With Pragmata, Capcom comes in with a pretty bold idea, a dual gameplay system where shooting and hacking happen at the same time, and honestly, it works really well. The whole dynamic between Hugh and Diana is easily the highlight, and once the hacking clicks, the fights feel fast, tense, and really fun. The game is at its best when everything flows together, Hugh feels great to control, super mobile, and Diana’s hacking system becomes pretty natural after a while. That contrast between the two is really what makes the game stand out. But yeah, it’s not perfect. The progression gets repetitive, the game is pretty easy overall, and the bosses, while cool-looking, don’t really push you that much. Story-wise, it’s also pretty standard. There are a few nice moments between Hugh and Diana, but overall it’s a bit predictable, and sometimes a little cheesy. Still, for the gameplay alone, Pragmata is worth checking out, just don’t expect it to last more than about 10 hours.

Pokémon Pokopia is a bold spin-off that flips the usual Pokémon formula on its head. No battles, no duels, just a world to rebuild, habitats to create, and Pokémon to hang out with. The game really shines in its creative freedom: you can terraform, build, decorate, and even use Pokémon abilities to shape the world however you like. It’s cozy, easy-going, and instantly fun, especially if you’re creative or younger, and the first few hours are a real blast. The downside? It gets repetitive pretty quickly. The same mechanics repeat from island to island, quests and habitats feel predictable, and there’s not much challenge to keep things exciting. On paper, it’s a refreshing change of pace, but the slow rhythm and repeated tasks can bore players who like a bit more action or progression. For us, the first 10-12 hours were fun, but after that, the next 15 hours started to feel a bit samey.

Let’s be real: Screamer 2026 is a great surprise. This isn’t some lazy nostalgia reboot, Milestone actually took risks, and that’s something you have to respect.In a genre where Gran Turismo and Forza Horizon dominate the sim side, and arcade racers like Burnout or Need for Speed have kind of faded away, Screamer brings something fresh. The Echo System, inspired by fighting games, turns races into real mind games, managing meters, timing your moves, anticipating your opponent. And honestly, it works. The dual-stick drifting takes some getting used to, but once it clicks, it feels great, really precise, really satisfying. Visually, the game stands out too, with strong Akira vibes and a cool 2D/3D style. It’s not perfect though: the story drags a bit, and the first hours can feel repetitive. It’s not a “pick up and play” racer, it asks for patience. But if you stick with it, you’ll find a game that actually tries to do something different.

After spending over 110 hours in Pywel, there’s really no debate: Crimson Desert absolutely delivers on its promise of a massive open world. Pearl Abyss has built something huge and alive, with a real sense of freedom. You’re not constantly being guided, you have to observe, experiment, get lost and that’s honestly where the game shines. Content-wise, it’s massive. You’re looking at around 120 to 140 hours just for the main story, and easily up to 400 if you want to see everything. The combat system is also a big highlight, it’s deep, fast-paced, and pretty demanding, with tons of options. Every fight requires focus, but that’s exactly what makes it so satisfying. Visually, the game looks incredible, with a world that feels immersive and believable. That said, it’s not perfect: the difficulty can be pretty unforgiving, it takes time to really get comfortable with the controls, and the story doesn’t always hit as hard as it should. In the end, Crimson Desert is a huge game. Ambitious, sometimes tough, definitely not for everyone, but if you’re willing to fully invest yourself in it, it’s a pretty amazing experience.

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.

With Resident Evil Requiem, Capcom isn’t trying to tear everything down and start from scratch. This isn’t a radical reinvention, but rather a highly self-aware synthesis of everything the series has experimented with over the past thirty years. It’s an anniversary entry that clearly looks back, embraces its fan service, yet still tries to move forward. In short, it feels like a best-of, but a thoughtful one, not a lazy collage. For years, the series has swung between two extremes: pure, suffocating horror and explosive, over-the-top action. Here, instead of awkwardly blending both into a single gameplay style, the game makes a much smarter choice: it separates these two energies into two complementary characters. On one side, Grace Ashcroft embodies vulnerability, fear, and constant tension. On the other, Leon S. Kennedy represents control, power, and that charismatic, unstoppable force pushing forward without hesitation. On paper, this could have created imbalance,even a rupture in the game’s rhythm. But in practice? It works surprisingly well.

With Nioh 3, Team NINJA delivers its most ambitious entry to date, and easily its most divisive. In an effort to modernize the formula and appeal to a wider audience, the studio shifts toward open areas inspired by games like Elden Ring. The downside is that this evolution comes at the cost of the series’ core identity. At its best, Nioh 3 is still a combat juggernaut. The fighting system is incredibly deep, the Samurai/Ninja duality is a smart and satisfying addition, and the sheer variety of builds, weapons, and playstyles is impressive. Few games in the genre reward skill, experimentation, and long-term commitment quite like it does. Unfortunately, the open-field structure never truly comes together. Exploration feels flat, enemy and asset reuse is hard to ignore, the story lacks impact, and the overall presentation feels dated, especially by 2026 standards. In the end, Nioh 3 is a great fit for hardcore fans who come for the combat and the challenge, but it’s unlikely to win over players looking for a striking open world, a memorable story, or a strong visual showcase.

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.

So, what can we take away from this Nintendo Switch 2 re-release of Super Mario Galaxy and Super Mario Galaxy 2? First and foremost: these games remain absolute masterpieces of 3D platforming. Eighteen years after the first installment, their level design is still a model of clarity and creativity. Every galaxy, every mechanic, every jump is perfectly calibrated to delight without frustrating the player. The magic still works, and the emotion remains intact. However, when it comes to the port itself, the disappointment is hard to ignore. This is essentially just a 4K/60fps polish, a cosmetic texture cleanup, and compatibility with both the Switch and Switch 2, nothing more. No 3D model overhauls, no new lighting effects, no significant additional content. Rosalina’s Storybook and the assist mode are nice touches, but they feel anecdotal compared to what you’d expect for a 40th-anniversary celebration. And the price, €70, is particularly steep for a duo that doesn’t include any real expansions or “next-gen” remastering. There’s a slight feeling of incompleteness, or even deliberate laziness, which the most demanding fans will notice immediately. If you’ve never played these two galaxies before, dive in, they’re pure joy. But if you already know them, it might be wiser to wait for a sale rather than support Nintendo’s new pricing approach.

After a Battlefield 2042 that left many players disappointed, Electronic Arts did what was needed to make amends. The result is a Battlefield 6 of remarkable quality, whether in its single-player campaign or its multiplayer experience. EA’s military FPS finally regains its identity, with the return of the saga’s iconic classes, massive battles, partially destructible environments that are downright satisfying and strategically meaningful, and that constant sense of intense warfare. Sure, the single-player campaign may be less scripted and explosive than a Call of Duty in terms of narrative, but Battlefield 6 excels in pure gameplay, freedom, and the feeling of total war. The Frostbite engine delivers a visual punch, maps are cleverly designed, gunplay is satisfying, and the in-hand feel of the controls is incredible. Of course, it’s not perfect: the French voice-over is uneven and mandatory (as there’s no original English option unless you change your console’s language), and some script, collision, and animation bugs still linger here and there. But compared to a Call of Duty that has started to feel a bit repetitive, Battlefield returns stronger, more intense, and more coherent than ever. You can feel the passion and dedication behind Battlefield 6, along with a genuine desire to win back the hearts of disappointed fans. As for us, we came away completely convinced.

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.

After more than 60 hours spent on the lands of Hokkaido, juggling main missions, side quests, and endless exploration, the answer isn’t simple. Sucker Punch plays on two fronts: technical conservatism and artistic boldness. Of course, the game isn’t perfect: some mechanics feel recycled, climbing remains archaic, stealth can be frustrating, and technically, you can tell the engine has its limits. But Ghost of Yotei more than makes up for these flaws with its world, storytelling, atmosphere, and that rare feeling of truly losing yourself in a dreamed-up, poetic, and simultaneously violent version of feudal Japan. In short, Ghost of Yotei isn’t a revolution, nor a breathtaking technical leap. It’s a respectful sequel, sometimes conservative, yet one that manages to elevate the original experience through its artistic direction, immersion, and narrative. It’s a game to be savored as much as played, one that delights, moves, and, above all, reminds us why we love virtual feudal Japan: for its landscapes, its mood, and those unforgettable moments when you truly feel like a part of the story.

Sonic Racing CrossWorlds isn’t just another entry in the franchise, it’s a full-on evolution of the karting formula that finally outshines Mario Kart World. Faster, more demanding, and packed with depth thanks to its gadget system, CrossWorlds mechanic, and unprecedented vehicle and character customization, SEGA has delivered a game that rewards skill, strategy, and risk-taking. Yes, hoverboards feel awkward and the UI could use some love, but on the track, the action is relentless, the races unpredictable, and the fun absolutely infectious. There’s no contest : Mario Kart World has finally met its master, and it’s called Sonic Racing CrossWorlds.

Cronos The New Dawn is Bloober Team’s most ambitious project, heavily inspired by survival horror classics. Its post-apocalyptic Polish setting, retro-futuristic art style, and oppressive atmosphere are impressive highlights, showing the studio’s talent for building immersive, unsettling worlds. Yet the game struggles with rigid, outdated gameplay, clunky combat, and puzzles that feel too simplistic. Its reliance on Dead Space, Resident Evil, and Silent Hill leaves little room for true innovation, preventing it from becoming a genre-defining title. While not the breakthrough it aims to be, Cronos marks an important step for Bloober Team. It’s a respectful homage that will please fans of old-school survival horror, but may leave others hoping for something bolder.

Now that we’ve finished Lost Soul Aside, it’s clear that the game is far from the disaster many claimed on social media. After more than twenty hours of play, it’s obvious that Yang Bing’s project (started as a student hobby and later turned into an industrial-scale production with Sony’s support) retains all its passion and identity in its gameplay, even if some peripheral aspects aren’t as polished. At the heart of the game lies its dynamic combat system, rich in possibilities. The four weapons (longsword, greatsword, double spear, and scythe) each offer distinct approaches, which can be combined into fluid, spectacular combos, made accessible through mechanics like perfect parries and the assist system that activates after multiple deaths. The draconic companion Arena adds another strategic and visually impressive dimension, turning battles into true aerial ballets. Yet, the game is not without flaws. The graphics, while generally basic, feel like a previous-generation title, suffering from an uneven and sometimes questionable art direction, as well as occasionally repetitive environments. The storytelling and character charisma are limited, and platforming sections can be frustrating due to the hero’s slightly floaty physics. The English voice acting is also disappointing, making it strongly recommended to stick to the Chinese original or the Japanese voices, which are much better executed. Despite these shortcomings, Lost Soul Aside succeeds where many modern action games fail: it delivers immediate, pure fun, with a gratifying combat system and combos that grow richer as you progress. For fans of fast-paced hack-and-slash, it’s an experience not to be underestimated. Perhaps not worth €70, but definitely closer to €40, let’s be honest.

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.

Shinobi Art of Vengeance is an absolute banger, both a heartfelt tribute to a legendary franchise and a smart modernization for a new generation of players who never experienced Joe Musashi in the era of 8-16-bit consoles and arcade halls. The French studio Lizardcube clearly understood how to strike the perfect balance between tradition and innovation, drawing on the fundamentals of the early games while enriching the gameplay with modern mechanics designed for fluidity, depth, and combat variety.

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.

Nobody saw it coming, but Wuchang: Fallen Feathers has ended up being one of 2025’s biggest surprises. When we tried it out at Summer Game Fest back in June, we knew it had potential as a solid Souls-like, but we didn’t expect it to be this good. he Chinese studio Leenzee didn’t just try to copy the Souls formula, they really took the time to understand what makes the genre tick, and then built something that feels deeply rooted in Chinese culture. That unique identity is one of its biggest strengths, and it brings a refreshing brightness and atmosphere you don’t usually see in these kinds of games. Technically, Wuchang Fallen Feathers also delivers, it’s stable, smooth, and well put together. Thanks to Unreal Engine 5, the game looks stunning, with beautiful panoramas and a nice variety of environments. Now, sure, it’s not perfect. Some parts can get a bit frustrating, the enemy variety isn’t always amazing (though the boss fights are seriously cool), and there are a few difficulty spikes that feel a bit off. But honestly, those flaws don’t take away from the overall experience.

With Donkey Kong Bananza, Nintendo brings back its iconic gorilla in a bold, fresh take on the 3D platformer. On paper, it has all the right ingredients for a hit: a core mechanic built around full-on destruction, fully destructible environments that encourage exploration, a fun set of transformations, a dash of RPG systems, and a colorful, modern visual style. At first, it works. The game makes a strong first impression, smashing everything in sight is instantly satisfying, and there’s real freedom in how you approach levels. But after a few hours, the cracks start to show. The level design, which is so important in a 3D platformer, runs out of steam pretty fast. The early zones feel fresh, but later areas tend to blur together, with lots of rocky, cave-like environments that feel repetitive. Honestly, it feels like you spend 80% of the game underground.Pacing is also a bit off. The game throws a ton of stuff at you (objectives, collectibles, side systems), but rarely takes the time to give them real meaning. You start to feel overwhelmed, and after a while, the gameplay loop gets a bit too repetitive. There's so much going on that it ends up feeling cluttered, and the experience loses some of its clarity. Still, don’t get us wrong, we had a good time. But after our preview, we were kind of expecting a masterpiece, maybe even a game-changer for 3D platformers. So yeah,we came back down to earth a bit.

You could say Death Stranding 2 is to the first game what Metal Gear Solid 4 was to MGS3: a louder, flashier sequel that tries to impress, but ends up being less moving, less inspired, and less on point. It feels like Hideo Kojima gave in to the urge for self-references, fan service, and over-the-top moments—at the cost of narrative coherence and depth.And that’s really the biggest letdown: it’s not just that the game has flaws, it’s that it gives up on being unique. In the end, Death Stranding 2 isn’t a bad game by any means (it’s actually super solid on a technical and artistic level) but it still feels kind of flat, occasionally lazy, and almost pointless. It loses part of what made the original so special: that weird, uncompromising experience that didn’t look or feel like anything else out there.Where the first one was bold enough to throw you off balance, this one plays it safe. What used to feel like a total gaming oddity now feels like a hybrid product, stuck between big creative ideas and the need to please a wider audience. Kojima probably wanted to take us on another journey, but by refusing to really go somewhere new, it mostly just feels like we’re going in circles.

Mario Kart World marks a bold reinvention of the series, introducing an open world and new mechanics like dynamic weather, aerial stunts, and grinding. While the Free Roam mode feels underused and the Battle mode lacks depth, the game shines with varied, exciting tracks and a thrilling new Survival mode. Despite a few omissions, like the 200cc mode, it’s a strong, modern entry that refreshes the formula while laying solid foundations for future updates.

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.

With DOOM The Dark Ages, the series takes a 180-degree turn, especially with a return to a less airborne, less frenetic DOOM compared to DOOM Eternal. The game might divide players who loved that ultra-fast FPS approach, but the developers at id Software wanted to shake up the formula. Those looking for a more grounded, back-to-basics experience will be pleased, especially since the gameplay centered around the shield-chainsaw, parries, and dodges offers a new dimension. There's less verticality and fewer aerial movements; this DOOM favors close combat but with the same brutality. While the sequences inside the large robot are fun, we're less fond of the dragon-riding sequences, which aren't always that engaging. Overall, we had a great time.

It's hard not to be impressed by Clair Obscur: Expedition 33, if only for the sheer ambition it displays. From its very first minutes, the game sets a strong, atypical aesthetic framework, almost disturbing in its tormented beauty. The universe, somewhere between surrealistic nightmare and waking dream, is unlike anything currently on the J-RPG scene. But Clair Obscur Expedition 33 is more than just a visual daring, for beneath its visual and symbolic layers lies a surprisingly dense, rich and, above all, dynamic combat system. Combining turn-based and real-time reflexes, the game redefines the genre's expectations by forcing it out of its comfort zone. But ambitious as it is, Expedition 33 is not without its faults. The game's overly linear structure hinders exploration. The environments, as beautiful as they are, sometimes suffer from a lack of interaction and a rather flat level design. The title isn't perfect, but it's terribly sincere, and above all it's a work that dares and often succeeds.

In 2025, Xenoblade Chronicles X is no longer just another forgotten Wii U RPG: it's a videogame manifesto brought up to date, a singular work that finally finds the setting it deserves on Nintendo Switch. Where so many modern productions rely on cinematic narrative or immediate gratification, Monolith Soft's title dares to offer something else: a truly free open world, non-linear progression, gameplay that demands investment, and above all, a vision. That of an uncompromising RPG.

The grand return of the Fatal Fury franchise, which had disappeared from the radar 26 years ago and for which NeoGeo fans had been desperately waiting, was made through the front door. This time, the game is not just for them, but also for the mainstream players, who will discover a game with a sophisticated yet accessible combat system. Even on a visual level, we're finally treated to a 3D SNK game that's obvious to look at. In short, it's perfect.

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.

After spending 150 hours on it, finishing the main story of Yasuke and Naoe, and exploring every nook and cranny of the open world, we can tell you without any shame, we enjoyed the adventure offered in this feudal Japan of the 1500s. Everything is obviously not perfect, because the game still carries the stigmata of a license that has difficulty renewing itself, but there are positive things to be learned from it. By choosing to offer two radically different protagonists, the Ubisoft Quebec studio manages to bring together under the same banner the purists who swear by infiltration and the others who appreciate the action-RPG aspect taken since AC Origins in 2017.

Split Fiction is simply the It Takes Two formula but with the knobs pushed to the maximum. In addition to this absolute, complementary cooperation that never pretends, Josef Farès and his teams have added a frenetic pace that we owe to this approach that is much more action than in the past. With this tempo that has gained momentum and a lot of dynamism, we chain together situations and levels without ever getting bored for a single moment, especially since the game is constantly reinventing itself.

Seven years after the global phenomenon that was Monster Hunter World in 2018, Capcom finally delivers its sequel, not in its numbering that's for sure, but the spirit, it's definitely there! It's simple, Monster Hunter Wilds takes all the ingredients of the winning formula of its illustrious predecessor, while making it evolve in the right direction. The story and narration now take a more important part, with just the right amount of endearing characters, intrigue and outcome to let us be transported into this campaign that ends in about twenty hours of play. Then, Capcom gives players free rein to do what they want through an even more consistent and interesting endgame, since it knows how to renew the experience and extend the lifespan almost infinitely, especially with the DLC and other expansions to come. Between the appearance of other monsters, the climate changes that are taking place, the end of the decline and the arrival of abundance, the game then offers itself a second youth.

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.

It's true that Kingdom Come Deliverance 2 is very similar to the first episode with the same structure, the same gameplay, the same assets, the same flaws and still residual bugs that sometimes make you smile, but Kingdom Come Deliverance 2 is an RPG of quite incredible depth, with a proposal so radical and so against what is done in AAA video games that it totally goes off the beaten track. I hadn't done the first episode, just watched the tester at the time play it and I didn't understand the craze. I won't hide from you that the first 15 hours were painful, sometimes painful, because once again, the proposal was so radical that it went beyond my codes, my habits. Nevertheless, we feel that behind this harshness, this almost unhealthy rigor hid a game of great richness and I am not unhappy to have persevered, because the gratification is great, but the pleasure is also total. Kingdom Come Deliverance 2 is definitely not a game for everyone, but if you can buy into the proposition, then you're in for a game like no other.

It's a strange feeling to play this Donkey Kong Country Returns HD. The gaming experience is both exciting and frustrating. Exciting because replaying this adventure fifteen years ago has remained almost intact. Apart from a few aspects of the gameplay that have aged badly (because the gameplay was originally built for the Wiimote and Nunchunk) and its bosses that are still disappointing (like in 2010, it hasn't changed), the game still shines with its ingenious game design, its well-crafted level design and its gameplay that is still as square. Where Donkey Kong Country Returns HD disappoints is in its basic, almost lazy adaptation. Apart from the HD smoothing, it's the same game in every way, and it's true that in 2025, some models have aged. And then, we would have also liked Nintendo to offer us exclusive content for this Switch version, as was the case when the game was released on 3DS in 2013.

We can now say it : Dynasty Warriors is a license that has come a long way, a very long way even. After a decade of going around in circles, multiplying episodes that don't care and failed attempts to do like the West with its poorly put-together open worlds, the saga ended up getting lost. But neither Koei Tecmo nor the Omega Force studio gave up, and after a good bit of soul searching, the two entities were able to identify the choices to make to make this saga shine again, which has been reborn from its ashes. Thanks to producer Tomohiko Sho, Dynasty Warriors Origins was able to take a 180 degree turn, without denying its fundamentals. We are still dealing with a massive, brutal and enjoyable beat'em all on the surface, but which has been able to refine its gameplay in order to make it more demanding and even more satisfying.

Let's be honest, we were pretty freaked out by the result obtained with Indiana Jones and the Circle of the Ancients, especially after the latest gameplay videos that were released. The issues identified with the AI and the stiff animations are there, but they manage to be hidden by the rest of the game, which are actually the heart of this adventure. Exploration, puzzles, story, narration, characters, atmosphere and even the fights somewhere, all of this takes over to offer us a gripping, captivating adventure that perfectly transcribes the Indy of the 80s. Even the view in the first video that was much criticized works well and it's a real pleasure to have gone through these 32 hours of play in the leather jacket of our coolest archaeologist on the planet. The game also shines with its technical aspect, with very rich graphics and a total change of scenery! We loved our adventure despite its flaws and we hope that a sequel will come to correct and strengthen a license that can try to do as well as Uncharted and Tomb Raider.

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.

Fourteen years. That's how long we had to wait before Rockstar Games finally deigned to offer Red Dead Redemption on PC. It's long, very long, too long and too late for some, and we can understand them. However, the adaptation and optimization work carried out by the Double Eleven studio (former Rockstar Games employees) allows us to offer the best version of the game, notably thanks to new features such as native 4K, DLSS 3.7, HDR10, widescreen compatibility and keyboard-mouse play, not to mention all the work that has been redone on lighting and light effects. It's sublime. So of course, after so many years of waiting, the game suffers from mechanics that have aged like these textures and animations so 2010, and a Dead Eye that obviously hits less hard with the surgical precision of the mouse. But these few flaws are nothing compared to the adventure that awaits you in this adventure that depicts a Far West like no other game has ever done. With in addition this absolutely masterful soundtrack, this sense of narration, this unique writing, we can relaunch John Marston's last crusade, if only to cry once again... Masterpiece.

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…

With Empire of the Ants, Microids has its first major game, capable of holding its own against the big productions of 2024. The sentence may seem surreal to some, given the inglorious past of the french company (even if it has some very decent and very enjoyable titles in its catalog, let's not forget), but the effort is very real. By betting on the developers of Tower Five, the French publisher has hit the nail on the head, because not only has the studio proven that it has mastered the use of Unreal Engine 5 to perfection, making their title one of the most beautiful games of this year, but they have also found the perfect formula for adapting the RTS to consoles, with controller controls.

We thought that this year again Call of Duty would continue to do the bare minimum to feed its community, but we were wrong. Black Ops 6 is indeed returning to quality, and we find ourselves with what is undoubtedly one of the best episodes of the last 10 years, whether it's the single-player campaign, the gameplay, the Zombies mode, the Multiplayer, everything has been carefully worked on to make the overall experience worth it. We were pleasantly surprised, starting with the campaign which varies the situations, with sometimes more classic and spectacular missions, but also more open levels, with finally interesting things to do. The game becomes less directive and even allows itself to try things with unexpected supernatural sequences at this level. We even have to face bosses, something unheard of for a Call of Duty game. The introduction of omni-movement brings a lot to the game, with larger, more natural movements that make the game more fluid, and with which we can combine a more nervous, more impactful gunplay. In multiplayer, the experience is also very pleasant, with a Zombie mode that returns to the sources and the waves to shoot down, even if we have to make do with two poor maps at launch. Fortunately, multiplayer and Warzone are there to fill this gap, especially since this year the new "Execution Order" mode is undoubtedly one of the best finds in the series.

After Marsupilami The Secret of the Sarcophagus in 2021, the Ocellus studio is now tackling the Smurfs license, at the request of Microids of course. After taking inspiration from Donkey Kong Country 3 years ago, it was a certain Super Mario 3D World that served as the basis for this epic of dreams, and once again, the result is satisfactory. Whether visually or in its gameplay, everything is done with care and a certain quality. There are even some flashes of brilliance in certain passages, such as the mirror level, the free fall in Tetris mode and the infiltration mission, not to mention these huge bosses to face who are also not lacking in game design ideas. No, really, it's clean and square as they say, even if deep down, it lacks risk-taking and diversity. In the meantime, this Smurfs: Epic Dreams does its job very well and does what is asked of it: a platform game suitable for young and old, playable in cooperation to mix generations, and therefore have a good time.

Six years ago, Nomada Studio made a name for itself with Gris, an atypical platformer, which went off the beaten track and whose sincere intentions made it possible to see that even among indies, we are still capable of standing out. Neva takes up this same ideology by pushing the desire even further. By completely embracing this osmosis with nature, by drawing unabashed inspiration from the works of Hayao Miyazaki and the productions of Studio Ghibli, the Spanish developers of Nomada transport us into an absolutely captivating universe where each moment, each screen gives the feeling of contemplating the painting of an accomplished artist, that of Conrad Roset. With the COVID crisis, the birth of his child, his relationship has changed and this evolution in his personality is also felt in Neva, a game where the need to help each other, to take care of each other is felt in this dying world. Nothing is lost despite appearances, an optimistic message that will guide the player in an experience like no other has offered us. The platform is still relevant, the puzzles are still as enjoyable, but we have gained in ferocity and adversity, thanks to this katana put in the hand of Alba, our heroine, capable of many things and movements. Her hand-made animations are sublime, her fight too, while Neva, this wolf cub who is growing up visibly, is a character that we also want to cuddle. Sublime.

Since our first hands-on last June, we already knew that Dragon Ball Sparking Zero was going to pulverize everything in its path, but we were far from suspecting that Spike Chunsoft was going to refine its combat system to this point. Indeed, the Japanese studio has not only offered us the best video game adaptation of an anime, but it has also deepened the gameplay, much more technical than it seems when you see the explosiveness of the fights on the screen. There are dozens and dozens of manipulations to learn by heart to reach Ultra Instinct in our turn, and thus know how to read through what the layman will take for an incomprehensible visual mess, when it is not. Enjoyable to get to grips with, with a nice progression curve as well, the gameplay of Sparking Zero has never so well transcribed what we expect from a Dragon Ball game. It is exceptional. Visually, it is also well mastered and it has been several months now that the public has been able to see to what extent Jun Furutani's team masters its subject. Each fight, each attack, each burst of energy thrown makes the screen vibrate but also the heart of any Dragon Ball fan. It is so well-built, so well-staged that we systematically come out of it galvanized. But in addition to having respected the work of Akira Toriyama like never before, Spike Chunsoft also offers players a game of great generosity, full of game modes, things to unlock, stories to tell (even if the What If is ultimately less interesting than expected), bonuses to consult, in short, you get it, we too, we were seriously respected. No need to procrastinate any longer, Sparking Zero is by far the greatest Dragon Ball game ever created.

Sent to the stake before it could even justify its communication blunders, Silent Hill 2 Remake has now had its revenge. Not only has Bloober Team delivered a modern reinterpretation of Masashi Tsuboyama's game with this remake, but the Polish studio has also managed to capture the very essence of what it represented, namely an agonizing and anxiety-provoking dive into the tortured and painful mind of James Sunderland. The themes addressed have an even stronger resonance today, since it deals with domestic violence, toxicity, child abuse and even suicide. Not everything is perfect, mind you, and we would have liked more up-to-date animations, a more flexible combat system too, and perhaps a more marked character design, but the incredible atmosphere that emerges from the game manages to make us forget these technical errors.

Who is this Zelda Echoes of Wisdom really for? This is the perfectly legitimate question that one can ask oneself after finishing the adventure, not without some desire to give up along the way. By wanting to play the break with the remake of A Link's Awakening and avoid taxing this episode as a simple DLC with a playable Zelda, Nintendo has opted for a gameplay that is the opposite of what a Zelda game represents for many people. No real combat here, but instead room for reflection and puzzle solving, that's the heart of the gameplay and we can obviously understand that the game risks displeasing a large part of the usual audience.

Playing Warhammer Space Marine 2 right after the massive open world of Star Wars Outlaws and the mental load that was Black Myth Wukong is certainly the best thing that happened to us this fall 2024. Not only does the game offer a bloody spectacle where you feel like you're controlling a bulldozer that tears everything in its path, Warhammer Space Marine 2 also offers us a return to basic pleasures that we had terribly missed. And buyers of single-player games should not be mistaken, Warhammer Space Marine 2 is above all a game made for multiplayer, the campaign being only the pretty candy, certainly tasty, but in the coating is more attractive than its content. A fairly basic straight line, with the added bonus of a level design that is not very sophisticated and in which we only shoot the same enemies, the bestiary being extremely poor. Likewise, this structure of "I press a button to either open a door or activate a freight elevator" is also likely to bore you greatly. There is therefore a feeling of repetitiveness that disappears immediately as soon as you move on to PvE and PvP, since the war then takes on a different flavor. For the launch, the content is also a little stingy, but the devs have promised a robust roadmap for at least the first year. And when you see all the love they put into their game, you can only take their word for it.

Since our hands-on preview, we already knew that Team Asobi was going to have a great adventure in store for us with Astro Bot, but we didn't imagine that the Japanese studio was going to perform so well. More than a real aesthetic for its game, with a captivating, shimmering and warm universe, Astro Bot also surprises with the precision of its gameplay. The fluidity with which the actions follow one another, the surgical playability, this incredible tempo that gives the feeling that everything is possible makes the game absolutely phenomenal in its gameplay. Add to that a new idea at each new level, gadgets that never stop varying the pleasures, environments all different from each other, massive bosses that are a real pleasure to face and we undoubtedly get one of the best 3D platformers of the last ten years. Nintendo had the monopoly on the genre with the quality of its productions until now, but now, we will have to count on Nicolas Doucet and Team Asobi. Now, as we detailed in our paper, Sony must realize that platformers must come back in force in its ecosystem, like in the good old days of PS2 / PS3 with licenses (Ape Escape, Jak & Daxter, Ratchet & Clank, LocoRocco, Sly Raccoon), which had nevertheless left their mark. Because a talent like that must not disappear...

We expected something grandiose with Black Myth Wukong and we got it ! Whether in terms of its production or its gameplay, Game Science's title is a small miracle. Graphically, the game is splendid, to the point where it will become a reference for future games of this caliber. The Chinese studio proves that not only does it master the Unreal Engine 5, but that it also knows how to deliver an immersive and superbly told universe. On PC the game is magnificent, but on PS5 too, the result is sublime. There are a few failures here and there, but nothing too dramatic considering all the work done. But it's not just the setting that is fantastic, the gameplay too. Fluid, nervous and particularly enjoyable, the gameplay of Black Myth Wukong allows you to enjoy the Monkey King's abilities, from his legendary agility to his multiple transformations, without forgetting the mastery of his magic staff. Sure, we could complain about the lack of a map to find our way around, that the invisible walls could have been better hidden and that some secrets are really too cryptic to find, but that's nothing compared to the generosity that the game shows. Because let's not forget that the Black Myth Wukong project is not only the very first game from a young independent studio, and which started with a team of 13 developers for a year (to end up with more than a hundred at the end), and that, and it's respectful.

Star Wars Outlaws could have been a wonderful game, but the lack of polish in its gameplay prevents it from being one of the best. Between Kay Vess's somewhat floating inertia, gunplay that's a little too soft at the start of the adventure (it gets better later on), poorly balanced infiltration and really poor enemy A.I., Massive Entertainment's title is also guilty of some questionable choices in its game design. The game does, however, have some really good arguments to tip the balance in its favor, starting with its total and successful immersion. Moving from planet to planet with total freedom is an invitation to travel, not to mention the fact that each location has its own unique biome. Star Wars Outlaws also takes advantage of Massive's Snowdrop Engine to deliver splendid, impressive and often spectacular graphics. Speaking of spectacular, the space battles are another of the game's great successes, as is the soundtrack, which accompanies the game's situations with great accuracy. And if the beginning of the adventure clearly lacks panache, the game takes off in its final third, to our great delight.

Maybe The Paper Mario series is not the most bankable or popular in the Mario universe, but it has a visual and gameplay approach that is no less interesting. If we were able to discover a new episode in 2020 on Switch, Nintendo is today offering us the opportunity to rediscover a major episode, that of the GameCube which will celebrate its 20th anniversary this year. If the gameplay has not changed one iota and remains as enjoyable as ever, even if we deplore a certain redundancy in the progression with a lot of comings and goings.

FromSoftware has indeed injected Sekiro into its Elden Ring, and it is no longer the same twist at all. Of course, with perseverance, you will succeed, but it will be through pain, rarely through pleasure. Some like it when the wounds are open, others much less. Fortunately, the title has other arguments that militate in its favor, such as these new territories to explore, its hundred weapons to test, its new adversaries with whom to cross fire, and others that we have already seen a ten times in the Japanese studio's previous productions. Let's agree, Elden Ring Shadow of the Erdtree remains a very good game and a high quality DLC, but for its overall imbalance, it is necessarily less interesting than the original game.

To fully appreciate the experience offered by Hellblade 2, you obviously have to agree with the proposal from the English at Ninja Theory, because yes, the game is divisive. With its minimalist, not to say basic, gameplay, its straight line crossing that can be done in 8 hours in the first run, the purists of the classic and basic video game may indeed frown on these precise aspects, and it would be difficult to tell them blame. But it is also fashionable to remember that video games are vast and the experiences different, and this is exactly what the developers of Ninja Theory are offering us, namely an invitation to a journey from which we do not emerge unscathed.

It took 20 years for Peach to be the main character in her own game again, the last one dating back to 2005 and we were on Nintendo DS. Times have changed, as have morals and Nintendo has understood this well with Princess Peach Showtime, which also stands out from Mario by moving away from the classic platformer. Here, it is more of an adventure designed to highlight the many abilities of the character, capable of changing outfits as well as gameplay, all surrounded by a perfectly crafted theater theme. Ninja, swordsman, mermaid, detective, superhero, pastry chef, skater or downright kung fu expert, we move from one style to another with great pleasure, even if the absence of challenge risks making the players wince the most seasoned. In any case, the game is clearly intended for younger people, those who will be less demanding and will not complain about the sometimes incomprehensible framerate drops.

Perfect mix between Bayonetta, Nier Automata and Sekiro, this Stellar Blade immediately stands out as a serious candidate to be among the best action games on the PS5 in 2024. Yes, the Shift Up studio has chosen a female character very sexualized appearance, but be assured, Stellar Blade is above all a game where the gameplay is solid and elaborate. And you just have to see how advanced the mechanics are, that the combos are satisfying and that the interest is focused on timing management to understand that the game will not be there just to look pretty. It's just the exploration part and the platform sequences that are not optimal, but the universe and its many references are a real positive point.

Top Spin is back in 2024. An almost surreal phrase after 13 years of absence. And yet, through persistence and belief, the best tennis game of all time is back, and it does not disappoint. It must be said that 2K Games and Hangar 13 took as few risks as possible, by resuming the basics of Top Spin 4 gameplay. Readjustments and some modifications were however made to give more consistency and depth, and erase the few aspects that could still be improved, such as serving, volleying and a clear increase in fouls or balls going out of bounds. It was the best compromise to make in any case, as the gameplay was already divine at the time and has reached unparalleled heights today. More than ever, timing and placement must be managed to the millimeter to be sure to hit exactly and in the right place, which guarantees an even crazier margin for progress, even when you were already a top spin 4 leader. With Top Spin 2K25, never has a tennis game been so varied in its exchanges, and the fluidity of its rhythm.

With Dragon's Dogma 2, Capcom is making an incredible comeback. Not that this sequel revolutionizes the franchise, but it reminds us that it was innovative 12 years ago. Because long before Zelda Breath of the Wold and Elden Ring, Capcom had already initiated itself into systemic gaming, by presenting a less interventionist and above all more innovative open world. With a first attempt in 2012, the Japanese studio once again imposed its ideas, still as contemporary twelve years later. Proof that Capcom was ahead of its time and that it had already understood that the freedom offered to the player had to come through a questioning of the open world game.

If you have taken the time to read our article, you have noticed that there are many negative points with Rise of the Ronin, but the game also has good arguments for its defense and to assert itself in relation to the competition, starting with its gameplay, which is the main thing in a video game. Obviously, the game will suffer from comparison with Ghost of Tsushima, which, whatever anyone says, redefined samurai games. Sucker Punch's game was not perfect, but its open world was much better controlled, more enchanting, more captivating and above all more interesting to explore. Rise of the Ronin is a test attempt on the side, with an empty open world, quite flat and ultimately not very interesting to discover. Technically too, it doesn't keep up, and it's even very weak, especially when we know that it is a game developed exclusively on PS5 and that it still required 9 years of production. Team Ninja still has a lot to prove in the field of open world games, but manages to interest people through the richness of its gameplay and its numerous possibilities. We hope that this first attempt will allow the Japanese studio to do better next time.

Ignoring the strong nostalgia for 1997, is this second part of the Final Fantasy VII remake really up to par? Objectively, the game blows hot and cold. As a pure remake, the work done by the Kitase teams is impressive, that's undeniable, but compared to what's being done today, the title lags a bit technically speaking. Graphically, the game is not up to the standards of a PS5 exclusive game and could run perfectly on PS4. The engine is showing its age and even the recent Final Fantasy XVI outclasses this Rebirth in its technique. And what about its archaic open world, which proves that the engine used is clearly not adapted to large spaces where interactions and a semblance of life must be created? On this side, Final Fantasy VII Rebirth has both feet in the carpet, with a "parkour" system which is often difficult to see, failing to generate fits of laughter. And then, there are also all these moments which seem artificially extended so that we can display the 40/50 hours of gameplay of the main plot. Conversely, FF VII Rebirth takes the time to develop its characters, to give them bonds of camaraderie, to be a little more human than the silent polygons we knew 30 years ago. The combat system has gained in depth, thanks in particular to this synergy system which allows you to create combined attacks, often offering epic moments. Obviously, for the almost blinded fanboy, this FF VII Rebirth sounds like a gift falling from the sky, but for the average person who looks at it from afar, and with better perspective, they will see it as a great experience, but clearly not the GOTY 2024.

If Helldivers 2 surprises so much, it is because it has succeeded in two important points. The first is to finally prove to the whole world that it is possible to make a good game based on the Starship Troopers universe. From its creatures to its corrosive and second-rate humor, including the very principle of sacrifice for a common cause, we couldn't dream of a better way to immerse ourselves in Paul Verhoeven's masterpiece. Second point: also proves that making a very good live-service game without creating bad buzz or rejection from gamers is also possible. It must be said that unlike Suicide Squad, this Helldivers was designed and shaped to be multiplayer, cooperative, with the dose of fun that goes with it, the complete opposite of the title from Warner Games and Bethesda.

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.

With Tekken 8, Bandai Namco has found the right formula to bring together VS Fighting noobs and experts under the same gameplay. Easier to access than Street Fighter, King of Fighters and even Mortal Kombat, Tekken 8 is also there to make the show visual for spectators. We had fun, even if the Story mode is very kitsch, the Tekken Ball mode is useless and we would have liked something other than Mii avatars.

Should you buy this remastered version of The Last of Us 2 on PS5? Yes, of course ! Beyond remaking one of the best games in history with Red Dead Redemption 2 in better conditions, we can especially enjoy the "No Return" mode, which is the essential asset of the title, bringing hours and hours of play in addition, and above all a major challenge to measure this incredible gameplay. And then I remind you that if you already have the game on PS4, the update will only cost you €10, while the full game is offered at €50. And then, need I remind you how The Last of Us Part 2 is a remarkable game in many ways? Through the finesse of their writing, Neil Druckmann and Harley Gross have managed to make their work a ton of emotions where contrary feelings mix, blurring the line between what is supposed to be Good and what represents Evil. This is why The Last of Us 2 is an exceptional sequel: by assuming his choices, even if it means not pleasing everyone. That being said, even if you do not subscribe to Naughty Dog's vision in the story, it will however be difficult to deny the intrinsic qualities of the pure video game product as such.

With its magnificent graphics which give the feeling of a next gen game (apart from the NPCs), Avatar Frontiers of Pandora is an invitation to travel, to immerse yourself and get lost on the magnificent planet of Pandora. But if graphically the title is incredible, it ultimately remains far too academic in its gameplay. We actually feel that the developers really wanted to break away from the usual formula of Ubisoft games, notably Far Cry, forcing them to go in a direction that was a little too conventional. The adventure goes well, but it lacks that epic side that we are waiting for forever. Ubisoft's title could have been the last great game of 2023, it will ultimately remain a good game that did not follow through with the proposition.

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.

It's hard to believe that it was Paul Cuisset, the creator of the first Flashback, who created such a sequel. Graphics close to the PS1 era, animations done with a trowel, we can clearly see that this Flashback 2 did not have a large budget to create. But financial means in no way excuse a completely shoddy game design choice, not to mention its execution which gives the feeling of a blatant lack of expertise. Not only is Flashback 2 a technical failure, but it is also an indigestible game due to its clumsy gameplay, completely paralyzed by mechanics from another century.

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.

What shines through the most, despite the game’s flaws, is its narrative, which is equally as ambitious as the game’s systems. It focuses on relationships and the different ways they manifest in a person’s life. There’s also Thirsty Suitors’ delightful sprinkling of political commentary.

A successful bet for Robocop from the Teyon studio which offers us a pleasant spectacle, especially if we like the character and this 80's 90's period of American cinema. But make no mistake, Robocop is an ultra generic FPS, bordering on old school in its foundations, the game doesn't invent anything and people who only swear by the codes of the modern FPS will perhaps be disappointed. But the game has such a pleasant feeling that it is difficult to ignore its pleasure, especially since the game respects the license to death, and that must also be emphasized. It's violent, it's kitsch and it's even narrative, but we had a lot of fun in the 12/15 hours needed to finish the game. Because yes, this Robocop also has the delicacy of having a duration of very honest life for a narrative single player game.

Distressing, frightening, sometimes disturbing, Alan Wake 2 makes a resounding return thirteen years after the first episode that we have not forgotten. Remedy is not content with making a simple and basic sequel, but is readjusting its game by renewing the gameplay. By introducing a second character, the developers introduce a successful "investigation" aspect which reinforces the narrative of these satanic murders. The fights have become fiercer and more intense too and the story even more captivating. Cherry on the cake : the game offers sumptuous graphics, with ultra-realistic facial expressions. One of the best games of 2023.

New art direction, more attractive graphics, a multitude of new animations, facial expressions for Mario, his friends and even enemies, and humor everywhere, this Super Mario Wonder has done things in a big way for his return as a 2D platform game. The setting is magnificent, but the gameplay is also breathtaking. It must be said that Nintendo had fun and the imagination of the developers was overflowing. A game design idea at each new level is a bit of the promise of this game, which manages to give new life into a saga that will soon be 40 years old. We come away from this experience with a smile on our faces.

If the first hours of play lead us to believe that Marvel's Spider-Man 2 is just a simple PS5 update of previous episodes, we quickly realize that the game goes much further! More beautiful and more detailed, the game stands out above all for its ultra spectacular staging. The gameplay is also more intense thanks to mechanics that improve the combat system. The treatment of Venom is fabulous, and he is the perfect epitome of what we expect from this iconic character. It has never been so well transcribed on screen, and for that, Insomniac Games must receive the highest praise. The other characters are not left out, whether Kraven, but also Peter Parker and Miles Morales. The studio has understood this universe so much that it must serve as a model for the MCU and Sony Pictures films, which have often failed in cinema.

Inspector Gadget: Mad Time Party has all the flaws that a failed game could have imagined: obsolete graphics and animations, technically shameful, non-existent gameplay, catastrophic gameplay, uninteresting mini-games and a playing time of 1h30, the game gives the impression to have been developed in the space of 3 months. The disaster is total and undoubtedly industrial.

If you are looking for originality with this Assassin's Creed Mirage, you will be disappointed, the game only focusing on the nostalgic fiber and the roots of the license. Less RPG elements, smaller open world, 15/20 hours of gaming maximum, the return of the Middle East and gameplay centered on stealth mechanics, some players will appreciate the return of the old Assassin's Creed philosophy, others will not because the game is less complete, with old school stealth mechanics. Assassin's Creed Mirage is simply Assassin's Creed in the most basic way the formula has to offer. It's not bad in itself, but after 3 years of waiting, we were still entitled to expect something more surprising.

Thirteen years after leaving its indelible mark on videogames industry and establishing itself as one of the best games of the PS3 and Xbox 360 generation, Red Dead Redemption arrives on Nintendo Switch in a completely unexpected way. Many hoped for a remake on PS5 and Xbox Series, but Rockstar Games preferred to offer Nintendo console owners the port of a game that will still be a landmark. For the quality of its porting to begin with (kudos to the Double Eleven studio - Rockstar Games alumni), but also proving at the same time that the Switch is capable of handling open worlds without degrading the quality. And when we tell you that the port is uncompromising, it means that we find the same experience as in 2010, with the same graphic quality of the time and all the details that made the reputation of the Rockstar Games title. Some studios such as Game Freak should take the seed.

Uninhibited and assumed action, this is the new direction of this Final Fantasy XVI which has a specific objective: to please the greatest number, even if it means splitting and dividing Final Fantasy fans….Yes, this episode XVI is more eyeing the Devil May Cry, and that's probably the best thing that could have happened to it.

This time there will be no debate. With Street Fighter 6, Capcom has managed to bring together the two audiences under one banner: experts in the discipline as well as laymen. There is something for everyone, the game being deep enough for VS Fighting specialists and intelligently accessible for newbies who are just starting out. Less zoning, more aggressiveness, this new iteration has also boosted its gameplay to adapt to all player profiles.

Some will say that this Zelda Tears of the Kingdom looks more like DLC++ than the real sequel to Breath of the Wild, and they won't be completely wrong; at least in the first 10/12 hours of play. But by opening its world to the sky, the game changes perspective, opens up new horizons and the open world becomes even more exhilarating to explore. Yes, Tears of the Kingdom will not revolutionize video games like Breath of the Wild did 6 years ago, but it reinforces its gaming possibilities in the most solid way, and above all offers a new way to rediscover its open world. Tears of the Kingdom is to Breath of the Wild what Majora's Mask was to Ocarina of Time, a complementary but above all essential adventure.

Dead Island 2 is not doing too badly, especially for a development that started more than 10 years ago. But we obviously cannot ignore all the archaism of its game design. Whether it's the overall structure of the game (several small, very down-to-earth open areas, without any possibility of verticality), its basic and repetitive gameplay, Dead Island 2 can put off some players. Despite these major flaws, the title of Deep Silver still manages to appeal to our primary instincts, namely to slaughter zombies with such graphic violence that it becomes enjoyable.

Known for changing the world of the Third Person Shooter almost 20 years ago, Resident Evil 4 returns in a remake that proves once again that Capcom have become the experts when it comes to restoring a masterpiece. The graphics are gorgeous, the gameplay has smoothed out, and the game remains an action gaming landmark even in 2023.

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.

Yes, Wild Hearts has copied the Monster Hunter formula, but it manages to go beyond that by distinguishing itself with elements never before seen. The use of Karakuris, these structures that can be invoked to help triumph, brings a lot to the gameplay of the game. The game then gains in intensity, in strategy, but also in the possibility of combat, which makes the confrontations epic and quite enjoyable.

It's hard not to be fascinated by the magical world of Hogwarts Legacy, so much the game has been made with passion. The first steps in this adventure are enchanting, especially when it comes to Hogwarts Castle, Hogsmeade and all the interiors in reality. It's beautiful, it's alive, it's teeming with details and contemplation is indeed there. Of course, not everything is perfect, but the game invites so much exploration with its ultra generous open world that we manage to close our eyes to certain flaws.

The restoration work for this Dead Space Remake is undeniable and high quality. The EA Motive teams have done a very good job in terms of visual rendering, with a complete overhaul of the 3D models and richer and more detailed environments. But if the visual of this Dead Space 2023 is up-to-date, it kept its vestiges of 2008 with a system too focused on escape and remote shooting, the fundamentals of survival-horrors of that time. We obviously won't hold it against it, because it's a remake, but we'll point it out anyway.

The Callisto Protocol is the real sequel to Dead Space that we never had and it took Glen Schofield to return to the horror game to get it. However, even if the game takes up all the codes of EA's survival horror with its stressful atmosphere, perfectly mastered, and its really enjoyable gore side, The Callisto Protocol also innovates thanks to its melee combat system, which allows interesting combinations and obliges you to plan your battle plan well, otherwise you will be quickly overwhelmed. A great success and we want a sequel with even more new ideas.

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.

Far from being a simple clone of XCOM on which we would have added a Marvel skin, Midnight Suns is a different tactical. Forgetting about XCOM's game mechanics for an interesting card system sets Firaxis apart from other games. And then the fights benefit from rather pretty visual effects, and different interactions with the environment which add a small additional tactical layer.

No surprise for the PS5 and Xbox Series versions of Syberia The World Before, which continue the fine work done by Microids Studio Paris started last March with the release of the game on PC. The adaptation on new gen consoles is a great success, both visually and in terms of handling, with more pleasant controls on the joystick than with the keyboard-mouse duo.

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.

Keeping a winning formula is one thing, making it grow is another, and that's the undeniable strength of Sports Interactive with Football Manager. Yes indeed, this 2023 iteration does not reinvent the wheel, but in the other hand, it improves on certain aspects of the franchise, with an even greater immersion with the integration of the Champions League and other UEFA European Cups.