history which succeed in transporting the player to an exotic feudal Japan.

It's hard to know what audience Microids is targeting with New Joe & Mac: Caveman Ninja. Old players who have already turned the original game around? Despite the talent of Philippe Dessoly who reminds us that 2D is eternal, asking them to drop 40€ for an "Extend" mode and a few additional screens is abused. As for neophytes fed at checkpoints, automatic saves and other “Easy” modes, there is a chance that they will quickly become discouraged as New Joe & Mac: Caveman Ninja imposes learning through pain.

Voluntarily old school, both in its feeling and in its structure, the title developed by the South Koreans fully assumes its status as a basic shooter. Thought as a tribute to a period when video games were simple, it can sometimes be compared to a shoot'em up where shooting and moving continuously is highly vital. Too bad, however, that its very uneven realization prevents it from living up to today's standards.

With its world now completely open, Pokémon Scarlet and Pokémon Violet clearly make for the best episodes of the saga, but also the most innovative. But on the other hand, it's also the worst in the entire franchise, because of its many bugs that make the internet laugh and its technique that harkens back to the PS2 era. Empty backdrops, blurry textures, framerate dropping all the time, gamers deserve better than this.

With its world now completely open, Pokémon Scarlet and Pokémon Violet clearly make for the best episodes of the saga, but also the most innovative. But on the other hand, it's also the worst in the entire franchise, because of its many bugs that make the internet laugh and its technique that harkens back to the PS2 era. Empty backdrops, blurry textures, framerate dropping all the time, gamers deserve better than this.

As funny as the first episode, even more, Goat Simulator 3 improves the initial concept thanks to a larger open world and somes real nice side quests. Spending a few hours discovering all the secrets (and the easter eggs from the pop culture) of this sandbox is therefore pleasant and often very funny. But the game still has its limits and its concept of joke is still sold between 30 and 40 euros.

The Devil in Me is like the first season of The Dark Pictures: perfectible. If some ingenious shots attest to the developers' love for horror cinema, the stiffness of the facial animations and the lack of relief of the characters prevent any form of empathy, even in the face of a choice with irremediable consequences.